MCO: Bach Motets & Solo Violin Music, June 2024

BACH MOTETS

& SOLO VIOLIN MUSIC

Monteverdi Choir

English Baroque Soloists

St Martin-in-the-Fields, London, UK

Tuesday 4 June 2024, 7.30pm

Thursday 6 June 2024, 7.30pm

Nikolaikirche, Bachfest Leipzig, Germany

Sunday 9 June 2024, 6.00pm

Monteverdi Choir & Orchestras presents

BACH MOTETS

& SOLO VIOLIN MUSIC

Monteverdi Choir

English Baroque Soloists

Jonathan Sells conductor

Kati Debretzeni — violin

James Halliday assistant conductor

WELCOME

Welcome to our performances of motets by JS Bach and his ancestors, interwoven with solo violin music. We are entering into a dialogue of the soul – between the spoken and the unspoken, the consolatory and the unspeakable.

I’m often struck in Bach’s cantatas by the rejection of the sinful world and the life of vice (‘Lasterleben’). His 18thcentury world was overshadowed by death, with child mortality at around 50%, recurring epidemics, and the horrific Thirty Years’ War still present in the collective memory. The mantra of Psalm 90, set by Johann Michael Bach, Unser Leben währet siebenzig Jahr (our life lasts 70 years) must have seemed optimistic to the point of galling irony.

Written for funerals, as most of them were, the motets of JS Bach are a miraculous gift, filled with an overwhelming affirmation of life. They often bubble over with excess and ebullience: Bach poured his optimism and ecstatic vision of paradise into these works. The motets occupy a talismanic place in the choral repertoire, inspiring awe for their virtuosity and complexity. Like a great but fearful mountain, the brave are attracted again and again to scale their perilous heights – though in this case the thrilling rewards, both musical and spiritual, are shared by all mankind.

Placed in the context of the music of his ancestors, JS Bach’s motets are heard as

a conversation with the past, something which the composer was always fascinated by. And in Jesu, meine Freude, for example, his music is even in a discussion with itself: Bach’s palindromic structure is simultaneously a linear dialogue between the book of Romans and Johann Franck’s chorale, between Biblical spiritual guidance and visceral, personal belief.

The solo violin of Kati Debretzeni enters these conversations as a further voice, without words. Grappling with the metaphysical hurdle between life and death, we reach the edge of the speakable, beyond which the violin takes flight. Kati’s long experience leading the English Baroque Soloists in partnership with the Monteverdi Choir makes her uniquely sensitive to this dialogue. And the Monteverdi Choir itself, with its ability to paint every shade of human emotion and steeped in a tradition of Bach, can turn on a sixpence to respond with flexibility and power to the extreme demands of this astonishing material.

I’m fascinated to discover how the two parties, choir and violin, will respond to each other in performance, as we share this unique, solemn, and uplifting ritual. The limits of human mouths and words become those of the body, the world. The soul (‘der Geist’), at first embedded in that body, begins to separate itself, and soar to its creator…

— Jonathan Sells

BACH: MOTETS & SOLO VIOLIN MUSIC

Bernd Koska (Bach-Archiv Leipzig)

Overpowering choral singing versus one single violin – what at first glance looks like an uneven battle turns out in today’s concert to be a charming dialogue between two worlds of sound. On the one hand, despite all their polyphony the motets of the Bach family are full of delicate detail, while on the other, the pieces for solo violin – and foremost among them the Sonatas and Partitas of Johann Sebastian Bach – strive for as much polyphony as possible within the limited means of the instrument. And yet another dialogue is inherent in the concert programme: the correspondence between 17th-century tradition and the works of Bach, which in many ways represent the culminating point in the development of the respective genres.

The Thomaskantor himself owned a collection of compositions (the AltBachisches Archiv) by his Thuringian ancestors, which reveal a fascination for playing around with different musical configurations. For example, in two motets by the organist of Gehren, Johann Michael Bach Unser Leben währet siebenzig Jahr/The days of our years are threescore years and ten and Fürchte dich nicht/Fear not) the chorale melody is sung in the soprano over the rest of the choir, which sings a fitting Bible verse with figurations – a Central German speciality – while in a third motet (Halt, was du hast/Hold that fast which thou hast), two four-

part choirs are juxtaposed with one another. In Unser Leben ist ein Schatten (Our life is a shadow), the organist of the Prediger Church in Erfurt, Johann Bach, included an unusual sound effect: on several occasions, on the word Schatten (shadow) a solo voice breaks free from the ensemble and introduces a moment of silence – magnificently symbolising the fleetingness of life. This kind of word painting is also most impressively found in the work of the Eisenach organist, Johann Christoph Bach. For example, in his motet Der Gerechte, ob er gleich zu zeitlich stirbt (The righteous, though he die early), the “taking up” of the righteous can clearly be heard in the dotted rhythm and harmonic sequences. In Fürchte dich nicht (Fear not), text-related motifs are combined with a chorale which, with long note values, shines through in the soprano voice.

With his early motet Ich lasse dich nicht (I will not let thee go), Johann Sebastian Bach follows in the footsteps of his ancestors. Written around 1713 in Weimar, here too the cantus firmus appears in the soprano voice atop the lively lower voices after a first section in which two choirs alternate in imitative fashion. In Bach’s more mature motets written in Leipzig after 1723, we find more extensive sections and more complex motivic combinations. For example, in Komm, Jesu, komm (Come, Jesus, come), for the line Du bist der rechte

Autograph score of Der Geist hilft unser Schwachheit auf Bach himself notes on the title page: ‘J. J. Motetta à doi Cori bey Beerdigung des seel. Hrn. Prof. und Rectoris Ernesti di J. S. Bach.’ (Jesu Juva – Motet for two choirs for the funeral for the blessed Rector, Professor Ernesti, by J. S. Bach)

and

Weg (You are the right way) Bach invents a flexible subject and from it develops a never-ending movement in lilting 6/8 time. Needless to say, the chorale also features largely in Bach’s motets, in particular in Jesu, meine Freude (Jesus, my joy). The six verses of the hymn serve as the framework for the composition, which has astonishing range – from a much-embellished cantional setting right through to a kind of chorale fantasia that reveals Bach’s sheer delight in radical interpretation of the text (Trotz dem alten Drachen – Affront the ancient dragon ...).

