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Academy of Ancient Music

Annual Review

2009–10 enriching life with baroque and classical music


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An outstanding year... 49 concerts performed on three continents

25,000+ concertgoers reached in London and Cambridge, in towns and cities around the UK, and in Austria, Belgium, China, France, Libya, The Netherlands, Poland, Portugal, Spain and Turkey

Handel recording cycle completed Award-winning recording cycle of Handel’s instrumental music Opp.1–7 completed with the release of the Trio Sonatas Opp.2 and 5

Neglected composers championed Masterpieces by little-known composers including Christopher Gibbons and Dario Castello unearthed and showcased

AAMplify new generation programme launched placing young audience members, musicians and arts managers at the heart of our work

£412,000 raised in voluntary income — more than ever before

£86,000 surplus achieved increasing reserves to £284,000


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Contents Introduction

from AAM Chairman Christopher Purvis Page 6

Looking back

AAM Music Director Richard Egarr reflects on a successful year Page 11

AAM tomorrow

Chief Executive Michael Garvey outlines our vision for the future of the Academy of Ancient Music Page 21

Financial review Page 26

Supporting us Page 32


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Introduction from AAM Chairman Christopher Purvis

The year under review was not an easy one for the arts. Concert halls and promoters around the world found the level of financial support from governments being cut; and the financial environment placed pressure on the ability of traditional donors to give the same level of support to the arts. But in spite of this environment the Academy of Ancient Music had another outstanding year. The orchestra and choir gave 49 concerts and a surplus of £85,907 was achieved. The artistic standard of the orchestra remained at the highest level. We explored some lesser known repertoire as well as performing well-known masterpieces such as Monteverdi’s Vespers, Haydn’s The Creation and Beethoven’s Symphony No.6. We were particularly pleased with the


7 “One of the world’s greatest period-instrument bands, the Academy of Ancient Music is stuffed with the superstars of the historically-informed style of playing... a benchmark of veracity and authority in getting composers’ music played as it was intended to be played: free of accretions, stripped of varnish, and as straight and true as an arrow.” Glasgo w Herald, 2010

artistic development of the Choir of the AAM, which is now well known as a leading choir in its field. Richard Egarr looks back at our artistic achievements on pages 11-15. The arrival in May of Michael Garvey as our new Chief Executive has encouraged us to revisit our plans for the future. Already we have made organisational changes which will help us to deliver an even better programme of concerts, recordings and educational outreach activity in the lead-up to our 40th anniversary season, 2013-14. Michael introduces our vision for the future of the AAM on pages 19-20. It is particularly heartening in these difficult economic times to have raised a considerably greater sum in fundraised income than ever before. I would like to thank the trusts and foundations as well

as companies that have given support this year, and to express particular appreciation to the many individual donors, members of the AAM Society and others. It is I suspect the case that the requirement for a higher level of donated funds to arts organisations such as ours will not be short-lived; we are in the happy position of having a wonderful base of support — but the future will no doubt be challenging. I would like to thank all those who support the Academy of Ancient Music as audience members, and all those who dedicate themselves to making our work a success: our trustees, members of our development board, our talented staff, and above all our wonderful musicians. Christopher Purvis CBE March 2011


8 “Even for the well-travelled Academy of Ancient Music, this was no ordinary performance of Dido & Aeneas. The cellos had cloths safety-pinned under their strings to stop the varnish melting in the African sun. The harpsichord had been impounded by customs and only released at the last minute. And in the middle of Dido’s lament two policemen strolled behind the backdrop — the gaping, golden wreckage of the Roman theatre at Sabratha, Libya — dramatically silhouetted against the sky and sea. As the last note hummed in the stones, it was clear they had a triumph on their hands. Everyone stood up as one to applaud.” THE DAILY TELEGRAPH, 2009


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Purcell’s Dido & Aeneas at Sabratha, Libya


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“When I heard that England’s Academy of Ancient Music had hired keyboardist and conductor Richard Egarr, I was absolutely delighted. It wouldn’t be a stretch to call Egarr ‘the Bernstein of Early Music’. He is a virtuoso of nuance, of dancing rhythms and sparkling melodies... He’s one of the most exciting and delightful musicians of our time.” National Public Rad io, usa


