Monteverdi Vespers programme

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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 2016 - 17 S E A S O N

M ON T E V E R DI V E S P E R S

Academy of Ancient Music

Vespers

Choir of AAM Robert Howarth

director and harpsichord

Louise Alder soprano

Rowan Pierce soprano

Thomas Hobbs tenor

Monteverdi

Charles Daniels tenor

Barbican Hall, London

MONTEVERDI

Vespers of the Blessed Virgin (1610) There will be a 20 minute interval after the Nisi Dominus (number 8)

Monteverdi Vespers

Friday 23 June 2017

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Welcome Welcome to tonight’s concert of Monteverdi’s Vespro della beata Vergine (1610), the biggest sacred work before Bach and a towering masterpiece of the early Baroque.

Criticised for breaking the ‘rules’ of composition, Monteverdi’s 1610 Vespers powerfully illustrates the freedom of his new way of thinking, using the text as an inspiration and a guide for his compositional choices – as his brother wrote “style which is chiefly concerned with the perfection of the setting; that is, in which harmony does not rule but is ruled, and where the words are the mistress of the harmony.”.

The Vespers was awe-inspiring and unprecedented in its sheer size: numerous solo singers, a chorus sufficiently large to divide into ten parts, and an orchestra featuring an array of instruments. It is at once both magnificent and sublime, and I am delighted to welcome Louise Alder, Rowan Pierce, Thomas Hobbs, and Charles Daniels to sing alongside the Choir and Orchestra of the Academy of Ancient Music under director Robert Howarth. (Special congratulations to Louise Alder for winning the ‘Young Singer’ award at the recent International Opera Awards.)

This performance brings to a close the Academy of Ancient Music’s 2016 / 2017 season, and I am very grateful to all the directors, soloists and performers who have played, sung and conducted over this last year for their wonderful music-making. Our sincere gratitude to our Society, Friends and donors who enable us to put on concerts, education and recording projects of such quality throughout the year; to join them in supporting us, please email support@aam.co.uk .

Explore And thank you to you, our audience, for coming to our concerts, listening to our recordings, and for your enthusiasm for what we do. Our season brochures for the new 2017-2018 season are now out and we look forward to seeing you at many of those concerts. Featuring Carolyn Sampson, Keri Fuge, Nicola Benedetti, Louise Alder, Christian Curnyn, Iestyn Davies, James Gilchrist and many more, it is set to be an excellent year of concerts, opening at the Barbican with Purcell’s King Arthur on October 3rd.

If, enthused by tonight’s performance, you would like to hear these Vespers once more, the AAM will be repeating tonight’s performance in Gloucester Cathedral as part of the Cheltenham Festival on July 14th. For a different side of Monteverdi, there are two performances remaining of his opera il ritorno d’Ulisse in patria, our first residency at The Grange Festival in Hampshire (24th June and 2nd July), and should you be at the Edinburgh International Festival, do come to our concerts with Iestyn Davies on the mornings of August 22nd and 24th at Queen’s Hall.

If tonight’s programme inspires you to hear more Monteverdi and similar works, here are some recordings worth exploring.

The Academy of Ancient Music’s Venetian album from 1991 can still be found online; directed by Christopher Hogwood it surveys works by Monteverdi, Gabrieli, Cavalli and Grandi:

Venice Preserv’d – Academy of Ancient Music / Christopher Hogwood [L’Oiseau-Lyre, 1991] Directed by the AAM’s Music Director, Richard Egarr, the fifth release on our own AAM Records label showcases the ‘first book’ of works by a an incredible Monteverdi contemporary, Dario Castello:

Dario Castello: Sonate Concertate in Stil Moderno, Libro Primo – Academy of Ancient Music / Richard Egarr [AAM Records, 2016] (AAM is currently raising funds to enable a recording of the ‘second book’ of Castello, works undeservedly under-recorded; if you would like to support this project we would be very pleased to hear from you on support@aam.co.uk)

As an alternative to tonight’s Vespers of 1610, Robert Hollingworth recently assembled a ‘new’ Vespers centered around works from 1640 toward the end of Monteverdi’s life. Robert directs I Fagiolini in their 30th anniversary year for this new recording:

Monteverdi, The Other Vespers – I Fagiolini / Robert Hollingworth [Decca Classics, 2017] The Academy of Ancient Music has not yet recorded Monteverdi’s Vespers of 1610, and if you would like to hear this work again after tonight here are two recordings worth hearing:

Monteverdi, Vespro della beata Vergine (1610) – Monteverdi Choir / English Baroque Soloists / John Eliot Gardiner [DG Archiv, special edition in 2017 of this recording from 1989]

Monteverdi, Vespers of 1610 – The Sixteen / Harry Christophers [CORO, 2015]

I look forward to enjoying Monteverdi’s magnificent masterpiece with you tonight, and to welcoming you to our forthcoming concerts next season.

Alexander Van Ingen AAM Chief Executive

AAM Quick Pick Each concert Lars Henriksson picks out one key thing to listen out for The festive instrumental introduction sets up this monumental work effectivly, promising a feast of splendour and glory.

Pay attention to the suggestive, pulsating sackbutt chords laying the foundation, and on top two brilliant cornettos repeating each others virtuosic runs. It often comes out like a battle of ornamental skills where the players keep challenging each other.

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M ON T E V E R DI V E S P E R S

Claudio Monteverdi (1567-1643)

Meet the Singer

Philippa Hyde Choir of AAM What has been your most memorable Choir of AAM experience to date?

I have had so many wonderful and uplifting experiences with the Choir of AAM, which is a truly friendly and immensely talented group. The first memory that sprang to mind was the performance of Purcell’s Dido and Aeneas in the Roman amphitheatre in Sabratha in Libya. To sing about Carthage’s queen, just along the Mediterranean coast from Carthage, under the heat of an African sun, in the most perfect acoustic, was a real privilege and sadly not one that I am likely to be able to experience again.

What are your favourite works for choir and orchestra?

How did you arrive at a career in singing?

When I was six years old I watched Bizet’s Carmen on television, and decided that a singer is what I wanted to be. It was when I was at music college that I truly discovered the world of baroque music, my spiritual home.

Well, Monteverdi’s Vespers are right up there, along with any of Bach’s choral works. Bach has written spinetingling music for every emotion: from the heavenly and triumphant Sanctus from the B minor Mass to the lamenting yet comforting ‘Wir setzen Uns mit tränen nieder’ at the end of the St Matthew Passion. And then there is the magnificent opening of the Christmas Oratorio....

What’s your first memory of singing in a choir?

I sang in my primary school choir, but when I was ten, I was desperate to join two all-male organisations: my local church choir and the Air Training Corps.

I was successful with the former!

I remember singing Stainer’s Crucifixion with them.

Is there a different technique required for singing early music?

Essentially, all singing technique is the same, requiring the use of the same muscle groups. Stylistically, music of different eras needs differing approaches.

We have to consider how phrasing and articulation colour music. Similarly, we have to approach vibrato intelligently. Renaissance composers considered vibrato to be a device used to colour music, rather than as an automatic addition to the sound. It is therefore used to warm the long notes in a phrase. Besides, it would be impossible to sing divisions (runs) with vibrato on every note.

