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Cambridge, London, UK and International performances

AC A D E M Y O F A N C I E N T M U S I C

19-20

Concert Programme

2019-20 The Art of the Lute with Thomas Dunford

ACADEMY OF ANCIENT MUSIC


AAM tops the Charts! Handel: Brockes-Passion Our recent release of Handel's Brockes-Passion made it to No.1 in the UK’s Specialist Classical Chart and received excellent reviews: “It’s the most astonishing piece… so humane, so dramatic … it’s a beautifully made recording… and this is just a beautiful set to hold, to look through – it sets the context perfectly and you seriously get value for money with this entire recording… I’d listen to this again and again.“ Andrew McGregor and Elin Manahan-Thoms, BBC Radio 3 CD Review, October 2019 “superb recording … combines serious musicological and historical scholarship with vibrant musicianship and artistry… The AAM Chorus are in fine voice… a Passion for all times and all places.” Claire Seymour, Opera Today, October 2019 “Please welcome this exciting Brockes-Passion, in such a vibrant and luxurious recording.” Geoff Brown, The Times 5* review, October 2019 “In Egarr’s hands, this neglected work is revealed as a lost masterpiece … restores it magnificently to the canon… the solo singing is outstanding.” The Sunday Times, Album of the Week, September 2019

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The Art of the Lute

with Thomas Dunford

J.S. BACH

Thomas Dunford

MYSTERY MUSIC

director and lute Rachel Brown flute Thursday 20 February 2020 7.30pm

Milton Court Concert Hall, London

Sunday 23 February 2020 7.30pm West Road Concert Hall, Cambridge

Orchestral Suite No.2 in B minor, BWV1067 (1738-39) Please complete your response cards

VIVALDI

Concerto from Trio Sonata in C major for lute, violin and continuo, RV82 (c.1730-31) 20-minute Interval

J.S. BACH

Suite in G minor, BWV995 (c.1727–31)

BUXTEHUDE

Trio Sonata for violin, viola da gamba and continuo in B flat major, Op.1 No.4, BuxWV255 (1694)

VIVALDI

Concerto for Lute in D major, RV93 (c.1730-31)

The Art of the Lute with Thomas Dunford

Academy of Ancient Music


A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

Welcome from Chief Executive, Academy of Ancient Music A very warm welcome to tonight’s concert of Bach, Buxtehude and Vivaldi with the brilliant young French lutenist, Thomas Dunford. We first worked with Thomas on Lucie Horsch’s album Baroque Journey for Decca (released last year alongside concerts with AAM), and his exceptional musicianship and first-rate playing ensured an immediate desire from us to work with him in a future concert season. We send our best wishes to Jean Rondeau (who was initially due to perform with AAM this week) and his wife as they expect the arrival of their first child; and we are delighted that Thomas is able to join us.

counterpoint; and just two grape varieties. Yet in the hands of masters of their craft, this music and wine from this region can be astonishingly complex and sought-after. In a pre-concert tasting and at post-concert dinner we explore Pinot Noir, a grape creating some of the most sublime wines known to man; and in between we hear J.S. Bach, one of the greatest composers to have lived.

We hope to welcome you to more AAM concerts and events this season, and our Castello, Monteverdi and Strozzi programme in April also features an exploration of lesserknown Italian grape varieties before concerts (in both London’s concert will be live-streamed on Facebook as London and Cambridge) in association with specialist we continue to experiment with the format this season. Italian wine expert, Ben Robson from Bat and Bottle. December’s live-stream of Messiah was seen by over 280,000 Do join us on 22 April (London) and 23 April (Cambridge) viewers in the last two months, and we are proud to take for ground-breaking Italian composers – and something our music to audiences who are unable to access our delicious to drink. concerts otherwise.

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20 February also showcases a partnership with the wonderful team at Stannary St. Wine Co, as we offer a music and wine pairing of Bach and Burgundy. Both stem from simple ingredients – a set of rules for harmony and

Alexander Van Ingen Chief Executive Academy of Ancient Music


CHA BER MSIC

BBC Radio 3 Lunchtime Concerts at LSO St Luke’s Selected Fridays, January to June 2020 BACH UP CLOSE | RUSSIAN ROOTS ANTOINE TAMESTIT & FRIENDS Featuring Alina Ibragimova, Maxim Rysanov, Federico Colli, Lawrence Power, Pavel Kolesnikov, Katharina Konradi, Masato Suzuki, Jörg Widmann, Dénes Várjon, Colin Currie and more

lso.co.uk/lunchtimeconcerts 161 Old Street, London EC1V 9NG


ESSENTIAL AUTUMN ALBUMS Lars Ulrik Mortensen & Concerto Copenhagen – Danish National Baroque Orchestra