The occasions for which Bach’s motets were written is largely unknown, but they were probably funeral services for Leipzig

citizens. For the piece Der Geist hilft unser Schwachheit auf (The Spirit comes to the aid of our weakness), we know for certain that the occasion was the burial of the headmaster of St. Thomas’ School, Ernesti, in October 1729. In contrast, given the text of the motet Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), it was undoubtedly intended for a joyful occasion; perhaps a feast of thanksgiving or New Year. The very beginning of the piece bubbles over with the joy of singing and praising God, and as it progresses several levels combine to form an incredibly dense fabric. Singet dem Herrn remained a showpiece of the Thomaner choristers even after Bach’s death and was sung to Wolfgang

Thomasschule

Thomaskirche, Leipzig, 1723

BACH FAMILY TREE

Johannes Bach I (d. 1626)

Heinrich Bach (1615–1692) The Arnstadt Line

Johann Michael Bach (1648–1694)

Christoph Bach (1613–1661)

Johann Ambrosius Bach (1645–1695)

Johann Christoph Bach (1642–1703)

Maria Barbara Bach (1684–1720)

Johann(es) Bach III (1604–1673) The Erfurt Line m.

Johann Sebastian Bach (1685–1750)

Amadeus Mozart in Leipzig in 1789. After the recital, Mozart is said to have spread the voice parts around him on the floor and chairs and “forgetting everything else” studied the composition.

While there are no anecdotes to report about Bach’s Sonatas and Partitas for solo violin, we do know the year they came into existence, thanks to the note anno 1720 on the autograph (although some movements may have been composed well before this date). Works for unaccompanied solo violin are rare in Baroque literature, but not unheard of. The final piece in the Rosary Sonatas cycle, written in around 1678 by the Salzburg kapellmeister Heinrich Ignaz Franz von Biber, is one example. In the extensive Passacaglia, the composer uses different techniques to play a simple subject of just four notes. The Fantasia for Solo Violin by the little-known Nicola Matteis jun., a member of the Viennese court orchestra who died in 1737, is more like an arpeggio study. His father and namesake came from Italy and brought that country’s tradition of virtuoso violin-playing to England, where he published his Arie diverse per il Violino in 1676. The movements selected for this concert provide a sample of his great talent as a violinist, with greatly ornamented melody lines and powerful chord fingerings.

The Sonata in A minor by Johann Georg Pisendel opens with a prelude which develops great tension primarily from dissonant chords. Pisendel, the concertmaster of the Dresden court orchestra and a personal acquaintance of Bach’s, wrote his sonata in the early 1720s; it could thus already be a response to the trend-setting Sonatas and Partitas by the Leipzig Thomaskantor. The original Bach collection bears the unspectacular

title of Sei Solo à Violino senza Basso accompagnato and is composed of three sonatas (on the slow-fast-slow-fast model) in alternation with three partitas (suites of dance movements). In these pieces, Bach, who in his youth was an enthusiastic violinist, sets himself the challenge of applying his inexhaustible polyphonic means of expression to a melody instrument. For example, he wrote the second movement of each sonata as a fugue and indeed succeeded in giving the impression of three independent parts. In the Partitas, Bach borrowed formal elements of French claveçin music, but at times moves a long way from the traditional dance rhythms. In the sprawling Chaconne of the Partita in D minor, his creative determination goes so far that Philipp Spitta called the piece a “triumph of the mind over matter” –which certainly also aptly describes the whole cycle.

Translation: Uwe Wiesemann

Portrait of JS Bach by Leipzig painter Elias Gottlob Haussmann. painted for Bach’s admission as the fourteenth member of the Correspondierende Societät der musicalischen Wissenschaften

Tuesday 4 June 2024, 7:30pm

OUT OF THE SHADOWS

Bach family and contemporaries

Johann Bach — Unser Leben ist ein Schatten

Nicola Matteis Jr — Fantasia for Solo Violin in A minor

Johann Michael Bach — Unser Leben währet siebenzig Jahr

Johann Michael Bach — Halt, was du hast

Johann Georg Pisendel — Sonata in A minor: [Prelude]

Johann Christoph Bach — Der Gerechte, ob er gleich zu zeitlig stirbt

Nicola Matteis Sr — Ayres for the Violin: Preludio,  Passagio rotto, Fantasia

Johann Christoph Bach — Fürchte dich nicht

Johann Sebastian Bach — Ich lasse dich nicht, BWV 1165

Heinrich Ignaz Franz von Biber — Rosary Sonata 16: Passacaglia in G minor ‘The guardian angel’

Johann Michael Bach — Ich weiss, dass mein Erlöser lebt

Johann Sebastian Bach — Sonata 1 in G minor, BWV 1001: Adagio

Johann Sebastian Bach — Komm, Jesu, komm, BWV 229

Johann Sebastian Bach — Sonata 1 in G minor, BWV 1001: Fuga

Johann Sebastian Bach — Der Geist hilft unser Schwachheit auf, BWV 226

Bach Motets

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Thursday 6 June 2024, 7:30pm

INTO

THE LIGHT

JS Bach: Motets & solo violin music

Johann Sebastian Bach — Partita 1 in B minor, BWV 1002: Allemande, Double

Johann Sebastian Bach — Jesu, meine Freude, BWV 227 I-IV

Johann Sebastian Bach — Partita 1 in B minor, BWV 1002: Courante, Double

Johann Sebastian Bach — Jesu, meine Freude, BWV 227  V-VII

Johann Sebastian Bach — Sonata 2 in A minor, BWV 1003: Andante

Johann Sebastian Bach — Jesu, meine Freude, BWV 227  VIII-XI

Johann Sebastian Bach — Partita 2 in D minor, BWV 1004

Johann Sebastian Bach — Singet dem Herrn, BWV 225

Bach Motets

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TEXTS & TRANSLATIONS

Concert 1 — Out of the Shadows

J Bach – UNSER LEBEN IST EIN SCHATTEN

Unser Leben ist ein Schatten auf Erden.

Chronik 29,15

Ich weiß wohl, dass unser Leben Oft nur als ein Nebel ist, Denn wir hier zu jeder Frist Mit dem Tode seind umgeben, Drum obs heute nicht geschicht, Meinen Jesum laß ich nicht!