What do you think makes Monteverdi’s Vespers so special?

I love the joie de vivre that bursts out of Monteverdi’s music. I can’t believe that the Vespers of 1610 are 407 years old, the music is so fresh! At the opening we are immediately assaulted by the unremitting grand fanfare of the ‘Domine ad adiuvandum’. The subsequent movements ebb and flow through moments of gentle repose and jazzy outbursts, interspersed by virile and virtuosic solos from the male soloists. It is all very thrilling, especially the opening of ‘Lauda Ierusalem’!

Vespers of the Blessed Virgin The Monteverdi Vespers is an iconic work in more ways than one. For its composer it was a careful summation of his skill as a writer of church music at a time when he most needed to advertise it. Aged 43, and largely known as a composer of madrigals, he wanted to escape the service of the Gonzaga dukes in Mantua and find a new job, ideally at the Pope’s chapel in Rome. In the event, the publication of this unusual work almost certainly helped him gain a prestigious alternative, the post of maestro di cappella at St Mark’s Basilica in Venice, which he would take up in 1613 and keep until his death thirty years later. For us today, however, it has simply become one of the mainstays of the baroque vocal-and-orchestral repertoire, in spite of the fact that its performance history is relatively short – the first full public performances were in the 1930s, the first recordings in the 1950s.

The most remarkable aspect of the Vespers’ canonic status, then, is that is not really ‘a work’ at all, and that Monteverdi possibly never heard it performed as such.

The sprawling title of its first publication: Sanctissimae Virgini, Missa senis vocibus ad ecclesiarum choros ac Vespere pluribus decantandae cum nonnullis sacris concentibus (‘To the Most Holy Virgin, a Mass for four voices, for church chorus, and Vespers to be sung by several voices, with a few sacred songs’) suggests a compilation of pieces – a Mass and Vespers – rather than a coherent whole. Yet even while we can see that the Mass is a separate work, the raisons d’etre for the Vespers music is far from clear-cut. For while the standard components of the Roman Catholic service of Vespers as set out for a feast day in honour of the Virgin Mary are certainly present, and in the right order, there are other pieces whose presence and nature are harder to explain.

Monteverdi entered the Gonzagas’ service at the beginning of the 1590s and rose to the top musical position of maestro di cappella (or choirmaster) in 1601.

He was never entirely happy with his treatment in Mantua, however, and when in 1608 an important Gonzaga wedding sparked massive court celebrations, the sheer slog it caused for the composer, and the small show of gratitude he got for it, led to exhaustion and terminal disillusionment. It may have been a desire to promote his suitability for a new position, then, that prompted him to publish the Vespers in 1610; comprising what is most likely a mixture of new numbers and earlier music written in Mantua, it appears designed to show off his skill in all the currently available styles of church music.

The Vespers music consists of: • Responsorium (Deus in adiutorium) • 5 psalms (Dixit Dominus, Laudate pueri, Laetatus sum, Nisi Dominus, Lauda Jerusalem) • a hymn (Ave maris stella) • the Magnificat (in 2 alternative versions, one a more elaborate version of the other – tonight’s performance takes the usual course of selecting the longer and more complex version)

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M ON T E V E R DI V E S P E R S The Responsorium is nothing more or less than a kind of super-charged choral chant, gloriously adorned by an instrumental accompaniment derived from the opening ‘toccata’ of Monteverdi’s 1607 opera Orfeo. The other pieces are more intricately informed by the plainchant melodies associated with their Latin texts: in the psalms it is interwoven ingeniously into the choral textures; the hymn features it as the top line of each of its song-like verses; and in the Magnificat it stretches out in almost Zen-like meditation while instruments and vocal soloists spin florid elaborations around it. These are numbers in which Monteverdi is showing his affinity with the older church style of the Renaissance.

There are also, however, a number of movements inserted methodically into this sequence, but which have no place in the Vespers liturgy: • 4 ‘sacred concertos’ (Nigra sum, Pulchra es, Duo seraphim, Audi coelum) • Sonata sopra Sancta Maria

These pieces are more modern in style than the others: the ‘sacred concertos’ are motets for solo voices in the monodic, voice-and-accompaniment style drawn from secular dramatic music, and the Sonata sopra Sancta Maria is a brilliantly orchestrated instrumental piece over which eleven rhythmically varied repetitions of the words ‘Sancta Maria, ora pro nobis’ are ingeniously superimposed.

Some scholars, extending the interpretation that the Vespers are more a resource book for choirmasters than a coherent work, have argued that the concertos were added to the publication as a kind of bonus, and never intended to form part of Vespers. By this reasoning, they are sometimes omitted from performances altogether.

A widely accepted view, however, is that, since most of the concertos set texts in praise of the Virgin Mary, they were intended as liturgically permissable substitutes for the short plainchant antiphons that would have followed the psalms in a Vespers service on the more important Marian feasts of the church year. For this theory we can be thankful, because here is some of the most extraordinary music in the work, from the stilled intensity of Nigra sum and the sensual intimacy of the duetting sopranos in Pulchra es to the dizzying virtuosity and exoticism of three tenors in Duo seraphim and the commanding, Orfeo-like tenor roulades of Audi coelum.

In the end such matters are secondary, for part of the fascination of the Vespers in its totality is that it allows us to view two Monteverdis side-by-side: the child of the Renaissance, proud of his abilities in plainchant-derived counterpoint; and the modern man of the Baroque, finding intense expression in two or three lines of music taking their course directly from the words. What is more, whether by accident or design, the ordering of pieces makes a concert work of about 90 minutes that is perfectly convincing to modern ears. The unfolding alternation of solo and choral numbers has the logic of a Bach cantata or a Handel oratorio, and while by that token the long and contemplative Magnificat may seem an unconventional climax, its short final chorus makes for a stirring conclusion to the work as a whole.

And when it comes to mixing profound expression with unfailing musical beauty, Monteverdi has perhaps no equal save Mozart.

Programme notes © Lindsay Kemp

1. Deus, in Adjutorium.

Deus, in adjutorium meum intende, Domine, ad adjuvandum me festina.

Make haste, O God, to deliver me: make haste, O Lord, to help me.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum.

As it was in the beginning, is now, and ever shall be, without end.

Amen. Alleluia.

Amen. Allelujah.

Antiphon.

Missus est Angelus Gabriel ad Mariam Virginem desponsatam Joseph. Alleluia.

2. Dixit Dominus.

The Angel Gabriel was sent to Mary, a Virgin espoused to Jospeh. Allelujah.

Dixit Dominus Domino meo: Sede a dextris meis: donec ponam inimicos tuos scabellum pedum tuorum.

The Lord said to my Lord, sit at my right hand, until I make thine enemies thy footstool.

Virgam virtutis tuae emittet Dominus ex Sion: dominare in medio inimicorum tuorum.

The Lord shall send out the rod of thy strength from Zion: rule thou in the midst of thine enemies.

Tecum principium in die virtutis tuae in splendoribus sanctorum: ex utero ante luciferum genui te.

At thy beginning in thy day of glory in the splendour of the holy places, before the first light I begat thee.