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Four Seasons – after Vivaldi Antonio Vivaldi recomposed by Karl Aage Rasmussen. Musical direction: Magnus Fryklund & Lars Ulrik Mortesnen Album release: 6/9 2019 DACAPO 8.226220

The Brandenburg Concertos No. 1–6 »Unique sounds in Danish – Concerto Copenhagen is the only ensemble playing on original instruments in Scandinavia which has managed to have an international breakthrough – rightfully as their recording of Bach’s Brandenburg Concertos shows.« Marco Frei, Neue Zürcher Zeitung, October 2018 CPO 555 158–2

coco.dk/en/discography/


MAY 29 TO JUNE 14, 2020 IN HALLE (SAALE), GERMANY in authentic venues in the city of George Frideric Handel’s birth

EXPERIENCE TESEO (HWV 9) OTTONE, Ré di Germania (HWV 15) MESSIAH (HWV 56) GALA CONCERTS with Valer Sabadus, Nathalie Stutzmann, Daniel Behle, Iestyn Davies and much more

SALES START NOVEMBER 28, 2019 handel-festival.com/en MORE INFORMATION: festspiele@haendelhaus.de


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Thank you

Programme Notes Dr Julia P Ellis

The AAM is indebted to the following trusts, companies and individuals for their support of the orchestra’s work.

Digital: Supporter Database Annual License Philip Jones

MUSIC SPONSORS Music Director Matthew Ferrey Leader Chris and Alison Rocker Sub-Principal First Violin Graham Nicholson Principal Viola Elizabeth and Richard de Friend Sub-Principal Viola Nicholas and Judith Goodison Principal Cello Dr Christopher and Lady Juliet Tadgell Principal Flute Terence and Sian Sinclair Principal Oboe David and Linda Lakhdhir Principal Clarinet Clive Butler Principal Trumpet John and Madeleine Tattersall Principal Theorbo John and Joyce Reeve

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Discounted tickets for under 26s Philip Jones

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Remembering AAM in your Will The Academy of Ancient Music is committed to bringing more early music experiences to more people every year, and we are determined to preserve our music and music-making so that it can be enjoyed by generations to come. Our music moves audiences now just as it did when first written, and the commitment and generosity of our supporters ensure it continues to be powerful and immediate for audiences of the future. If AAM has enriched your life by performing music that you love, please consider remembering AAM in your Will; help us to pass on our extraordinary treasure house of early music to the next generation. There may also be tax benefits* for your estate should you wish to leave a percentage of your estate to charity. Gifts that are left to the Academy of Ancient Music in Wills are one of the most important ways you can support our work. Joining our Legacy Circle will bring you into AAM’s unique and convivial supporting community, and you will be invited to an annual lunch as a thank you for your generosity, so that we can keep you updated with AAM’s work. Your gift today is supporting AAM’s artistic activities of tomorrow. If you would like to find out more about AAM’s Legacy Circle, please contact Liz Brinsdon (liz.brinsdon@aam.co.uk). Every gift in every Will makes a difference – however large or small. * as every individual situation is different, we recommend taking professional advice when assessing potential tax benefits.

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AAM Quick Pick Each concert AAM oboist Lars Henriksson picks out one key thing to listen out for. J.S. Bach’s Orchestral Suite No.2 is considered one of the jewels in the baroque flute’s crown and is often treated as a quasi flute concerto. I think this notion is worth some consideration. Bach uses the flute in various different ways to create different orchestral colours. For the majority of the piece, he has the flute double the first violin part, as in the whole of the Sarabande and the Minuet. Elsewhere the flute is allowed to break out from this role with solo passage work, heard most clearly in the fugal section of the Overture. The second Bourrée and the Double of the Polonaise provide solo "half movements", but it is only the famous final Badinerie where the flute is completely emancipated from the violin and claims its own fully solo line, leaving it standing – rather unrepresentatively! – in the spotlight! Those are the "statistics", but of course much more important is the wealth of variety that Bach produces

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from the forces available. Listen out for the way the first violin swaps between the top part of the fugue in the tutti sections and the bass line in the solo passages in the Overture, and to the rhythm section created by the strings in the second Bourrée. In the Polonaise a new colour is provided by the use of the flute doubling the violin an octave higher and in the Double the theme is given to the cello, with the flute weaving an ornamented version around it. So the flute may be left holding the trophy at the end, but this is, of course, a team effort.