Sterb ich bald so komm ich abe Von der Welt Beschwerlichkeit, Ruhe bis zur vollen Freud, Und weiß dass im finstern Grabe Jesus ist mein helles Licht Meinen Jesum lass ich nicht!

Johann Flittner

Ich bin die Auferstehung und das Leben Wer an mich gläubet, der wird leben, Ob er gleich stürbe Und wer da lebet und gläubet an mich, Der wird nimmermehr sterben.

Weil du vom Tod erstanden bist, Werd ich im Grab nicht bleiben Mein höchste Trost dein’ Auffahrt ist, Todsfurcht kann sie vertreiben, Denn wo du bist da komm ich hin, Dass ich stets bei dir Leb und bin, Drum fahr ich hin mit Freuden..

Nikolaus Herman

Ach wie flüchtig, ach wie nichtig Ist der Menschen Leben! Wie ein Nebel bald entstehet Und auch wieder bald vergehet, So ist unser Leben, sehet!

Ach wie nichtig, ach wie flüchtig Sind der Menschen Sachen!

Alles, alles was wir sehen, Das muss fallen und vergehen Wer Gott fürcht,

Our life on earth is but a shadow.

Chronicles 29:15 (King James Bible)

I know indeed that our life Is often no more than mist, Since here at every moment We are surrounded with death; I shall not abandon my Jesus

Even if my life does not end today.

If I should die soon, then I will be freed

From the world’s burdens

And will take my rest in utter joy,

Knowing that in the darkness of the grave

Jesus is my shining light — I shall not abandon my Jesus.

“I am the resurrection and the life: He that believes in me, though he were dead, Shall yet live: And he who lives and believes in me Shall never die.”

Because you rose from death, I will not remain in my grave. My greatest comfort is your ascension, Which drives away all fear of death. For where you are, I shall come too, So that close to you I may have life and being — Thus do I leave this world in joy.

How fleeting and how futile Is human life!

As mist swiftly appears And just as swiftly vanishes, Behold our life!

How futile and how fleeting Are human affairs!

All that we see Must crumble and vanish — He who fears God

Bleibt ewig stehen.

Ach, Herr lehr uns bedenken wohl Dass wir sind sterblich allzumal!

Auch wir allhier keins Bleibens han, Müssen alle davon, Gelehrt, reich, jung oder schön Müssen alle davon.

JM Bach – UNSER LEBEN WÄHRET

SIEBENZIG JAHR

Michael Frank

Will live for eternity.

Lord, teach us to remember That we are all too mortal And that we have no abiding place, But must all pass beyond; Be they learned, rich, young or beautiful, All must pass beyond.

Johann Leon

Unser Leben währet siebenzig Jahr Und wenns hoch kömmt, so sind’s achtzig Jahr. Und wenn es köstlich gewesen ist, So ist es Muh und Arbeit gewesen, Denn es fähret schnell dahin, Als flögen wir davon.

Psalm 90:10

Ach Herr, lass dein liebe Engelein

Am letzten Ende die Seele mein

In Abrahams Schoß tragen. Den Leib in seinem Schlafkämmerlein Gar sanft ohn’ einige Qual und Pein Ruhn bis am jüngsten Tage.

Als dann vom Tod erwecke mich, Dass meine Augen sehen dich

In aller Freud, o Gottessohn, Mein Heiland und Genaden Thron, Herr Jesu Christ, erhöre mich, Ich will dich preisen ewiglich.

Martin Schalling the Younger

JM Bach – HALT, WAS DU HAST

Halt, was du hast, dass niemand deine Krone nehme, und sei getreu bis in den Tod. So wirst du empfahen ein herrliches Reich, und eine schöne Krone von der Hand des Herren. Drum sei getreu bis in den Tod.

Jesu, meine Freude, Meines Herzens Weide, Jesus, meine Zier, Ach wie lang, ach lange ist dem Herzen bange Und verlangt nach dir. Gottes Lamm, mein Bräutigam, Außer dir soll mir auf Erden Nichts sonst Liebers werden. Weg mit allen Schätzen, Du bist mein Ergetzen, Jesu, meine Lust.

Translation: Peter Lockwood

The days of our years are threescore years and ten; and if by reason of strength they be fourscore years, And if it has brought its enjoyment, then it has also been labour and toil for it is soon cut off, and we fly away.

Lord, let your dear angels Bear my soul in Abraham’s bosom Until the end of days.

Let my body, in its small chamber, Rest without pain and suffering Until the day of judgement.

Wake me then from death, That my eyes may behold you In complete joy, o son of God, My saviour and throne of grace, Lord Jesus, hear my prayer, And I will praise you for eternity

Hold what you have, lest someone steal your crown, and be faithful unto death. Then you will receive a splendid kingdom and a fair crown from the Lord’s own hand. Be faithful unto death.

Jesus, my joy, My heart’s delight, Jesus, my pride and joy, How long My heart has been afraid And longs for you. Lamb of God, my bridegroom, There is none more dear to me than you Upon this earth.

Away with all treasures, You are my delight, Jesus, my pleasure.

Translation : Peter Lockwood

Weg, ihr eitlen Ehren!

Ich mag euch nicht hören, Bleibt mir unbewusst!

Elend, Not, Kreuz, Schmach und Tod, Soll mich, wenn ich schon muss leiden, Nicht von Jesu scheiden.

Gute Nacht, o Wesen, Dass die Welt erlesen, Mir gefällst du nicht.

Gute Nacht, ihr Sünden, Bleibet weit dahinten, Kommt nicht mehr ans Licht!

Gute Nacht, du stolze Pracht! Dir sei ganz, o Lasterleben, gute Nacht gegeben.

Offenbarung 3, 11 / Choral Johann Franck (1618–1677)

JC Bach – DER GERECHTE, OB ER GLEICH ZU ZEITLICH STIRBT

Der Gerechte, ob er gleich zu zeitlich stirbt, ist er doch in der Ruhe.

Er gefällt Gott wohl und ist ihm lieb und wird weggenommen aus dem Leben unter den Sündern und wird hingerücket, dass die Bosheit seinen Verstand nicht verkehre, noch falsche Lehre seine Seele betrübe; er ist bald vollkommen worden und hat viel Jahr’ erfüllet. Denn seine Seele gefällt Gott wohl.

