Haydn & Mozart - Programme

Friday 13 January 2023

St Martin-in-the-Fields

London Part of a European tour:

Kölner Philharmonie, Cologne

Monday 9 January 2023, 8.00pm

Scharoun Theater, Wolfsburg

Tuesday 10 January 2023, 7.30pm

Musikverein, Vienna Wednesday 11 January 2023, 7.30pm

St Martin-in-the-Fields, London Friday 13 January 2023, 7.30pm

Béla Bartók National Concert Hall, Budapest - Programme of Müpa Saturday 14 January 2023, 7.30pm

Isarphilharmonie, Munich

Monday 16 January 2023, 8.00pm

HAYDN & MOZART

English Baroque Soloists

Isabelle Faust violin

Antoine Tamestit viola

John Eliot Gardiner conductor

HAYDN

Symphony No. 84 in E-flat major

MOZART

Sinfonia Concertante for violin, viola and orchestra in E-flat major K.364

Interval MOZART

Symphony No. 36 in C major “Linz” K.425

The performance will be filmed at St Martin-in-the-Fields, London, and available to watch on STAGE+ by Deutsche Grammophon. Produced by Stagecast.

All information in this brochure was correct at the time of going to press.

HAYDN & MOZART

Haydn (1732-1809)

Symphony No. 84 in E-flat major

1. Largo - Allegro 2. Andante

3. Menuet: Allegretto

4. Finale: Vivace

During the 1780s Haydn led something of a double life as provincial Kapellmeister to Prince Nicolaus Esterházy and Europe’s most famous composer. Publishers fell over each other to acquire the rights to his latest works, while prestigious commissions poured in from as far afield as Cadiz and Naples. The most prestigious of all came from Paris, then vying with London as Europe’s most vibrant musical centre. Capitalising on the popularity of Haydn’s symphonies in France, some time during the winter of 1784-5 Claude-FrançoisMarie Rigoley, Comte d’Ogny, a prime mover in the Masonic concert organisation Le Concert de La Loge Olympique, asked Haydn for a set of six new symphonies, at the colossal fee of 25 louis d’or per workway beyond what Mozart had received for his ‘Paris’ Symphony in 1778. Amid his hectic schedule as Esterházy Kapellmeister, Haydn

completed Symphonies Nos. 83, 87 and probably 85 by the end of 1785, and Nos. 82, 84 and 86 the following year.

The ‘Paris’ Symphonies caused a predictable sensation when they were performed during the 1787 season in the guardroom of the Tuileries Palace by the 60-strong orchestra (more than twice the size of Haydn’s own Esterházy band), ostentatiously attired in skyblue dress coats. In January 1788, the firm of Imbault published them with following announcement: ‘These symphonies, of the most beautiful character and astonishing craftsmanship [d’une facture étonnante], will be urgently sought by those who have been lucky enough to hear them, and even by those who do not know them. The name of Haydn is a guarantee of their extraordinary quality.’

Reviewing some of the ‘Paris’ symphonies, a writer in the Mercure de France of 12 April 1788 praised ‘the work of this great genius, who in each of his pieces knows how to draw such rich and varied developments from a single subject’. While Haydn’s famed monothematicism is more typical of his string quartets than his symphonies, the first

Vienna as seen from the Upper Belvedere by Karl Schütz, 1784 - akg-images.

and last movements of No. 84 in E flat do indeed generate all their symphonic energy ‘from a single subject’. Scored for flute, oboes, bassoons, horns and strings, this is the most overtly ‘popular’ in style of the Paris symphonies. The minuet is based on a peasant dance known as a Schuhplattler, with heavy repeated chords to accompany the stamping of feet; and the finale is a catchy contredanse whose jollity is offset by sudden moments of mystery.

Yet, as so often in Haydn, demotic cheerfulness goes hand in hand with immense sophistication and compositional cunning. The soulful melody of the Largo introduction is sounded on the strings and later taken up by the wind band, with a telling interjection from the violins. Sentiment yields to wit in the following Allegro. Yet Haydn links the two sections by adopting a similar procedure: the dapper theme is heard first on strings alone, then recast for wind-band with delightfully perky violin commentaries. The central development brings some typically Haydnesque harmonic teasing, hovering around A flat and D flat before the full orchestra proclaims the theme in the bright key F major.

