Academy of Ancient Music Sacred Cantatas: Bach and the Divine 15 &19 Jan 2020 with Benjamin Appl

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

2019-20 Sacred Cantatas: Bach and the Divine

19-20

ACADEMY OF ANCIENT MUSIC

Concert Programme

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

For further details of this outstanding 3-CD deluxe package visit aam.co.uk/listen.

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Sacred Cantatas

Bach and the Divine

Masato Suzuki director & harpsichord Benjamin Appl baritone Bojan Čičić violin Leo Duarte oboe

J.S. BACH (1685-1750)

Sinfonia from Cantata "Ich steh mit einem Fuß im Grabe", BWV156 (1729) "Willkommen, werter Schatz" from "Schwingt freudig euch empor" (5th mvt.), BWV36 (1725) Sinfonia from Cantata "Ich hatte viel Bekümmernis", BWV21 (1714)

Wednesday 15 January 2020 7.30pm

West Road Concert Hall, Cambridge

Sunday 19 January 2020 7.30pm

Milton Court Concert Hall, London Part of Barbican's "Bach: A Beautiful Mind" festival

Sinfonia from Cantata "Wir müssen durch viel Trübsal", BWV146-1 (1726 or 1728) Cantata "Ich will den Kreuzstab gerne tragen", BWV56 (complete) (1726) Sinfonia from Cantata "Ich habe meine Zuversicht", BWV188-1 (1728)

Air from Orchestral Suite No.3 in D major, "Am Abend, da es kühle war" and "Mache dich, BWV1068-2 (1730) mein Herze, rein" from St. Matthew Passion, "Es ist vollbracht" and "Jesu deine Passion" BWV244-64 (1727) from "Sehet, wir gehn hinauf gen Jerusalem", BWV159-4, 5 (1729) Violin Sonata No.4 in C minor (1st mvt.), BWV1017-1 (1717-23) Cantata "Ich habe genug", BWV82 (complete) (1727) 20-minute interval

Sacred Cantatas: Bach and the Divine

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 We are very pleased to welcome you to the Academy of Ancient Music’s first concert of 2020, and to welcome director Masato Suzuki and baritone Benjamin Appl to AAM for the first time. This concert programme is presented in Cambridge, and in London as part of the Barbican’s “Bach: A Beautiful Mind” weekend festival, showcasing Bach’s transcendental vocal writing across a selection of solo cantatas.

During the first few months of this season, AAM live-streamed a number of our concerts to a growing online audience, with our Messiah (with VOCES8) seeing 279,000 views in the last month. AAM’s online audience for recordings is the biggest of any period instrument ensemble (with 1.1m monthly listeners on Spotify alone), and in this way we can give access to our music-making to those abroad or unable to travel, extending our reach far beyond the confines of the concert hall itself.

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We are conscious, too, of the environmental impact of our activities. We believe firmly in the value of

first-class live music-making, and recognise that travel is necessary to make this possible. AAM is possibly the first orchestra in the UK to announce, this January, a commitment to assessing, reducing and mitigating our environmental impact with an aim to becoming carbon neutral by our 50th birthday in just two season’s time.

I hope to welcome you to more AAM concerts in 2020 – in particular we are delighted to be joined by the fabulous young lutenist Thomas Dunford in February (20th London, 23rd Cambridge, see page 27); and present a programme centered on forgotten Italian composer Dario Castello, alongside his contemporary Claudio Monteverdi, in April (22nd London, 23rd Cambridge) with our Music Director, Richard Egarr.

We look forward to seeing you there!

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

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

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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

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.

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AAM’s Legacy Giving Dame Emma Kirkby “I was so lucky to sing over many years with Christopher Hogwood and his Academy of Ancient Music. Christopher based his work on sound scholarship and was all his life a generous educator.

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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

AAM Quick Pick Each concert AAM oboist Lars Henriksson picks out one key thing to listen out for.

Compared with instruments like the violin or flute, an oboist could easily feel short changed in terms of solo repertoire, were it not for the sacred music of J.S. Bach. The cornucopia of oboe music to be found in his compositions is widely regarded as the pinnacle of oboe writing, and in tonight’s concert AAM’s Principal Oboe, Leo Duarte, will enjoy a busy evening, but I’d like to flag up some of the more obscure members of the oboe family.