Darum eilet er mit ihm aus dem bösen Leben. Weisheit Salomos 4

JC Bach – FÜRCHTE DICH NICHT

Fürchte dich nicht, denn ich hab dich erlöst, ich hab dich bei deinem Namen gerufen, du bist mein.

Wahrlich, ich sage dir: Heute wirst du mit mir im Paradies sein.

O Jesu, du mein Hilf und Ruh, ich bitte dich mit Tränen: Hilf, dass ich mich bis ins Grab nach dir möge sehnen.

Jesaja 43,1, Lukas 23,43, Johann Rist

JS Bach – ICH LASSE DICH NICHT, BWV ANHANG 159

Ich lasse dich nicht, du segnest mich denn. Mein Jesu!

Ich lasse dich nicht, du segnest mich denn. Weil du mein Gott und Vater bist, dein Kind wirst du verlassen nicht, du väterliches Herz!

Ich bin ein armer Erdenkloß,

Away, all vain honours!

I will not listen to you, Remain unknown to me!

Misery, distress, torment, pain and death

Will not, if I must endure them,

Separate me from Jesus.

Good night, o being Who has chosen the world; You do not please me.

Good night, you sins, Stay far behind me, And come no more into the light!

Farewell, O pride and pomp!

Life of wickedness, may you be wreathed in night!

Revelation 3:11 / Chorale

Translation: Peter Lockwood

But though the righteous be prevented with death, yet shall he be in rest.

He pleased God, and was beloved of him, so that living among sinners he was translated, yea speedily was he taken away, lest that wickedness should alter his understanding, or deceit beguile his soul; he, being made perfect in a short time, fulfilled a long time.

For his soul pleased the Lord. Therefore hasted he to take him away from among the wicked. Wisdom 4

Fear not: for I have redeemed thee, I have called thee by thy name; thou art mine.

Verily I say unto thee, today shalt thou be with me in paradise. O Jesus, my help and my rest, I entreat Thee with tears: help me to follow Thee until my life ends.

Isaiah 43:1; Luke 23:43; Johann Rist;

Translation: Mari Prackauskas

I shall not let thee go, unless thou bless me My Jesus!

I shall not let thee go, unless thou bless me. Because thou art my God and Father, thou wilt not forsake thy child, O paternal heart!

I am a poor clod of earth,

auf Erden weiß ich keinen Trost.

Genesis 32:26, Erasmus Alberus

JC Bach – ICH WEIß, DASS MEIN ERLÖSER LEBT

Ich weiß, daß mein Erlöser lebt, und er wird mich hernach aus der Erden wieder auferwecken, und werde danach mit dieser meiner Haut umgeben werden, und werde in meinem Fleisch Gott sehen; denselben werde ich mir sehen, und meine Augen werden ihn schauen, und kein Fremder. Christus, der ist mein Leben, Sterben ist mein Gewinn, Dem tu ich mich ergeben, Mit Freud fahr ich dahin.

Hiob 19, 25–27 / Choral: Martin Luther

JS Bach – KOMM, JESU, KOMM, BWV 229 Komm, Jesu, komm, mein Leib ist müde, die Kraft verschwind’t je mehr und mehr, ich sehne mich nach deinem Friede; der saure Weg wird mir zu schwer! Komm, komm, ich will mich dir ergeben; du bist der rechte Weg, die Wahrheit und das Leben.

Drum schließ ich mich in deine Hände und sage, Welt, zu guter Nacht! Eilt gleich mein Lebenslauf zu Ende, ist doch der Geist wohl angebracht. Er soll bei seinem Schöpfer schweben, weil Jesus ist und bleibt der wahre Weg zum Leben.

Paul Thymich

JS Bach – DER GEIST HILFT UNSER SCHWACHHEIT AUF, BWV 226

Der Geist hilft unser Schwachheit auf, denn wir wissen nicht, was wir beten sollen, wie sich’s gebühret; sondern der Geist selbst vertritt uns aufs Beste mit unaussprechlichem Seufzen. Der aber die Herzen forschet, der weiß, was des Geistes Sinn sei; denn er vertritt die Heiligen nach dem, das Gott gefället.

Du heilige Brunst, süßer Trost, nun hilf uns, fröhlich und getrost in deinem Dienst beständig bleiben, die Trübsal uns nicht abtreiben.

O Herr, durch dein Kraft uns bereit und stärk des Fleisches Blödigkeit, dass wir hie ritterlich ringen, durch Tod und Leben zu dir dringen. Halleluja, halleluja.

Romans 8:26-27, Martin Luther

and know no consolation on earth.

I know that my redeemer lives, and that he will raise me from the earth on the last day; I will then be clothed once more in my own skin and shall behold God in my own body. It is he that I shall see; my eyes will behold him and no other.

As Christ is my life, So is death my prize: I surrender myself to Him And with joy I pass beyond.

Job 19, 25-27 / Chorale; Translation:

Come, Jesus, come, my body is weary, my strength deserts me more and more, I yearn for thy peace; life’s bitter path is too much for me! Come, come, I will surrender myself to thee, thou art the right Way, the Truth and the Life.

And so I place myself in thy hands and bid thee, world, farewell! Though the sands of my life are running out, the spirit is ready.

It shall hover before its maker, for Jesus is and remains the true way to life.

Translation: Richard Stokes

The Spirit helpeth our infirmities, for we know not what we should pray for as we ought: but the Spirit itself maketh intercession for us with groanings which cannot be uttered. And he that searcheth the hearts knoweth what is the mind of the Spirit, because he maketh intercession for the saints according to the will of God.

O heavenly ardour, sweet comfort, help us now with joy and confidence to remain steadfast in thy service, and not to be deflected by affliction. O Lord, prepare us by Thy might and strengthen the feeble flesh that we may strive valiantly here to attain to Thee through death and life. Alleluja, Alleluja!

Translation: Richard Stokes

Peter Lockwood

TEXTS & TRANSLATIONS

Concert 2 — Into the Light

JS Bach – JESU, MEINE FREUDE, BWV 227 Jesu, meine Freude, meines Herzens Weide, Jesu, meine Zier, ach, wie lang, ach, lange ist dem Herzen bange und verlangt nach dir!