The jewel of the symphony is the Andante second movement, a set of three variations on a 6/8 melody foreshadowed in the first movement’s slow introduction. Offbeat accents give the gracious theme an undertow of restlessness. The first variation turns to the minor key for a free meditation on the theme, complete with yearning chromaticisms; the second, for strings alone, is whimsically ornamental, while in the third variation the theme blazes out in the full orchestra, high horns to the fore. The movement’s climax comes in an exquisitely wrought contrapuntal cadenza that pays tribute to the Parisian taste for colourful wind writing. There are shades here, too, of the soprano aria ‘Et incarnatus est’ from Mozart’s unfinished C minor Mass, whose manuscript Haydn just might have seen on one of his winter trips to Vienna.

Mozart (1756-1791)

In January 1779, Mozart arrived back in Salzburg after a fifteen-month journey to Mannheim and Paris that brought only limited professional success, disappointment in love and personal tragedy in the death of his mother. In debt to his father Leopold, he was forced to petition for the post of Salzburg court organist; and for the next eighteen months or so he knuckled down as a reluctant court employee. Although we know nothing about its origins, the Sinfonia Concertante for violin and viola, K.364, probably dates from this spectacularly uneventful period. It seems fair to assume that, inspired by the sinfonie concertanti he had encountered in Paris and Mannheim, Mozart composed it for himself to play with the Salzburg court Konzertmeister, Antonio Brunetti.

While we should beware of reading Mozart’s

Sinfonia Concertante for violin, viola and orchestra in E-flat major, K.364 1. Allegro maestoso 2. Andante 3. Presto

Josef Haydn - Portrait by John Hoppner, 1791

music as emotional autobiography, it is tempting to relate the Sinfonia Concertante’s darker undercurrents, rising to the surface in the C minor Andante, to his smouldering discontent with his Salzburg servitude. Less speculatively, the sonorous richness of the orchestral textures, with violas divided throughout, was surely influenced by Mozart’s contact with the famed Mannheim orchestra, dubbed ‘an army of generals’ by the music historian Charles Burney. (A year or so later he would exploit the Mannheimers’ prowess in his great opera seria Idomeneo.) Mozart gives the viola added penetration by writing the part in D major, with the strings tuned up a semitone - a practice known as scordatura. This increases the string tension, and takes advantage of the resonant open strings, unavailable to the violinist.

A born musical democrat, Mozart is careful to ensure that the two soloists have equal billing. In each movement melodies are proposed by the violin, and repeated and varied by the viola, with a darkening of colour. Roles are then reversed in the recapitulations. The music’s distinctive tinta is determined by the dusky timbre of the viola, Mozart’s own preferred instrument when he played string quartets. There is a breadth and sonorous depth to the opening Allegro maestoso (‘maestoso’ = ‘majestically’), together with a typically Mozartian expressive ambivalence.

After a spectacular slow-burn ‘Mannheim’ crescendo over a repeated ‘drum bass’, the entry of the soloists, suspended high above the orchestra’s cadential phrases, is one of the most magical moments in any Mozart concerto. The solo violin then turns to C minor for a plaintive cantabile which quickly yields to questioning dialogue between the soloists. Yet grandeur and pathos coexist with a vein of coltish playfulness epitomised by a skittish tune, charmingly shared between violin and viola, that could have strayed from one of Mozart’s violin concertos.

The Andante, in a dark C minor, is a transfigured operatic love duet triste that touches depths of desolation found elsewhere in Mozart only the Andantino of the so-called ‘Jeunehomme’ Concerto, K.271, and the Adagio of the A major Piano Concerto, K.488. After the recapitulation has cleaved disconsolately to the minor key, Mozart’s own cadenza pushes the music to a new pitch of chromatic pathos. The whole movement seems to enshrine the plangent essence of the viola. After the disconsolate close the finale, virtually unshadowed by the minor key, bounds in with a glorious sense of physical relief. Like so many Mozart finales, this bubbling music, full of ‘anything you can do, I can do too’ sparring, is opera buffa by other means.

Salzburg, Austria - Jorge Franganillo

Mozart

Symphony No. 36 in C major, K.425 ‘Linz’

1. Adagio - Allegro spiritoso

2. Andante 3. Menuetto 4. Presto

In the summer of 1783 Mozart took his new wife Constanze to meet his father and sister in Salzburg. It was his last visit to the town of his birth, and far from an unalloyed success. On their return journey to Vienna the couple were entertained in Linz by a local bigwig, Count Thun, who helped arrange a concert of Wolfgang’s music. ‘On Thursday 4 November I am giving an academy in the theatre here,’ he wrote to his father on 31 October. ‘As I haven’t a single symphony with me I am writing a new one, at breakneck speed (Kopf über Hals)’. With flutes and clarinets unavailable in the Linz orchestra, Mozart compensated by writing colourful parts for oboes and bassoons, often playing in tandem.