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Looking back AAM Music Director Richard Egarr reflects on a successful year

London and Cambridge residencies I look back with pleasure and satisfaction on a busy and successful 2009–10 season. Our London and Cambridge concert seasons are at the heart of all that we do. The 16 concerts which made up this year’s series saw us working with a wonderful array of guest artists: our longstanding friend Giuliano Carmignola directed music written by Mendelssohn and Schubert during their teens; Carolyn Sampson gave memorable performances of vocal works by Handel and Purcell; we teamed up with the Choir of King’s College, Cambridge and Stephen Cleobury for performances of Haydn’s The Creation and Monteverdi’s Vespers; Stephen Layton directed Polyphony and a superb cast of soloists including Ian Bostridge in a Good Friday performance of


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JS Bach’s St Matthew Passion, and we gave our first-ever performance with the Choir of Clare College, Cambridge. We’re passionate about promoting and championing the new generation of musical talent, and it gave me particular pleasure to invite young stars including sopranos Elizabeth Watts and Aleksandra Anisimowicz to work with us this year. One of my particular ambitions is that, alongside our performances of the great masterworks, we should go out of our way to uncover items from the huge corpus of baroque and classical music which remains forgotten. It was a joy to introduce people in London and Cambridge to music by Christopher Gibbons (Orlando’s son), whose works I discovered a few years ago in Oxford manuscripts, and by Dario Castello (a wind player in Monteverdi’s band at San Marco in Venice). UK and global touring Enriching the lives of audiences in the UK regions and around the world remains a key aspect of our work. In 2009-10 we gave 20 performances on tour internationally, and a similar number of regional performances within the UK.

Early in the year I travelled with the band on a tour of three continents which included a performance in Macau, China, and a visit to Sabratha, Libya for a performance of Purcell’s opera Dido & Aeneas. We were particularly pleased to tour a number of larger-scale classical and early romantic programmes. Highlights included performances of Beethoven’s Symphony No.6 and Piano Concerto No.4 in The Netherlands, Mozart’s Requiem with the Choir of the AAM at Symphony Hall in Birmingham, and Haydn’s Nelson Mass. The orchestra completed its commemoration of the 200th anniversary of Haydn’s death with a second visit under Paul Goodwin to Esterhazy Palace in Austria, where the composer spent most of his working life. The programme included several of his greatest symphonies. In the summer the orchestra reached audiences in seven towns and cities around the UK and at the Istanbul Music Festival with Nature’s Voice and Verse, a programme directed by our leader Pavlo Beznosiuk interspersing Vivaldi’s The Four Seasons with baroque arias inspired by the forces of nature. Citylife magazine wrote “Pavlo


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“I’m here to tell you that the new Egarr-AAM Brandenburgs really blow. In a good way. They blow centuries of library dust off these pieces, and they blow fantastic horn and trumpet lines. Egarr & co are in it to win it. Whew. The first disc had hardly played 10 seconds when I was grabbing for the remote control to play again the most amazing horn parts I have ever heard — wild, outdoorsy, jazzy, almost bebop...” STEREOPHILE MAGAZINE, 2009

Beznosiuk led the Academy in playing of impeccable baroque style... highly inventive and very entertaining”. Earlier in the year Pavlo had directed a programme contrasting the Pergolesi and Vivaldi settings of the Stabat Mater which featured soprano Carolyn Sampson and countertenor Daniel Taylor. In November 2009 we were delighted to be joined on a tour to Porto and Lisbon by members of the AAM Society. It’s a pleasure to develop stronger friendships with the people who do so much to enable us to continue our work, and I am looking forward to having members of the Society with us on tour at least once a year from now on. Recordings AAM recordings new and old keep baroque and classical music alive for millions of

music lovers the world over, and the AAM’s recordings form a backbone of radio station libraries everywhere. In October 2009 our commemoration of the 250th anniversary of Handel’s death culminated with the release of the final recording in a landmark cycle of the composer’s complete instrumental music Opp.1–7, and we were honoured to learn that the recording had been shortlisted for a Gramophone Award. It’s been great fun working on the Handel project with the band over my first few years as Music Director, and it’s a particular joy to see all seven discs so warmly received by critics and listeners alike. Our next release — the world premiere recording of music by Christopher Gibbons — is due in the shops in 2011.