T H E A R T O F T H E LU T E W I T H T HO M A S D U N F O R D

Introduction

When the music in tonight’s concert was being written, the days of the lute were nearly over. With origins in the Middle East and ancient times, its European heyday came in the 16th and 17th centuries, but by the early 1700s its roles as a noble and sophisticated solo instrument and harmonically self-sufficient accompanist for the human voice had largely been taken by the harpsichord. In the 17th century, France had been the place where lute music had reached a height of sophistication, and indeed the works of masters such as the Gaultier family, Charles Mouton and Robert de Visée exerted a strong influence on the forms and textures of the subsequent generation of composers for the harpsichord, such as D’Anglebert and the Couperins.

In Italy the excitement and energy at that time was mostly with instruments of the violin family, and it was only really in Germany that the lute lived on as a solo instrument of note: Silvius Leopold Weiss, who lived until 1750 and worked at the Dresden court, was one of the greatest players of the day and wrote a large number of suites and sonatas for the lute, but the instrument was also fortunate to have been favoured by one of music’s true giants: Johann Sebastian Bach not only included solo parts for lute in his Passions, but also provided a handful of solo compositions for it that are of the very highest quality. With the death of Bach and Weiss in 1750, however, the lute became all but obsolete throughout Europe.

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Johann Sebastian Bach (1685-1750)

Orchestral Suite No.2 in B minor, BWV1067 1. Ouverture / 2. Rondeau / 3. Sarabande /4. BourrÊes I & II / 5. Polonaise and Double / 6. Menuet / 7. Badinerie The first half of the 18th century – the period of the High Baroque – saw the rise to dominance of two principal orchestral forms: the concerto and the suite. Bach composed in both, but while his surviving concertos number over 20, four orchestral suites of his survive. As in other areas of his output, however, the dispersal and loss of manuscripts after his death means that this almost certainly represents only a fraction of what he actually produced, and while his surviving legacy of suites looks tiny next to the 130-or-so examples left to us by Telemann, from their quality we have no reason to suppose that he found the genre an uninspiring one. We do not know exactly when Bach composed his orchestral suites, and although the earliest surviving source for the suite for flute and string orchestra known as No.2 dates from 1738-9 (the modern-day numbering of these pieces was not given to them by Bach, and has nothing to do with their chronology), there is reason to think that it may

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have started life some time earlier as a work for violin (or possibly oboe) and orchestra. Whatever the case, the existence of a copy made in the late 1730s is evidence enough to suppose that Bach performed it at one or more of the gatherings of the Collegium Musicum, the Leipzig concert society of which he had been director since 1729. The Collegium gave its concerts at least once a week, inside in winter and outdoors during the summer, and enjoyed the services of a mixture of professional musicians and students from the university. The Second Suite could have been composed for performance by a visiting flute virtuoso, perhaps Pierre-Gabriel Buffardin from the nearby Dresden court, who is known to have been a visitor to the Bach household on several occasions. It is noticeable that in his orchestral suites Bach places greater emphasis on the affable and recently popular French-style dance types than on the more serious, essentially 17th-century allemandes,


T H E A R T O F T H E LU T E W I T H T HO M A S D U N F O R D

courantes, sarabandes and gigues which dominated his suites for solo harpsichord, cello or lute. The Second Suite is perhaps the most self-consciously fashionable of them all, not only in its prominent employment of the day’s great instrument for

gentlemen, but also in the way its lengthy opening Ouverture is followed by a sequence of ultra-modish dance-movements (or "Galanterien", as Bach would have called them), culminating with no small sense of inevitability in the famous Badinerie.

Antonio Vivaldi (1678-1741)

Concerto from Trio Sonata in C major for lute, violin and continuo, RV82 1. Allegro non molto / 2. Larghetto / 3. Allegro Vivaldi’s long, if intermittent, years of employment as a teacher at the Venetian institution for foundlings known as the Ospedale della Pietà can often be cited as explanation for any work of his that features unusual and adventurous combinations of instruments. The all-female orchestra he directed there had an international reputation for the skill and versatility of its players, for whom (one visitor declared) "there is no instrument, however unwieldy,

that can frighten them". But in the case of the Trio Sonata in C major, RV82, the provenance can be ascribed elsewhere, for it is one of two ensemble sonatas with a part for lute that he dedicated to "Sua Eccellenza Signor Conte Wrrtbij". This was almost certainly Count Johann Joseph von Wrtby, a high-ranking official in Prague who is known to have seen at least two of Vivaldi’s operas there in 1730 and 1731, and perhaps at the same time met

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the composer and commissioned these works from him. Although Vivaldi himself labelled RV82 as a sonata for lute, violin and basso continuo, it is not a classic "trio sonata" in the sense of having two independent and equal upper parts with continuo support. Indeed, for all its formal resemblance to a sonata,

the atmosphere of this little piece is if anything more like that of a lute concerto: in the central slow movement, for instance, the violin supplies a gently pulsing accompaniment to the lute’s melancholy musings, while in the outer movements the lute and violin play the same melody together, but with the lute often playing a more complicated version of it, thereby acquiring a concerto-like spotlight.