Gottes Lamm, mein Bräutigam, außer dir soll mir auf Erden nichts sonst Liebers werden.

Es ist nun nichts Verdammliches an denen, die in Christo Jesu sind, die nicht nach dem Fleische wandeln, sondern nach dem Geist.

Unter deinem Schirmen bin ich vor den Stürmen aller Feinde frei.

Lass den Satan wittern, lass den Feind erbittern, mir steht Jesus bei.

Ob es itzt gleich kracht und blitzt, ob gleich Sünd und Hölle schrecken: Jesus will mich decken.

Denn das Gesetz des Geistes, der da lebendig macht in Christo Jesu, hat mich frei gemacht von dem Gesetz der Sünde und des Todes.

Trotz dem alten Drachen, trotz des Todes Rachen, trotz der Furcht darzu! Tobe, Welt, und springe, ich steh hier und singe in gar sichrer Ruh.

Gottes Macht hält mich in Acht; Erd und Abgrund muss verstummen, ob sie noch so brummen.

Ihr aber seid nicht fleischlich, sondern geistlich, so anders Gottes Geist in euch wohnet Wer aber Christi Geist nicht hat, der ist nicht sein.

Jesus, my joy, my heart’s delight, Jesus, my treasure!

Ah! how long, how long has my heart been troubled and desirous of Thee!

Lamb of God, my bridegroom, nothing on earth can be dearer to me than Thee.

There is therefore now no condemnation to them which are in Christ Jesus, who walk not after the flesh, but after the Spirit.

Beneath Thy shield

I am protected from the raging storms of all my enemies.

Let Satan storm, let the foe rage, Jesus will stand by me!

Though there now be thunder and lightning, though sin and Hell spread terror, Jesus will protect me.

For the law of the spirit of life in Christ Jesus hath made me free from the law of sin and death.

Despite the old dragon, despite the jaws of death, despite the fear of death!

Rage, O world, and rear up, I shall stand here and sing in confident tranquillity!

I respect God’s might; earth and abyss will be silenced, however much they now demur.

But ye are not in the flesh, but in the spirit, if so be that the spirit of God dwell in you. Now if any man have not the spirit of Christ, he is none of his.

Weg mit allen Schätzen! du bist mein Ergötzen, Jesu, meine Lust!

Weg ihr eitlen Ehren, ich mag euch nicht hören, bleibt mir unbewusst! Elend, Not, Kreuz, Schmach und Tod soll mich, ob ich viel muss leiden, nicht von Jesu scheiden.

So aber Christus in euch ist, so ist der Leib zwar tot um der Sünde willen; der Geist aber ist das Leben um der Gerechtigkeit willen.

Gute Nacht, o Wesen, das die Welt erlesen, mir gefällst du nicht.

Gute Nacht, ihr Sünden, bleibet weit dahinten, kommt nicht mehr ans Licht!

Gute Nacht, du Stolz und Pracht! dir sei ganz, du Lasterleben, gute Nacht gegeben.

So nun der Geist des, der Jesum

Away with all riches, thou art my delight, Jesu, my desire.

Away with you, vain honours, I shall not give ear to you, do not enter my mind!

Misery, distress, affliction, shame and death, though I must suffer much, shall not part me from Jesus.

If Christ be in you, the body is dead because of sin; but the Spirit is life because of righteousness.

Farewell, O you who have chosen the world; I do not love you.

Farewell, O sins, stay far behind me, never come to light again! Farewell, O pride and pomp! Life of wickedness, may you be wreathed in night! But if the spirit of him that

von den Toten auferwecket hat, in euch wohnet, so wird auch derselbige, der Christum von den Toten auferwecket hat, eure sterbliche Leiber lebendig machen um des willen, dass sein Geist in euch wohnet.

Weicht, ihr Trauergeister, denn mein Freudenmeister, Jesus, tritt herein.

Denen, die Gott lieben, muss auch ihr Betrüben lauter Zucker sein.

Duld ich schon hier Spott und Hohn, dennoch bleibst du auch im Leide, Jesu, meine Freude.

Franck, Romans 8:1,2,9-11

JS Bach – SINGET DEM HERRN EIN NEUES LIED, BWV 225

Singet dem Herrn ein neues Lied, die Gemeine der Heiligen sollen ihn loben.

Israel freue sich des, der ihn gemacht hat.

Die Kinder Zion sei’n fröhlich über ihrem Könige, sie sollen loben seinen Namen im Reihen; mit Pauken und mit Harfen sollen sie ihm spielen.

Wie sich ein Vater erbarmet Gott, nimm dich ferner unser an, über seine junge Kinderlein, so tut der Herr uns allen, so wir ihn kindlich fürchten rein. Er kennt das arm Gemächte, Gott weiß, wir sind nur Staub, denn ohne dich ist nichts getan mit allen unsern Sachen. gleichwie das Gras vom Rechen, ein Blum und fallend Laub!

Der Wind nur drüber wehet, so ist es nicht mehr da, Drum sei du unser Schirm und Licht, und trügt uns unsre Hoffnung nicht, so wirst du’s ferner machen. also der Mensch vergehet, sein End, das ist ihm nah. Wohl dem, der sich nur steif und fest auf dich und deine Huld verlässt.

Lobet den Herrn in seinen Taten, lobet ihn in seiner großen Herrlichkeit! Alles, was Odem hat, lobe den Herrn. Halleluja!

Psalm 149:1-3, Psalm 150:2,6, Johann Gramann

raised up Jesus from the dead dwell in you, he that raised up Christ from the dead shall also quicken your mortal bodies by his spirit that dwelleth in you.

Depart hence, you spirits of sadness, for the Lord of my joy, for Jesus enters.

To those whom God loves, even their sorrow must be sweetened.

Though I endure mockery and scorn on earth, thou art still, in the midst of my suffering, my Jesus, my joy.

Translation: Richard Stokes

Sing unto the Lord a new song, the congregation of saints shall praise him.

Let Israel rejoice in him that made him.

The children of Sion shall rejoice in their king, they shall praise his name with dancing, and they shall play to him with drums and harps.

As a father takes pity God, continue to take care of us, on his own young children, so does the Lord pity us all, if we fear him like pure children. He knows our poor estate, God knows that we are but dust, for without thee all human endeavour is nothing. like grass that is reaped, the fading flower and falling leaf. The wind only has to blow over it, and it is there no more.