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Perspectives... ... on our partnership with King’s College Choir “I am delighted that the partnership between King’s College Choir and the AAM continues to develop. The professionalism of the players is a model for our young singers, and I feel that really creative music-making takes place when we meet together.” STE PHEN CLEOBURY CBE Director of Music, King’s College, Cambridge

... on performing music by Dario Castello

“AAM aficionados may, like me, know some of Castello’s Sonate Concertate through Andrew Manze’s recordings. To have a chance to delve more deeply into this riotous carousal between harmony and instrumental techniques was truly joyous, and given the perfect foil by Aleksandra Anisimowicz’s revelatory Monteverdi performances.” JOSEPH CR OUCH Principal cello

... on historically-informed performance

“I think the golden combination is to have enough learning — enough historical awareness — to inform the musicmaking and to make it different from what happens in modern orchestras, but to wear that learning lightly, and not to have it get in the way of your own personal creativity. That’s something which Richard manages to bring off incredibly well.” PAVLO BEZNOSIUK Leader


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18 Artists 2009–10


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AAM tomorrow Michael Garvey, Chief Executive, outlines our vision for the future of the Academy of Ancient Music Get in touch: m.garvey@aam.co.uk +44 (0)1223 301509

The Academy of Ancient Music is on an exciting journey — a journey which began over a decade ago when Christopher Hogwood took the decision that the orchestra should come of age; that it should begin to prepare for a time when it would continue his work beyond his active involvement. When I joined the AAM in May 2010, I was acutely aware not only of the orchestra’s distinguished history, but also of the impressive progress which it has made as an organisation over the last few years. The orchestra had appointed Richard Egarr to succeed Hogwood as Music Director, and had achieved great success under his leadership. It had developed strong artistic partnerships with a range of guest directors and choirs. It had maintained its recording tradition with distinction, in spite of the difficulties in the record industry. It had become one of the first Western cultural institutions to work regularly in the emerging markets of the Far East. Closer to home, it had developed an active UK performing programme, and had launched its own concert series in London and Cambridge. It had sustained its increased workload by launching a fundraising programme; and had grown as an organisation to support all this new activity. Our vision for the period up to and


22 beyond our 40th anniversary in 2013–14 is all about the next phase of this process of transformation. Artistic ambition Artistic ambition has always been at the heart of the AAM’s vision. We want to be the benchmark period instrument band: the orchestra which does more than any other to showcase the lesser-known repertoire of the baroque and classical periods; the orchestra which identifies, promotes and develops the world’s most promising young artistic talent; the orchestra with which the world’s best soloists and conductors work when performing in a historically-informed style. In short, we strive to be the orchestra which people want to hear and to support so we can enrich as many lives as possible with world-class performances of baroque and classical music. To this end we are investing more time and — through the wonderful generosity of our supporters — more money in developing our artistic programme. In particular, we are working to enrich our London and Cambridge concert seasons. As I write, our major concert series The Bach Dynasty is in full swing, and we are working on equally compelling projects for 2011–12 and beyond. Watch this space! The new generation We also want to secure the future of the period-instrument movement by developing the audiences, artists, arts managers and philanthropists of tomorrow. In May 2010 we launched our AAMplify new generation programme, which aims to secure our long-

term future by placing young people at the heart of our work. Initially, the programme has three strands: • AAMplify audiences, giving concertgoers aged under 26 access to tickets for our London and Cambridge performances for just £3; • AAMplify artists, training the next generation of period instrument performers; • AAMplify arts managers, giving young people with a genuine interest in a career in arts management valuable training at the heart of the AAM team through funded six–to–twelve month placements. Recordings and digital technology We want to harness the power of digital technology to keep baroque and classical music alive for a mass global audience, in just the way that our records and radio broadcasts have over the last 37 years. This year we will be launching a new website; and we will be looking at ways to use it as a platform for a wide range of recorded content. As Christopher Purvis cautioned in his introduction, these are undoubtedly challenging times for the arts sector as a whole. But they are also times which remind us just how important our work is in enhancing the lives of people around the world. For the AAM, they are therefore times for positivity, for vision, and for ambition. We hope you will find ways to become part of the story: discover baroque and classical music on our website; buy a CD; come to a concert; consider getting closer to our work by supporting us financially. I look forward to welcoming you as the journey continues.