Juravit Dominus, et non poenitebit eum: tu es sacerdos in aeternum secundum ordinem Melchisedech.

The Lord hath sworn, and will not repent: thou art a priest for ever after the order of Melchisedech.

Dominus a dextris tuis, confregit in die irae suae reges.

The Lord at thy right hand shall destroy kings in the day of his wrath.

Judicabit in nationibus, implebit ruinas: conquassabit capita in terra multorum.

He shall judge among the nations, fill them with the dead, and smash heads in many lands.

De torrente in via bibet: propterea exaltabit caput.

He shall drink of the brook in the way: thus shall he raise his head.

Gloria Patri et Filio et Spiritui Sancto.

Glory be to the Father and to the Son and to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, et in saecula saeculorum. Amen. without end. Amen.

3. Nigra Sum.

Nigra sum, sed formosa, filiae Jerusalem.

I am black but comely, ye daughters of Jerusalem.

Ideo dilexit me rex et introduxit me in cubiculum suum et dixit mihi:

Therefore the king hath delighted in me and brought me to his chamber and said to me:

Surge, amica mea, et veni.

Arise, my love, and come.

Jam hiems transiit, imber abiit, et recessit.

For the winter is passed, the rain is over and gone;

Flores apparuerunt in terra nostra, tempus putationis advenit.

Flowers have appeared in our land, the time of pruning is at hand.

Antiphon.

Ave Maria gratia plena, Dominus tecum: benedicta tu in mulieribus. Alleluia.

Hail Mary, full of grace, the Lord is with thee, blessed art thou among women. Allelujah.

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4. Laudate Pueri Dominum.

M ON T E V E R DI V E S P E R S

7. Duo Seraphim.

Laudate, pueri, Dominum: laudate nomen Domini.

Praise the Lord, ye servants: praise the name of the Lord.

Sit nomen Domini benedictum, ex hoc nunc, et usque in saeculum.

Blessed be the name of the Lord, from this time forth for evermore.

A solis ortu usque ad occasum, laudabile nomen Domini.

From the rising to the setting of the sun, the Lord’s name be praised.

Excelsus super omnes gentes Dominus, et super coelos gloria ejus.

The Lord is high above all nations, and his glory above the heavens.

Quis sicut Dominus Deus noster, qui in altis habitat, Et humilia respicit in coelo et in terra?

Who is like the Lord our God, who dwelleth on high, Yet respecteth humbly what is in heaven and earth?

Suscitans a terra inopem, et de stercore erigens pauperem:

He raiseth the simple from the dust, and lifteth the poor from the mire.

Ut collocet eum cum principibus, cum principibus populi sui.

That he may set him with princes, even the princes of his people.

Pulchra es, amica mea, suavis et decora filia Jerusalem.

Thou art beautiful, my love, sweet and comely daughter of Jerusalem.

Pulchra es, amica mea, suavis et decora sicut Jerusalem, terribilis ut castrorum acies ordinata.

Thou art beautiful, my love, sweet and comely as Jerusalem, terrible as an army arrayed for battle.

Averte oculos tuos a me, quia me avolare fecerunt.

Turn thine eyes from me, for they make me flee away.

Antiphon.

Ne timeas Maria: invenisti gratiam apud Dominum: ecce concipies et paries filium. Alleluia.

6. Laetatus Sum.

The whole earth is full of his glory.

Unless the Lord build the house, they labour in vain who build it.

Except the Lord keep the city, he watcheth in vain Nisi Dominus custodierit civitatem, frustra vigilat who keepeth it. qui custodit eam.

It is vain for you to rise before dawn: Vanum est vobis ante lucem surgere: rise later, ye who have eaten the bread of sorrows; surgite postquam sederitis, qui manducatis panem doloris.

When he will give sleep to his chosen.

Cum dederit dilectis suis somnum: ecce, haereditas Domini filii: merces, Lo, children are an heritage of the Lord; a reward, the fruit of the womb. fructus ventris.

Fear not, Mary: for you have found favour with God. And behold, you shall conceive and bring forth a son. Allelujah.

Plena est omnis terra gloria ejus.

Nisi Dominus aedificaverit domum, in vanum laboraverunt qui aedificant eum.

Holy is the Lord God of Sabaoth.

8. Nisi Dominus.

Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, et in saecula saeculorum. Amen. without end. Amen.

Sanctus Dominus Deus Sabaoth.

Dabit ei Dominus sedem David patris eius, et The Lord God shall give unto him the throne of his father David and he shall reign for ever. Allelujah. regnabit in aeternum. Alleluia.

Gloria Patri et Filio et Glory be to the Father and to the Son and Spiritui Sancto. to the Holy Spirit.

Tres sunt, qui testimonium dant in coelo: There are three who bear witness in heaven: Pater, Verbum et Spiritus Sanctus: the Father, the Word, and the Holy Spirit: et hi tres unum sunt. and these three are one.

Antiphon.

Qui habitare facit sterilem in domo, Who maketh the barren woman to keep house, matrem filiorum laetantem. a joyful mother of children.

5. Pulchra Es.

Duo Seraphim clamabant alter ad alterum: Two seraphim cried to one another: Sanctus Dominus Deus Saboath. Holy is the Lord God of Sabaoth.

Plena est omnis terra gloria ejus.

The whole earth is full of his glory.

As arrows in the hands of the mighty, Sicut sagittae in manu potentis: thus are the children of outcasts. ita filii excussorum.

Beatus vir qui implevit desiderium suum ex ipsis: Blessed is the man whose quiver is full of them: they non confundetur cum loquetur inimicis suis in shall not be ashamed when they confront their enemies in the way. porta.

Laetatus sum in his, quae dicta sunt mihi: in domum Domini ibimus.

I was glad when they said to me: we will go into the house of the Lord.

Glory be to the Father and to the Son and Gloria Patri et Filio et to the Holy Spirit.

Spiritui Sancto.

Stantes erant pedes nostri, in atriis tuis, Jerusalem.

Our feet shall stand in thy gates, O Jerusalem.

Sicut erat in principio, et nunc, et semper, et in As it was in the beginning, is now, and ever shall be, without end. Amen. saecula saeculorum. Amen.

Jerusalem, quae aedificatur ut civitas: Jerusalem, that is built as a city cujus participatio ejus in idipsum. that is at one with itself.

Illuc enim ascenderunt tribus, tribus Domini testimonium Israel ad confitendum nomini Domini.

For thither the tribes go up, the tribes of the Lord, to the testimony of Israel, to give thanks to the name of the Lord.

Quia illic sederunt sedes in judicio, sedes super domum David.

For there are the seats of judgement, the thrones of the house of David.

Rogate quae ad pacem sunt Jerusalem: Pray for the peace of Jerusalem: et abundantia diligentibus te. they shall prosper that love thee.

Fiat pax in virtute tua: Peace be within thy walls, et abundantia in turribus tuis. and plenty within thy palaces.

Propter fratres meos, et proximos meos, loquebar pacem de te:

For my brethren, and my companions, I will seek peace for thee.

Propter domum Domini Dei nostri, quaesivi bona tibi.

