AAM 2011-12 season brochure by Academy of Ancient Music

Academy of Ancient Music

London & Cambridge 2011–2012

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One of the world’s greatest pioneering period-instrument bands THE HERALD, 2010

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©BEN EALOVEGA

London & Cambridge 2011–2012 Page

CAMBRIDGE

LONDON

Musical Revolutions: Birth of the symphony

20 September 2011

19 September 2011

Musical Revolutions: Awakening of the Romantic hero

10 October 2011

12 October 2011

Witches and devils

31 October 2011

2 November 2011

Sumi Jo sings Mozart

25 November 2011

Handel’s Messiah

14 December 2011

Musical Revolutions: Rise of the concerto

27 February 2012

JS Bach’s St Matthew Passion

3 April 2012

Musical Revolutions: Dawn of the cantata

28 April 2012

26 April 2012

Musical Revolutions: Age of the French baroque

26 June 2012

27 June 2012

29 February 2012

Visit www.aam.co.uk to find out more about all of our concerts, and to watch and listen to the AAM 3

Who we are

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Musicians

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 THE HERALD, 2010

Richard Egarr Music Director

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USA NATIONAL PUBLIC RADIO

Christopher Hogwood Emeritus Director

The Academy of Ancient Music gives performances of baroque and classical music which JS Bach, Handel and Mozart would recognise, stripping away centuries of convention and getting back to the notes and sounds these composers originally envisaged. What’s different? The size of the orchestra is true to composers’ intentions, restoring the balance between the instruments and allowing the sound of each to shine through. We play on original instruments, or faithful copies of them: gut strings, not steel; trumpets without valves; cellos without spikes. The way we play and sing is based on the style of the period when the music was written. Often there’s no conductor — instead, the band is directed from the harpsichord or violin.

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the Bernstein of Early Music

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a byword for excellence BBC MUSIC MAGAZINE

Recordings

Global performances

The AAM’s celebrated discography of over 300 CDs includes Brit- and Grammy-award-winning recordings of the great baroque masterpieces; opera releases starring Cecilia Bartoli, Dame Emma Kirkby and Dame Joan Sutherland; and pioneering cycles of the Mozart and Beethoven symphonies.

Since 1973 the AAM has touched the lives of millions of music lovers with thousands of concerts across every continent except Antarctica. It has been crowned “one of the world’s great orchestras” in China and praised for giving “giddy shivers of delight” in the USA.

In 2011 the AAM breaks new ground with the worldpremiere recording of music by Christopher Gibbons, featuring the acclaimed Choir of the AAM.

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International highlights in 2011-12 include a major European tour performing Handel’s Royal Music at venues including Luxembourg’s Philharmonie, Birmingham’s Symphony Hall, Edinburgh’s Usher Hall, Château de Versailles in France and the Grafenegg Festival in Austria.

A few of our guest artists, past and present...

A selection from our acclaimed discography...

Worldwide venues, ancient to modern...

Elizabeth Watts soprano

Steven Isserlis cello

Ian Bostridge tenor

Handel Messiah

Beethoven Symphonies JS Bach Brandenburg Concertos

Mozart Piano Concertos

Sabratha, Libya

Concertgebouw, Amsterdam

Esterházy Palace, Austria

Giuliano Carmignola violin

Dame Joan Sutherland Masaaki Suzuki soprano director

Robert Levin piano

Haydn Symphonies

Vivaldi Gloria

Handel Rinaldo

Carnegie Hall, New York

Sydney Opera House

NCPA, Beijing

Dame Emma Kirkby soprano

In everything we do, we aim to get back to the intimacy, passion and vitality of music when it was first written. We love the results, and we think you will too. Purcell Dido and Aeneas

Musical Revolutions The course of musical history has been defined by astonishingly short and intense periods of innovation. In Musical Revolutions we explore the moments — from the dawn of the baroque to the beginning of the Romantic era — which gave birth to the concerto and the symphony, produced the glories of the French baroque and the Italian cantata, and inspired the earliest passions of the Romantic era. The works of great composers are writ large on our musical landscape, and there are plenty of them in Musical Revolutions — from JS Bach’s concertos to Beethoven’s ‘Eroica’, Monteverdi’s madrigals to Haydn’s symphonies. But cutting-edge music also sprang from the interaction between these composers as they inspired — and challenged — one another. It was the dynamic interplay between composers which revolutionised traditional sound worlds, and each of the five programmes in this series showcases a different, ground-breaking musical culture. We’re delighted to be welcoming some inspiring musicians for Musical Revolutions. Alina Ibragimova makes her AAM debut directing a programme charting the earliest days and some of the greatest achievements of the concerto; Jonathan Cohen joins us for the first time to direct a collection of deliciously sensual early Italian cantatas; and Shunské Sato is the soloist in Paganini’s virtuosic Violin concerto No.2 — the first performance in recent times on period instruments. Musical Revolutions is a celebration of composers who refused to accept the limitations of tradition and redefined the boundaries of music. It’s going to be thrilling; I hope you’ll join us. Richard Egarr Music Director