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Richard Egarr “The Bernstein of Early Music” USA national public radio


24 “Sitting side by side with the AAM in an AAMplify workshop was absolutely the best experience of my musical life.” HELEN R OCHE

AAMplify member and PhD student, University of Cambridge


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AAMplify workshop at the University of Cambridge


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Financial review Elaine Hendrie, Finance Manager, introduces the accounts Get in touch: e.hendrie@aam.co.uk +44 (0)1223 341091

The net surplus on the year was £85,835. Total income amounted to £1,184,164, and expenditure to £1,098,329. Income from concert engagements dropped back to 2007–08 levels, from £1,273,692 in 2008–09 to £716,462 in 2009–10. This reduction was a direct result of fewer overseas engagements, and is a reflection of the ongoing impact of the worldwide recession. Notwithstanding this reduction in turnover, the AAM maintained a surplus generated on concert-giving at £11,625 (2008–09: £156,683). Voluntary income of £412,148, partly deferred into 2010–11 and therefore showing £322,368 plus £11,000 in these accounts, largely comprised grants from trusts and foundations and support from AAM Society members. We are grateful to all these supporters, without whose generosity the orchestra would be unable to continue to perform. The orchestra was particularly glad to receive a one-off grant of £120,000


27 CD royalties 1% Voluntary income 28%

Concert engagement fees 62%

London and Cambridge ticket sales 9%

Income by sources

from Arts Council England. This funding was given to sustain the organisation through the difficult economic period, and £108,000 had been received by the end of the financial year. A significant amount of income raised in the current year has been deferred to the subsequent year as it was given specifically to support The Bach Dynasty, the major concert series taking place in 2010–11. Impact of public sector funding cuts The AAM has never received regular public subsidy, and will not, therefore, be directly affected by the forthcoming reductions in public cultural expenditure. We do, however, expect to be affected indirectly. State-funded concert halls in the UK and around the world which in the past hired orchestras like the AAM to perform concerts on tour at economically viable rates are facing a serious reduction in their budgets, and the fees which they are able to offer in the future will be significantly lower than

they have been in the past. The fundraising burden will, in effect, be transferred from venues to performing arts organisations, and if the AAM is to maintain and develop its work we will need to achieve a significant increase in our own fundraised income. Reserves and investment policy At the end of the year the AAM had reserves of ÂŁ280,494, approximately 26 per cent of annual expenditure. The reserves policy is to build a level of funds in cash on deposit sufficient to provide security against the high degree of volatility in fee income. In the light of the changing environment in public sector support of the arts, not only in the UK but also in other countries in which the AAM performs, we are now actively taking steps to build our reserves and to move towards fundraising for an endowment. Endowment income will ultimately provide some of the financial basis and security which in the past has been provided, albeit indirectly through engagements, from the public sector.


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Income and expenditure account Unrestricted funds £

Restricted funds £

Total funds 2010 £

Total funds 2009 £

235,989 11,000 57

86,470 -

322,368 11,000 57

161,370 1,030

850,739 1,097,694

86,470

850,739 1,184,164

1,404,805 75 1,567,280

(8,742) (1,044,904) (12,527) (1,066,173)

(32,156) (32,156)

(8,742) (1,077,060) (12,527) (1,098,329)

(17,282) (1,445,665) (11,998) (1,474,945)

31,521

54,314

85,835

92,335

180,659 212,180

14,000 68,314

194,659 280,494

102,324 194,659

Incoming resources Incoming resources from generating funds: Voluntary income1 Activities for generating funds Investment income Incoming resources from charitable activities Other income resources Total incoming resources

Resources expended Cost of generating funds: Costs of generating voluntary income Charitable activities Governance costs Total resources expended

Net income for the year Reconciliation of funds Total funds brought forward Total funds carried forward

Copies of the full audited accounts, together with the Trustees’ Report, are available from the Charity Commission website, http://www.charity-commission.gov.uk/.