Even for Mozart, composing a substantial four-movement symphony in four or five days was some feat. Yet the consummate craftsman ensured that there was no sign of haste, no cutting of corners. Mozart even prefaced the work with a slow introduction, the first time he had done so in a symphony. This opening Adagio, initially ceremonial, then gradually shadowed with chromatic harmonies, serves as a grand portal to the brilliant, extrovert Allegro spiritoso that follows. The music’s rhythmic drive continues unabated into the second group of themes. Mozart usually obliges with a new lyrical melody at this point. Here he defies expectations, heightening rather than reducing the tension with fanfarelike motifs that veer between the keys of E minor and C major. In the development, festive clamour yields to speculation and a hint of uncertainty as Mozart works a winding violin figure through more distant keys, then introduces a keening chromatic phrase on

the bassoon - an inspired touch of Mozartian chiaroscuro.

The Andante (whose tempo was changed to Poco Adagio by nineteenth-century editors) combines the easy lilt of a siciliano with a quiet solemnity enhanced by the presence of trumpets and drums. There is mystery, too, in the central development, courtesy of a furtive scale figure on bassoon and basses that proceeds to hijack the musical argument.

The minuet is ostensibly straightforward, with something of a military swagger in its dotted rhythms. Yet Mozart being Mozart, there’s a subtle ambiguity to the rhythmic structure, and a poetic moment at the end where the assertive opening takes on a faintly wistful cast. The bucolic Ländler trio acquires a touch of urban sophistication when the bassoon imitates the melody at a bar’s distance. Unified by its initial interval of a rising fourth, the Presto finale adds to the first movement’s celebratory C major vigour a lithe, athletic grace of its own - a hint of pathos, too, in a haunting passage where the strings work a three-note motif against drooping chromatic harmonies from oboes and bassoons.

Richard Wigmore © 2023

Silverpoint drawing of Mozart by Doris Stock, 1789

Coming up ...

J.S. BACH: MASS IN B MINOR

Sage Gateshead, Gateshead

Thursday 6 April 2023, 7.30pm

Chapelle Royale, Château de Versailles, Versailles

Saturday 8 April 2023, 7.00pm

Palau de la Música, Barcelona

Tuesday 11 April 2023, 8.00pm

Elbphilharmonie, Hamburg

Thursday 13 April 2023, 8.00pm

Bozar, Brussels

Saturday 15 April 2023, 8.00pm

Philharmonie Luxembourg, Luxembourg

Monday 17 April 2023, 8.00pm

Alte Oper, Frankfurt am Main

Tuesday 18 April 2023, 8.00pm

St Martin-in-the-Fields, London

Monday 24 April 2023, 7.30pm

HECTOR BERLIOZ: LES TROYENS

Salzburger Festspiele, Salzburg, Austria

Saturday 26 August 2023, 5.00pm

Further performances to be released in due course

Società del Quartetto di Vicenza/Colorfoto

JOHN ELIOT GARDINER

CONDUCTOR

John Eliot Gardiner is revered as one of the world’s most innovative and dynamic musicians and is a leader in the contemporary musical world. His work, as Founder and Artistic Director of the Monteverdi Choir, English Baroque Soloists (EBS) and Orchestre Révolutionnaire et Romantique (ORR) has made him a key figure both in the early music revival and historically informed performance practice.

Gardiner is a regular guest of the world’s leading symphony orchestras, including the London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouw Orchestra and the Berlin Philharmonic. He has also conducted opera productions at the Royal Opera House, Covent Garden, the Wiener Staatsoper and the Teatro alla Scala in Milan. His broad repertoire is illustrated by his extensive catalogue of award-winning recordings with the Monteverdi ensembles and other leading orchestras on both major labels and his own Soli Deo Gloria label. He holds two GRAMMY awards and has received more Gramophone Awards than any other living artist.

In 2021 Gardiner conducted the Monteverdi Choir and EBS in a live streamed performance of Bach’s St John Passion from Oxford’s Sheldonian Theatre, and performed at several of Europe’s most prestigious music festivals, including his 60th appearance at the BBC Proms. He ended the year conducting the Monteverdi Choir and ORR in performances of Berlioz’s sacred oratorio L’enfance du Christ, which included a critically acclaimed performance at the Monteverdi Choir & Orchestras new London home, St Martin-inthe-Fields.

