AAM - South American connections

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South American connections Music from the New World and influences from the Old Juanita Lascarro soprano Rodolfo Richter director & violin 24 November 25 November

West Road Concert Hall, Cambridge Wigmore Hall, London

Welcome! In a year when the AAM’s musicmaking centres on the work of the Bach family, tonight’s concert promises something rather different.

In curating this programme, Rodolfo Richter returns to his South American roots. All of the music you will hear is centred around South America — whether written by South American composers (Lobo de Mesquita), European-born composers who worked in South America (Zipoli and Torrejón y Velasco) or the Europeans who influenced them (Hasse, Alessandro Scarlatti, Corrette and Handel).

Some of the works are well known; others are being heard for perhaps the first time in centuries. Rodolfo has persuaded a secretive collector to allow him to play Lobo de Mesquita’s Adagio and Fugue in G minor; he has reconstructed the anonymous Sonata Chiquitana XVIII from manuscripts found in Brazil and Bolivia; and the Cachua, a late 17th-century Peruvian folk melody, forms the core — as it would in the past — of a semi-improvised ‘jamming session’.

We are delighted to be joined for the first time by soprano Juanita Lascarro. South American baroque music has been neglected; tonight’s programme shows just how undeserved this is.

Special offer: free CD with Wigmore Hall tickets Buy a pair of tickets for any of the AAM’s Wigmore Hall concerts up to March 2011, and you’ll get the AAM’s Wigmore Hall Live CD for free.

The CD features music by Handel, Bach and Vivaldi, and was described by Gramophone as “an electrifying survey of baroque concertos... unflaggingly alert, playful and dramatic”.

To take advantage of this offer, simply call the Wigmore Hall box office on 020 7935 2141, or visit www.wigmore-hall.org.uk.

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Programme JOHANN ADOLF HASSE (c.1699-1783) Overture to Cleofide Allegro assai Andante Minuetto — Presto JOSÉ JOAQUIM EMERICO LOBO DE MESQUITA (1746-1805) Adagio and Fugue in G minor DOMENICO ZIPOLI (1688-1726) ‘Dell’offese a vendicarmi’ from Dell’offese a vendicarmi ALESSANDRO SCARLATTI (1660-1725) Concerto Grosso No.1 in F minor from VI Concertos in Seven Parts Grave Allegro Largo Allemande (Allegro) MICHEL CORRETTE (1707-1795) ‘Les Sauvages’ from Concerto Comique No.25 in G minor TOMÁS DE TORREJÓN Y VELASCO (1644-1728) Desvelado dueño mio ANONYMOUS (18th-century) Cachua Interval of 20 minutes Please check that your mobile phone is switched off, especially if you used it during the interval.

ANONYMOUS (18th-century) Sonata Chiquitana XVIII Allegro Andante Menuetto GEORGE FRIDERIC HANDEL (1685-1759) Il Delirio Amoroso HWV90

Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched off.

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Stephen Rose describes the connections in tonight’s programme From the first encounters between Europeans and the indigenous peoples of America, music played a vital role in defining identities and facilitating communication. The early European explorers took musicians such as trumpeters, wind-players and drummers on their ships.

Christopher Columbus attempted to communicate with the natives of Trinidad by getting his ship’s musicians to play at them.

These European colonisers also noted the musical sounds and instruments of the American peoples. A member of Hernando Cortés’s army in Mexico commented on the “small tambourines and shell trumpets, horns and whistles” of their Aztec adversaries. Another European account noted the instruments used in Chiribichi (present-day Venezuala), such as sea shells with strings stretched across them and wind instruments made from animal bones or river rushes.

were often familiar with the latest musical fashions from Spain and Italy. Tonight’s programme includes pieces by indigenous South American musicians and by European colonisers, as well as a French evocation of the music of American aborigines. Central to tonight’s concert, however, is music written in Italy or in Italian styles by Alessandro Scarlatti, Johann Adolf Hasse and George Frideric Handel.

Italy was the training and recruiting ground for so many musicians in the period, and hence formed the centre from which almost all musical connections radiated outwards.

In the European colonization of Latin and South America, music was extensively disseminated by missionaries. Jesuit missionaries favoured polyphonic music, partly as a way to convey the mystery and majesty of their Christian worship, and partly because it was extremely popular with indigenous peoples. A 1615 report by the Franciscan missionary Juan de Torquemada claimed that the Indians had mastered every church instrument used in churches in Mexico.

He went on to note that: “Every town with a population of at least one hundred contains singers who are proficient in polyphonic music.

The same towns all have their supply of instruments, and even the smallest hamlets, no matter how insignificant, have three or four Indians at least who sing every day in church.”

The concert starts with the Overture to Cleofide by Johann Adolf Hasse (c.1699–1783). Hasse gained his musical education in Hamburg, but in 1722 he travelled to Naples where he studied with Alessandro Scarlatti and wrote many successful operas.

Cleofide was premiered at Dresden on 13 September 1731, after Hasse’s return from his prolonged period in Italy. He never travelled beyond Europe, although his music can be found in manuscripts in the Americas (such as at the cathedral of Puebla, Mexico); but the opera Cleofide is itself on the theme of colonial encounters (between Alexander the Great and the Indian forces, led by Porus and Cleofide).

The overture is in three movements, starting with an Allegro that summons the audience’s attention via the violins’ repeated-note semiquavers. The middle movement is an Andante where the two flutes take the lead, with melodic ornamentation including Scotch Snap (short-long) rhythms in the so-called galant style. The finale alternates a minuet with a hectic duple-time trio.