29 Balance sheet £

2010 £

£

2009 £

Fixed assets 8,829

Tangible assets

4,616

Current assets Stocks Debtors Cash at bank and in hand

12,327 93,923 315,753 422,003

17,404 116,490 180,758 314,652

(150,338)

(124,609)

Creditors

Amounts falling due within one year1

Net current assets

271,665

190,043

Total assets less current liabilities

280,494

194,659

Net assets

280,494

194,659

Restricted income funds Unrestricted income funds

68,314 212,180

14,000 194,659

Total funds

280,494

194,659

Funds

Notes:

The creditors figure in the balance sheet includes £78,780 of voluntary income raised during 2009-10 for expenditure in the 2010-11 concert season. This is excluded from current year voluntary income. 1


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Rehearsing Beethoven’s Piano Concerto No.4


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Supporting us Simon Fairclough, Head of External Relations, explains why your support matters and how you can help Get in touch: s.fairclough@aam.co.uk +44 (0)1223 341096

The world is full of worthy causes. Why support an orchestra like the AAM? For centuries, people have understood the importance of culture. The arts enrich society and change lives. They help to make life worth living. But for centuries people have also understood that great art is costly, and that it can only thrive if those who are in a position to sustain it do so generously. The music which the AAM performs only ever came into being because of a culture of patronage: Monteverdi was supported by the Duke of Mantua; JS Bach composed many of his instrumental masterpieces while employed at the courts of Weimar and Köthen; and Haydn’s 104 symphonies might never have been written had he not enjoyed the backing of the wealthy Esterházy family. Their music stands as testament not only to individual genius, but


33 “The Society’s Porto-Lisbon trip was memorable. We socialised with the players, heard wonderful music twice over with soprano Carolyn Sampson, had an exclusive tour and tasting of Graham’s Port and were introduced to Porto’s extraordinary churches by an expert — with an optional trip to the Gulbenkian thrown in. All smoothly organised, relaxed and with the bonus of excellent company, meals and wine.” Eli zabe th DE FRIEND

AAM Society member

also to support from generous individuals and institutions which enabled them to realise their potential. For a time, it seemed that the future of the arts in Britain would be taken care of by the state; that the need for private support was a thing of the past. For better or worse, those days are long gone. The Academy of Ancient Music does not receive any regular public funding, and income from ticket sales will fall short of covering the full cost of sustaining the orchestra by at least £400,000 in the coming year.

would be unable to continue to perform. Members enjoy a close and ongoing involvement with the life of 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 Society members’ homes, and other special events; and at least once each year they are invited to travel with the orchestra on tour internationally.

You can help in a number of ways.

Membership starts at £250 per annum — or £100 for young supporters aged up to 40 — and goes up to £20,000+.

The AAM Society The AAM Society is the Academy of Ancient Music’s core group of regular supporters. Society members’ annual gifts provide the vital support without which the orchestra

Special projects From time to time, syndicates are formed to support special artistic projects. In 2009-10 the AAM Bach Patrons was formed to raise £100,000 in support of The Bach Dynasty


34 “We love the AAM’s excellent performances, academic depth and innovative programming and as AAM Society members we share the musical life of this superb ensemble project by project. The AAM is as welcoming and friendly as it is enlightening, and as professional behind the scenes as it is on stage!” Richard and elena bridges

AAM Society members

— the concert series at the heart of the orchestra’s work in 2010-11. In the coming year, a syndicate will be formed to support Musical Revolutions, the 2011-12 concert series. AAM Tomorrow Fund The AAM Tomorrow Fund has been established for those who wish to invest at a substantial level in the future of the orchestra. The Fund will support major strategic developments which the AAM is planning for the period up to and beyond its 40th anniversary in 2013-14. In 2009-10 a generous leading gift was made to the Fund by Lady Sainsbury of Turville. Lady Sainsbury’s support has enabled the AAM to upgrade all its basic infrastructure, including its IT hardware, telephone systems, fundraising and orchestra management software and its web presence, thus maximising the efficiency of its staff team over the long term.