For the house of the Lord our God, I will seek to do thee good.

Gloria Patri et Filio et Glory be to the Father and to the Son and Spiritui Sancto. to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

As it was in the beginning, is now, and ever shall be, without end. Amen.

I N T E R VA L

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9. Audi, Coelum.

Audi, coelum, audi verba mea plena desiderio et perfusa gaudio.

Audio

Hear, O heaven, hear my words full of longing and pervaded by joy.

I hear

Dic, quaeso, mihi: Quae est ista quae consurgens ut aurora rutilat, ut benedicam?

Dicam

Tell me, I pray, who is she that shines like the dawn in her rising, that I might bless her?

I will tell

11. Sonata Sopra “Sancta Maria� .

Chapter.

Dic nam ista pulchra ut luna, Tell me, for she, beauteous as the moon,

electa ut sol, replet laetitia radiant as the sun, fills with joy the earth, terras, coelos, maria.

Maria heavens and seas.

Mary

Ecce virgo concipiet et pariet filium, et vocabitur nomen eius Emmanuel.

Butyrum et mel comodet, ut sciat reprobare malum, et eligere bonum.

Deo gratias.

12. Ave Maris Stella.

Maria virgo illa dulcis praedicta de Mary, that sweet virgin foretold by the propheta Ezekiel, porta orientalis?

Talis prophet Ezekiel, the portal of the East?

Even she

Holy Mary, pray for us.

Sancta Maria, ora pro nobis.

Behold, a virgin shall conceive, and bear a son and shall call his name Emmanual. Butter and honey shall he eat, that he may know to refuse the evil, and choose the good. Praise be to God.

Ave maris stella, Dei Mater alma Atque semper Virgo Felix coeli porta.

Hail, star of the sea, bountiful mother of God and ever Virgin, happy gate of heaven.

Sumens illud Ave Gabrielis ore, Funda nos in pace, Mutans Evae nomen.

Taking that Ave from the mouth of Gabriel, preserve us in peace, giving Eve a new name.

Solve vincla reis, Profer lumen caecis, Mala nostra pelle, Bona cuncta posce.

Loose the chains of the bound, bring light to the blind, drive out our ills, invoke all things good.

Monstra te esse matrem, Sumat per te preces, Qui pro nobis natus, Tulit esse tuus.

Show thyself to be a mother, may he who was born for us receive our prayers through thee.

Virgo singularis, Inter omnes mitis, Nos culpis solutos, Mites fac et castos.

Singular virgin, more gentle than all, absolve us from sin and make us gentle and pure.

Vitam praesta puram, Iter para tutum, Ut videntes Jesum Semper collaetemur.

Grant us a pure life, prepare a safe way, that in seeing Jesus we may rejoice for ever.

Qui posuit fines tuos pacem: He maketh peace in thy borders, et adipe frumenti satiat te. and filleth thee with the finest wheat.

Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto Tribus honor unus. Amen.

Praise be to God the Father, glory to Christ on high, and with the Holy Spirit honour to the three in one. Amen.

Qui emittet eloquium suum terrae: He sendeth his commandment to the earth; velociter currit sermo ejus. his word runneth swiftly.

Versicle.

Illa sacra et felix porta per That sacred and happy portal through quam mors fuit expulsa which death was driven out introduxit autem vita?

Ita and life brought in?

Even so Quae semper tutum est medium She who is always a sure intermediary inter homines et Deum pro culpis remedium?

Medium between men and God, the cure for our sins? The Mediator Omnes hanc ergo sequamur qua cum Let us all therefore follow her through gratia mereamur vitam aeternam. whose grace we may be granted eternal life.

Consequamur. Sequamur Let us go with her.

Let us follow Praestet nobis Deus, Pater hoc May God help us, God the Father, and et Filius et Mater cujus nomen the Son, and the Mother on whose sweet invocamus dulce miseris name we call as a comfort to the

solamen. Amen wretched. Amen Benedicta es, virgo Maria, in saeculorum saecula.

Thou art blessed, virgin Mary, for ever and ever.

Antiphon.

Ecce ancilla Domini: fiat mihi secundum verbum tuum.

Alleluia.

10. Lauda, Jerusalem.

Behold the handmaid of the Lord: be it done to me according to thy word. Allelujah.

Lauda, Jerusalem, Dominum: lauda Deum tuum, Sion.

Praise the Lord, O Jerusalem; praise thy God, O Zion.

Quoniam confortavit seras portarum tuarum: benedixit filiis tuis in te.

For he hath strengthened the bars of thy gates; he hath blessed thy children within thee.

Qui dat nivem sicut lanam: He giveth snow like wool; nebulam sicut cinerem spargit. he scattereth hoar frost like ashes.

Mittit crystallum suam sicut buccellas: He casteth forth his ice like morsels; ante faciem frigoris ejus quis sustinebit? before his cold who can stand?

Emittet verbum suum, et liquefaciet ea: He sendeth out his word, and melteth them; flabit spiritus ejus, et fluent aquae. his spirit blows, and the waters flow.

Qui annunciat verbum suum Jacob: He sheweth his word unto Jacob, justitias et judicia sua Israel. his statutes and judgements to Israel.

Non fecit taliter omni nationi: He hath not dealt so with any nation; et judicia sua non manifestavit eis. and his judgments he hath not made manifest.

Gloria Patri et Filio et Glory be to the Father and to the Son and Spiritui Sancto. to the Holy Spirit.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

As it was in the beginning, is now, and ever shall be, without end. Amen.

Ave Maria, gratia plena. Dominus tecum.

Antiphon.

Hail Mary, full of grace, the Lord is with thee.

Gabriel Angelus locutus est Mariae dicens:

The Angel Gabriel spoke to Mary, saying:

Ave, gratia plena; Dominus tecum:

Hail, full of grace, the Lord is with thee:

Benedicta tu in mulieribus. Alleluia.

blessed art thou among women. Alleluia.

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13. Magnificat.

Magnificat anima mea Dominum: My soul doth magnify the Lord, et exultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my saviour.

Robert Howarth director and harpsichord

Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his ecce enim ex hoc beatam me dicent omnes handmaiden: for behold from henceforth all generationes. generations shall call me blessed.

Robert Howarth read music at the University of York and is fast establishing a growing reputation as director and conductor of early and classical repertoire.

Quia fecit mihi magna qui potens est: For he that is mighty hath done great things to me, et sanctum nomen ejus. and holy is his name.

Et misericordia ejus a progenie in progenies timentibus eum.

And his mercy is on them that fear him from generation to generation.

Fecit potentiam in brachio suo: He hath shewed strength with his arm; dispersit superbos he hath scattered the proud mente cordis sui. in the imagination of his heart.

Deposuit potentes de sede, et He hath put down the mighty from their seat, and exaltavit humiles. hath exalted the lowly.

Esurientes implevit bonis: He hath filled the hungry with good things, et divites dimisit inanes. and the rich he hath sent empty away.

Suscepit Israel puerum suum, He hath sustained Israel his servant, recordatus misericordiae suae. remembering his mercy.

Sicut locutus est ad patres nostros, As he promised to our forefathers, Abraham et semini ejus in saecula.