This concert explores the web of musical connections that existed between South America and Europe in the early eighteenth century. Musicians, manuscripts and instruments were all exchanged with astonishing rapidity between Old and New Worlds, such that performers in Cuzco or Lima

Alessandro Scarlatti (1660–1725) connects several of the composers in tonight’s programme: he taught Hasse and Domenico Zipoli, and his music undoubtedly made a mark on the young Handel. Scarlatti was best known for his operas, but in tonight’s programme he is represented by the Concerto Grosso No.1 in F

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Private Collection / The Stapleton Collection / The Bridgeman Art Library

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Spaniards being welcomed by an Indian king, from Girolamo Benzoni's account of the conquest of Peru in ‘Newe Welt und Americanische Historien’ by Johann Ludwig Gottfried, published by Mattaeus Merian in Frankfurt, 1631. Engraving by Theodore de Bry (1528–98).

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minor (from the collection VI Concertos in Seven Parts, published in England in the 1740s).

Scarlatti’s concerto follows the scoring of Arcangelo Corelli’s Op.5 concerti grossi, with two violins and cello singled out as soloists; and a Corellian touch is also evident in the finelywrought orchestral fugue.

by a storm, and in 1725 he died of tuberculosis before he could be ordained. Zipoli’s music was extremely popular in South America, being disseminated by Spanish administrators and clerics, and also within Indian communities from which Europeans were excluded. Tonight’s concert includes an aria for voice and continuo from the cantata Dell’offese a vendicarmi chiamo all’armi, which Zipoli wrote before leaving for Paraguay.

Also active in Italy during the 1700s was the young George Frideric Handel (1685–1759), whose output from the period included his cantata Il Deliro Amoroso. Written to a text by Cardinal Pamphili (who had earlier acted as a patron to Alessandro Scarlatti), the cantata recounts Chloris’s dream that she has entered the underworld to reclaim her lover Thyrsis. An initial anticipation of this dark journey can be heard in the slow chromatic chords that interrupt the jaunty, gigue-like Sinfonia. The first aria, ‘Un pensiero voli in ciel’ (‘Let a thought soar into the sky’), uses long solo passages for violin and voice to evoke its flighty mood. A more sombre mood pervades ‘Per te lascia la luce’ (‘For you I left the daylight’), with its hymn-like declamation and echoes sung down an octave.

Subsequently, ‘Lascia omai le brune vele’ (‘Leave now the dark brown sails’) seeks to bring a ray of light into Hades, with its flute obbligato and chirpy 3-8 metre; then, after the overture-like Entrée, ‘In queste amene piaggie serene’ (‘On these pleasant, serene shores’) combines the cheerful metre of a minuet with the wistfulness of E minor.

Another European who travelled to the New World was Tomás de Torrejón y Velasco (1644–1728). As a teenager he served as a page in the household of the Count of Lemos, who in 1667 was appointed as viceroy of Peru. Torrejón y Velasco travelled to Peru in the Count’s entourage and subsequently became superintendent of the armoury at Lima, then chief justice of the province of Chachapoyas. In 1676 he became maestro de capella at Lima cathedral, a post he held for the rest of his life.

He wrote the earliest surviving opera from the New World, La púrpura de la rosa, premiered in 1701 to mark the first year of the reign of King Philip V of Spain. A more conservative musical style is evident in his Desvelado dueño mio, an eight-voice piece for double choir that nonetheless incorporates the dance-rhythms of the chaconne. It was presumably intended for Lima cathedral, although tonight it is performed in an arrangement by Rodolfo Richter for strings and wind instruments.

At the same time that Handel was working in Rome, Domenico Zipoli (1688–1726) was receiving his musical training in Florence, Rome and briefly with Alessandro Scarlatti in Naples.

In 1715 he became organist at the Jesuit Church in Rome. A year later, however, he had joined the Society of Jesus and in 1717 he was sent to the district of Paraguay where he studied theology and philosophy at Cordoba, with the eventual aim of becoming a priest. But Zipoli’s South American sojourn was bedevilled by bad luck: his voyage there was interrupted

As the European colonization of South America advanced, second- and third-generation immigrants also began to gain musical reputations for themselves. José Joaquim Emerico Lobo de Mesquita (1746–1805) was the mixed-race son of the Portuguese José Lobo de Mesquita and his slave Joaquina Emerenciana. He worked as organist at various churches in the province of Minas Gerais, and in 1801 moved to Rio de Janeiro to become organist at the church of Nossa Senhora de Carmo. He is mainly known for his sacred music,

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including numerous settings of the Mass; these use the balanced phrases also found in the music of Viennese classicism. Tonight’s concert includes a rare example of Lobo de Mesquita’s instrumental music, the Adagio and Fugue in G minor. The first movement combines two intricate themes—a descending chromatic line, and also a series of falling triads. The following fugue was left unfinished by Mesquita, but uses a theme (that descends chromatically through a full octave) also found in works by Hasse and the Strasbourg musician Franz Xaver Richter (1709–1789).

The music archives in such South American towns as Cuzco include numerous anonymous pieces, indicating the richness of musical activity there in the eighteenth century. One such piece is the Sonata Chiquitana XVIII, which uses a similar three-movement form to the Hasse overture heard at the start of tonight’s concert. The vigorous triadic harmonies of the outer movements act as a foil to the gentle minor-key melody of the inner slow movement. Another piece of indigenous South American music is the Cachua, a late seventeenth-century transcription of a Peruvian dance.