Bach’s general interest in new inventions can be traced throughout his substantial production of sacred music, and his close connection to the instrument maker J.H. Eichentopf (godfather to one of Bach's children) resulted in one of the most intriguing instruments: the “oboe da caccia”.

This could be described as a “tenor oboe” tuned in F, a fifth lower than the regular oboe. Eichentopf's oboes da caccia are most odd-looking, with a leather-covered curved body and flared brass bell. We can be pretty certain that this is the instrument Bach used for the obbligato arias in his passions, and it’s thanks to only two surviving copies, in Copenhagen and Stockholm, that we’re able to offer audiences a reasonably faithful interpretation of Bach’s intentions.

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However, in tonight’s concert the audience will get to know another tenor oboe frequently utilised by Bach, the “taille de hautbois”. This instrument has the same range as the oboe da caccia, but looks completely different. It’s a long, straight oboe with a pear-shaped bell and stems from France around 1660, where it was developed alongside the regular oboe.

This is the first time in my 35 years as a baroque oboist that I participate in a concert where both these instruments can be heard. Normally the relevant player would perform everything on the oboe da caccia, but Bach was clear in his distinction between the two: the oboe da caccia was always employed to perform the obbligato parts whereas the taille was doubling the viola part. Given that oboe da caccia means “hunting oboe” and that the shape made it possible to play the instrument on horseback, one would assume that it’s is less refined than its sibling, but in fact it's the other way round.

Pay attention to the oboes da caccia in the aria “Mache dich, mein Herze, rein” from St. Matthew Passion, and then compare with the taille de hautbois, employed in most of the second half.

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

Programme Notes Texts start on page 12 Each of Johann Sebastian Bach’s 200-odd surviving sacred cantatas is a miniature masterpiece, taking a different approach to conveying the spiritual message of a Sunday or feast day in the Lutheran church year. The Hauptgottesdienst or principal divine service in Bach’s Leipzig was a feast of music making of all shapes and sizes: unaccompanied hymn singing, an elaborate Kyrie and Gloria, oldschool Latin motets, and plenty of improvisation by the organist. In amongst this musical mix, the cantata occupied pole position in the running order. Performed after the Gospel of the day was read, and just before the pastor rose to address the congregation, the cantata was designed to provide insights to the Gospel message, elaborated on at length from the pulpit, that words alone are not always able to express. In most cases the cantatas open with an intricate fugal movement or cantus firmus chorale setting for the full complement of voices and instruments. However, 20 of them begin with sinfonias, or movements for instruments alone,

and four of those are being presented in tonight’s programme.

The opening sinfonia, probably first performed in January 1729, comes from "Ich steh mit einem Fuß im Grabe" BWV156. While the title’s English translation – "I stand with one foot in the grave" – might have Victor Meldrew-esque connotations for us today, the sentiments of the cantata are not as forbidding as the title might suggest. After all, to the 18th-century Lutheran mind, death was a merciful release from the toil of earthly life. A beautiful solo oboe melody takes flight over unobtrusive string accompaniment, in music which might be more familiar from its later reuse as the slow movement of the F minor Harpsichord Concerto. In the sinfonia of "Ich hatte viel Bekümmernis" BWV21, a much earlier work dating from Bach’s time at the Weimar court in 1714, the oboe also assumes a solo role, though in this case paired by an intertwining first violin line which is every bit as delicate and florid.

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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

That Bach was ever the creative recycler, never after which no more figural music was permitted content to leave useful swatches of musical fabric to be heard in Leipzig churches until the major on his workbench when they could be refashioned celebrations from Christmas Day onwards – a into something else, is borne out by the cantata so-called tempus clausum or period of abstinence "Schwingt freudig euch empor" BWV36. First from elaborate church music. A second and longer written in 1725 as a birthday tribute to a Leipzig tempus clausum was enforced in Leipzig throughout academic, the cantata reappeared in four further the six weeks of Lent, a fast which was spectacularly versions, either secular or sacred. broken on Good Friday with This version of "Willkommen, performances of Bach’s magnificent werter Schatz" comes from the Passion settings.