Abraham and his seed for ever.

Gloria Patri et Filio et Glory be to the Father and to the Son and Spiritui Sancto. to the Holy Spirit.

© Marco Borggreve

Sicut erat in principio, et nunc, et semper, et in As it was in the beginning, is now, and ever shall be, saecula saeculorum. Amen. without end. Amen.

Versicles and Responses.

Dominus vobiscum. Et cum spiritum tuo.

The Lord be with you. And with your spirit.

Benedicamus Domino. Alleluia. Deo gratias. Alleluia.

Let us bless the Lord. Allelujah, Thanks be to God. Allelujah.

Fidelium animae per misericordiam Dei requiescant May the souls of all the faithful departed, through the in pace. Amen. mercy of God, rest in peace. Amen.

Divinum auxilium maneant semper nobiscum. May the divine assistance remain always with us.

Amen.

Amen.

John Kilpatrick, 2003 Revised and appended Robert Howarth 2010 and 2017

Howarth’s opera engagements include Il ritorno d’Ulisse in patria for Opernhaus Zürich; Giulio Cesare for Opera North; The Fairy Queen in St Gallen, Haydn’s L’Isola Disabitata for the Norwegian Opera, L’Incoronazione di Poppea with the Academy of Ancient Music at The Barbican, London and in Venice and Dido and Aeneas with The English Concert at the Buxton Festival and Birmingham Opera Company.

Amongst other projects he has directed are Il Ritorno d’Ulisse in Patria for Welsh National Opera, Birmingham Opera Company and English Touring Opera; Alcina for the Hamburg State Opera, Theater St Gallen and ETO, Monteverdi Ballo del Ingrate and Il Combattimento di Tancredi e Clorinda for the Birmingham Opera Company, Acis and Galatea with The Early Opera Company and Tolomeo for English Touring Opera.

He has also directed Charpentier La déscente d’Orphée aux enfers for Glyndebourne’s Jerwood Programme, Charpentier Actéon for the Dartington International Summer School and Almeida La Spinalba for the Guildhall School of Music and Drama.

He was Music Director for Claire van Kampen’s play Farinelli and the King staring Mark Rylance and Iestyn Davies at the Sam Wanamaker Playouse and Duke of York’s Theatre.

Robert Howarth has led a number of programmes on tour with the Orchestra of the Age of Enlightenment such as Messiah in Spain and Moscow; Monteverdi Vespers 1610, (recorded for OAE Released),

The Glory of Venice – Gabrieli and contemporaries - and Bach Lutheran Masses. He has conducted Messiah with The Hallé Orchestra, Bilbao Symphony Orchestra, the Irish Baroque Orchestra and the Royal Seville Symphony Orchestra; St Matthew Passion with the RTE National Symphony Orchestra; Mozart, Haydn and Rameau with The English Concert; Monteverdi and Rossi with the Early Opera Company, Apollo and Daphne with The St James Baroque Players; Bach Cantatas with the Salzburg Mozarteum Orchestra and Athalia for the Ambronay Festival. He regularly co-directs La Serenissima, most recently for Vivaldi’s Ottone in Villa.

Plans include his début with the Danish Radio Symphony Ochestra and return visits to the Orchestra of the Age of Enlightenment, Academy of Ancient Muisc and Bilbao Symphony Orchestra plus appearances at the Bath and Cheltenham Festivals.

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Louise Alder

Rowan Pierce

soprano

soprano Louise Alder studied at the Royal College of Music’s International Opera School where she was the inaugural Kiri Te Kanawa Scholar.

She was awarded 2nd Prize in the 2013 Kathleen Ferrier Competition and is the recipient of Glyndebourne’s 2014 John Christie Award and the 2015 inaugural Young British Soloists’ Competition.

Yorkshire-born Rowan Pierce is a Samling Artist who has appeared on the concert platform throughout the UK, Europe and in South America. Festival performances include collaborations with Sir Thomas Allen, Dame Ann Murray and Malcolm Martineau in the Oxford Lieder Festival, Florilegium in les Nuits Musicales du Suquet and recitals with Christopher Glynn in Ryedale Festival.

She is a member of the Frankfurt Opera Ensemble where her roles this season include Atalanta in a new production of Xerxes and her first Gilda Rigoletto. She also sings Zerlina Don Giovanni for Glyndebourne on Tour and makes her debut with the Welsh National Opera as Sophie a new production of Der Rosenkavalier. Louise represents England in the 2017 Cardiff Singer of the World Competition.

© Gerard Collett

Recent successes have included Lucia The Rape of Lucretia at the Glyndebourne Festival; Ilia Idomeneo for Garsington Opera; Euridice in Luigi Rossi’s Orpheus for the Royal Opera; Rapunzel Into the Woods for the Théâtre du Châtelet in Paris and Susanna Le nozze di Figaro, Cleopatra Giulio Cesare, Sophie Der Rosenkavalier, the title role in The Cunning Little Vixen and Gretel Hänsel und Gretel for the Frankfurt Opera.

Future seasons include further roles in Frankfurt, returns to Garsington Opera, the Glyndebourne Festival and her debut for the Teatro Réal in Madrid.

Concert performances have taken her to the Aldeburgh, Edinburgh, St Magnus and London Handel Festivals and to the BBC Proms and recent highlights include Poulenc’s Gloria with the Hallé Orchestra and Cristian Macelaru, Vaughan Williams’ Symphony No. 3 with the LSO and Sir Mark Elder, Poppea L’incoronazione di Poppea with the Academy of Ancient Music and Richard Egarr, an all Handel programme at the Edinburgh Festival with the Dunedin Consort and John Butt and Mozart’s Mass in C Minor at the BBC Proms with the BBC Scottish Symphony Orchestra and Ilan Volkov.

Louise is also a passionate recitalist, appearing at the Musikverein in Graz, the Frankfurt Opera, Birmingham’s Barber Institute, the Brighton Festival, Holywell Music Room in Oxford and in the Perth Concert Hall with pianists Helmut Deutsch, Joseph Middleton, Gary Matthewman, John Paul Ekins and Matthew Fletcher.

As a Britten Pears Young Artist, she performed Drusilla in Monteverdi’s L’incoronazione di Poppea under the direction of Richard Egarr. Other roles include Galatea in Handel’s Acis & Galatea with the Academy of Ancient Music, Susanna in Mozart’s The Marriage of Figaro, Miss Wordsworth, Emmie and Cis in Britten’s Albert Herring and Princess in Ravel’s L’enfant et les sortilèges. Most recently she performed at The Barbican in the Academy of Ancient Music’s production of Purcell’s The Fairy Queen.

© Jen Hart

Rowan has performed live on BBCRadio3’s InTune from the V&A and Wigmore Hall, at the Royal Albert Hall, Sage Gateshead and the Queen’s Gallery, Buckingham Palace. She was the winner of the Van Someren Godfery Prize, the first Schubert Society Singer Prize and is a Young Artist for Iain Burnside in his Ludlow Festival. Other festival appearances include Leeds Lieder, Poznan International and London Handel Festival.

Rowan is generously supported by the Countess of Munster Award.