Even for those European musicians who did not visit the New World, it still held a considerable hold on their imaginations, as is indicated by the French tune ‘Les Sauvages’, here heard in a version from Michel Corrette’s Concerto comique No.25 in G minor. This energetic minor-key tune, alternating held-notes with sudden quaver outbursts and flurries of repeated notes, was originally written by Rameau either for or shortly after the display of

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two North American Indians at the SaintGermain fair in 1725. The event was described thus in the Mercure de France of September 1725: “Two large and well-built savages, about 25 years old and only recently arrived from Louisiana, danced three kinds of dances in a style that left no room for doubt that the steps and leaps they executed were learnt a long way away from Paris. [After the dance of peace,] next came a war-dance, depicting a gathering of savages resolved on waging war with such and such a tribe. One of their number acts out all the horror of so doing, while those in agreement with him signify their approval by joining in the dance. In the third dance the warrior, armed with a bow and quiverful of arrows, first tracks down an enemy while the other savage sits on the ground and beats a drum.”

Rameau then used the tune in his keyboard music and his opera Les Indes Galants (1735). It was subsequently used by a succession of composers up to the French revolution. Among these was Michel Corrette (1707–1795), who held numerous organist posts in Paris (including at the Jesuit College). His version of Les Sauvages is found in the last of his Concertos comiques, a set of pieces written between 1733 and 1760 which all quote popular tunes of the day. Evidently Paris was fascinated by this musical representation of the exotic dances of the American Indians.

Stephen Rose © 2010 Dr Stephen Rose is Lecturer in Music at Royal Holloway, University of London

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Tonight’s composers Johann Adolf Hasse (c.1699–1783)

Michel Corrette (1707–1795)

Born near Hamburg, Hasse was an important figure in the development of opera seria (‘serious’ opera, usually Italian). After his death, though, his huge operatic output (around 70 works survive) was wholly neglected, only to be revived in the late 20th century.

A prolific composer of ballets, concertos, sonatas, songs, cantatas and chamber music, the Normandy-born Corrette was also a teacher, producing several methodbooks (including L’Art de se perfectionner sur le violon). For more than 40 years he was organist at the Jesuit College in Paris, where he taught missionaries who subsequently left for Paraguay and Bolivia.

José Joaquim Emerico Lobo de Mesquita (1746–1805) Born in Brazil and given an extensive musical education, Lobo de Mesquita spent much of his life in Diamantina where he founded a music school and was cathedral organist, renowned for his virtuosic playing and improvisation. He moved to Rio de Janeiro after quarrelling with the mayor, and remained there until his death.

Domenico Zipoli (1688–1726) Born in Italy, Zipoli was rapidly becoming one of the finest musicians of his day (studying with, among others, Alessandro Scarlatti) when he moved to Seville and became a Jesuit missionary. In Cordoba (Argentina) the absence of a bishop meant he was never ordained, but his fame as Kapellmeister spread as far as Paraguay and Peru.

Alessandro Scarlatti (1660–1725) Born in Palermo, Scarlatti was active throughout Italy: he composed in Naples, Florence, Venice and Urbino. His finest music, though, was written in Rome — including several operas and a number of works for the church. His sons, Domenico and Pietro Filippo, were also composers.

Tomás de Torrejón y Velasco (1644–1728) Born in Madrid, Torrejón y Velasco entered the service of the Count of Lemos — who subsequently became viceroy of Peru, taking a 113-strong retinue (including Velasco) to the New World. But Velasco’s musical abilities marked him out, and he became maestro da capella at the cathedral. In 1707 he returned to Europe to collect together the latest European music — including, quite possibly, that of Handel.

George Frideric Handel (1685–1759) German-born, Handel studied in Italy before becoming a British subject.

Whilst in Italy he composed Il Delirio Amoroso, which he dedicated to his patron Cardinal Pamphili — with whom Zipoli was in contact, and who wrote libretti for Alessandro Scarlatti’s operas. Appropriately, Pamphili’s palace is now the Brazilian embassy in Rome.

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Texts and translations Zipoli ‘Dell’offese a vendicarmi’ Dell’offese a vendicarmi chiamo all’armi voi tiranni miei pensieri.

Esser miei più non potete se non siete di giust’ira armati arcieri.

I call you to arms, my tyrannous thoughts, to avenge myself from these wrongdoings.

You can be my thoughts no longer unless you are archers armed with rightful anger. © GEORGE CORBETT

Handel Il Delirio Amoroso Recitativo Da quel giorno fatale, che tolse morte il crudo Tirsi a Clori, ella per duolo immenso, sciolto il crin, torvo il guardo, incerto il piede, par, ch’abbia in sè due volontà, due cori: e del chiarro intelletto, per gran fiamma d’amor, turbato il raggio, ora s’adorna, ora del crin negletto fa dispettoso oltraggio; e varia nel pensier, ma sempre bella, agitata così, seco favella.

From that fatal day when Death took cruel Thyrsis from Chloris, she, in deepest grief, her hair flying loose, grim-faced, unsteady on her feet, seems to have two wills, two hearts within her; and with the ray of clear thinking dimmed by the great flame of love, she first decks herself, then makes a dire tangle of her dishevelled hair, and wanders in her mind, but ever fair so agitatedly speaks to herself.

Aria Un pensiero voli in ciel, se in cielo è quella alma bella, che la pace m’involò.

Se in averno è condannato, per avermi disprezzato, io dal regno delle pene il mio bene rapirò.

Let a thought soar into the sky, if in Heaven is that fair soul which robbed me of my peace.