Dawn of the cantata

1614

Monteverdi

Falconieri

Castello

Zanetti

Strozzi

Age of the French baroque

Marini

1655

1683

Lully

Charpentier M Marais

1692

Rise of the concerto

1674

Biber

Vivaldi

JS Bach

Birth of the symphony

1730

1718

JS Bach

Handel

FX Richter

J Stamitz

Mozart

Awakening of the Romantic hero

J Haydn

1768

1804

Beethoven

Weber

Paganini

1826

Defining an eighteenth-century ‘symphony’ is nigh-on impossible, so diverse were the uses, structures and sizes of these works — from the sinfonias employed as introductions by JS Bach and Handel, to Haydn and Mozart’s self-contained classical symphonies.

HANDEL Sinfonia from Saul (1738)

But as well as paving the way for Beethoven and Mahler, this 50-year period of confusion and experimentation produced startlingly cutting-edge and dynamic music. Six composers, including the eight-year-old Mozart and the neglected Franz Richter, were at the centre of it all, and their symphonies course with the thrill of the new.

J STAMITZ Sinfonia à 4 in D major (c.1750)

“ ©CREDIT: © TATE GALLERY, LONDON

`Musicians of the Old School' (c.1820) by Edward Francis Burney (1760–1848). Modern music, represented by Beethoven and Mozart, battles against traditional music, represented by Handel.

Richard Egarr director & harpsichord

Birth of the symphony FX RICHTER Symphony No.4 in C major (1744) MOZART Symphony No.1 in E ﬂat major (1764) JS BACH Sinfonia from Cantata No.42 (1718) J HAYDN Symphony No.49 in F minor ‘La passione’ (1768)

In the symphony one should see the sadness, fright and consternation that a fatal catastrophe inspires, or the joy, happiness and ecstasy to which charming and happy events give birth ÉTIENNE DE LA VILLE, C.1795

” The rage for symphonies

From Finland to North Carolina, the eighteenth-century saw an explosion of symphonies — some 13,000 by one estimate. The great composers of the day devoted themselves to this new form, and Stamitz specifically fashioned his orchestra to perform symphonies. These works became a cultural phenomenon, too: initially performed at the beginning and end of concerts and secondary to the business of socialising and card-playing, Haydn’s works achieved such a stature that they were eventually placed in prime position at the start of the second half. Symphonies have never looked back.

LONDON Monday 19 September 2011 7.30pm Wigmore Hall

CAMBRIDGE Tuesday 20 September 2011 7.30pm West Road Concert Hall Pre-concert talks with Richard Egarr at 6.30pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

Shunské Sato violin AAM DEBUT Japanese violinist Shunské Sato first came to Richard Egarr’s attention as a major prize-winner at the 2010 Leipzig Bach

Competition. Since his debut with The Philadelphia Orchestra at the age of ten he has given virtuosic performances of repertoire from the seventeenth to the twenty-first centuries, including the world-premiere recording of Paganini’s 24 Caprices on a period violin.

Heroes are forged through the trials they endure. For Max, the gamekeeper at the centre of Weber’s Die Freischütz, it is magic bullets and supernatural evil which must be overcome. For Paganini, a brilliant violinist obsessed with the virtuosic, the soloist emerges as hero after the sternest musical test.

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

Beethoven’s ‘Eroica’ was originally dedicated to Napoleon Bonaparte, the greatest hero of the day — but its importance is not only through association. The work’s unprecedented scale, grand climaxes and compositional ingenuity broke the shackles of tradition to herald a new age. Beethoven’s heroism would revolutionise musical history.