20-minute Interval

Johann Sebastian Bach

Suite for solo lute in G minor, BWV995 1. Prélude / 2. Allemande / 3. Courante / 4. Sarabande / 5. Gavottes I & II / 6. Gigue Bach’s small output of music for the lute is full of mysteries, not least the matter of whether it was actually intended for the lute at all. An inventory of Bach’s possessions made at his death includes mention of two examples of the lost hybrid instrument known as the Lautenclavier or "luteharpsichord", and although he also owned a "normal" lute he is not known to have been able to play it. Bach’s autograph manuscripts are written out on two-stave keyboard notation rather than the

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specialised lute "tablature", and since they are not strictly playable on the lute as they are, it is certainly possible to imagine him performing them himself on this curious instrument which, according to one of Bach’s students, could with care produce an imitation able to ‘just about fool professional lutenists’. Whatever the case, while Bach’s keyboard works were partly known to the generation that followed him, it seems unlikely that many knew or were even


T H E A R T O F T H E LU T E W I T H T HO M A S D U N F O R D

aware of his works for solo lute. Their rediscovery had to wait until 20th-century guitarists such as Andres Segovia started performing them in transcription, a development which ironically led to a revival of interest in the baroque lute. In this respect their fate mirrors that of the six suites for solo cello, effectively revived in the early 20th century by Pablo Casals, and the two repertoires come together in the Lute Suite in G minor, which is a transcription of the Fifth Cello Suite (originally in C minor). The cello version

had been composed around 1720, when Bach was Kapellmeister to the Prince of Anhalt-Cöthen, and like the other cello suites, shows its French influence in its very form and its textures, transmitted to Bach from the lute-masters of the previous century by those same French harpsichord composers who had imitated their style, and whom Bach himself admired so much. In this majestic work, transferred from the cello to the lute, that style can perhaps be said to have come home.

Dietrich Buxtehude (c.1637-1707)

Trio Sonata for violin, viola da gamba and continuo in B flat major, Op.1 No.4, BuxWV255 Vivace – Allegro – Lento – Allegro The Danish-born Buxtehude is remembered chiefly as an organist; he held the prestigious post of organist and administrator of the Marienkirche in Lübeck for nearly 40 years, and was deeply admired by Bach, who as a young man walked over 250 miles through Germany to hear him play. But he also composed vocal and chamber works, many of which he would have performed at the public concerts, or Abendmusiken, that he gave five Sundays a year

in his prestigious church. Among them are 20-or-so chamber sonatas for strings and continuo, some of which were published in two sets in the 1690s. Op.1, issued in 1694 and dedicated to the burgomasters and city council of Lübeck, ignores the strongly codified and regularised trio-sonata being created at that time in Italy by Arcangelo Corelli, typically for two violins and continuo, and aligns itself instead with the earlier 17th-century

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tradition in which different movement types – lyrical, slow-moving, virtuosic, contrapuntal, dance-like – rub together and no two sonatas follow the same pattern. This is attractively married to a solidly contrapuntal and keyboard-y northern European sensibility, and further distinguished from thousands of other trio sonatas by giving the viola da gamba a

melodic role equal with that of the violin. Sonata No.4 opens with a delicious and playful Allegro over a 14-note repeating bass pattern, and proceeds by means of a tender but searching dialogue to a lightly skipping finale.

Antonio Vivaldi

Concerto for lute and strings in D major, RV93 1. Allegro / 2. Largo / 3. Allegro RV93 is another of the works dedicated to Count Wrtby, though this time its identity as a concerto is more explicit both in the title and in the way the music is set out. Although, like RV82, it does not use the same formal procedures as a typical Vivaldi concerto, its distinction between passages for the full ensemble and passages for the soloist with only the most discreet of accompaniments has the kind

of clarity that made Vivaldi one of the most influential concerto composers of the early 18th century. Furthermore, the haunting, summer-evening beauty of the slow movement has in recent decades made it one of his single most familiar compositions. Programme notes Š Lindsay Kemp