She is a Midori Nishiura Scholar at the RCM, where she studies with Tim Evans Jones and Simon Lepper has worked with Russell Smythe, Eiddwen Harrhy, Miranda Wright and Betty Middleton MBE. Recent and future engagements include performances in the UK and Europe with the Academy of Ancient Music, the City of Birmingham Symphony Orchestra, the Scottish Chamber Orchestra, Gabrieli Consort, the Royal Liverpool Philharmonic Orchestra, Florilegium, London Handel Players, the Stadler Quartett, the Rotterdam Philharmonic and song recitals with Christopher Glynn and Roger Vignoles.

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Thomas Hobbs

Charles Daniels

tenor

tenor Thomas Hobbs is in demand with many leading baroque and early music ensembles, throughout Europe and the US. Hobbs works frequently with, among others, Philippe Herreweghe and his acclaimed ensemble Collegium Vocale Gent and Raphaël Pichon, and his Ensemble Pygmalion.

Charles Daniels’ repertoire extends from the ninth century to the present day. He received his musical training at King’s College, Cambridge, and the Royal College of Music in London.

He has made over 90 recordings as a soloist, the most recent, Western Wind with Taverner Choir & Players, winning the 2016 Gramophone Award for Early Music. Further recordings include St John Passion, Handel’s Messiah, Dowland Songs, Handel’s Alexander Balus, The Beggar’s Opera, Schütz’ Christmas Story, Haydn’s St Cecilia Mass, Bach’s Easter Oratorio, Airs de Cour, Handel Occasional Songs and more than 20 discs of Purcell’s music.

Current and future engagements include Haydn Creation with Israel Camerata and with the LPO, tours with Collegium Vocale Gent, and Bach works with Nederlandse Bachvereniging and the Musikpodium Stuttgart.

© Benjamin Ealovega

Recent concert performances include Acis and Galatea with Dunedin Consort, Bach cantatas with De Nederlandse Bachverenigning, Bach Christmas Oratorio with Tonkünstler-Orchester Niederösterreich, Tonhalle Orchester Zürich and Le Concert Lorrain. He sang Evangelist in the Bach Passions with Choir of King’s College, Cambridge and with AAM, CVG and Ex Cathedra; Bach B minor Mass with CVG, Le Concert Lorrain, Akademie für Alte Musik Berlin; Magnificat with De Nederlandse Bachverenigning; Ascension Oratorio with CVG; and Christmas Oratorio with Australian Chamber Orchestra; Handel Joshua with Akademie für Alte Musik; Israel in Egypt with Choir of King’s College, Cambridge; Messiah Le Concert Lorrain; Mozart Requiem with Dunedin Consort; and Beethoven Mass in C with Stuttgart Kammerchor. Hobbs has also made debuts with Northern Sinfonia, CBSO, RSNO, Bournemouth Symphony Orchestra and Accademia Bizantina.

Operatic roles include The Return of Ulysses for ENO, Monteverdi’s Orfeo with AAM, Albert Herring and Così fan tutte. Recital highlights include Brett Dean Winter Songs at Cheltenham Festival, Vaughan Williams On Wenlock Edge with the Edinburgh Quartet, Schubert and Schumann lieder, Mozart songs at London’s Kings Place, English song and German lieder for Festival Accademia delle Crete Senesi, Wolf songs at Oxford Lieder Festival and a recital at Ryedale Festival.

Hobbs’ discography includes Bach B minor Mass with CVG and Dunedin Consort, Bach Motets, Leipzig cantatas and Christmas Oratorio with CVG, Christmas Oratorio, Handel Acis et Galatea and Esther with Dunedin Consort, and Beethoven Mass in C with Stuttgart Kammerchor.

Recordings of Handel Chandos Anthems with OAE and Mozart Requiem with Dunedin Consort have been universally praised, the latter receiving the 2014 Gramophone Award for best Choral recording.

Thomas Hobbs studied at the Royal College of Music and at the Royal Academy of Music. He was also awarded a Susan Chilcott Scholarship, has been made a Royal Philharmonic Society Young Artist and was an Associate Artist of the Classical Opera Company. He was also a member of the prestigious Académie at the Aix-en-Provence Festival.

Career highlights have included Luigi Nono’s Canti di Vita e Amore, Handel’s Esther in New York, Monteverdi Vespers in Venice, Handel’s Belshazzar in Paris and Messiah at the Musikverein, Vienna.

© Annelies van der Vegt

Operatic roles have included Lully’s Atys for Opéra de Paris and Purcell’s Fairy Queen in the Aix-en-Provence Festival. Concert engagements include regular appearances at the BBC Proms, Edinburgh International, London Handel and Spitalfields Festivals and appearances with The Sixteen, AAM, The King’s Consort, English Concert and Gabrieli Consort. He performs in Canada with Les Voix Baroques, Les Voix Humaines, Toronto Consort, Tafelmusik, Early Music Vancouver and at the Montreal Baroque Festival, and with De Nederlandse Bach Vereniging. He has made guest appearances with Instant Pluriel, Symphonieorchester des Bayerischen Rundfunks, Netherlands Philharmonic with Sir Colin Davis, Il Complesso Barocco , Collegium Musicum Bergen, and Warsaw Philharmonic.

Recent engagements include King Arthur and St John Passion with Tafelmusik, Athalia with Kammerorchester Basel, recordings of Bach’s Passions, Purcell concerts with Gabrieli Consort, Gli Amori d’Apollo e di Dafne for Toronto Consort, Biber Requiem, Dido & Aeneas with The King’s Consort, Bach concerts in with Musica Amphion, Messiah in Japan with Bach Collegium Japan, Dream of Gerontius in Wroclaw, a tour of L’Allegro, Il Penseroso ed il Moderato, Purcell at the Wigmore Hall, Vespers in Vancouver & Seattle, Bach with NBV, BBC Singers and Bach Collegium Japan, Schütz with Dresdner Kammerchor, Fairy Queen with AAM at the Barbican, and Messiah in Australia.

Engagements in 2017 include a series of Purcell Programmes with Holland Baroque Society, Purcell at the Wigmore Hall, St Matthew Passion at The Sage, Gateshead and at King’s Place, St John Passion at Bath Abbey, Chandos Anthems at the London Handel Festival, a series of concerts at Oregon Bach Festival and Bach Cantatas in St Gallen. Subsequent engagements include his return to Toronto for Mass in B Minor.