The beginning of 2020 saw Gardiner conduct the ORR in three Beethoven symphony cycles as part of the Beethoven 250 anniversary celebrations, with concerts at Barcelona’s Palau de la Música, New York’s Carnegie Hall, and the Harris Theatre in Chicago. Other recent achievements with the Monteverdi ensembles include the RPS award winning Monteverdi 450 project in 2017, a reprise of the 2000’s famous Bach Cantata Pilgrimage, which toured to some of Europe’s most famous concert halls and churches in 2018, a five-year exploration of Berlioz’s major works to mark the 150th anniversary of the composer’s death, and a landmark performance of Verdi’s Requiem at London’s Westminster Cathedral in aid of Cancer Research UK. In 2019 Gardiner conducted new productions of Handel’s Semele and Berlioz’s Benvenuto Cellini, and gave his debut performances in Colombia, Russia, Brazil, Uruguay, Argentina and Chile.

An authority on the music of Johann Sebastian Bach, Gardiner’s book, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach, was published in October 2013 by Allen Lane, leading to the Prix des Muses award (Singer-Polignac). Among numerous awards in recognition of his work, Gardiner holds several honorary doctorates. He was awarded a knighthood for his services to music in the 1998 Queen’s Birthday Honours List.

© Sim Canetty-Clarke

ISABELLE FAUST VIOLIN

Isabelle Faust captivates her audience with her compelling interpretations. She dives deep into every piece considering the musical historical context, historically appropriate instruments and the greatest possible authenticity according to a contemporary state of knowledge. Thus, she manages to constantly illuminate and passionately perform the repertoire of a wide variety of composers.

After winning the renowned Leopold Mozart Competition and the Paganini Competition at a very young age, she soon gave regular performances with the world’s major orchestras including the Berlin Philharmonic, Boston Symphony Orchestra, NHK Symphony Orchestra Tokyo, the Chamber Orchestra of Europe, Les Siècles and the Baroque Orchestra Freiburg.

This led to close and sustained cooperation with conductors like Andris Nelsons, Giovanni Antonini, François-Xavier Roth, Sir John Eliot Gardiner, Daniel Harding, Philippe Herreweghe, Jukka-Pekka Saraste, Klaus Mäkelä and Robin Ticciati.

Isabelle Faust’s vast artistic curiosity includes all eras and forms of instrumental cooperation. Thus she never considers music as an end in itself but rather advances the piece’s essence in a devoted, subtle and conscientious way. In addition to big symphonic violin concertos this includes for instance Schubert’s octet with historical instruments as well as Stravinsky’s “L’Histoire du Soldat” with Dominique Horwitz or Kurtág’s “Kafka Fragments”. With great commitment she renders an outstanding service to the performance of contemporary music, recent world premieres include works

Numerous recordings have been unanimously praised by critics and awarded the Diapason d’or, the Grammophone Award, the Choc de l’année and other prizes. The most recent recordings include Schoenberg’s Violin Concerto under the baton of Daniel Harding and with the Swedish Radio Symphony Orchestra, as well as Beethoven’s Triple Concerto with Alexander Melnikov, JeanGuihen Queyras, Pablo Heras-Casado and the Freiburger Barockorchester. Isabelle Faust presented further popular recordings among others of the Sonatas and Partitas for violin solo by Johann Sebastian Bach as well as violin concertos by Ludwig van Beethoven and Alban Berg under the direction of Claudio Abbado. She shares a long-standing chamber music partnership with the pianist Alexander Melnikov. Among others, joint recordings with sonatas for piano and violin by Wolfgang Amadeus Mozart, Ludwig van Beethoven and Johannes Brahms have been released.

by Péter Eötvös, Brett Dean, Ondřej Adámek and Rune Glerup.

© Felix Broede

ANTOINE TAMESTIT

VIOLA

Antoine Tamestit is recognised internationally as one of the great violists - soloist, recitalist and chamber musician. In addition to his peerless technique and profound musicianship, he is known for the depth and beauty of his sound with its rich, deep, burnished quality. His repertoire is broad, ranging from the Baroque to the contemporary, and he has performed and recorded several world premieres.