The musical scope of second of the sacred versions. Based the cantatas is often on uplifting music that originally Tonight’s recitative and aria pairing greeted the birthday of Princess accompanies the moment in the astonishingly grand.

Charlotte of Anhalt-Cöthen, the St. Matthew Passion that immediately mood of the aria works perfectly follows the death of Jesus. Having well with its new text bolted on. It is a warm and received permission to take away Christ’s body, the good-natured welcome to Jesus, urging him disciple Joseph of Arimathea buries it in a tomb he to take up residence in the heart of the true had prepared for himself. "Mache dich, mein Herze, Christian believer. rein" expresses the desire of the contemporary Christian to bury Jesus within our hearts. As John In that fifth and final version, "Schwingt freudig Butt observes, Bach takes this metaphor one stage euch empor" became an Advent Sunday cantata, further by doing without the usual instrumental aria

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S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

introduction which normally precedes the entry of the singer, so that from the outset of the aria the bass voice appears “entombed” in the orchestral texture.

Purely instrumental contrast comes in a reflective movement from one of Bach’s violin sonatas with fully written-out keyboard parts, or "Trios for Keyboard and the Violin" as they were entitled in an early surviving copy by Bach’s pupil Altnickol.

Trios, because the violin and the keyboard player’s right hand form two upper parts that imitate each other over a left hand continuo bass line. From that collection comes the opening movement of the Sonata No.4 in C minor BWV1017, a Largo in the style of an Italian sicilienne.

Tonight’s two full-scale Bach cantatas are relatively unusual in that they call for solo voice rather than the full panoply of soprano, alto, tenor and bass.

"Ich habe genug" (sometimes rendered as "genung") is one of the best-loved of them all; like

BWV36, it exists in several different versions, which shows how highly it was regarded by the composer himself. While the musical scope of the cantatas in general is often astonishingly grand, reflecting the no-holds-barred Orthodox Lutheran approach to sacred music making, this is not always the case.

Some cantatas reflect the much simpler spirituality of the so-called Pietists who preferred to concentrate on the individual’s personal relationship with God. It’s this second approach that comes to the fore in "Ich habe genug", whose text looks towards the day when the Christian takes leave of this earth and is reunited with God. The sentiment is most poignantly expressed in the unforgettable central aria "Schlummert ein": just like falling asleep, death will surely come as a welcome relief from life’s cares.

20-minute interval

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The two second half sinfonias are enjoyably organcentric. If the Sinfonia from Cantata "Wir müssen durch viel Trübsal", BWV146-1 sounds familiar, that’s because the music is identical to the opening movement of the D minor Harpsichord Concerto, which itself is probably based on a lost violin concerto. Another, closing, movement from that same concerto opens Sinfonia from Cantata "Ich habe meine Zuversicht", BWV 188-1; surviving only in incomplete form, tonight’s completion has been prepared by Werner Breig.

To those coming afresh to the vivid world of the Bach cantatas, the astonishing directness of the imagery and florid manner of speech may come as a bit of a shock. All, or almost all, of the texts in tonight’s programme were penned by Picander, the creative alias of Christian Friedrich Henrici. He was a Leipzig lawyer who, interestingly, started off writing erotic poetry in the early 1720s before turning his talents to Lutheran libretti. One of the key driving forces in that field was Erdmann Neumeister who served

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as pastor at the Jacobikirche in Hamburg for four decades. He wrote several sets of cantata texts which he said should resemble “a piece from an opera” when they were set. And it was a Neumeister libretto that formed the basis for the text upon which is based this powerful cantata "Ich will den Kreuzstab gerne tragen", BWV56 of 1726. Nautical imagery abounds in the first two of its five movements, with a play on words between "Kreuzstab" – a sort of sextant – and "Kreuz", referring to both the Cross upon which Jesus died and to the sharps that proliferate as accidentals in the musical score.

A second movement recitative with wave-like cello figurations compares life to a sea voyage, an image that returns in the closing chorale which urges death to lead the believer to safe harbour, and the spiritual comfort of Jesus.