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Thomas Dunford

© Julien Benhamou

director and lute

Born in 1988, Thomas Dunford studied in Charles-Edouard Fantin’s class at the Conservatoire National Supérieur de Paris and then with Hopkinson Smith at the Schola Cantorum in Basel. He participated in numerous masterclasses with such lutenists as Rolf Lislevand, Julian Bream, Eugène Ferré, Paul O’Dette, Pascale Boquet, Benjamin Perrot and Eduardo Egüez. From 2003 to 2005, Thomas made his debut as a lutenist in Shakespeare’s

Twelfth Night (La Nuit des Rois) on the stage of the Comédie-Française. Since then, he has given recitals all over the world, notably at Carnegie Hall and the Frick Collection in New York, Wigmore Hall in London, the Kennedy Center in Washington, the Vancouver Recital Society, Cal Performances in Berkeley, the Banff Centre, the Palau de la Música in Barcelona, the TAP Poitiers, the WDR in Cologne, the Opéra de Bordeaux, the Salle Gaveau and Salle Cortot in Paris, and such festivals as Saintes, La Folle Journée de Nantes, Utrecht, Maguelone, Froville, Radio France-Montpellier, Innsbruck and Salzburg. He also collaborates with the leading Baroque ensembles, including Les Arts Florissants, Pygmalion, Il Pomo d’Oro and Cappella Mediterranea. His first solo CD, Lachrimae, released in 2012 on the Alpha label, was unanimously acclaimed by the critics and won the 2013 Prix Caecilia, while

BBC Music Magazine called Thomas "the Eric Clapton of the lute". His second CD, Labirinto d’Amore with the mezzosoprano Anna Reinhold, was awarded a "Choc de Classica". Thomas Dunford is attracted to a wide variety of musical genres, including jazz, and collaborates in chamber music projects with a wide variety of conductors and soloists including Paul Agnew, Leonardo García Alarcón, Nicola Benedetti, Keyvan Chemirani, William Christie, Jonathan Cohen, Christophe Coin, Iestyn Davies, Lea Desandre, Isabelle Faust, Bobby McFerrin, Philippe Herreweghe, Anne Sofie von Otter, Trevor Pinnock, Jean Rondeau, Jordi Savall, Skip Sempé and Jean Tubéry. In 2018, Thomas Dunford founded Jupiter, a Baroque ensemble of which he is artistic director.


© AAM, Phil Tragen

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Rachel Brown

“Feasting Reconciles Everybody"

flute

Samuel Pepys

Performing on a huge range of flutes and recorders, Rachel Brown has appeared as a soloist in Europe, Japan and North and South America with a comprehensive concerto repertoire from J.S. Bach, to Mozart. Her championing of the works of the Berlin School has reawakened interest in the largely unknown masterpieces by Quantz and her recording of the C.P.E. Bach D minor Concerto was voted best by Polish Radio. She has recorded Bach’s B minor Suite twice, and her rendering of Handel’s chamber music has been described as "perfection itself". Her recordings of Bach flute sonatas and Mozart flute quartets are soon to be followed by a disc of Vivaldi concertos and arias.

By 1694, at the time of composing his Trio Sonata Op.1, the 57-year old Dietrich Buxtehude had been living in Lübeck for over 25 years, enjoying life and a certain amount of fame, working at the Marienkirche.

A dedicated teacher and professor of historical flute at the Royal College of Music, Rachel has given masterclasses worldwide. She is author of The Early Flute, a practical guide (CUP) and has composed cadenzas for the new Bärenreiter edition of the Mozart flute concertos. A practice manual for the baroque flute is in preparation alongside a book on baroque dance for musicians, which is the fruit of her extensive collaboration with dancer Mary Collins.

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The medieval town of Lübeck lies in the state of Schleswig-Holstein. Today, the city’s most famous culinary treat is the world-renowned Lübecker Marzipan, but unfortunately for Buxtehude (though luckily for his teeth) marzipan did not come to fruition until the late 18th century. However, he would have been able to enjoy a tipple or three of Lübecker Rotspon, a mature wine made from French Bordeux, its deep, velvety taste said to have even charmed Bonaparte. One of Europe's oldest wines, it made Lübeck the biggest wine-trading destination for all of northern Europe until around 1800. It's to be hoped Buxtehude shared a bottle with Bach, after the young composer's epic treck to meet him.