One of the concertos Tamestit commissioned is the concerto by Jörg Widmann. Since giving the world premiere performance in 2015 with the Orchestre de Paris and Paavo Järvi, Tamestit has given performances of the concerto with the co-commissioners, Swedish Radio Symphony and Bavarian Radio Symphony Orchestra, both under Daniel Harding, again with the Orchestre de Paris, with the City of Birmingham Symphony Orchestra, the Leipzig Gewandhaus Orchestra, Frankfurt Radio Symphony Orchestra, Finnish Radio Symphony Orchestra, Stavanger Symphony, and the Danish Radio Symphony Orchestra.

Tamestit’s other world premiere performances and recordings include Thierry Escaich’s La Nuit des Chants in 2018, the Concerto for Two Violas by Bruno Mantovani written for Tabea Zimmermann and Tamestit, and Olga Neuwirth’s Remnants of Songs. Works composed for Tamestit also include Neuwirth’s Weariness Heals Wounds and Gérard Tamestit’s Sakura.

Antoine Tamestit records for Harmonia Mundi. His discography includes among others a Brahms CD with Cédric Tiberghien, Bach’s Sonatas for Viola Da Gamba which he recorded with Masato Suzuki and the concerto by Jörg Widmann, with the BRSO and Daniel Harding. In the 21/22 season, Tamestit is the subject of the London Symphony Orchestra’s Artist Portrait,

© Julien Mignot

performing three concerto programmes and four chamber music programmes throughout October. Tamestit is also Artist in Residence with the Dresden Staatskapelle, performing numerous concerts there throughout the season. Other orchestras that Tamestit will be performing with over the season include Vienna Philharmonic, Radio-Sinfonieorchester Stuttgart des SWR, Sinfonieorchester Basel, Akademie für Alte Musik Berlin, and Gewandhausorchester Leipzig. In chamber music, Tamestit will embark on a European tour with pianist Cédric Tiberghien, performing at Wigmore Hall and the De Bijloke Center in Belgium.

Last Season, Antoine performed with the Symphonieorchester des Bayerischen Rundfunks, Orquestra Simfònica de Barcelona i Nacional de Catalunya, ORF RadioSymphonieorchester Wien, Swedish Radio Symphony Orchestra, Orchestre National de France, and Orchestre de Paris.

Born in Paris, Antoine Tamestit studied with Jean Sulem, Jesse Levine, and with Tabea Zimmermann. He was the recipient of several coveted prizes including first prize at the ARD International Music Competition, the William Primrose Competition and the Young Concert Artists (YCA) International Auditions, as well as BBC Radio 3’s New Generation Artists Scheme, Borletti-Buitoni Trust Award and the Credit Suisse Young Artist Award in 2008. Antoine Tamestit plays on a viola made by Stradivarius in 1672, loaned by the Habisreutinger Foundation.

ENGLISH BAROQUE

SOLOISTS

ENGLISH BAROQUE SOLOISTS

Founded in 1978 by John Eliot Gardiner, the English Baroque Soloists seeks to challenge preconceptions of 200 years of music ranging from Monteverdi to Mozart and Haydn. Equally at home in chamber, symphonic and operatic performances, their distinctively warm and incisive playing is instantly recognisable. One of the world’s leading period instrument orchestras, the ensemble has performed at many of the world’s most prestigious venues including the Milan’s Teatro alla Scala, the Concertgebouw in Amsterdam and the Sydney Opera House.

In 2022, the ensemble completed a number of successful tours, including Symphonies by Haydn and Mozart across Europe and the United States and works by Bach, Schütz and Schein in collaboration with the Monteverdi Choir at prestigious festivals across Europe. The year culminated in a splendid tour of J.S. Bach’s Christmas Oratorio in Teatro alla Scala, Milan, Chapelle Royale, Château de Versailles, Versailles and at our London home, St Martin-in-the-Fields. This performance was livestreamed on Deutsche Grammophon’s new digital platform - Stage+.

In 2021, the ensemble performed its first live streamed concert; Bach’s St John Passion, filmed in Oxford’s historic Sheldonian Theatre and streamed on Deutsche Grammophon’s online platform ‘DG Stage’. It also gave critically acclaimed performances of Handel and Bach at two of Europe’s most prestigious music festivals; the BBC Proms and the Berliner Festspiele.

In 2019 the EBS made its inaugural visit to South America for the Cartagena International Music Festival, and subsequently undertook a tour of Handel’s dramatic oratorio Semele with the Monteverdi Choir,

visiting a series of iconic venues including Barcelona’s Palau de la Música and Milan’s Teatro alla Scala. The ensemble then gave its debut performances in Russia alongside the Monteverdi Choir with a programme of works by Monteverdi, Carissimi, Scarlatti and Purcell, before returning to South America for further inaugural concerts in Brazil, Uruguay, Argentina and Chile.