“ © KUNSTHALLE, HAMBURG

The wanderer above the sea of fog (c.1818) by Caspar David Friedrich (1774–1840)

Richard Egarr conductor

Awakening of the Romantic hero

Bliss was it in that dawn to be alive But to be young was very heaven! WILLIAM WORDSWORTH, 1805

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A world in turmoil At the turn of the nineteenth century Europe stood on the brink of a new age. The French Revolution and the resulting decades of war had sparked radical political upheaval. In literature, Goethe and Wordsworth were among those leading the way in emphasising the importance of the emotions; Turner, Goya and Friedrich found a new freedom and expressiveness in their painting; and everywhere the parameters of thought were shifting “from exact truth to a way of feeling”, as Baudelaire put it. The air was rife with uncertainty — but also with opportunity.

CAMBRIDGE Monday 10 October 2011 7.30pm West Road Concert Hall

LONDON Wednesday 12 October 2011 7.30pm Cadogan Hall Pre-concert talks with Richard Egarr at 6.30pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

Witches and devils

Pavlo Beznosiuk director & violin

Rebecca Bottone soprano AAM DEBUT “Once seen and heard, never forgotten.” So wrote The Times after Rebecca’s recent performance as the cricket in

Jonathan Dove’s The Adventures of Pinocchio. Her ability to bring to life unusual roles across the widest repertoire has met with considerable acclaim, and her numerous baroque — and particularly Handelian — performances have caught the ear of audiences and critics alike.

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The dream of Tartini (1840) by Julien Leopold Boilly (1796-1874)

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One night in the year 1713 I dreamt I had made a pact with the devil for my soul. I gave him my violin to see if he could play. How great was my astonishment on hearing a sonata so wonderful and so beautiful, as I had never conceived even in my boldest flights of fantasy.

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

So runs Tartini’s account of the composition of his revered ‘Devil’s trill’ sonata, a work combining beguiling lyricism with fiendish virtuosity. Unusual inspiration has long produced extraordinary art: Telemann’s daily life as a devoted church musician seems worlds away when he calls on violins to imitate croaking frogs, whilst Handel and Charpentier’s masterly skills of characterisation are given a sinister edge when turned to the sorceress Alcina and the crazed Medea.

A spell over Europe Suspicion constantly surrounded Giuseppe Tartini’s occult tendencies, but he was not alone in his fascination with magic. Across Europe writers were exploring the power of rhetoric to miraculously transform reality, and Charpentier was one of many of authors and composers who found inspiration in the ancient Greek figure of Medea. But in the eyes of the law at least the occult was losing its power: an English ruling of 1735 withdrew all penalties for practising witchcraft, arguing that it was an “impossible crime”.

CAMBRIDGE Monday 31 October 2011 7.30pm West Road Concert Hall

LONDON Wednesday 2 November 2011 7.30pm Wigmore Hall Pre-concert talks with Pavlo Beznosiuk at 6.30pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

Richard Egarr director & harpsichord

Sumi Jo soprano AAM UK DEBUT After a European debut which left Herbert von Karajan enthralled, Sumi Jo was always

destined for great things. Celebrated performances at all of the world’s great concert halls have characterised her remarkable career, and singing at the 2008 Olympic Games confirmed her status as a global superstar.

Few composers share Mozart’s truly international outlook, which began at an early age with his European travels. It’s hardly surprising, then, that he recreates a diverse range of cultures within his music.

©WIEN MUSEUM KARLSPLATZ, VIENNA, AUSTRIA / BRIDGEMAN ART LIBRARY

Initiation ceremony in a Viennese Masonic Lodge, with Mozart seated on the extreme left (1784) by Ignaz Unterberger (1748–97)

Sumi Jo sings Mozart Following a seven-concert tour of the Far East with the AAM, South Korean soprano Sumi Jo joins us once again to perform arias brimming with atmosphere from Greek myths to Turkish palaces. But it wasn’t only with the voice that Mozart could conjure foreign flavours: the programme also features Viennese Masonic funeral music and the ‘Paris’ symphony, which bursts into life with the so-called ‘Mannheim rocket’.