T H E A R T O F T H E LU T E W I T H T HO M A S D U N F O R D

Who we are and what we do The Academy of Ancient Music is an orchestra with a worldwide reputation for excellence in baroque and classical music. It takes inspiration directly from the music’s composers, using historically informed techniques, period-specific instruments and original sources to bring music to life in committed, vibrant performances. Founded by Christopher Hogwood in 1973, the ensemble remains at the forefront of the early music scene more than four decades on; Richard Egarr became its Music Director in 2006. The Academy of Ancient Music has always been a pioneer. It was established to make the first British recordings of orchestral works using instruments from the baroque and classical periods and has released more than 300 discs, many of which are still considered definitive performances (among its countless

accolades for recording are Classic BRIT, Gramophone and Edison awards). It has now established its own record label, AAM Records, and is proud to be the most listened-to orchestra of its kind online, with over one million monthly listeners on Spotify. AAM’s education and outreach programme, AAMplify, nurtures the next generation of audiences and musicians. With this expanding programme, working from pre-school through tertiary education and beyond, AAM ensures its work reaches the widest possible audience and inspires people of all ages, backgrounds and cultural traditions.

large-scale vocal masterpieces such as Bach’s St. John Passion, Monteverdi’s Il ritorno d’Ulisse in Patria, Handel’s Israel in Egypt and Eccles’ Semele, as well the ground-breaking modern premiere of Jan Ladislav Dussek’s Mass in G major; a piece which hasn’t seen the light of day since 1811. The AAM is based in Cambridge and is Orchestra-in-Residence at the city’s university. Its London home is the Barbican Centre, where it is Associate Ensemble, and it is also Orchestra-inResidence at the Grange Festival, Music at Oxford, the Apex, Bury St. Edmunds and VOCES8 Milton Abbey International Summer Music Festiva

The 2019-20 season features appearances by Viktoria Mullova, Chen Reiss, VOCES8, Visit www.aam.co.uk to find out more. Benjamin Appl, Masato Suzuki, Thomas Dunford, Mary Bevan, Alison Balsom, the Choir of King’s College, Cambridge and the BBC Singers. Programmes include

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A C A D E M Y O F A N C I E N T M U S I C 2019 - 20 S E A S O N

Academy of Ancient Music Violin I Bojan Čičić Gabriella Jones Conor Gricmanis Violin II Liz MacCarthy William Thorp Alice Earll

Viola da Gamba Imogen Seth-Smith Harpsichord Stephen Farr Keyboard Technician Malcolm Greenhalgh

Viola Jane Rogers Cello Sarah McMahon Imogen Seth-Smith

© Patrick Allen

Double Bass Timothy Amherst

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T H E A R T O F T H E LU T E W I T H T HO M A S D U N F O R D

Music Director Richard Egarr

Head of Finance Julie Weaver

Hogwood Fellow Emma Safe

Head of Concerts and Planning Fiona McDonnell

Chief Executive Alexander Van Ingen

Head of Development Liz Brinsdon

Education and Outreach Manager Sue Pope

Communications and Engagement Manager Kemper Edwards

Development and Events Librarian Emilia Benjamin Manager Alice Pusey

Board of Trustees

Development Board

Council

Paul Baumann CBE Hugh Burkitt Elizabeth de Friend Philip Jones (Chair) Ash Khandekar Graham Nicholson John Reeve Terence Sinclair Madeleine Tattersall Janet Unwin Kim Waldock

Elise Badoy Dauby Hugh Burkitt Elizabeth de Friend (Chair) Andrew Gairdner MBE Philip Jones Agneta Lansing Craig Nakan Chris Rocker Terence Sinclair Fiona Stewart Madeleine Tattersall

Richard Bridges Kate Donaghy Matthew Ferrey Jonathan Freeman-Attwood CBE Nick Heath Lars Henriksson Christopher Lawrence Christopher Purvis CBE

PR Consultant Artium Media Relations Programme Editor Sarah Breeden

Sir Konrad Schiemann Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell

(Honorary President)

17


Forthcoming Concerts Bach’s St. John Passion Saturday 29 February 2020 Keble College, Oxford

Handel’s Heroines Mary Bevan & Jennifer France

Thursday 12 March 2020 West Road Concert Hall, Cambridge Thursday 19 March 2020 Milton Court Concert Hall, London Saturday 21 March 2020 Malvern Theatres, Worcestershire

Bach’s St. John Passion

Tuesday 7 April 2020 King’s College Chapel, Cambridge Thursday 9 April 2020 Cadogan Hall, London

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Glories of Venice: Castello and Monteverdi

Wednesday 22 April 2020 Milton Court Concert Hall, London Thursday 23 April 2020 West Road Concert Hall, Cambridge

Music for Royal Occasions BBC Singers & Sofi Jeannin Friday 8 May 2020 Milton Court Concert Hall, London