But if he is condemned to Hell because he scorned me, I from the realm of punishment my beloved shall rescue.

Recitativo Ma fermati pensier, pur toppo è vero che fra l’ombre d’averno è condannato per giusta pena, e per crudel mio fato.

Sì, sì, rapida io scendo a rapir il mio bene delll’arso Dite alle in focate arene. Ma che veggio?

But stay, my thoughts, alas, it is true that he is condemned to darkest Hell as a just punishment for my cruel fate.

Yes, yes, I'll rapidly descend to save my beloved from the red-hot sands of Pluto, god of burning Hell. But what do I see?

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Rimira il mio sembiante dispettosa poi fugge un’ombra errante.

Tirsi, o Tirsi, ah! crudele!

A wandering spirit angrily sees my face again and then escapes me.

Thyrsis, Thyrsis, oh, you cruel one!

Aria Perte lasciai la luce, ed or che mi conduce amor per riverderti, tu vuoi partir da me.

Deh! ferma i passi incerti, o pur se vuoi fuggir, dimmi perché?

For you I left the daylight, and now that love leads me to see you again, you want to leave me.

Oh, stop your uncertain steps, Or if you want to go, tell me why. Why?

Recitativo Non ti bastava, ingrato, d’avermi in vita lacerato il core?

Dopo l’ultimo fato siegui ad esser per me furia d’amore; anzi, ti prendi a scherno, ch’io venga teco ad abitar l’inferno.

Ma pietà per rigore ti renderò.

Su vieni al dolce oblio di Lete; indi daranno pace gli Elisi, al già sofferto affanno.

Wasn't it enough for you, ungrateful one, to break my heart while you lived?

After your death, you still inflict a frenzy of love on me; rather, you treat with scorn the fact that I've come to live with you in Hell.

But I'll reward your cruelty with compassion.

Come now to the sweet forgetfulness of Lethe, then the Elysian fields will give respite to our past suffering.

Aria Lascia omai le brune vele, negro pin di Flegetonte.

Io farò che un zeffiretto, per diletto, spiri intorno a te fedele; e che mova i bianchi lini, pellegrini, in Acheronte.

Leave now the dark brown sails, black boat of the fiery river of Hades, Phlegethon.

I will see that a light breeze, for your delight, breathes constantly around you; and that it moves the white canvas, on its way, along the river Acheron.

Recitativo Ma siamo giunti in Lete.

Odi il suono soave degli Elisi beati.

But we have reached the river Lethe. Hear the sweet sound of the blessed in Elysium.

Minuet In queste amene piaggie serene, da sè ridente nasce ogni fior.

Tra suoni e canti, sempre clemente, spiran gli amanti, aura d’amor.

On these pleasant, serene shores, laughing to itself each flower springs up.

Amid music and song, always mild, lovers breathe an air of love.

Recitativo Si, disse Clori, e se d’un sole estinto più non vide il bel lume, lo vide almen per fantasia dipinto.

Yes, said Chloris, and if the bright light of an eclipsed sun was not seen, at least it was seen in the fancy. ©THE SIXTEEN PRODUCTIONS

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Rodolfo Richter violin (Norway), B'Rock (Belgium), Die Kölner Akademie (Germany), Harmonia Universalis (Brazil), St. James Baroque, the Orchestra of the Age of Enlightenment, the Hanover Band and The English Concert. He combines this work with his role as co-leader of the Academy of Ancient Music.

His recorded output is extensive, and includes JS Bach’s Brandenburg Concertos and Triple Concerto and Handel’s Trio Sonatas Opp.2 & 5 with the AAM. Solo recordings include an album of sonatas by Tartini and Veracini and the first recording of Erlebach’s complete sonatas, as well as Vivaldi’s solo concertos. Future plans include music by Vivaldi and John Cage with B'Rock and an album of JS Bach's Trio Sonatas.

“Rodolfo Richter (and his bright, boldvoiced 1674 Guarneri) is more than capable of generating the necessary sparks, delicate turns and swift runs...”

CLASSICS TODAY

Brazilian-born Rodolfo Richter was trained as a modern violinist with Klaus Wusthoff and Pinchas Zukerman, and has studied composition with Hans Joachim Koellreutter and Pierre Boulez. He studied baroque violin with Monica Huggett at the Royal Academy of Music and has performed with most of Britain’s leading period ensembles. Also in demand as a chamber musician, he has regularly collaborated in concerts and recordings with the Bach Players, Sonnerie, and Hausmusik.

Rodolfo was a prize-winner at the prestigious International Early Music Competition for Ensembles in Bruges (2000), and won first prize at the Antonio Vivaldi International Violin Competition (2001). Since then, he has often been invited as a soloist and director of orchestras throughout the world, including Academia Montis Regalis (Italy), Barokkanerne

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As a soloist and chamber musician Rodolfo has performed throughout the UK and toured extensively. He has appeared in such venues as the Concertgebouw in Amsterdam, Konzerthaus Wien, Sydney’s City Hall, Chicago’s Orchestra Hall, and the Alice Tully Hall and Carnegie Hall in New York.

Rodolfo teaches baroque violin at the Royal College of Music in London.

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Juanita Lascarro soprano been particularly significant in Juanita’s operatic career. After making her British debut in the British stage-premiere of the opera for Garsington Opera, she has sung the part for Deutsche Oper Berlin under Christian Thielemann, for De Nederlandse Oper under Ingo Metzmacher, and in concert under Edo de Waart at the Concertgebouw.