Leaving a legacy Over the last four decades the Academy of Ancient Music has brought joy and inspiration to millions of people. Our aim over the next is to begin to build up an endowment fund which will ultimately enable it to do so in perpetuity. Leaving a legacy is one of the most enduring ways in which you can support the AAM. Whether you give £5,000 or £5 million, your bequest will have a real impact in enabling the AAM to keep the music of the baroque and classical periods alive, and to enrich the lives of music lovers for generations to come. Tax efficient giving Because the AAM is a charity, gifts can be made in a tax-efficient manner. In some circumstances the cost of the gift to the donor may be well under half its eventual value to the AAM. Visit our website, www.aam.co.uk, to find out more.


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The background may have been one of economic turmoil, but the AAM didn’t settle for mere survival this year. Under Richard Egarr’s inspired leadership it thrived artistically; it developed still further its ambitious vision for the period up to and beyond its 40th anniversary in 2013– 14; and, by investing in the launch of AAMplify, the staging of The Bach Dynasty at the heart of its 2010–11 season and the upgrade of its IT systems and web presence, it took important steps in transforming that vision into a reality. All of this was made possible through the ongoing generosity and loyalty of the supporters whose names are listed opposite. We were deeply grateful to receive £125,000 more from private funders in 2009–10 than we have received in any year previously; and we were equally grateful for a significant one-off grant from Arts Council England. At a time when much concern is being expressed about the future of the arts in Britain, your commitment and dedication to the AAM is enabling us to sustain music as an essential part of our lives. We cannot thank you enough.


Current funders and supporters Cambridge University Press Kleinwort Benson RBC Wealth Management CHK Charities Ltd Dunard Fund Esmee Fairbairn Foundation Fidelity UK Foundation The Michael Marks Charitable Trust Newby Trust Ltd Anthony Travis Charitable Trust and other anonymous trust funds

The AAM is deeply grateful to Arts Council England, which made a significant one-off grant to the orchestra from its Sustain Fund during the course of the year. AAM Tomorrow Fund The Academy of Ancient Music extends its grateful thanks to Lady Sainsbury of Turville, who has supported the orchestra’s work at a particularly significant level this year. The Chairman’s Circle CHK Charities Ltd Dunard Fund The Hogwood Circle Matthew Ferrey Lord and Lady Magan Christopher and Phillida Purvis Mrs Julia Rosier Dr Christopher and Lady Juliet Tadgell Lady Linda Wong Davies (KT Wong Foundation) Principal Patrons Sir Nicholas and Lady Goodison Richard and Elena Bridges Christopher Hogwood CBE Mrs Sheila Mitchell Newby Trust Ltd Chris Rocker and Alison Wisbeach Terrence and Sian Sinclair and other anonymous Principal Patrons Patrons Adam and Sara Broadbent

Mr and Mrs Graham Brown Mr and Mrs JE Everett Richard and Elizabeth de Friend John and Ann Grieves Mark and Liza Loveday John and Joyce Reeve Mark West Sarah and Andrew Williams and other anonymous Patrons Principal Benefactors Lady Alexander of Weedon George and Kay Brock Mrs D Broke Clive and Helena Butler Jo and Keren Butler Sir Charles Chadwyck- Healey Bt Kate Donaghy The Hon Simon Eccles Elma Hawkins and Charles Richter Lord Hindlip John McFadden and Lisa Kabnick Mr and Mrs C Norton Lionel and Lynn Persey Nigel and Hilary Pye Mr and Mrs Charles Rawlinson Sir Konrad and Lady Schiemann JG Stanford John and Madeleine Tattersall Marcellus and Katharine Taylor-Jones Stephen Thomas Mrs R Wilson Stephens Charles Woodward and other anonymous Principal Benefactors Benefactors Maureen Acland OBE Dr Aileen Adams CBE Bill and Sue Blyth Elisabeth and Bob Boas Claire Brisby and John Brisby QC Mr and Mrs Edward Davies-Gilbert Charles Dumas Mr and Mrs Jean-Marie Eveillard Simon Fairclough Marshall Field CBE Michael and Michele Foot Andrew and Wendy Gairdner William Gibson The Hon Mr and Mrs Philip Havers Professor Sean Hilton Dr and Mrs G and W Hoffman Heather Jarman David and Linda Lakhdhir Susan Latham Tessa Mayhew Mr and Mrs Hideto Nakahara Rodney and Kusum Nelson-Jones