For full details and to book visit: https://www.aam.co.uk/concerts-projects/


2019-20 concerts Salvation and Damnation Season highlights: Vivaldi and Pergolesi: Sacred Baroque Monday 11 November 2019 Southbank Centre’s Queen Elizabeth Hall Mozart’s Final Flourish Friday 7 February 2020 Southbank Centre’s Royal Festival Hall Saving Michael Haydn Tuesday 19 May 2020 Southbank Centre’s Queen Elizabeth Hall

oae.co.uk


ACADEMY OF ANCIENT MUSIC Music Director Richard Egarr Hogwood Fellow Emma Safe Founder Christopher Hogwood CBE

11b King’s Parade, Cambridge CB2 1SJ +44 (0)1223 301509 info@aam.co.uk | www.aam.co.uk Registered charity number 1085485

Associate Ensemble at the Barbican Centre Orchestra-in-Residence at the University of Cambridge Orchestra-in-Residence at The Grange Festival Orchestra-in-Residence at the Apex, Bury St. Edmunds Orchestra-in-Residence for VOCES8 Milton Abbey International Summer Music Festival Associate Ensemble, Teatro San Cassiano Research Partner: University of Oxford Partner: Culture Mile Network

All details correct at time of printing

aam.co.uk @AAMorchestra academyofancientmusic

@aamorchestra

Barbican Hall and Milton Court Concert Hall Barbican Advance Box Office, Silk Street Tel. 020 7638 8891 www.barbican.org.uk West Road Concert Hall Cambridge Live Tickets Box Office Tel. 01223 357 851 www.cambridgelivetickets.co.uk


Engage Join us on our journey to explore, reveal and preserve baroque and classical music.

Concerts

• brilliant music, expertly performed • inspirational, engaging performers at the highest level • detailed, informative programmes, free of charge • pre-concert talks and discussions • digital programmes and playlists sent in advance • post-concert listening and reading suggestions

Online

• past concert programme information • news and updates through social media • developing playlists for leading streaming services such as Spotify

Recordings

• over 300 albums, creating a substantial resource of historically informed

performance practice • our own record label, AAM Records • new Strategic Recording Fund enabling track-by-track recording of lesser-known works • making some of the finest performances available worldwide

Learning

• dedicated Education & Outreach Manager, curating programmes

for schools and communities • working with the next generation of performers and audience members • open rehearsals and opportunities to engage with performers and directors • high-level scholarship and research presented in informative ways • new baroque performance summer school in 2020

LOVE

CLASSICAL

MUSIC ?

Feed your curiosity and love of classical music by joining the Royal Philharmonic Society. Among the benefits, members can attend – and exclusively watch online – our talks and events in which great artists and musical heroes share their fascinating stories. Upcoming guests include Nicola Benedetti, Dame Sarah Connolly and Sir Thomas Allen, among others. Every subscription helps us to help emerging musicians follow in their footsteps and find their voice, ensuring classical music continues to thrive for years to come. Find out more online at:

royalphilharmonicsociety.org.uk


AAM Strategic Recording Fund The Academy of Ancient Music is listened to more than any other similar ensemble online, and our recordings reach millions of people every year through both this medium and radio broadcasts. Streaming data shows our music is being listened to as far afield as Mexico, Montreal, Tokyo and Taipei. It is important that we engage strongly and swiftly with AAM’s new listeners that streaming services bring. This is why, in September 2017, we launched the Strategic Recording Fund. This Fund gives AAM the financial and artistic flexibility it needs to make fast, artistic-led decisions to record anything from just a single movement or aria to full works; to create first-rate materials to support our creative learning programme; to respond quickly to artistic priorities and demand for new recordings; and to adapt effectively to a changing marketplace in the consumption of music online.

Support for this Fund will make a huge difference to AAM’s artistic output and will help AAM secure itself as an authority in the performance and understanding of baroque and classical music. If you would like to donate to the Strategic Recording Fund, or to find out more information about it, please contact support@aam.co.uk

Featuring on:

4,530,746 fans (28m listens)

Soprano Mary Bevan during filming. Photo: Alexander Van Ingen

The generosity of our supporters in response to this Fund enabled us to record a range of short educational and promotional videos throughout last season, as well as make an audio recording of our highly successful Mortal Voices tour with Keri Fuge and Tim Mead in spring 2018.