A further instrumental interlude follows in the shape of the exquisite Air from Orchestral Suite No.3 in D major, BWV 1068-2, for which performing parts survive dating from the year 1730. That this beautiful

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

number is known to all and sundry as the Air on the G string is all the fault of August Wilhelmj who produced a Romantic-era arrangement published in 1871. The nickname invites the violinist to play the entire melody on the instrument’s lowest string – sul G in string-playing parlance – but only in Wilhelmj’s version, which transposes Bach’s music down to the key of C. The Sunday before the musical shut-down over Lent in the Lutheran calendar was and is known as Estomihi, and it was for that occasion that Bach wrote the cantata from which tonight’s final music is drawn. "Sehet, wir gehn hinauf gen Jerusalem" BWV159 was probably first performed on the Sunday before Lent in 1729. One of the most striking moments in Bach’s St. John Passion setting, written five years previously, occurs immediately before the death of Jesus, when he utters his last words: "Es ist vollbracht", or "It is finished", with the viola da gamba offering a heartbreaking commentary. Those words receive a different but equally emotional

treatment towards the end of this cantata. An oboe provides the poignant obbligato on this occasion over a simple but harmonically mobile string accompaniment, the instrumentalists, as it were, standing witness to Jesus as he takes his leave of the world. In tonight’s performance the aria is paired with the cantata’s final chorale "Jesu deine Passion". Taking a verse written by Paul Stockmann two centuries before, it expresses a key tenet of Christian belief in strikingly direct terms, rejoicing in Jesus’s wounds, crown and shame as something to nourish the soul of the believer.

Programme notes © Sandy Burnett

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Texts "Willkommen, werter Schatz" from "Schwingt freudig euch empor" (5th mvmt.), BWV36 Sei mir willkommen, werter Schatz!

Die Lieb und Glaube machet Platz Vor dich in meinem Herzen rein, Zieh bei mir ein!

Welcome, worthy treasure!

Love and faith make room for You in my purified heart, draw near to me!

"Am Abend, da es kühle war" and "Mache dich, mein Herze rein" from St. Matthew Passion, BWV244-65 Am Abend, da es kühle war, Ward Adams Fallen offenbar; Am Abend drücket ihn der Heiland nieder.

Am Abend kam die Taube wieder, Und trug ein Ölblatt in dem Munde.

O schöne Zeit! O Abendstunde!

Der Friedensschluß ist nun mit Gott gemacht, Denn Jesus hat sein Kreuz vollbracht.

Sein Leichnam kömmt zur Ruh, Ach! liebe Seele, bitte du, Geh, lasse dir den toten Jesum schenken, O heilsames, o köstlichs Angedenken!

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In the evening, when it was cool, Adam's fall was made apparent; in the evening the Redeemer bowed himself down.

In the evening the dove came back, bearing an olive leaf in its mouth.

O lovely time! O evening hour!

Peace is now made with God, since Jesus has endured His cross.

His body comes to rest, Ah! dear soul, ask, go, bid them give you the dead Jesus, O wholesome, O precious remembrance!

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Mache dich, mein Herze, rein, Ich will Jesum selbst begraben.

Denn er soll nunmehr in mir Für und Für Seine süße Ruhe haben.

Welt, geh aus, laß Jesum ein!

Make yourself clean, my heart, I will myself entomb Jesus.

For he shall henceforth in me For ever and ever Take his sweet rest.

World, begone, let Jesus in!

Cantata "Ich habe genug", BWV82 Aria Ich habe genug, Ich habe den Heiland, das Hoffen der Frommen, Auf meine begierigen Arme genommen; Ich habe genug!

Ich hab ihn erblickt, Mein Glaube hat Jesum ans Herze gedrückt; Nun wünsch ich, noch heute mit Freuden Von hinnen zu scheiden.

I have enough, I have my Saviour, the hope of the faithful within my desiring embrace now enfolded; I have enough!

On Him have I gazed, my faith now hath impressed Jesus on my heart; I would now, today with gladness make hence my departure.

Please turn the page quietly

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Texts continued

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Recitative Ich habe genug!

Mein Trost ist nur allein, Dass Jesus mein und ich sein eigen möchte sein.

Im Glauben halt ich ihn, Da seh ich auch mit Simeon Die Freude jenes Lebens schon.