37 Nick and Margaret Parker Timothy and Maren Robinson Bruno Schroder and Family Peter Thomson Peter and Margaret Wynn Julia Yorke and other anonymous Benefactors Donors Angela and Roderick Ashby-Johnson Mrs Nicky Brown Dr and Mrs S Challah David and Elizabeth Challen The Cottisford Trust Derek and Mary Draper Beatrice and Charles Goldie Steven and Madelaine Gunders Gemma and Lewis Morris Hall Mrs Helen Higgs Lord and Lady Jenkin of Roding Richard Lockwood Yvonne de la Praudière Robin and Jane Raw Annabel and Martin Randall Arthur L Rebell and Susan B Cohen Michael and Giustina Ryan Miss E M Schlossmann Michael Smith Rt Hon Sir Murray Stuart-Smith Robin Vousden Pippa Wicks Paul F. Wilkinson and Associates Inc. and other anonymous Donors Members of the AAM Bach Patrons Lady Alexander of Weedon Richard and Elena Bridges Mr and Mrs Graham Brown Jo and Keren Butler CHK Charities Ltd Matthew Ferrey Dunard Fund Elizabeth Hartley-Brewer The Hon Simon Eccles Professor Sean Hilton Graham and Amanda Hutton Mark and Lisa Loveday Mrs Sheila Mitchell Mr and Mrs Charles Rawlinson John and Joyce Reeve Dr Christopher and Lady Juliet Tadgell John and Madeleine Tattersall Stephen Thomas Mark West Charles Woodward Cambridge Bach Supporters Cambridge Bach Friends and other anonymous AAM Bach Patrons


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Board of Trustees Christopher Purvis CBE (Chairman) Adam Broadbent Kay Brock LVO DL John Everett Matthew Ferrey John Grieves Heather Jarman Dr Christopher Tadgell Sarah Miles Williams Development Board Christopher Purvis CBE (Chairman) Adam Broadbent Kay Brock LVO DL Delia Broke Kate Donaghy John Everett Matthew Ferrey Elizabeth de Friend John Grieves Madelaine Gunders Annie Norton Chris Rocker Dr Christopher Tadgell Madeleine Tattersall Sarah Miles Williams Alison Wisbeach Audit and Risk Committee John Everett (Chairman) John Grieves Sarah Miles Williams Nominations Committee Adam Broadbent (Chairman) Kay Brock LVO DL John Everett Matthew Ferrey John Grieves Christopher Purvis CBE

Fundraising Committee John Everett Matthew Ferrey Christopher Purvis CBE Madeleine Tattersall Music Director Richard Egarr Emeritus Director Christopher Hogwood CBE Chief Executive Michael Garvey Head of External Relations Simon Fairclough External Relations Manager: Communications Toby Chadd External Relations Manager: Development Dr Anne Leone Orchestra Manager Andrew Moore Finance Manager Elaine Hendrie Administration Manager Samantha Fryer Academy of Ancient Music 32 Newnham Road Cambridge CB3 9EY United Kingdom +44 (0)1223 301509 info@aam.co.uk www.aam.co.uk


Enriching life with baroque and classical music The Academy of Ancient Music exists to enrich people’s lives with historically-informed baroque and classical music revealed to the highest international standard in live performance, on record and through educational work. We achieve world-beating standards, and though firmly rooted at home in London and Cambridge we serve a global audience.


Annual Review 2009-10