In concert her performances include appearances with the Leipzig Gewandhaus under Lothar Zagrosek; with the Deutsches Symphonie-Orchester under Vladimir Ashkenazy; the Israel Philharmonic Orchestra under Antonio Pappano; and the Gürzenich Orchestra under James Conlon. Her performances at the BBC Proms include Villa Lobos’ Bachiana Brasileira No. 5 with the 12 Cellists of the Berliner Philharmoniker.

“Juanita Lascarro brings ease of line, perfect intonation and tremendous charm” FINANCIAL TIMES

Colombian-born Juanita Lascarro began her studies in biology in Bogotá, before moving to Cologne to pursue her singing career at the Musikhochschule Köln and the Opera Studio of Oper Köln.

Notable operatic appearances have included the title role of Monteverdi’s L'incoronazione di Poppea at Opernhaus Zürich; Manon in Henze’s Boulevard Solitude at the Gran Teatre del Liceu in Barcelona; and debuts at the Wiener Staatsoper and Bayerische Staatsoper as Juliette in Romeo et Juliette, and in Martinů’s The Greek Passion at the Royal Opera House, Covent Garden. She has become one of Oper Frankfurt’s most significant ensemble members, earning critical acclaim for her performances in works from Janáček’s The Adventures of Mr Brouček to Puccini’s La Boheme.

The title-role of Richard Strauss’ Daphne has

In recital Juanita has made appearances at the Bath International Festival, the Stensgård Festival, the Cork Chamber Music Festival and London’s Wigmore Hall. Her discography includes Les contes d’Hoffmann and Alcina for Erato; Der Silbersee for BMG; Die Verlobung im Traum for Decca; Der Zwerg for EMI; La Senna Festeggiante for Opus 111; Arcadian Duets from Handel for Virgin; a selection of Spanish songs for Ópera Tres; and, with the Katona Brothers, a selection of works by De Falla for Channel Music.

In 2010 she made her debut under Sir Simon Rattle as Princess Laoula in a rare staging of Chabrier’s L’étoile, and in 2011 her roles include Countess in Le nozze di Figaro, Pamina in Die Zauberflöte, the title role in Daphne and Antonia in Les Contes d’Hoffmann.

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Academy of Ancient Music Back in 1973, most orchestras played old music in a modern style. Centuries of change had eroded the sound-worlds known to Bach, Handel, Haydn and Mozart: the instruments were different; the pitch was different; the number of players was different; the very essence and spirit of performances was different.

But change was in the air. Wouldn’t it be wonderful, people asked, if we could turn the clock back; if we could find out more about composers’ original intentions and get closer to the style in which music was originally performed? This was the spirit in which Christopher Hogwood founded the AAM. It was revolutionary. Centuries of convention were cut away and baroque and classical masterworks were heard anew.

succeeded Hogwood in 2006. In his first four years as Music Director his recordings with the orchestra have won the Edison, Gramophone and MIDEM Awards; and he has directed hundreds of performances across four continents. The orchestra continues to work with a roster of guest directors including Pavlo Beznosiuk, Giuliano Carmignola, Paul Goodwin, Stephen Layton and Masaaki Suzuki, ensuring that new ideas and approaches continually inspire the group. In 2009 the AAM made history with the world’s first-ever live choral “cinecast”: its performance of Handel’s Messiah was beamed in real time from the King’s College Chapel, Cambridge to tens of thousands of people in over 250 cities around the globe.

“The ultimate raspberry to anyone who says baroque music is predictable” THE INDEPENDENT, 2009

The stringed instruments in Hogwood’s new orchestra had strings made of animal gut, not steel. The trumpets had no valves. The violins and violas didn’t have chin-rests, and the cellists gripped their instruments between their legs rather than resting them on the floor. It wasn’t just the instruments or the sound of the music which changed, though; it was how it felt. AAM performances were full of energy and passion and joy.

From these beginnings, one of the world’s great orchestras was born. Over the next three decades the AAM’s fame spread to every corner of the globe as it built up a celebrated discography of well over 250 CDs — Brit- and Grammy-award-winning recordings of the great baroque masterworks; opera releases starring Cecilia Bartoli, Dame Emma Kirkby and Dame Joan Sutherland; pioneering cycles of the Mozart and Beethoven symphonies. It performed live on every continent except Antarctica, inspiring music lovers worldwide with the passion and the power of its music-making.

Richard Egarr — a leading light in the next generation of early music specialists —

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Today, the AAM’s concert series in London and Cambridge lies at the heart of its work. This season’s programme is based around The Bach Dynasty — a major new concert series exploring the music of JS Bach and his many composerrelatives. Other highlights include Mozart’s early opera La Finta Giardiniera at the Barbican, and tonight’s intriguing programme showcasing the little-known baroque and classical music of South America. The orchestra will collaborate with the likes of Bernard Labadie, acclaimed director of Les Violons du Roy, singers James Gilchrist, Rosemary Joshua, Andrew Kennedy and Elizabeth Watts, cellist Steven Isserlis, and the Choir of King’s College, Cambridge.

The AAM’s international touring schedule in 2010-11 is as wide-ranging as it has ever been. Among this year’s highlights are performances of JS Bach’s Brandenburg Concertos and Haydn’s The Creation at the Shanghai Concert Hall and in Perth, Australia; concerts with the star Korean soprano Sumi Jo at the National Centre for the Performing Arts in Beijing and around Singapore, South Korea and Taiwan; and performances in leading European venues including the Concertgebouw in Amsterdam and the Théatre des Champs-Elysées in Paris.