Laßt uns mit diesem Manne ziehn!

Ach! möchte mich von meines Leibes Ketten Der Herr erretten; Ach! wäre doch mein Abschied hier, Mit Freuden sagt ich, Welt, zu dir: Ich habe genug!

I have enough!

My hope is thee alone, that Jesus might belong to me and I to Him. In faith I hold to Him, for I, too, see with Simeon the gladness of that life beyond.

Let us join in this man’s burden!

Ah! Would that from the bondage of my body the Lord might free me.

Ah! My departure, were it here, with joy I’d say to thee, O world: I have enough!

Aria Schlummert ein, ihr matten Augen, Fallet sanft und selig zu!

Welt, ich bleibe nicht mehr hier, Hab ich doch kein Teil an dir, Das der Seele könnte taugen.

Hier muss ich das Elend bauen, Aber dort, dort werd ich schauen Süßen Friede, stille Ruh.

Slumber now, ye eyes so weary, fall in soft and calm repose!

World, I dwell no longer here, since I have no share in thee which my soul could offer comfort.

Here I must reckon with sorrow, but yet, there, I shall witness sweet repose and quiet rest.

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Recitative Mein Gott! wann kömmt das schöne: Nun! Da ich im Friede fahren werde Und in dem Sande kühler Erde Und dort bei dir im Schoße ruhn?

Der Abschied ist gemacht, Welt, gute Nacht!

My God! When comes that blessed “Now!” when I in peace shall walk forever in the sand of earth’s own coolness and there within thy bosom rest?

My parting is achieved, O world, good night!

Aria Ich freue mich auf meinen Tod, Ach, hätt' er sich schon eingefunden.

Da entkomm ich aller Not, Die mich noch auf der Welt gebunden.

Rejoicing do I greet my death, ah, would that it had come already.

I’ll escape then all the woe which doth confine me here in the world.

20-minute interval

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Texts continued Cantata "Ich will den Kreuzstab gerne tragen", BWV56

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Aria Ich will den Kreuzstab gerne tragen, Er kömmt von Gottes lieber Hand, Der führet mich nach meinen Plagen Zu Gott in das gelobte Land.

Da leg ich den Kummer auf einmal ins Grab, Da wischt mir die Tränen mein Heiland selbst ab.

I will gladly carry the suffering cross, It comes from God's belov'd hand, It leadeth me so weak and weary To God, into the promised land.

When I in the grave all my trouble once lay, Himself shall my Saviour my tears wipe away.

Recitative Mein Wandel auf der Welt Ist einer Schiffahrt gleich: Betrübnis, Kreuz und Not Sind Wellen, welche mich bedecken Und auf den Tod Mich täglich schrecken; Mein Anker aber, der mich hält, Ist die Barmherzigkeit, Womit mein Gott mich oft erfreut.

Der rufet so zu mir: Ich bin bei dir, Ich will dich nicht verlassen noch versäumen!

Und wenn das wütenvolle Schäumen Sein Ende hat,

My sojourn in the world Is like a voyage at sea: The sadness, cross and woe Are billows which have overwhelmed me And unto death Each day appal me; My anchor, though, which me doth hold, Is that compassion's heart With which my God oft makes me glad.

He calleth thus to me: I am with thee, I will not e'er abandon or forsake thee!

And when the raging ocean's shaking Comes to an end,

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

So tret ich aus dem Schiff in meine Stadt, Die ist das Himmelreich, Wohin ich mit den Frommen Aus vielem Tr체bsal werde kommen.

Into my city from the ship I'll go It is the heav'nly realm Which I with all the righteous From deepest sadness will have entered.

Aria Endlich, endlich wird mein Joch Wieder von mir weichen m체ssen.

Da krieg ich in dem Herren Kraft, Da hab ich Adlers Eigenschaft, Da fahr ich auf von dieser Erden Und laufe sonder matt zu werden, O gescheh es heute noch!

One day, one day shall my yoke Once again be lifted from me.

Then shall I in the Lord find pow'r, And with the eagle's features rare, There rise above this earthly bound'ry And soar without becoming weary.

This I would today invoke!