2017 saw the EBS take part in the celebrated Monteverdi 450 tour, in which they performed all three of Monteverdi’s surviving operas across Europe and in the USA, a project that was recognised by a Royal Philharmonic Society award in the Opera and Music Theatre category.

The ensemble famously took part in the iconic Bach Cantata Pilgrimage in 2000 alongside the Monteverdi Choir, performing all of Bach’s sacred cantatas throughout Europe. The EBS has also participated in major opera productions alongside the Choir in works by Handel, Purcell and Monteverdi, and recorded Mozart’s greatest operas for Deutsche Grammophon in the 1990s.

VIOLIN I

Kati Debretzeni*

Jane Gordon

Beatrice Philips

May Kunstovny

Jenna Sherry

Silvia Schweinberger

Jayne Spencer

Beatrice Scaldini Sophie Simpson Debbie Diamond

VIOLIN II

Lucy Jeal

Davina Clarke

Anne Schumann

Jean Paterson Håkan Wikström Anna Lester Chloe Prendergast

*Leader

VIOLA

Fanny Paccoud

Monika Grimm

Lisa Cochrane

Mari Giske

Jordan Bowron

CELLO

Catherine Rimer Ruth Alford

Kinga Gáborjáni Poppy Walshaw

DOUBLE BASS

Valerie Botwright

Cecelia Bruggemeyer

Markus van Horn

FLUTE

Rachel Beckett

OBOE Michael Niesemann Mark Baigent

©Eric Larraydieu

MONTEVERDI CHOIR & ORCHESTRAS

Monteverdi Choir & Orchestras is the registered charity of three leading international music ensembles: the Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique.

Each ensemble shares in the distinctive vision of our Founder and Artistic Director, John Eliot Gardiner, to bring fresh perspectives, immediacy and drama to performances around the world.

Our world-class musicians specialise in historically inspired projects across a variety of repertoire ranging from sacred music to semi-staged operas, as well as intimate chamber works.

In 2022, the Monteverdi Choir & Orchestras has performed a number of successful tours including partnerships with the Berlin Philharmonic, Concertgebouw and Orchestre Philharmonique Luxembourg, Symphonies by Mozart and Haydn at venues in Europe and the US, a programme of Bach, Schütz and Schein at prestigious festivals across Europe and Beethoven’s late masterpiece: Missa solemnis at the BBC

Proms, Berliner Festspiele and Wratisavia Cantans. The year culminated with a splendid tour of J.S. Bach’s Christmas Oratorio in Teatro alla Scala, Milan, Chapelle Royale, Château de Versailles, Versailles and at our London home, St Martin-in-the-Fields. This performance was livestreamed on Deutsche Grammophon’s new digital platform - Stage+.

Monteverdi Choir & Orchestras (MCO) records on its own label, Soli Deo Gloria and collaborates with prestigious labels including Deutsche Grammophon, with over 150 recordings, films, and live streams, many of which have received critical acclaim. Notable recordings include J.S. Bach’s complete set of Cantatas, as part of the Bach Cantata Pilgrimage project in 2000 and film recordings of Monteverdi’s three surviving operas, as part of the RPS award winning Monteverdi 450 project in 2017.

Monteverdi Choir and the English Baroque Soloists performing at Quincecna Musical, San Sebastián, August 2022

Monteverdi Choir and the English Baroque Soloists performing at St Martin-in-the-Fields, December 2022 © Paul Marc Mitchell

MONTEVERDI APPRENTICES PROGRAMME

The Monteverdi Apprentices Programme is a training scheme for young musicians that seeks to bridge the gap between university or conservatoire education and the world of the professional musician. Participants in this long-established artist development programme take part in projects ranging from workshops and masterclasses to paid performances with the Monteverdi ensembles. With the help of guidance from John Eliot Gardiner and a team of dedicated mentors, we hope to nurture and showcase the development of all our Apprentices by providing challenging and rewarding performance opportunities and exposing them to world-class coaching from experts in a range of fields.

The Apprentices Programme was set up in 2007 - the first of its kind in the UK - its aim being to nurture exceptional musical talent and an aptitude for ensemble performing. We felt there was a pressing need to create a safe environment and opportunity for gifted young singers and instrumentalists to dip their toes in the waters of professional music making while still exploring their own musical potential - simply plunging into the

professional world straight out of college can be a daunting prospect at the best of times.