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ACADEMY OF ANCIENT MUSIC 2016-17 SEASON

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Academy of Ancient Music VIOLIN I Pavlo Beznosiuk VIOLIN II Bojan Čičić

VIOLA Alexandru-Mihai Bota Ricardo Cuende Isuskiza CELLO Joseph Crouch DOUBLE BASS Judith Evans

CORNETTO Josué Meléndez Peláez Gawain Glenton Friederike Otto TROMBONE Simen van Mechelen Catherine Motuz Wim Becu

Our Team THEORBO William Carter ORGAN Alastair Ross DULCIAN Benny Aghassi KEYBOARD TECHNICIAN Malcolm Greenhalgh

SOPRANO Nina Bennett Emma Brain-Gabbott Helen Groves Philippa Hyde Eloise Irving

ALTO Cathy Bell Judy Brown Lucy Goddard * Ruth Kiang Susanna Spicer

TENOR Malcolm Bennett Edmund Hastings Matthew Sandy * Julian Stocker Paul Tindall

BASS Adrian Horsewood Richard Latham * Jonathan Stainsby Philip Tebb * Reuben Thomas

* step-out soloists

SPONSORED CHAIRS PRINCIPAL VIOLA

PRINCIPAL CELLO

PRINCIPAL THEORBO

Richard and Elizabeth de Friend

Dr Christopher and Lady Juliet Tadgell

John and Joyce Reeve

SUB-PRINCIPAL VIOLA

SUB-PRINCIPAL CELLO

Nicholas and Judith Goodison

The Newby Trust

Music Director

General Manager

Marketing Consultants

Richard Egarr

Anthony Brice

Hogwood Fellow

Head of Concerts and Planning

Bethan Sheppard Chloë Priest Griffiths

Robert Levin

Chloë Wennersten

Artistic Consultant

Orchestra Librarian

Lars Henriksson

Adrian Horsewood

Chief Executive

Development Assistant

Alexander Van Ingen

Heppy Longworth

Board of Trustees

Development Consultant

Harriet Lawrence PR Consultant

WildKat PR

Development Board

Terence Sinclair (chairman) Philip Jones* (chairman) Hugh Burkitt

Delia Broke Matthew Ferrey Hugh Burkitt Alastair Hunter Elizabeth de Friend Philip Jones Andrew Gairdner MBE Graham Nicholson Peter Hullah Roger Mayhew John Reeve Madeleine Tattersall Annie Middlemiss Janet Unwin John Reeve* Chris Rocker* Honorary President: Terence Sinclair* Christopher Purvis CBE Madeleine Tattersall* Janet Unwin *Fundraising committee member

Council

Adam Broadbent Kate Donaghy Jonathan Freeman-Attwood Carol Grigor Tim Harvey-Samuel Nick Heath Lars Henriksson Christopher Lawrence Sir Konrad Schiemann Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell

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ACADEMY OF ANCIENT MUSIC 2016-17 SEASON

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Thank you

Academy of Ancient Music Who we are and what we do

Music

Education

The Academy of Ancient Music is an orchestra and choir that perform music from the baroque and classical era, in the way it was first intended. This means taking inspiration from the composers themselves; through careful research and using first edition scores as often as possible.

Our historically-informed approach was ground-breaking when the orchestra was founded in 1973 by scholar-conductor Christopher Hogwood and the AAM remains at the forefront of the early music scene today, under the leadership of Music Director Richard Egarr.

Since 2010 the AAM has run its AAMplify education scheme, with the aim of nurturing the next generation of young artists and audiences. Working with partners around the country the AAM delivers workshops, masterclasses and other special projects for children and people of all ages.

Recordings Originally established as a recording orchestra the AAM has an incredible catalogue of more than 300 CDs which have won numerous accolades, including Brit, Gramophone, Edison and MIDEM awards. On its own in-house label, AAM Records, the orchestra has released five critically acclaimed recordings. The most recent release, a stunning selection of instrumental works by Dario Castello, a Venetian composer from the early baroque period, was launched in October 2016.

2017-18 Season The 2017-18 season will begin with the second instalment of AAM’s three-year Purcell opera cycle, with a semi-staged performance of King Arthur. The AAM Choir takes centre stage in the Barbican Hall for performances of Bach’s St John Passion and Handel’s Messiah, joined by first class soloists; and Nicola Benedetti performs virtuosic Vivaldi and Telemann concerti on gut strings. Soloists from AAM feature in programmes exploring the musical impact of cross-European migration, and the ‘reversed fortunes’ of Telemann and Bach. Soprano Carolyn Sampson celebrates English song from Dowland to Arne; and a programme of secular and sacred vocal music showcases the pairing of soprano Keri Fuge and countertenor Tim Mead.

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

The AAM is Associate Ensemble at London’s Barbican Centre and Orchestra in Residence at the University of Cambridge and at the Grange Festival.

Visit aam.co.uk to find out more.

TRUSTS & FOUNDATIONS The John Armitage Charitable Trust The Backstage Trust Dunard Fund J Paul Getty Jnr Charitable Trust The Geoffrey C Hughes Charitable Trust The Loveday Charitable Trust

Newby Trust* The Polonsky Foundation Constance Travis Charitable Trust Sir Siegmund Warburg’s Voluntary Settlement and other anonymous trusts and foundations

THE AAM SOCIETY The Chairman’s C ­ ircle Matthew Ferrey Mrs Julia Rosier The Hogwood C ­ ircle Christopher and Phillida Purvis * Terence and Sian Sinclair Dr Christopher and Lady Juliet Tadgell Principal ­Patrons Richard and Elena Bridges Christopher Hogwood CBE, in memoriam * Ralph Hullah, in memoriam Mrs Sheila Mitchell and other anonymous Principal P­ atrons Patrons Lady Alexander of Weedon Clive Butler Mr John Everett Ms Elizabeth de Friend Malcolm and Rosalind Gammie Nicholas and Judith Goodison * David and Linda Lakhdhir Roger Mayhew Graham Nicholson John and Joyce Reeve Chris Rocker and Alison Wisbeach John and Madeleine Tattersall Mr Anthony Travis Mark West and other anonymous P­ atrons

Principal ­Benefactors Carol Atack and Alex van Someren John and Gilly Baker Mrs D Broke Jo and Keren Butler Kate Donaghy Simon Eccles Dr Julia P Ellis Mr Philip Jones Mrs Annie Norton Mr M Ridley Sir Konrad and Lady Schiemann * Julian and Anne Stanford Mr Stephen Thomas Paul and Michi Warren Julie and Richard Webb Mr Andrew Williams Mrs S Wilson Stephens Charles Woodward and other anonymous Principal B­ enefactors Benefactors Dr Aileen Adams Mr Richard Cawthra Elise Badoy Dauby Beaux Arts, London Professors John and Hilary Birks Mrs Stephanie Bourne Mr John Brisby QC and Dr Claire Brisby * Adam and Sara Broadbent Mr Hugh Burkitt Marshall Field Michael and Michele Foot The Hon William Gibson Noel Harwerth The Hon Mr Philip Havers Alastair Hunter Mr Peter and Mrs Frances Meyer Annie Middlemiss Chris and Valery Rees The Hon Zita Savile Dr Robert Sansom Ms Sarah Shepley and Mr Kevin Feeney Mr Michael Smith Peter Thomson Mrs Janet Unwin Peter and Margaret Wynn and other anonymous B­ enefactors

Donors Rod and Angela Ashby-Johnson Marianne Aston Elisabeth and Bob Boas * Charles Bryant David and Elizabeth Challen Derek and Mary Draper Nikki Edge Christopher and Jill Evans Tina Fordham Mr Patrick Foster Andrew and Wendy Gairdner Jonathon Gill Miles and Anna Hember Mrs Helen Higgs Andrew and Kay Hunter Johnston Mr and Mrs Charles Jackson Ali Knocker Mr and Mrs Evan Llewellyn Richard and Romilly Lyttelton Richard Meade Mrs Marilyn Minchom Goldberg Graham & Sylvia Orpwood Nick and Margaret Parker Mr Edward Powell Jane Rabagliati and Raymond Cross Jane and Robin Raw Mr and Mrs Charles Rawlinson Mr Michael Ryan Mahnaz Safa Dr Alison Salt Mr Peter Shawdon Professor Tony Watts Tony and Jackie Yates-Watson and other anonymous D ­ onors * denotes founder ­member

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ACADEMY OF ANCIENT MUSIC 2016-17 SEASON

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Support the AAM Each year the AAM gives around 40 concerts in the UK and internationally, enriching the lives of over 40,000 people with our fresh approach to baroque and classical music. Our AAMplify scheme nurtures the next generation of artists and audiences, providing opportunities for talented young musicians to develop their skills and for all young people to experience the thrill of live performance with low-cost concert tickets.