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MOZART Overture to Le nozze di Figaro (1786) MOZART ‘Martern aller Arten’ from Die Entführung aus dem Serail (1782) MOZART Entr’actes from Thamos, König in Ägypten (1773) MOZART ‘Vorrei spiegarvi, oh Dio’ (1783) MOZART Maurerische Trauermusik (1785) MOZART ‘Se il padre perdei’ from Idomeneo (1781) MOZART Symphony No.31 in D major ‘Paris’ (1778) MOZART ‘No, che non sei capace’ (1783)

All our endeavour to confine ourselves to what is simple and limited was lost when Mozart appeared. Die Entführung aus dem Serail conquered all. JOHANN WOLFGANG VON GOETHE, 1787

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An international city Mozart began his famous European travels at the tender age of seven. But Vienna itself, where he lived for many years and wrote several of the works in this programme, bursted with different national influences. A population boom, increased industrialisation and extensive building work made it an economic and cultural hub of Europe during the composer’s lifetime; and the preceding centuries of invasion by various countries had ensured that the city’s identity was always in flux. For cosmopolitan influence, Mozart need have looked no further than his doorstep.

LONDON Friday 25 November 2011 7.30pm Cadogan Hall Pre-concert talk with Richard Egarr at 6.30pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

Sarah Fox soprano

Clare Wilkinson mezzo-soprano

Ben Johnson tenor

Stephan Loges baritone

Choir of the AAM

Richard Egarr director & harpsichord

Does Messiah need any introduction? No piece of music is so well known and yet so deeply loved — but then few works invite the audience so deeply into the heart of their drama. When George II was inspired to rise to his feet during the ‘Hallelujah’ chorus, unwittingly establishing a tradition that continues today, he embodied the irresistibly moving nature of Handel’s masterpiece, seamless combination of the lyrical beauty of Italian opera and the dramatic immediacy of the church liturgy. At its premiere the church authorities worried about the implications of this potent mix; centuries later it ensures that Messiah never grows old.

Adoration of the shepherds (1622) by Gerard van Honthorst (1592–1656)

Handel’s Messiah

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HANDEL Messiah (1742)

The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear THE DUBLIN JOURNAL, APRIL 1742

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Multiple Messiahs Ever the pragmatist, Handel repeatedly modified Messiah to suit changing circumstances. The AAM has made two acclaimed recordings of Handel’s finest arrangements: in 1980 Christopher Hogwood conducted the 1754 version for Covent Garden and the Foundling Hospital; and in 2006 we teamed up with Edward Higginbottom and the Choir of New College, Oxford for the only modern recording of the 1751 version, which uses trebles in both the choruses and arias.

LONDON Wednesday 14 December 2011 7.00pm Barbican Concert Hall Pre-concert talk with Richard Egarr at 6.00pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

Rise of the concerto Alina Ibragimova makes her AAM debut in a programme which vividly charts groundbreaking innovations in the role of the violin, from Biber’s Passacaglia (thought to be the first solo work for the instrument) to the summit of the baroque concerto. The juxtaposition of soloist and accompaniment has endless variations: Biber’s Passacaglia calls on the violinist to accompany herself; a playful dialogue ensues as JS Bach introduces a harpsichord; finally the stage bustles with action as JS Bach and Vivaldi explore the interaction between orchestra and soloist, full of harmony and conversation, contrast and opposition.

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These works aren’t just the start of something. They form their own world, with the full spectrum of colour and emotion — everything that music is about, in fact

©SUSSIE AHLBURG

ALINA IBRAGIMOVA, 2011

Alina Ibragimova director & violin AAM DEBUT These concerts mark Alina’s debut with the AAM, and her first performances directing a period-instrument ensemble. Russian by birth

but English in her education, Alina counts Yehudi Menuhin among her musical mentors. Her discography includes award-winning discs of Bach, Beethoven and Schubert — but also hidden corners including Szymanowski and Roslavets.

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

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The birth of the virtuoso As exposed solo lines became more prominent, so the skill demanded of musicians increased. Biber was partly motivated to write for solo violin in order to test his own musical ability: one eighteenth-century writer described him as “the best of all the violin players of the last century”. Whereas the sonata had an essentially egalitarian nature, the concerto distinguished between the advanced, salaried soloists and the rank-and-file, hired members of the orchestra. This was a revolution not only within the music itself but across the business of performing.

CAMBRIDGE Monday 27 February 2012 7.30pm West Road Concert Hall

LONDON Wednesday 29 February 2012 7.30pm Wigmore Hall Pre-concert talks with Alina Ibragimova at 6.30pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

The mocking of Christ (c.1616) by Gerard van Honthorst (1592–1656)

JS Bach’s St Matthew Passion

James Gilchrist Evangelist

Choir of King’s College, Cambridge

Stephen Cleobury conductor

The first 45 years of JS Bach’s musical life culminated in the St Matthew Passion. He had mastered instrumental writing during his time in Cöthen; since his arrival in Leipzig he had composed a collection of church cantatas of astounding invention. Both skills, and much more besides, were brought together with ingenious coherence in the in this new work — his most ambitious yet..