The Apprentices Programme follows the age-old apprenticeship principle of learning a craft on the job from older hands. At the start of the year each Apprentice is assigned a mentor - an experienced musician within the Monteverdi Choir, EBS or ORR - on hand to give encouragement and one-to-one advice

JOHN ELIOT GARDINER’S INTRODUCTION TO THE MONTEVERDI APPRENTICES PROGRAMME

on the multiple challenges that arise from ensemble singing and playing at the highest professional level. Furthermore, over the course of their Apprentice year these young musicians are integrated with the Monteverdi ensembles, rehearsing and performing in concerts at home and on tour overseas. Our aim is to round out their musical education and to help equip them for future challenges by giving them the opportunity to work alongside some of the best and most experienced musicians in the business. By the end of the year, a Monteverdi Apprentice should be able to gauge his or her individual worth as a singer or instrumentalist with greater objectivity. They will have been given a taste of the life of a professional musician and be in a better position to weigh up if this is genuinely the path that they wish to pursue either as a soloist, an ensemble musician, or

both. And if they have shown that they can meet the requisite musical, technical and stylistic standards that define the Monteverdi Choir, EBS or ORR, they may be offered a place whenever there is a vacancy. The Programme now has over 70 alumni, and many Apprentices still perform regularly with the Monteverdi ensembles.

MONTEVERDI APPRENTICES PROGRAMME 2023-24

We are delighted to welcome our 202324 Monteverdi Choral Apprentices. We are looking forward to working with Billie Robson, Theano Papadaki, Claire Ward, Lorna Elizabeth Price, Avalon Summerfield, Matthias Daehling, Joseph Taylor, Jack Harberd, Henry Saywell and George Vines.

SUPPORT THE MONTEVERDI ENSEMBLES

The three Monteverdi ensembles – the Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique – are a leading force on the international music scene. World-class instrumentalists and singers of many different nationalities come together to share in the distinctive vision of our Founder and Artistic Director, John Eliot Gardiner, in ground-breaking projects that span eight centuries of musical masterpieces.

As a registered charity without public subsidy, Monteverdi Choir and Orchestras rely on the generosity of our supporters to continue planning our ambitious, historically-inspired artistic programme, and regularly perform world-class concerts at our new central London home, St Martin-in-theFields. This support also allows us to share our concerts with music lovers around the world through top-quality film and audio content, and helps us nurture and develop the next generation of musical talent. Here are the ways in which you can support us:

Monteverdi Choir and English Baroque Soloists at the Auditorium Agnelli – Torino, courtesy of Lingotto Musica

© Mattia Gaido

JOIN OUR MEMBERSHIP SCHEME

Our membership schemes start from £250 per year. Members enjoy a range of benefits including a personalised priority booking service for all our concerts, monthly e-bulletins, and invitations to post-concert receptions. At higher levels, additional benefits include invitations to exclusive open rehearsals, backstage access after our performances, and an Annual Conductor’s Dinner.

JOIN AS A BENEFACTOR

By supporting our charity at this highest level, you will contribute substantially towards our landmark projects, allow us to perform regularly in our new London home at St Martin-in-the-Fields, and share our music globally via our filmed concerts.

CORPORATE SPONSORSHIP OPPORTUNITIES

We can offer creative and collaborative sponsorship packages that enable you to align your business with our work. There are opportunities to sponsor individual performances, or an entire season of concerts at our new London home, St Martin-in-the-Fields.

LEAVE A LEGACY

By choosing to leave a Legacy Gift to the Monteverdi Choir & Orchestras, you will play a crucial role in ensuring that the performers and listeners of the future will continue to be enthralled by the power of our music-making.

JOIN OUR AMERICAN FRIENDS

Our American Friends play a valuable part in supporting and championing the work of the Monteverdi ensembles both in the US and beyond. The American Friends of the Monteverdi Choir & Orchestras, Inc is a registered 501(c) (3) and donations to the AFMCO are tax deductible for US taxpayers.