Be therefore our shield and light, and if our hope does not deceive us, thou shalt continue to be so.

Man thus passes away, and his end is near.

Blessed is he who steadfastly relies on thee and thy grace.

Praise the Lord for his mighty deeds, praise him according to his excellent greatness. Let everything that hath breath praise the Lord. Alleluia!

Translation: Richard Stokes

Johann

The Monteverdi Choir celebrates its 60th anniversary in 2024. Over the course of its life, it has established itself as one of the greatest choirs in the world. Through a combination of consummate technique, historically-inspired performance practice and a strong appreciation for visual impact, the Choir constantly strives to bring fresh perspectives, immediacy, and drama to its performances.

The Monteverdi Choir was proud to be named ‘Best Choir’ at the Oper! Awards in January 2024. The Oper! Awards jury noted that “at festivals, on concert tours and in their numerous recordings, this is an ensemble whose quality will always leave the listener speechless. The singers have long since gone beyond the realm of their namesake and opera (co-) inventor, having moved well into the 19th century. Whether is music of the Baroque, Classical or Romantic periods, their singing is always unerringly tailored to the specific stylistic requirements. Again and again they have proven that, in addition to religious introspection, they are also masters of the grand operatic gesture, astounding us in Berlioz’s ‘Les Troyens’.”

The Choir’s 2024 season opened with a spectacular tour to Amsterdam’s Concertgebouw in February and March. Over three mesmerising concerts conducted by its Associate Conductor Dinis Sousa, the Choir captivated audiences and critics, and the performances were met unanimously with 5-star reviews from the press, with

Bachtrack calling them “truly one of the finest choirs of their time”. In March the Choir performed Handel’s Biblical oratorio Israel in Egypt with the English Baroque Soloists, conducted by Peter Whelan, in London and on a European tour, with The Observer commenting that “the choir took top honours: ever word audible, every note, even when roared, bang in tune.” In May, the Monteverdi Choir was joined by the Orchestre Révolutionnaire et Romantique, conducted by Dinis Sousa, for a sensational series of Beethoven’s nine symphonies at St Martin-in-theFields and the Philharmonie de Paris.

Over the coming months, the Monteverdi Choir will embark on a dynamic programme of performances, returning in November to their London home of St Martin-in-the-Fields with Charpentier’s Messe de Minuit and cantatas from JS Bach, joined by the English Baroque Soloists. Alongside this, the Monteverdi Choir will tour their highly acclaimed performance of Israel in Egypt to the Salzburg Festival in July, and Beethoven’s symphony cycle

© Paul Marc Mitchell

to Asia in September. In 2023 the Monteverdi Choir and English Baroque Soloists, conducted by Dinis Sousa, performed Bach’s Mass in B minor and Handel’s pastoral ode L’Allegro, il Penseroso ed il Moderato, on an American tour in October following a European tour of Bach’s monumental work in April. In the summer the Monteverdi Choir, Orchestre Révolutionnaire et Romantique and outstanding soloists, conducted by Dinis Sousa, performed Berlioz’s opera Les Troyens on a critically acclaimed European tour.

Founded in 1964 by John Eliot Gardiner, the Monteverdi Choir has released over 150 recordings and won numerous prizes. The Choir and English Baroque Soloists were honoured to perform at the Coronation of their Patron, HM The King, in May 2023, with The Daily Telegraph proclaiming “if the Monteverdi Choir isn’t singing when I get to the gates of Heaven, I want my money back.”

BACH MOTETS

MONTEVERDI CHOIR

St Martin-in-the-Fields, London

4 & 6 June 2024

Soprano

Emily Armour

Hilary Cronin

Eloise Irving

Charlotte La Thrope

Gwendolen Martin

Emily Owen

Theano Papadaki

Alison Ponsford-Hill

Billie Robson

Amy Wood

Alto

Luthien Brackett

Rosemary Clifford

Matthias Dähling

Sarah Denbee

Annie Gill

Rebekah Jones

Iris Korfker

Tim Morgan

Tenor

Mark Bonney

David De Winter

Jacob Ewens

Thomas Herford

Samuel Jenkins

Graham Neal

Edward Ross

Gareth Treseder

Bass

Jack Comerford

Robert Davies

Samuel Evans

Tom Herring

David Stuart

George Vines

Christopher Webb

Laurence Williams

ENGLISH BAROQUE SOLOISTS

The English Baroque Soloists (EBS), founded in 1978 by John Eliot Gardiner, 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 Milan’s Teatro alla Scala, the Concertgebouw in Amsterdam and the Sydney Opera House.

In July this year, the EBS will tour Handel’s Israel in Egypt to the Salzburg Festival, followed by a return to St Martin-in-the-Fields with a performance of Charpentier’s Messe de Minuit and cantatas from JS Bach, alongside the Monteverdi Choir. In 2025, the EBS perform Mozart’s Double Piano Concerto around Europe, and later in the year the EBS are joined by the Monteverdi Choir for Bach Cantatas.

EBS’s 2024 season began with a European tour of Handel’s biblical oratorio, Israel in Egypt, with the Monteverdi Choir, in its 60th anniversary season, and conducted by Peter Whelan. In 2023 the EBS and the Monteverdi Choir, conducted by Dinis Sousa, performed Bach’s Mass in B minor, as well as Handel’s pastoral ode L’Allegro, il Penseroso ed il Moderato, on their American tour in October following a European tour of Bach’s monumental work in April.

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.

BACH MOTETS

ENGLISH BAROQUE SOLOISTS

St Martin-in-the-Fields, London 4 & 6 June 2024

In May the EBS and the Monteverdi Choir were honoured to perform at the Coronation of HM The King. In January 2023 the EBS were joined by Isabelle Faust and Antoine Tamestit for performances of orchestral works by Haydn and Mozart throughout Europe.

In 2022 the ensemble completed a number of successful tours including symphonies by Mozart and Haydn 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 tour of JS Bach’s Christmas Oratorio, with the Monteverdi Choir, at Teatro alla Scala, Milan, Chapelle Royale, Château de Versailles, and at our London home, St Martin-in-theFields, which was livestreamed on Deutsche Grammophon’s new online platform STAGE+.