“Thank you all for your support and for making me part of this project. It’s been a great week, I can’t stress enough what a rewarding experience it was” Guildhall School of Music and Drama Student and AAMplify participant, 2016 The AAM is a registered charity. This year we need to raise over £500,000 to sustain and develop the orchestra’s work on the concert platform and expand AAMplify. We do not currently receive any direct public funding towards our core costs, so the generosity of our wonderful family of supporters has never been more important.

AAM Society The AAM Society is at the core of the AAM family, developing a close relationship with the orchestra and our music. Society members’ annual gifts of between £250 and £20,000 form the backbone of our financial stability, allowing us to cultivate success in the concert hall, in recordings, and in the AAMplify scheme.

As a way to thank our supporters for their generosity, we offer a range of opportunities to get closer to the musicians and enjoy a more intimate relationship with the orchestra. They dine with the director, soloists and musicians after performances in London; they receive regular invitations to open rehearsals, private recitals in fellow members’ homes and other special events; and are welcomed at complimentary drinks receptions at own promotion concerts in London and Cambridge.

The Friends of the AAM

As well as receiving regular news and updates from the AAM, Society members are also eligible for priority booking for all AAM own promotion concerts in London and Cambridge through the AAM office.

Last year, support from AAM Society members facilitated the orchestra’s travel to countries near and far, allowing us to take our music to new audiences that have little or no access to the repertoire we perform.

The generosity of individuals helped to fund our highly acclaimed recording of little-known Venetian composer Dario Castello’s Sonata Concertate in Stil Moderno, Book I, which will represent, alongside the upcoming recording of Book II, the first ever recording of Castello’s complete works.

Society donations also enabled us to cultivate successful partnerships with the Guildhall School of Music and Drama and the Royal Northern College of Music, giving support and advice to young musicians in workshops. The culmination of this was the production of a programme of Bach Cantatas performed in Deal and Cambridge by GSMD students alongside AAM players.

Last year, donations from the Friends of the AAM allowed us to provide a day of coaching from AAM players for talented young musicians through AAMplify, fund speakers for free pre-concert talks for all our audience members and supported the cost of providing parts for the players in our own promotion concerts.

AAMplify side-by-side workshop, University of Cambridge, 2015

Membership of the Friends of the AAM starts from just £2.50 a month or £30 a year and every new membership will help us to increase the reach and impact of our work around the world. We hope you will consider becoming a Friend of the orchestra.

The generous gifts of each Society member are crucial to the ongoing success of the orchestra, and we hope that you will consider supporting us in this way.

If you would like to join the AAM Society or receive more information about ways in which you can support the orchestra, please get in touch with Heppy Longworth, Development Assistant, on 01223 301509 or support@aam.co.uk.

The Friends of the AAM are a fundamental part of the AAM family. Comprising some of our most dedicated audience members, the Friends share a passion for the orchestra and our music. To celebrate this and in thanks for their generosity the Friends enjoy a range of benefits that bring them closer to the heart of what we do. These include opportunities to socialise with the musicians at an annual drinks party, invitations to open rehearsals and regular news and updates about the orchestra.

If you would like to become a Friend of the AAM please complete the form overleaf. If you would like more information about the Friends of the AAM, please get in touch with Heppy Longworth, Development Assistant, on 01223 301509 or support@aam.co.uk.

Performance at the Shanghai Conservatory of Music with Vivica Genaux, Shanghai, 2016

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ACADEMY OF ANCIENT MUSIC 2016-17 SEASON

M ON T E V E R DI V E S P E R S

Join the Friends of the AAM The Friends of the AAM are at the heart of our audience and membership enables them to see the orchestra in rehearsal, enjoy special events and be the first to hear about the AAM’s future plans. Membership of the Friends starts at £2.50 a month or £30 a year.

Please send the completed form to Heppy Longworth at The Academy of Ancient Music, 11b King’s Parade, Cambridge, CB2 1SJ.

Your details

AC A D E M Y O F ANCIENT MUSIC

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The latest release from AAM records:

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By ticking the box below, you confirm that you are a UK taxpayer and understand that if you pay less Income Tax and/or Capital Gains Tax than the amount of Gift Aid claimed on all your donations in that tax year it is your responsibility to pay any difference. Please notify the charity if you want to cancel this declaration, change your name or home address or if you no longer pay sufficient tax on your income and/or capital gains.

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A contemporary of Monteverdi, Venetian composer Dario Castello wrote two books of fiercely virtuosic instrumental music.

A longstanding champion of Castello, Richard Egarr leads the AAM in a new recording of the first book, revealing the incredible colour and invention of twelve extraordinary sonatas.

“Seatbelts on and enjoy the ride!”

Richard Egarr, AAM Music Director

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SONATE CONCERTATE IN STIL MODERNO, LIBRO PRIMO Academy of Ancient Music Richard Egarr director, harpsichord and organ

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DARIO CASTELLO

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ON SALE TONIGHT

aam.co.uk/recordings

ACADEMY OF ANCIENT MUSIC 2016-17 SEASON

AC A D E M Y O F ANCIENT MUSIC Concerts in London 2017-2018

Purcell’s King Arthur (semi-staged) Tuesday 3 October 2017, Barbican Hall

Italy in England –

when Handel met Corelli

Thursday 19 October 2017, Milton Court Concert Hall

Bless’d Isle –

with Carolyn Sampson

Thursday 2 November 2017, Milton Court Concert Hall

Bach and Telemann – Reversed Fortunes

Thursday 7 December 2017, Milton Court Concert Hall

Handel’s Messiah

Wednesday 20 December 2017, Barbican Hall

Mortal Voices –

music by Pergolesi, Corelli and Handel

Thursday 15 February 2018, Milton Court Concert Hall

Bach St John Passion

Friday 30 March 2018, Barbican Hall

1790s London: Saint & Sinner – music by Haydn & Dussek

Friday 13 April 2018, Milton Court Concert Hall

Nicola Benedetti –

music by Vivaldi and Telemann Thursday 31 May 2018, Barbican Hall

Tickets £10-50 plus booking fee* £5 for AAMplify members barbican.org.uk 020 7638 8891 *£3 online, £4 by telephone, no fee when booked in person

M ON T E V E R DI V E S P E R S

Your Notes:

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