CONTACT US

On our website you will find the facility to make a donation (which we warmly welcome at any level), purchase one of our memberships for yourself, or treat a friend via a Gift Membership. If you would like to discuss how you could support us by becoming a Benefactor, or how your organisation could partner with us, please contact us to arrange a discussion with our General Director, Rosa Solinas.

development@monteverdi.org.uk +44 (0)20 7719 0120

Monday to Friday 9:30am to 5.30 pm www.monteverdi.co.uk

MONTEVERDI SUPPORTERS

PATRON HM King Charles III

PRESIDENT Carol Grigor

PRINCIPAL FUNDER

Dunard Fund

BENEFACTORS

Michael L. Cioffi – Monteverdi Tuscany, Castiglioncello del Trinoro, Italy Sebastiano Cossia Castiglioni Judith McCartin Scheide

MEMBERSHIP SCHEME

Platinum

David Best

Michael Beverley David & Sandra Brierwood Morny Davison Lord & Lady Deben Lady Virginia Fraser Andrey Kidel William Lock Francis Norton Helen Skinner Sir David Walker

Gold

Lord Burns Gordon Gullan Christian & Myrto Rochat Stephen & Victoria Swift

Silver

Julia & Martin Albrecht Geoffrey Barnett Donald & Corrine Brydon Roger & Rosemary Chadder Peter & Stephanie Chapman Dr Carol Cobb Peter Dunkerley Sir Stephen Gomersall Jake Donovan & Gracia Lafuente Yi-Peng Li Lady Nixon Professor Richard Portes CBE FBA Anthony C. Shoults Captain Brian Woodford CBE RN

Bronze

Tania Bader Mary Bernard Donald D. Campbell John Canady Peter J. Chapman Vanessa Claypole Peter Dunkerley Anthony de Grey Steve Edge Alison & Mark Hesketh

The Monteverdi Choir & Orchestras gratefully acknowledges the generous support of the following individuals, organisations and Trusts & Foundations:

János & Dietlinde Hidasi

Jenny Hill

Richard Jacques Gareth & Charlotte Keene

Mollie Norwich

Nicholas & Christylle Phillips

Mary Pinnell

Daan Posthuma

Meghan Purvis

Thomas Richter

Dr Paul A. Sackin

Steven & Olivia Schaefer

Christopher J. H. Thornhill

Andrew Tusa Andrew Wales

CORPORATE PARTNER

Morgan Stanley

TRUSTS & FOUNDATIONS

Dunard Fund

The Mrs FB Laurence Charitable Trust

The Prince of Wales’s Charitable Foundation

IN MEMORIAM

Donald Gorman

Ian Hay Davison CBE

Christopher Stewart

Laura Youens

LEGACIES

The Estate of Howard Hodgkin

The Estate of Kevin Lavery

We are grateful for the donations made in memory of our supporters. To find out more about supporting MCO via Legacy Giving, please visit www.monteverdi.co.uk/supportus/leave-a-legacy

AMERICAN FRIENDS

The Negaunee Foundation

The New York Community Trust –The Scheide Fund

Neil Graham

Seth Levi

With grateful thanks to those who wish to remain anonymous.

Monteverdi Choir and the English Baroque Soloists performing at St Martin-in-the-Fields, December 2022 © Paul Marc Mitchell

MCO Team

Rosa Solinas

General Director & Chief Executive

Martin Wheeler Finance & Administration Manager

Matthew Broom Planning & Casting Manager

James Halliday Artistic Advisor & Librarian

Emily Parker Artistic Operations Manager

Margot Moseley Tours & Concerts Manager

Bryony Benstead Fundraising Manager

Andrew Softley Projects & Partnerships Manager (Choir Manager)

Hannah Bostock Marketing & Communications Coordinator

Matthew Muller Stage Manager

Charlotte Marino Digital Operations Manager

Philip Turbett Orchestra Fixer

Dinis Sousa Associate Conductor

Finan Jones Assistant Conductor

MCO Board of Directors

Sir David Walker (Chairman)

David Best Lady Deben

Virginia Fraser

Sir Stephen Gomersall

Andrey Kidel

Francis Norton

THE MONTEVERDI CHOIR & ORCHESTRAS

Level 12, 20 Bank Street, Canary Wharf, London E14 4AD, UK www.monteverdi.co.uk +44 (0)20 7719 0120 info@monteverdi.org.uk

Registered in England & Wales Company No. 01277513 Charity No. 272279

SIGN UP TO OUR NEWSLETTER What’s On | News | Reviews | Media www.monteverdi.co.uk/pages/newsletter

FOLLOW US ON SOCIAL MEDIA

@mco_london @monteverdichoirandorchestras monteverdi_choir_orchestras

Post your experiences of tonight’s concert!

Cover image: Vienna as seen from the Upper Belvedere by Karl Schütz, 1784 - akg-images.