JS BACH St Matthew Passion (1729)

Employing a choir and orchestra of unprecedented size, Bach conjured brilliant musical expression in the work’s majestic climaxes and smallest details. Little wonder, then, that he returned to the St Matthew Passion throughout his life: no other work contains so much of his musical essence.

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In the St Matthew Passion, Bach compiled virtually every possible musical form available

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JOHN BUT T, FORMER KING’S COLLEGE ORGAN SCHOLAR AND FELLOW

The European tradition For a while after his death in 1750, it seemed that JS Bach’s work would be championed only by his sons. But gradually his fame spread until, on 11 March 1829, Mendelssohn conducted the first performance of the St Matthew Passion since the composer’s lifetime. Churches around Germany quickly followed suit; and by the time that the London Bach Society had been founded in 1849 to introduce the work to the British public, the St Matthew Passion had become firmly rooted in Europe’s musical consciousness.

CAMBRIDGE Tuesday 3 April 2012 5.30pm King’s College Chapel TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

Dawn of the cantata At the heart of the first Italian cantatas was a new and astonishing emphasis on the voice. This was a revolution built on theory and scholarship, but above all on deeply-felt emotions laid bare through this most human of instruments — whether Monteverdi’s joyous celebration of spring in ‘Zefiro torna’ or Strozzi’s lovelorn lament ‘Udite, amanti’.

FALCONIERI Ciaccona in G major (c.1616)

Instrumental music of thrilling inventiveness intersperses the programme, which culminates in Monteverdi’s Il combattimento di Tancredi e Clorinda. Here love and war collide to startling dramatic and musical effect, and an age-old tale is brought vividly to life through this freshly-minted form.

MONTEVERDI ‘Ardo e scoprir’ from Madrigali guerrieri et amorosi (1638)

“ Anna Prohaska soprano

James Gilchrist tenor

Robert Murray tenor

Always thrilling, and always veering into new emotional territory. Superb. THE GUARDIAN, 2011

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Jonathan Cohen director & keyboards AAM DEBUT Few directors have had such all-embracing, on-the-ground training as

Jonathan Cohen. Expertise as an orchestral and chamber cellist has been followed by significant acclaim as a director, with a particular passion for early baroque vocal music.

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Carnevale di Venezia

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Musicke so delectable, so rare, so admirable, so superexcellent, that it did even ravish and stupifie all those strangers that had never heard the like

MONTEVERDI ‘Zeﬁro torna’ from Madrigali e canzonette a due e tre voci (1614) MONTEVERDI ‘Se vittore si belle’ from Madrigali guerrieri et amorosi (1638) STROZZI ‘Udite, amanti’ (1651)

B MARINI Sonata sopra fuggi dolente (1655) CASTELLO Sonata No.15 à 4 from Sonate Concertate in Stile Moderno Libro Secondo (1621) MONTEVERDI Act 1 Scene 2 of Il ritorno di Ulisse in patria (1640) MONTEVERDI ‘Ohimé ch’io cado’ (1624) ZANETTI Saltarello della Battaglia (1645) MONTEVERDI Il combattimento di Tancredi e Clorinda (1624)

Never to be repeated? The circumstances which gave rise to these extraordinary cantatas were unparalleled, then and now: a close intertwining of poetry and music; a culture of patronage which allowed unrivalled artistic grandeur and experimentation; a succession of remarkably inventive composers; and, at the heart of it all, the genius of Monteverdi. His use of new techniques in Il combattimento to evoke passion so shocked his players that they initially refused to perform the work. This was not his only innovation with which the rest of the musical world took generations to catch up.

LONDON Thursday 26 April 2012 7.30pm Wigmore Hall

CAMBRIDGE Saturday 28 April 2012 7.30pm West Road Concert Hall Pre-concert talks with Jonathan Cohen at 6.30pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

Choir of the AAM

Richard Egarr director & keyboards

Jean-Baptiste Lully was best known in his lifetime for his deft dancing and his revolutionary ballet and opera scores. But he was never afraid to bring his developments in these fields to bear on his few compositions for the church, and Lully’s four works in this programme forged a new direction in European sacred music with their bold instrumental lines and innovative balance of solo and choral voices.