T H E A R T O F T H E LU T E W I T H T HO M A S D U N F O R D

Explore If you have enjoyed this evening's concert, you may be interested in the following releases:

J.S. Bach: Lute Concertos

Vivaldi /Jupiter

Baroque Journey

C.P.E. Bach: Flute Concertos

Thomas Dunford [Alpha, ALPHA361]

Lucie Horsch, Thomas Dunford, Academy of Ancient Music / Bojan Čičić [Decca, 4834722]

Jupiter Ensemble / Thomas Dunford [Alpha, ALPHA550] Rachel Brown, The Brandenburg Consort / Roy Goodman [Hyperion, CDA67226]

Buxtehude: Seven Sonatas, Op.1 BuxWV252-258

Arcangelo / Jonathan Cohen (with Thomas Dunford) [Alpha, ALPHA367]

J.S. Bach: Orchestral Suites Nos.1-4 BWV1066-1069

You can find many of AAM's recordings at www.prestomusic.com/aam. Receive £5 off when you spend £25 or more at Presto Classical with voucher code AAM2018.

Academy of Ancient Music / Richard Egarr [AAM Records, AAM003]

19


with Mary Bevan, Jennifer France and Laurence Cummings

HANDEL’S HEROINES Mary Bevan – Photo: Victoria Cadisch

Thursday 12 March 2020 West Road Concert Hall, Cambridge Thursday 19 March 2020 Milton Court Concert Hall, London Saturday 21 March 2020 Malvern Theatres Full programme details at aam.co.uk

Concerts in Cambridge Online cambridgelivetrust.co.uk/tickets Telephone 01223 357851 In person Cambridge Live Box Office, Wheeler Street

Concerts in London Online barbican.org.uk Telephone 020 7638 8891 In person Barbican Advance Box Office

Get involved: @AAMorchestra academyofancientmusic @aamorchestra


J.S. BACHOrchestral Suites

A selection of our critically acclaimed recordings are available to buy tonight, or online aam.co.uk/recordings

“Exuberant and full of vitality.” BBC Radio 3 “a feast of meaningfully understated musicianship. I loved it.”

HANDEL Brockes-Passion Recently released 300th anniversary recording from our new edition of the score.

AAM003

Editor’s Choice, GRAMOPHONE

J.S. BACH St. John Passion

“Such a vibrant and luxurious recording”

(1724 version)

£40 (3 CD, deluxe)

With an all-star cast including James Gilchrist as Evangelist and Matthew Rose as Jesus.

DARIO CASTELLO

£20 (2 CD)

Sonate Concertate In Stil Moderno, Libro Primo

AAM002

AAM007

THE TIMES 5*

BIRTH OF THE SYMPHONY:

Handel to Haydn

“AAM’s performances gave virtually unalloyed pleasure” GRAMOPHONE “A striking success” BBC MUSIC MAGAZINE

£12

J.S. BACH

St. Matthew Passion

AAM001

AAM005

“A joy for ear and spirit” GRAMOPHONE “This is a gem of a CD” THE STRAD

(1727 version)

GRAMOPHONE

£25 (3 CD)

£12

ACADEMY OF ANCIENT MUSIC at

“Egarr’s compellingly original vision of this greatest of all musical tombeaus, with its fresh anticipation founded on collective adrenaline and uniformly outstanding lyrical Bach-singing … is a triumph.” AAM040

AAM004

£20 (2 CD)

40

This two-disc compilation of core baroque and classical repertoire gives a taste of our unrivalled award-winning catalogue of over 300 recordings.

£20 (2 CD)


Get involved: @AAMorchestra academyofancientmusic @aamorchestra Watch season trailers: acadofancientmusic

Associate Ensemble at the Barbican Centre Orchestra-in-Residence at the University of Cambridge Orchestra-in-Residence at The Grange Festival Orchestra-in-Residence at the Apex, Bury St Edmunds Orchestra-in-Residence for VOCES8 Milton Abbey International Summer Music Festival Associate Ensemble, Teatro San Cassiano Research Partner: University of Oxford Partner: Culture Mile Network Music Director: Richard Egarr Hogwood Fellow: Emma Safe Founder: Christopher Hogwood CBE 11b King’s Parade, Cambridge CB2 1SJ +44 (0) 1223 301509 info@aam.co.uk www.aam.co.uk Registered charity number 1085485 All details correct at time of printing

Design by Apropos Cover Photo: Patrick Allen

Full programme details at aam.co.uk

Profile for Academy of Ancient Music

Academy of Ancient Music The Art of the Lute with Thomas Dunford 20 and 23 February 2020  

One of early music’s brightest stars, Dunford’s compelling, charismatic musicianship and exceptional technique has brought him countless acc...

Academy of Ancient Music The Art of the Lute with Thomas Dunford 20 and 23 February 2020  

One of early music’s brightest stars, Dunford’s compelling, charismatic musicianship and exceptional technique has brought him countless acc...