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Academy of Ancient Music Violin Rodolfo Richter Bojan Čičić Pierre Joubert Rebecca Livermore Liz MacCarthy William Thorp Viola Jane Rogers Cello Andrew Skidmore Double bass Judith Evans

*Sponsored chairs

Flute Rachel Brown

Leader Mr and Mrs George Magan

Oboe Katharina Spreckelsen Lars Henriksson

Principal cello Dr Christopher and Lady Juliet Tadgell

Horn Gavin Edwards David Bentley

Principal flute Christopher and Phillida Purvis

Theorbo William Carter

Sub-principal viola Sir Nicholas and Lady Goodison

Harpsichord Alastair Ross

Sub-principal cello Newby Trust Ltd

In profile: Katharina Spreckelsen oboe Music has always been a big part of my life. Particularly memorable are the annual trips to Midnight Mass in our Renault 4 with my parents, three siblings and various cellos, violas, recorders and oboes, to play the chorales from the Christmas Oratorio.

I was determined not to turn my hobby into my profession, and so started to study Medicine. But I soon realized that I was unable to concentrate on the human body whilst listening to music... Had I known about the benefits of having music in the operating theatre I would possibly have stuck to this career, but I switched to music and studied with two inspirational teachers, the late Michel Piguet and Paul Goodwin.

Now I enjoy life with my husband and my two sons and in whatever time is left I play the oboe and teach.

Board of Directors Adam Broadbent Kay Brock LVO DL John Everett Matthew Ferrey John Grieves Christopher Hogwood CBE Heather Jarman Christopher Purvis CBE (Chairman) Dr Christopher Tadgell Sarah Miles Williams

Development Board Adam Broadbent Kay Brock LVO DL Delia Broke John Everett Matthew Ferrey John Grieves Madelaine Gunders Elizabeth Hartley-Brewer Annie Norton Christopher Purvis CBE Chris Rocker Dr Christopher Tadgell Madeleine Tattersall Sarah Miles Williams Alison Wisbeach

Music Director Richard Egarr Emeritus Director Christopher Hogwood CBE

External Relations Manager Toby Chadd Administration Manager Samantha Fryer

Chief Executive Michael Garvey

Finance Manager Elaine Hendrie

Orchestra Manager Andrew Moore

Arts Management Trainee Sarah Reid

Head of External Relations Simon Fairclough

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Handel Opp.1–7 recording cycle

Solo Sonatas Op.1 “The AAM’s delightful playing is warmly recommended” GRAMOPHONE AWARDS ISSUE 2009

“The soloists slide easily from austerity to opulence, and Brown’s dewy-toned recorder is enchanting” INDEPENDENT ON SUNDAY, JUNE 2009

Trio Sonatas Opp.2 & 5 SHOR TLISTED FOR 2010 GRAMOPHONE AWARD FOR BAR OQUE INSTRUMENTAL MUSIC

“the subtleties and nuances of the playing, coupled with the sheer variety of Handel’s fertile imagination, never pales over two hours of continuous listening... These are outstanding accounts” BBC MUSIC MAGAZINE, DECEMBER 2009

Concerti Grossi Op.3; Sonata à 5 WINNER OF 2007 GRAMOPHONE AWARD FOR BAR OQUE INSTRUMENTAL MUSIC

“The Academy of Ancient Music is in world-beating form” GRAMOPHONE, APRIL 2007

Organ Concertos Op.4 WINNER OF 2009 EDISON AWARD WINNER OF 2009 MIDEM AWARD SHOR TLISTED FOR 2008 GRAMOPHONE AWARD FOR INSTRUMENTAL MUSIC

Concerti Grossi Op.6 “The AAM are on sparkling form...an issue of joyous vitality” GRAMOPHONE AWARDS ISSUE 1998

“It is impossible not to admire the precision of these spit-and-polish performances” EARLY MUSIC AMERICA, 1998- 9

Organ Concertos Op.7 “a valuable addition to the Handel discography” GRAMOPHONE, OC TOBER 2009

“an outstanding achievement” ANDRE W MCGREGOR, BBC RADIO 3, AUGUST 2009

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AAM celebrates Christmas and Passiontide at Cadogan Hall Johann Sebastian Bach wrote music especially tailored for the great feasts of the year. He responded to the year’s liturgical events with remarkable lucidity; he also knew how to celebrate and enter into the festive spirit. Be sure to join us as we mark Christmas and Passiontide with the masterworks of JS Bach.

Ticket offer Save 10% if you book a pair of tickets for both JS Bach at Christmas and the St John Passion at the same time.

Phone 020 7730 4500 or visit www.cadoganhall.com, and quote AAM1003 when booking.

Thursday 23 December 2010

Wednesday 20 April 2011

JS Bach at Christmas

JS Bach’s St John Passion

Choral and instrumental music, including the Magnificat

with the Choir of King’s College, Cambridge

To celebrate Christmas we present a selection of JS Bach’s finest festive work. At the centre of the programme stands the Magnificat, renowned for its sheer exuberance and vitality. But Christmas music wasn’t all for the church, and Bach was called on to entertain the crowds visiting the trade-fairs. The festive mood comes across strongly in the Concerto in C minor for violin and oboe, with its playful dialogue and rhythmic buoyancy; whilst the Concerto in D minor for harpsichord, designed as a showpiece for a new instrument, provides a virtuosic flourish.

Following sold out Christmas performances of Messiah in 2009 and the Christmas Oratorio in 2008, the Choir of the AAM returns to Cadogan Hall for what is sure to be another unmissable festive celebration.