J-B LULLY De profundis (1683) M-A CHARPENTIER Sonate à huit (c.1690) LULLY Regina coeli laetare (1684) LULLY Salve Regina (1684) M MARAIS Suite from Sonatas pour le Coucher du Roy (1692) LULLY Dies Irae (1683)

Celebrations for the marriage of Louis XIV’s son in Paris’ Hôtel de Ville in 1680. 18th-century engraving.

Age of the French baroque

Lully’s work is complemented by instrumental pieces of huge ingenuity by two of his contemporaries. The simultaneous creative outpourings of these composers, the competition between them encouraging ever greater success, were at the heart of an astonishingly vibrant musical culture.

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The language Lully forged could leave no one indifferent, with its power, clarity, equilibrium, coherence, poetry and exquisite sensitivity GROVE DIC TIONARY OF MUSIC AND MUSICIANS

The Sun King

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Late seventeenth-century France brimmed with culture. At the centre of it all stood Louis XIV, the ‘Sun King’, whose patronage and love of the arts ushered in a golden age for music, literature, visual arts and architecture. As well as being a fine dancer himself, he was patron to Molière and Racine, restored the Louvre and turned Versailles from a hunting lodge into one of the largest palaces in the world. Lully, Charpentier and Marais all worked in different capacities for him, producing much of their best work in the King’s service.

CAMBRIDGE Tuesday 26 June 2012 7.30pm West Road Concert Hall

LONDON Wednesday 27 June 2012 7.30pm Wigmore Hall Pre-concert talks with Richard Egarr at 6.30pm TURN TO PAGE 30 FOR BOOKING INFORMATION ‰

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Sitting side by side with the AAM in an AAMplify workshop was absolutely the best experience of my musical life HELEN ROCHE AAMPLIFY MEMBER

Our AAMplify programme brings a new generation of music lovers to the heart of the AAM’s work through three strands: • AAMplify audiences: £3 tickets to many AAM performances in London and Cambridge • AAMplify artists: opportunities to play side-by-side with the orchestra • AAMplify arts managers: chances to gain experience behind the scenes with the AAM If you’re under 26, visit www.aam.co.uk and click on ‘AAMplify’ to find out more and to join for free.

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Pre-concert talks

Want to find out more about our performances from the musicians themselves? Shortly before most of our concerts in London and Cambridge, the director discusses the evening’s music in a free 30-minute pre-concert talk. There’s no ticket required — just turn up! And, if you’ve missed any of the talks or want to listen again, you can download them for free from iTunes: search for ‘AAM pre-concert talk’.

AAM online

Visit the AAM’s recently re-launched website to discover more about our music and musicians, access all the features you need to get the most from our performances, and watch and listen to the AAM from wherever you are in the world.

www.aam.co.uk 27

Supporting the AAM

AAM Funders and Supporters

Since 1973, millions of lives have been enriched by the musical excellence of the AAM. Last year we played for over 25,000 people worldwide, we reached hundreds of young people with our AAMplify new generation programme, and we touched the lives of millions more through our recordings and broadcasts.

RBC Wealth Management Kleinwort Benson

As we approach our 40th anniversary we are seeking to develop our traditions of excellence and innovation for the music lovers of the future — but we can only do so with your support. In the next five years we need to raise £5.8 million, £1.8 million of which remains to be raised. Here are some of the ways you can help: • Join the AAM Society, our core group of regular supporters, from just £21 per month. Members enjoy a close and ongoing involvement with the life of the orchestra, attending rehearsals, dining with the musicians after London performances, and travelling with the band on international tours. • Become a Musical Revolutionary by supporting our Musical Revolutions concert series. Giving opportunities start from £250 and include supporting the AAM debuts of Jonathan Cohen, Alina Ibragimova and Shunské Sato, and appearances from soloists including James Gilchrist and Anna Prohaska. • Leave a legacy. Over the next decade we aim to begin to build up an endowment fund which will enable the AAM to enrich people’s lives for generations to come. By remembering the AAM in your will you could strengthen the orchestra’s position for the long term while also potentially reducing the overall tax liability due on your estate.