Recitative Ich stehe fertig und bereit, Das Erbe meiner Seligkeit Mit Sehnen und Verlangen Von Jesu H채nden zu empfangen.

Wie wohl wird mir geschehn, Wenn ich den Port der Ruhe werde sehn.

Da leg ich den Kummer auf einmal ins Grab, Da wischt mir die Tr채nen mein Heiland selbst ab.

I stand here ready and prepared, My legacy of lasting bliss With yearning and with rapture From Jesus' hands at last to capture.

How well for me that day When I the port of rest shall come to see.

When I in the grave all my trouble once lay, Himself shall my Saviour my tears wipe away.

Please turn the page quietly

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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

Texts continued Choral Komm, o Tod, du Schlafes Bruder, Komm und führe mich nur fort; Löse meines Schiffleins Ruder, Bringe mich an sichern Port!

Es mag, wer da will, dich scheuen, Du kannst mich vielmehr erfreuen; Denn durch dich komm ich herein Zu dem schönsten Jesulein.

Come, O death, of sleep the brother, Come and lead me hence now forth; Loosen now my small bark's rudder, Bring thou me secure to port!

Others may desire to shun thee, Thou canst all the more delight me; For through thee I'll come inside To the fairest Jesus-child.

"Es ist vollbracht" and "Jesu deine Passion" from "Sehet, wir gehn hinauf gen Jerusalem", BWV 159-4,5 Aria Es ist vollbracht, Das Leid ist alle, Wir sind von unserm Sündenfalle In Gott gerecht gemacht.

Nun will ich eilen Und meinem Jesu Dank erteilen, Welt, gute Nacht!

Es ist vollbracht!

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It is finished, The pain is over, We are from all our sinful ruin In God restored to right.

Now I will hasten And give thanks to my Jesus; World, good night!

It is finished!

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

Chorale Jesu, deine Passion Ist mir lauter Freude, Deine Wunden, Kron und Hohn Meines Herzens Weide; Meine Seel auf Rosen geht, Wenn ich d'ran gedenke, In dem Himmel eine Stätt Mir deswegen schenke.

Jesus, your passion Is my purest pleasure, Your wounds, crown and scorn, Are my heart's true pasture; My soul is all in bloom Once I have considered Grant a place in Heaven for me for its sake.

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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

Masato Suzuki

© Marco Borggreve

director and harpsichord

A multifaceted musician, Masato Suzuki appears on the concert platform as conductor, composer and keyboard player.

As conductor, this season sees Masato return to both the Yomiuri Nippon and Tokyo Symphony orchestras as well as making his debut with the NHK Symphony Orchestra. In addition, he will work with orchestras including the Japan Philharmonic, Sendai Philharmonic and Tokyo Philharmonic, among others.

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He also makes his conducting debut with the Singapore Symphony and the Academy of Ancient Music following his debut at the Edinburgh Festival with musicians from the Dunedin Consort.

Other festival appearances as a recitalist and chamber musician include the Chofu International Music Festival (of which he is Artistic Director and Executive Producer), Schleswig Holstein and Verbier. He continues a collaboration with violist Antoine Tamestit touring an all-Bach programme centred on the three viola da gamba sonatas; their recording of these works was released

by Harmonia Mundi in August 2019.

Masato's repertoire is varied with many programmes featuring contrasting composers including Bach, Berlioz, Mendelssohn, Prokofiev, Rameau, Stravinsky and Takemitsu.

As Principal Conductor of Bach Collegium Japan, he made his

subscription series conducting debut directing Bach’s St. John Passion and Monteverdi’s L’Incoronazione di Poppea, and toured with them to the Thüringen Bachwochen and the Varazdin Baroque Festival.

In December 2019 BIS released his first disc of the complete Bach Harpsichord concertos recorded with Bach Collegium Japan, which he led from the keyboard.

Masato's composition portfolio includes works for both instrumental ensembles and choir; his work is published by Schott Japan and recent commissions include from Sette Voci, Tokyo Musik Kreis and Yokohama Minato Mirai Hall.

His reconstruction of lost movements of J.S. Bach’s Cantata BWV190 (Carus) and his completion and revision of Mozart’s Requiem have been highly praised.