Bassoon Györgyi Farkas

Cello Olaf Reimers

Double Bass

Valerie Botwright

Organ

James Johnstone

JONATHAN SELLS

Conductor

Jonathan Sells is a musical director and singer. The British-Swiss bass-baritone studied at the University of Cambridge, Guildhall School of Music and Drama, and Zurich Opera. He was a member of the Monteverdi Choir from 20092016, performing as part of a solo career that has taken him from Carnegie Hall to Sydney Opera House. In 2008 he founded the baroque collective Solomon’s Knot, “one of the UK’s most innovative and imaginative ensembles” and now Resident Baroque Ensemble at Wigmore Hall. As artistic director, he has spearheaded bold projects and fruitful collaborations across Europe’s foremost festivals.

Under his leadership, Solomon’s Knot “set new standards” with productions of JS Bach’s St John and St Matthew Passion, semi-staged by John La Bouchardiere at Bachfest Leipzig, Thuringen Bachwochen, Snape Maltings, and Wigmore Hall. On the recommendation of John Eliot Gardiner, he made his Bachfest Leipzig debut as musical director in 2016 with Bach’s Magnificat, later recorded and released on Sony Classical. Solomon’s Knot’s recording of JS and JC Bach Motets was released by Prospero Classical in 2023, and “demonstrates the innermost essence of this music like never before” (Klassisk Musikk).

Leading from within the ensemble, Sells has directed memorised

performances including Bach’s Mass in B minor, St Michael’s Day cantatas (BBC Proms), Hunt Cantata and Mass in F major (Bachwoche Ansbach), and Christmas Oratorio (Wigmore Hall), and Handel’s Messiah and Esther (Handel-Festspiele Halle, Regensburg Tage Alter Musik) as well as Dixit Dominus (Bachfest Schaffhausen, Brighton Festival, De Singel Antwerp). In autumn 2024 he will take Solomon’s Knot and the Bach Motets to the Festival Bach Montreal, and Monteverdi’s 1610 Vespers to Helsinki.

Sells has a burning curiosity for neglected geniuses of the 17th and 18th centuries such as Johann Kuhnau, George Jeffreys, and Barbara Strozzi, as well as later repertoire: he has conducted Beethoven, Dvorak, Prokofiev, Nielsen, and Varèse, and has worked with choirs from the UK to the Middle East.

KATI DEBRETZENI

A fourth generation musician, Kati Debretzeni began playing the violin with Sofia Szabó in her native Romania, finishing her studies with Ora Shiran in Israel. Her interest in historical performance took her to London, where she studied the Baroque violin with Catherine Mackintosh and Walter Reiter.

Since the year 2000 Kati has lead the English Baroque Soloists under John Eliot Gardiner, with whom she has performed the world over. Her playing can be heard in the group’s recordings of JS Bach’s cantatas (recorded live during the unforgettable Bach Cantata Pilgrimage 2000), the Brandenburg concertos and the more recent recordings of the Mass in B minor, the St Matthew Passion and Monteverdi’s operas. In 2018 she recorded violin concertos by JS Bach with the orchestra to critical acclaim, including her own arrangement of BWV 1053. In April 2022 she performed Mozart’s Sinfonia Concertante conducted by Gardiner in the US, UK and Italy, alongside principal viola Fanny Paccoud.

In addition, she is one of the leaders of the Orchestra of the Age of Enlightenment, and has collaborated with Simon Rattle, Adam and Ivan Fischer, András Schiff, William Christie, Ottavio Dantone, Vladimir Jurowski, Maxim Emilyanichev and Ricardo Minasi. She has directed the group from the violinist’s chair in works ranging from

Baroque repertoire to Beethoven, Mendelssohn and Berlioz, and has recorded Vivaldi’s Four Seasons following performances in collaboration with the Henri Oguike Dance Company.

Kati is in demand internationally as leader, soloist and director with groups such as Les Siècles, The Orchestra of the 18th Century, Zefiro, Akademie für Alte Music Berlin, Barokkanerne, Sevilla Baroque Orchestra, Amaryllis, Victoria Baroque and the Budapest Bach Consort. A keen chamber musician, Kati has recorded awardwinning CDs with Ricordo and Florilegium. In the last decade she is a member of Trio Goya. Their recording of Beethoven’s Piano Trios, Op. 1, has been released to critical acclaim.

As teacher, Kati has given masterclasses in the UK, Germany, Italy, Norway, Canada, Israel and Hungary. She is on the faculty of the Royal Conservatory of The Hague, and her former students make music the world over.

SUPPORT THE MONTEVERDI ENSEMBLES

MCO’s three 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 perform in groundbreaking projects that span eight centuries of musical masterpieces, regularly performing at our central London home, St Martin-in-the-Fields.

As a registered charity without public subsidy, the Monteverdi Choir and Orchestras rely on the generosity of our supporters to continue planning our ambitious, historically-inspired artistic programme. This support allows us to deliver projects without compromising on artistic quality or integrity, 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.

WAYS YOU CAN SUPPORT US

JOIN OUR MEMBERSHIP SCHEME

Our membership scheme starts from £250 per year. Members enjoy a range of benefits including a personalised priority booking service for all our concerts, monthly newsletters, and invitations to post-concert receptions. At higher levels, additional benefits include invitations to exclusive open rehearsals, backstage access after our performances, and Conductors’ Dinners.

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 London home at St Martin-inthe-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 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) organisation and donations to it are tax-deductible for US taxpayers to the extent allowed by law. EIN:31-1651106.

CONTACT US

If you have any questions about supporting MCO please get in touch. On our website, you will find the facility to make a donation (which we warmly welcome at any level), purchase one of our memberships, or treat a friend via a Gift Membership. If you would like to discuss 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 5.30pm www.monteverdi.co.uk/support-us

MONTEVERDI APPRENTICES PROGRAMME

The Monteverdi Apprentices Programme is a training scheme for young musicians that seeks to bridge the gap between higher education and a professional, freelance music career. By crafting supportive learning environments for talented young artists, whilst providing challenging and rewarding performance opportunities and exposing them to coaching from experts in a range of fields, the Monteverdi Choir and Orchestras aim to nurture the next generation of musical talent.