CHK Charities Ltd Dunard Fund Fidelity UK Foundation The Michael Marks Charitable Trust Newby Trust Ltd Anthony Travis Charitable Trust Sir Siegmund Warburg’s Voluntary Settlement KT Wong Foundation and Lady Linda Wong Davies and other anonymous trusts and foundations From April 2012, the AAM will be part of Arts Council England’s National Portfolio of funded organisations Members of the AAM Society AAM Musical Revolutionaries

Generous tax incentives are on offer to those who choose to support charities like the AAM. In some circumstances the cost of making a gift to the orchestra could be well under half its eventual value to us. To find out more, please visit www.aam.co.uk and click ‘Support the AAM’, or contact Simon Fairclough, Head of External Relations, on s.fairclough@aam.co.uk or 01223 341096. 29

Booking information WIGMORE HALL 36 Wigmore Street, London W1U 2BP

CADOGAN HALL 5 Sloane Terrace, London SW1X 9DQ

BARBICAN CONCERT HALL Silk Street, London EC2Y 8DS

WEST ROAD CONCERT HALL 11 West Road, Cambridge CB3 9DP

KING’S COLLEGE CHAPEL King’s College, Cambridge CB2 1ST

Tickets £18, £24, £28, £32 including a free programme (AAMplify members £3 — find out more on page 27)

Tickets £10, £17, £25, £32, £35 including a free programme (AAMplify members £3 — find out more on page 27)

Tickets £10, £15, £25, £35, £45 (AAMplify members £3 — find out more on page 27)

Tickets £14, £20, £27 including a free programme (AAMplify members £3 — find out more on page 27)

Tickets £7.50–£50

Booking opens on 19 May 2011

Booking now open

General booking opens on 22 July 2011 via Cambridge Arts Theatre box office

WAYS TO BOOK • By telephone on 020 7935 2141 Daily 10am–7pm Days without an evening concert 10am–5pm There is a £2 administration fee for all telephone bookings, which includes the delivery of your tickets by post if time permits • Online at www.wigmore-hall.org.uk There is a £1 administration fee for online bookings, which includes the delivery of your tickets by post if time permits • In person at the Wigmore Hall box office Daily 10am–8.30pm Days without an evening concert 10am–5pm No advance booking in the half hour prior to a concert

WAYS TO BOOK • By telephone on 020 7730 4500 Monday–Saturday 10am–8pm Sunday (concert days only) 3pm–8pm There is a £2.50 administration fee for all telephone bookings • Online at www.cadoganhall.com There is a £2.50 administration fee for all online bookings • In person at the Cadogan Hall box office Monday–Saturday 10am–8pm Sunday (concert days only) 3pm – 8pm

WAYS TO BOOK • By telephone on 020 7638 8891 Monday–Saturday 10am–8pm Sunday 11am–8pm There is a £3.50 administration fee for telephone bookings, which includes the delivery of your tickets by first class post • Online at www.barbican.org.uk There is a £2 administration fee for online bookings • In person at the Advance box office, Silk Street entrance Monday–Saturday 10am–9pm Sunday 12noon–9pm

WAYS TO BOOK • By telephone on 01223 503333 Monday–Saturday 12noon–8pm • Online at www.aam.co.uk/cambridge There is a 70p administration fee for online bookings • In person at the Cambridge Arts Theatre Monday–Saturday 12noon–8pm

Facilities for disabled people For full details please contact House Management on 020 7730 8210 or housemanagers@wigmore-hall.org.uk Director John Gilhooly The Wigmore Hall Trust Registered charity number 1024838

Booking opens on 16 January 2012 via The Shop at King’s WAYS TO BOOK • By telephone on 01223 769342 Monday–Saturday 9.30am–5.30pm Sunday 9.30am–4.30pm • In person at The Shop at King’s Monday–Saturday 9.30am–5.30pm Sunday 9.30am–4.30pm

Subscription booking closes 20 July 2011 at 5pm Book for all five concerts in the West Road Concert Hall series through the AAM subscriptions office and receive a 15% discount Ways to book subscription tickets • By telephone on 01223 301509 Monday–Friday 9am–5.30pm • By email on subscriptions@aam.co.uk • At the subscription booking desk at the West Road concert on 19 July

Academy of Ancient Music Music Director Richard Egarr Emeritus Director Christopher Hogwood CBE 32 Newnham Road, Cambridge CB3 9EY +44 (0)1223 301509 info@aam.co.uk www.aam.co.uk

Registered charity number 1085485 Design: www.theoakstudio.co.uk