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

Benjamin Appl baritone Cologne and the Laeiszhalle Hamburg.

© Lars Borges

Benjamin completed his studies at the Hochschule für Musik und Theater München and the Guildhall School of Music & Drama, and had the good fortune of being mentored by the legendary singer Dietrich FischerDieskau.

Hailed as "the most promising of today’s up-and-coming song recitalists" (Financial Times), baritone Benjamin Appl is celebrated by audiences and critics alike. Named Gramophone Award Young Artist of the Year (2016), Appl was a member of the BBC New Generation Artist scheme (2014-16), a Wigmore Hall Emerging Artist and ECHO Rising Star (2015-16), appearing at major venues throughout Europe, including the Barbican Centre London, Concertgebouw Amsterdam, Wiener Konzerthaus, Philharmonie Paris and

He has collaborated with prestigious ensembles such as the NHK Symphony Orchestra, Die Deutsche Kammerphilharmonie Bremen, Staatskapelle Dresden, Philharmonia Orchestra, Seattle Symphony, Vienna Symphony, Akademie für Alte Musik Berlin, Tonhalle Orchestra Zürich, Hamburg Ballet, Academy of Ancient Music, Gabrieli Players & Consort, Les Violons du Roy, Concerto Köln, and multiple BBC orchestras.

An established recitalist, he has performed at the Ravinia, Rheingau, Schleswig Holstein, Edinburgh

International, Life Victoria Barcelona, Leeds Lieder and Oxford Lieder festivals, deSingel Antwerp, Heidelberger Frühling, and the KlavierFestival Ruhr.

Notable past oratorio works include Bach’s Magnificat, St. John and St. Matthew passions, Brahms’s Ein deutsches Requiem, Handel’s Messiah, Haydn’s The Creation and Britten’s War Requiem. He works closely with pianists Graham Johnson and James Baillieu.

Recent and forthcoming highlights include his role debut as Guglielmo in Così fan tutte with Classical Opera Company, Schubert recitals at New York City’s Park Avenue Armory, a debut performance in Bach’s B Minor Mass with the Philadelphia Orchestra, his Paris orchestral debut at the Saint-Denis Festival with the Orchestre National de Lille, and debut recitals at Carnegie Hall, Grand Théâtre in Geneva, Linz Brucknerhaus, and Salzburg Mozarteum.

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Bojan Čičić

Leo Duarte

violin

oboe

Croatian-born Bojan Čičić specialises in repertoire ranging from the late 16th century to the Romantic violin concertos of Beethoven and Mendelssohn. In 2019 he appeared as a soloist with the Kioi Hall Chamber Orchestra, the Academy of Ancient Music, and the Instruments of Time and Truth. This year he will direct and appear as a soloist with the Singapore Symphony Orchestra, Washington Bach Consort and Het Gelders Orkest. Bojan formed his own group, the Illyria Consort, to explore rare repertoire of the 17th and 18th centuries. Their debut recording of Giovanni Stefano Carbonelli’s Sonate da Camera achieved great critical acclaim and was chosen as one of Presto Classical’s 2017 Recordings of the Year. The ensemble released two discs last year, a world premiere recording of Giovanni Giornovich’s three violin concertos, and the second volume of Carbonelli’s Sonate da Camera (Nos. 7-12). Bojan has been Professor of Baroque Violin at the Royal College of Music in London since 2016, and Leader of the Academy of Ancient Music since 2018.

Principal Oboe of Academy of Ancient Music, Leo also appears regularly as guest-principal with, among others, the English Baroque Soloists, the Sixteen, the Dunedin Consort, Arcangelo, La Nuova Musica, the English Concert, and the Orchestra of the Age of Enlightenment. As a chamber musician and concerto soloist, he has performed at the Wigmore Hall, the Royal Festival Hall and live on BBC Radio 3.

© Academy of Ancient Music, Phil Tragen

© Nick Rutter

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

He is Artistic Director of Opera Settecento, with whom he has conducted many critically acclaimed performances including the modern-day premieres of Hasse’s Demetrio, and Handel’s pasticcio operas, Elpidia, Ormisda and Venceslao at the London and Halle Handel Festivals. This year he will conduct the premiere of Bärenreiter’s new edition of Handel’s Fernando.