Participants in this long-established artist development programme take part in projects ranging from workshops and masterclasses with a focus on historically inspired performance practices with industry-leading professionals, to paid performances with the Monteverdi ensembles. Each Apprentice is paired with an experienced member of MCO, who acts as a mentor, offering tailored artistic and practical support throughout their Apprenticeship, providing invaluable advice, guiding them through the practicalities of preparing for projects, and helping the Apprentices to adjust and integrate into the wider ensemble whilst still encouraging personal development.

The Monteverdi Apprentices are also given the opportunity to perform with our world-class ensembles, and join the Monteverdi Choir and Orchestras for concerts both in the UK and overseas. Our aim is to round out their musical education, to help prepare them for future challenges, and to allow them to

gain unrivalled experience of the working practices of an internationally renowned ensemble in a safe and supportive environment. By the end of each year-long programme, we expect to have equipped these young musicians with the skills to work as professionals with the Monteverdi Choir and Orchestras, and other similar organisations worldwide. The Programme has over 90 alumni, and many former Apprentices still perform regularly with the Monteverdi ensembles.

MONTEVERDI APPRENTICES

PROGRAMME 2023–24

The 2023-24 cohort, comprised of ten singers (some of whom will be appearing in the choir for the Bach Motets concerts this week), completed their Apprenticeship year in April with a sparkling Final Recital in the atmospheric setting of the Crypt at St Martin-in-the-Fields; a showcase performance of solo and ensemble vocal music, accompanied by piano and lute. Over the course of their Apprenticeship,

they worked with industry experts including Jean-Paul Fouchécourt, Sophie Daneman, Mark Padmore, Matteo Dalle Fratte, Richard Stokes, Nicole Tibbels, as well as MCO’s Librarian & Artistic Advisor James Halliday, our Associate Conductor Dinis Sousa, and John Eliot Gardiner.

With this support, the Apprentices joined the Monteverdi Choir for their spectacular tour of Bach’s Mass in B minor (April 2023), the landmark European tour of Berlioz’s Les Troyens which conquered Festival Berlioz, Salzburg, Versailles, Berlin and the BBC Proms (August-September 2023), and our critically acclaimed performances of Brahms’s Ein deutsches Requiem with the Royal Concertgebouw Orchestra in

Amsterdam (February 2024). We are immensely proud of what our Apprentices have achieved in the last 12 months, and look forward to seeing them continue to flourish over the coming years.

FUTURE MONTEVERDI APPRENTICES

Planning for our next year of the Apprenticeship Programme is now underway, with a view to welcoming our next cohort in 2025. We are designing a similarly ambitious and exciting year of masterclasses, performances and learning opportunities for the coming year, and look forward to opening the application process for prospective Apprentices later this year – more information will be available on our website in due course.

Monteverdi Apprentices singing with the Monteverdi Choir and English Baroque Soloists for Bach’s Mass in B minor, April 2023

© Paul Marc Mitchell

MONTEVERDI SUPPORTERS

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

PATRON

HM The King

PRESIDENT

Carol Grigor

PRINCIPAL FUNDER

Dunard Fund

BENEFACTORS

Michael Beverley

David & Sandra Brierwood

Michael L. Cioffi

Christian & Myrto Rochat

Sir David Walker

MEMBERSHIP SCHEME

PLATINUM

David Best

Lord & Lady Burns

Morny Davison

Lord & Lady Deben

Sir Vernon Ellis

Lady Virginia Fraser

Andrey Kidel

William Lock

Sebastian & Flora Lyon

Francis Norton

Yoshi Onodera

Helen & John Skinner

Clare Woodman CBE

GOLD

Gordon Gullan

Stephen & Victoria Swift

SILVER

Julia & Martin Albrecht

Geoffrey Barnett

Donald & Corrine Brydon

Rosemary Chadder

Peter & Stephanie Chapman

The Earl & Countess of Chichester

Sarah Cuthbert

Sir Stephen Gomersall

Iain & Alicia Hasnip

Sir Henry Keswick

Yi-Peng Li

Lady Nixon

Mollie Norwich

Nicholas & Christylle Phillips

Professor Richard Portes CBE FBA

Anthony C. Shoults

Professor John Smyth

Captain Brian Woodford CBE RN

BRONZE

Tania Bader

Mary Bernard

Donald D. Campbell

Vanessa Claypole

Dr Carol Cobb

Steve Edge

Jonathan Edwards

Lady Egremont

Nigel Gibson

Anthony de Grey

Jenny Hill

Richard Jacques

Gareth & Charlotte Keene

Robert Moreland

Mary Pinnell

Daan Posthuma

Meghan Purvis

Baroness Rawlings

Anne Reyersbach

Thomas Richter

Dr Paul A. Sackin

Steven & Olivia Schaefer

Christopher J. H. Thornhill

Andrew Tusa

Andrew Wales

Jenny & John Wiggins

CORPORATE PARTNERS

Morgan Stanley

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TRUSTS & FOUNDATIONS

Dunard Fund

The Prince of Wales’s Charitable Foundation

Garfield Weston Foundation

Mrs F B Laurence’s Charitable Trust

The Thistle Trust

IN MEMORIAM

Roger Chadder

Peter J. Chapman

Ian Hay Davison CBE

Judith McCartin Scheide

Nicholas Snowman OBE

LEGACIES

The Estate of Donald Gorman

The Estate of Howard Hodgkin

The Estate of Kevin Lavery

AMERICAN FRIENDS

The Negaunee Foundation

Michael L. Cioffi

William Dudley

Neil Graham

David Kay

Seth Levi

Jai Shekhawat

Rory Walck

With grateful thanks to those who wish to remain anonymous and to the other individuals who give regular donations in support of our work.

MCO TEAM

Dr Rosa Solinas General Director

Martin Wheeler Finance & Administration Manager

James Halliday Artistic Advisor & Librarian

Emily Parker Artistic Operations Manager

Andrew Softley Artistic Projects & Choir Manager

Margot Moseley Tours & Concerts Manager

Matthew Knight Partnerships & Communications Manager

Freya Firth-Robson Fundraising Executive Assistant

Charlotte Marino Digital Operations Manager

Emily Denton Administrator

Philip Turbett Orchestra Fixer

Matthew Muller Stage Manager

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Big Man Consultancy Ltd Instrument Transport

Robin Jennings Keyboard Technician (keyboards provided by Jennings Organs)

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