Choir of the AAM

The St John Passion is one of the great works of western music. When it was first performed on Good Friday 1724, Bach’s congregation would never have heard anything like it; and nearly three hundred years later it still reaches to the heart of the Passion story with startling clarity and emotion through its intimate scale and moving lyricism.

The AAM’s acclaimed annual Passion performance with the Choir of King’s College, Cambridge is brought to London for the first time. Andrew Kennedy, described as “outstanding” by the Guardian for his performance in this year’s BBC Proms, takes the role of the Evangelist.

“I would happily sit in King’s College Chapel listening to this choir sing for the rest of my days” THE TIMES

Choir of King’s College, Cambridge Visit http://www.youtube.com/acadofancientmusic for exclusive preview videos, featuring rehearsal footage and interviews with the players.

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Supporting the Academy of Ancient Music We live in a world of worthy causes. Why support an orchestra like the AAM?

to support from generous individuals which enabled them to realise their potential.

For centuries, people have understood the importance of culture. The arts enrich society and change lives. They help to make life worth living.

Over the centuries, successive generations of philanthropists created and sustained the orchestras and choirs which kept this music alive.

It is their legacy which we inherit today.

For centuries, people have also understood that culture 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 for much of his career 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 may never have been written had he not enjoyed the backing of the Esterházy family. The music of these great composers — and of many others besides — stands as testament not only to individual genius, but also

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 support from generous individuals 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 this year.

The future of ancient music lies in the hands of a new generation of philanthropists.

The AAM Society The AAM Society is the orchestra’s closest group of regular supporters. Membership ranges from £250–£20,000+ per annum — or from £100 per annum for Young Supporters — given either as a lump sum or by regular donation. Members’ contributions provide the vital core funding required if the orchestra is to continue to perform.

Society members enjoy a very close involvement with the life of the AAM. After performances in London, members dine with the director, soloists and AAM musicians. They have a chance to become a part of orchestral life behind the scenes by sitting in on rehearsals for concerts and recordings. At least once each year they have the opportunity to accompany the orchestra on an international tour — earlier this month, for example, a large group travelled with the AAM and Choir of King’s College, Cambridge on a tour of the Netherlands.

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Those giving over £1,000 per year receive invitations to regular recitals and other special events held at the homes of fellow members.

Those giving over £5,000 per year have the opportunity to sponsor a specific position in the orchestra, and are invited to join the Council of Benefactors, a forum which will meet annually to receive an update on the orchestra’s performance from the Chief Executive and Chairman.

Tax efficient giving Because the AAM is a charity, gifts from UK taxpayers can be made in a tax efficient manner under the Gift Aid scheme.The cost of a gift to the donor can be as little as half of its value to the AAM. The orchestra can claim back from the HMRC the basic rate tax already paid by the donor, and higher and additional rate taxpayers can claim tax relief on the difference between the basic rate and the applicable rate of income tax:

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Membership level

Minimum donation

Value of donation to AAM after Gift Aid

Final cost to additional rate (50%) taxpayer after tax relief

Final cost to higher rate (40%) taxpayer after tax relief

Equivalent monthly donation

Young Supporter (under 40 only) Donor Benefactor Principal Benefactor Patron Principal Patron The Hogwood Circle The Chairman’s Circle

£100

£125

£62.50

£75

£8.33

£250 £500 £1,000 £2,500 £5,000 £10,000 £20,000

£312.50 £625 £1,250 £3,125 £6,250 £12,500 £25,000

£156.25 £312.50 £625 £1,562.50 £3,125 £6,250 £12,500

£187.50 £375 £750 £1,875 £3,750 £7,500 £15,000

£20.83 £41.67 £83.33 £208.33 £416.67 £833.33 £1,666.67

Gifts of shares Donors are encouraged to consider covering the cost of their AAM Society membership by making gifts of shares. Generous tax incentives are available to individuals who support charities in this manner. Donors are able to claim income tax relief on the value of shares and securities donated, and are also exempt from any tax on capital gains that would have arisen if the shares had been sold. In some

circumstances the cost of the gift could be under 50% of the eventual value to the AAM. More information is available from the Head of External Relations, Simon Fairclough, on 01223 301509 or s.fairclough@aam.co.uk.

How to join To join the AAM Society, please complete and return the form on page 19 of this booklet.

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 enable the orchestra to do so in perpetuity.

Leaving a legacy is one of the most important and 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.

Legacies are highly tax efficient: the AAM’s charitable status means that gifts are exempt from Inheritance Tax, and any legacy you

bequeath may also reduce the overall tax liability due on your estate.

Should you find yourself a beneficiary under a will, you may also wish to consider transferring part of your inheritance to the AAM using a Deed of Variation. Amounts transferred in this manner become freed of any Inheritance Tax otherwise due, affording the opportunity for the AAM to benefit from your generosity during your lifetime.

The Head of External Relations, Simon Fairclough, is always happy to talk informally and in confidence with anyone considering making provision for the AAM in their will. He can be contacted on 01223 301509 or s.fairclough@aam.co.uk.