Always eager to challenge the status quo in search of overlooked aspects of performance practice, Leo is dedicated to research. He has made editions of numerous 18th-century works and is currently preparing the AAM’s highly praised new performing edition of Handel’s Brockes-Passion for publication.

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

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

Benjamin Appl: Bach

Benjamin Appl, Concerto Köln [Sony, 19075851622]

J.S. Bach: Sonatas for Viola Da Gamba and Harpsichord Antoine Tamestit, Masato Suzuki [Harmonia Mundi, HMM902259]

J.S. Bach: Solo and Double Violin Concertos

Andrew Manze, Rachel Podger, Academy of Ancient Music [Harmonia Mundi, HMA1957155]

J.S. Bach: Brandenburg Concertos Academy of Ancient Music / Egarr [Harmonia Mundi, HMU807461/62]

Stunden, Tage, Ewigkeiten

Benjamin Appl, James Baillieu [Champs Hill Records, CHRCD112]

“Feasting Reconciles Everybody" Samuel Pepys

Many of this evening's works were written during Bach's early Leipzig years, after he was appointed Cantor at St. Thomas Church in 1723. Now an international hubbub with a cuisine to match, typical specialities of the region can still be found, including the popular local beer, Gose. It has been reported that alarm was raised when a young Bach was caught enjoying rather too much beer as a student, so presumably he also developed a taste for Gose, and perhaps visited one of the many Gosenschänken (Gose taverns). A warm fermented beer with a sour taste similar to wheat beer, flavoured with coriander and salt, Gose was first brewed in Goslar in the 13th century, and became popular in Leipzig around the early 18th century, with many local breweries copying the style.

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.

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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

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.

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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.

AAM's education and outreach programme, AAMplify, nurtures the The ensemble was founded by next generation of audiences and Christopher Hogwood in 1973 and musicians. With this expanding remains at the forefront of the worldwide programme, working from pre-school early music scene more than four through tertiary education and beyond, decades on; Richard Egarr became its AAM ensures its work reaches the Music Director in 2006. widest possible audience and inspires people of all ages, backgrounds and The Academy of Ancient Music has cultural traditions. always been a pioneer. It was established to make the first British recordings of This season AAM collaborates with orchestral works using instruments from VOCES8, Lucie Chartin, Viktoria Mullova, the baroque and classical periods and Jean Rondeau, Alison Balsom, Sofi has released more than 300 discs, many Jeannin, James Hall, the BBC Singers, of which are still considered definitive the Choir of King’s College, Cambridge,

Milton Abbey International Music Festival and Loughborough Festival Opera. Programmes include large-scale vocal masterpieces such as Bach’s St. John Passion and Handel’s Israel in Egypt, as well the ground-breaking modern premiere of Jan Ladislav Dussek’s Mass in G Minor; 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 Festival.

Visit www.aam.co.uk to find out more.

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

Academy of Ancient Music Violin I Bojan Čičić Sijie Chen Persephone Gibbs

Oboe Leo Duarte Lars Henriksson Bethan White

Violin II Kinga Ujszászi Liz MacCarthy William Thorp

Bassoon Inga Klaucke

Viola Jane Rogers James O’Toole

Theorbo William Carter Keyboard Technician Malcolm Greenhalgh

Cello Jonathan Rees Imogen Seth-Smith

© Patrick Allen

Double Bass Judith Evans

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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

Head of Finance Julie Weaver

Hogwood Fellow Emma Safe

Head of Concerts and Planning Fiona McDonnell

Chief Executive Alexander Van Ingen

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Head of Development Liz Brinsdon

Education and Outreach Manager Sue Pope

Development and Media Co-ordinator Kemper Edwards

Development and Events Librarian Manager Emilia Benjamin 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 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)

Š Patrick Allen

Music Director Richard Egarr

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.

S A C R E D C A N TATA S : B A C H A N D T H E DI V I N E

Art of the

The

Lute with

Thomas Dunford – Photo: Julien Benhamou

Thomas Dunford

Thursday 20 February 2020 Sunday 23 February 2020 Milton Court Concert Hall, London West Road Concert Hall, Cambridge 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

27

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)

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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