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AAM Funders & Supporters The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work: AAM Business Club Cambridge University Press Kleinwort Benson Amberstone Trust CHK Charities Ltd Dunard Fund John Ellerman Foundation Esmée Fairbairn Foundation Fidelity UK Foundation Goldsmiths’ Company Charity The Idlewild Trust

The Michael Marks Charitable Trust Anthony Travis Charitable Trust Arts Council England through the Sustain programme Orchestras Live Cambridge City Council

The AAM Society Special gifts 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 (Donations £20,000–£49,999 per annum) CHK Charities Ltd Dunard Fund The Hogwood Circle (Donations £10,000 - £19,999 per annum) Matthew Ferrey Mr and Mrs George Magan Christopher and Phillida Purvis * Mrs Julia Rosier Dr Christopher and Lady Juliet Tadgell Principal Patrons (Donations £5,000 – £9,999 per annum) Lady Alexander of Weedon Sir Nicholas and Lady Goodison * Richard and Elena Bridges Christopher Hogwood CBE * Mrs Sheila Mitchell Newby Trust Ltd * Chris Rocker and Alison Wisbeach and other anonymous Principal Patrons Patrons (Donations £2,500 – £4,999 per annum) Adam and Sara Broadbent Mr and Mrs Graham Brown Mr and Mrs JE Everett John and Ann Grieves Mark and Liza Loveday John and Joyce Reeve Mark West Sarah and Andrew Williams and other anonymous Patrons Principal Benefactors (Donations £1,000 – £2,499 per annum) 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 Elizabeth Hartley-Brewer

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 (Donations £500 – £999) 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 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 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 (Donations £250 – £499) Angela and Roderick Ashby-Johnson Mrs Nicky Brown Dr and Mrs S Challah

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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 Tom Siebens and Mimi Parsons Rt Hon Sir Murray Stuart-Smith * Robin Vousden Pippa Wicks Paul F. Wilkinson and Associates Inc. and other anonymous Donors * denotes founder member 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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Join the AAM Society I would like to join the AAM Society I would like to give membership of the AAM Society to someone else as a gift Your details Name: ........................................................................................................................................

Address: .................................................................................................................................... ........................................................................................................................................................

Telephone: ..............................................................................................................................

Email: ..........................................................................................................................................

Gift membership — member’s details Please complete this section only if you are giving Society membership to someone else as a gift.

Member’s name: ................................................................................................................

Three-year pledge By pledging to support the AAM over a three-year period, you can help the orchestra to plan for the future with confidence.

Please tick here if you are able to pledge to support the orchestra at this level for three years.

Leaving a legacy Please tick here if you would be willing to receive information about remembering the AAM in your will.

Matched giving My firm operates a matched giving policy. Please contact me to discuss this further.

Gift Aid declaration Please complete this section if you pay UK income tax and/or capital gains tax at least equal to the tax which the AAM will reclaim on your donations in the appropriate tax year.

Member’s address: ............................................................................................................ ........................................................................................................................................................

Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations.

Member’s telephone: ......................................................................................................

Signed: .....................................................................................................................................

Member’s email: .................................................................................................................

Date: ...........................................................................................................................................

Membership level The Chairman’s Circle The Hogwood Circle Principal Patron Patron Principal Benefactor Benefactor Donor Young Supporter (under 40 only)

£20,000+ £10,000–£19,999 £5,000–£9,999 £2,500–£4,999 £1,000–£2,499 £500–£999 £250–£499 £100–£249

Donations made by standing order Please complete this section if you would like to make your donation to the AAM by standing order.

Name of bank: .....................................................................................................................

Bank address: ........................................................................................................................ ........................................................................................................................................................

Date of birth: ..................................................................................................................

Account number: ...............................................................................................................

Acknowledgement Please acknowledge my gift using the following form of wording .......................................................................................................................................................

I would prefer to remain anonymous

Sort code: ................................................................................................................................

Please pay Academy of Ancient Music, Lloyds TSB, Gonville Place Branch, Cambridge, sort code 30-13-55, Account number 02768172 the sum of £...................................................................................................................................................... per

Payment details I would like to make my donation by I enclose a cheque for £................................ (please make payable to ‘AAM’) I enclose a CAF cheque for £................................ (please make payable to ‘AAM’)

month quarter year

starting on: .............................................................................................................................

Signed: ......................................................................................................................................

Date: ...........................................................................................................................................

I would like to pay by standing order (please complete the standing order section below)

Full name: ...............................................................................................................................

I would like to make a gift of shares (please contact the AAM) Please return your completed form to: Simon Fairclough Head of External Relations Academy of Ancient Music 32 Newnham Road Cambridge CB3 9EY

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Programme Nov10_AAM programme Sept 2010 17/11/2010 14:13 Page 20

Academy of Ancient Music

Handel’s tragic muse 16 March 2011 18 March 2011

Wigmore Hall, London West Road Concert Hall, Cambridge

Pre-concert talks with Bernard Labadie at 6.30pm See inside back cover for details of how to book.

“Her glinting soprano, bright-edged yet deliciously rounded and sensual, is used with rare understanding for character”

Canadian duo Karina Gauvin and Bernard Labadie join us for a programme showcasing Handel’s most moving writing for the stage. Arias from six operas — including Alcina’s lament for her lost magical powers and the achingly beautiful ‘Lascia ch’io pianga’ from Rinaldo — are set against the elegant dance interludes from Ariodante and Alcina.

Karina Gauvin soprano

Bernard Labadie conductor

SUNDAY TIMES

Wigmore Hall 36 Wigmore Street London W1U 2BP Director: John Gilhooly The Wigmore Hall Trust Registered Charity No.1024838 Wigmore Hall is a no-smoking venue.

No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management.

Wigmore Hall is equipped with a ’Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to ’T’.

In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the numbers indicated in the notices exhibited in those positions.

Facilities for Disabled People:

Please contact House Management for full details.

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