Mozart & Haydn - Symphonies & Violin Concertos by Monteverdi Choir & Orchestras

MOZART & HAYDN SYMPHONIES & VIOLIN CONCERTOS ENGLISH BAROQUE SOLOISTS ISABELLE FAUST JOHN ELIOT GARDINER 7.30pm, Saturday 23 April 2022 St Martin-in-the-Fields, London

Saturday 23 April 2022 St LondonMartin-in-the-Fields

Saffron Hall Saffron Walden, UK Saturday 30 April 2022 Teatro Manzoni Bologna, Italy Monday 2 May 2022

Berkeley,

The Soraya Northridge, California Wednesday 13 April 2022 Center for the Arts Mesa, California Thursday 14 April 2022

an international

Santa

Costa

Part of tour: Bing Concert Hall California Saturday 9 April 2022 Zellerbach Hall California Sunday 10 April 2022 Granada Theater Barbara, California Tuesday 12 April 2022

Stanford,

Segerstrom

Symphony No. 103 in E-flat major, ‘Drumroll’ I. Adagio - Allegro con spirito II. Andante, più tosto allegretto III. Minuet - Trio IV. Finale: Allegro con spirito Wolfgang Amadeus Mozart (1756-91)

Violin Concerto No. 3 in G major, K. 216 I. Allegro II. Adagio III. Rondo: Allegro Violin Concerto No. 1 in B-flat major, K. 207

Josef Haydn (1732-1809)

I. Allegro moderato II. Adagio III. Presto Symphony No. 39 in E-flat major, K. 543 I. Adagio - Allegro II. Andante con moto III. Menuetto: Allegretto IV. Finale: Allegro English Baroque Soloists Isabelle Faust violin John Eliot Gardiner conductor

The Monteverdi Choir & Orchestras presents

MOZART & HAYDN SYMPHONIES & VIOLIN CONCERTOS

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

LONDON, SALZBURG, VIENNA TALE OF THREE CITIES

SymphonyHaydn No. 103 in E-flat major, ‘Drumroll’ By the 1780s Haydn was the most celebrated composer of the age, more famous internationally than any composer had been in his lifetime. European publishers fell over each other to acquire his latest symphonies and quartets, while commissions and invitations poured in from as far afield as Cádiz and Naples. There had been plans to lure Haydn to England years before he finally arrived in London with the violinistcum-impresario Johann Peter Salomon on 2 January 1791. In 1785 The Gazetteer & New Daily Advertiser even suggested that ‘some aspiring youths’ should kidnap the composer to free him from what it dubbed ‘a place little better than a dungeon, subject to the domineering spirit of a petty Lord, and the clamorous temper of a scolding wife’. Dungeon or not, Haydn’s secluded life as Kapellmeister to Prince Nikolaus Esterházy had hardly prepared him for the feverish activity of the English capital, where he was immediately lionised by the social and musical elite. Haydn’s fame in England, as in France, was based above all on his symphonies; and the main part of his lucrative deal with Salomon was the composition of six new symphonies, Nos 93-98. These, and the six symphonies he composed during his second London sojourn of 1794-5, build on the brilliant fusion of the ‘popular’ and ‘learned’ styles Haydn had perfected in his symphonies of the 1780s. His melodies become more spacious and more catchy, his forms still freer, his modulations even bolder. More, perhaps, than any instrumental music before or since, the twelve ‘London’ symphonies encapsulated and flattered their listeners’ ‘taste’ (eighteenth-century buzzword) and understanding, while increasingly expanding and challenging them. At the end of 1794 Salomon was forced to suspend his concerts because the war with France was making it impossible to engage ‘vocal performers of the first talents from abroad’. For the 1795 season he merged with the new Opera Concert under the direction of violinist-composer Giovanni Battista Viotti at the King’s Theatre Haymarket. Haydn agreed to write three more symphonies for Viotti’s 1795 concert series, Nos 102-104. They make a glorious culmination.

View of the Thames looking towards London Bridge with the Royal Barge by William James, c. 1754–1771

Josef Haydn - Portrait

exploiting a traditional Austrian yodel, the Minuet tempers its extrovert swagger with a mysterious dip from E flat to C flat major, while the Trio features graceful arabesques for clarinets and bassoon, doubled by the strings (London clarinettists were evidently less skilled than their Viennese counterparts). Like the last movement of Mozart’s ‘Jupiter’, the finale is designed as a true symphonic apotheosis. It is also a triumph of rigorous thematic concentration. In a compositional feat extraordinary even by his standards, Haydn creates a movement of thrilling harmonic and contrapuntal drama from a traditional horn call and a snatch of Croatian folksong. Wagner once noted admiringly that Beethoven could create whole worlds out of nothing. Haydn got there first. Before horn call and folksong combine in a final blaze of E flat, Haydn originally included a furtive detour to C flat major - an allusion, perhaps, to the minuet’s excursion to C flat. These fifteen bars make a quizzical foil to the surrounding brilliance. Yet either before or soon after the 1795 premiere Haydn cut them. Tonight’s performance offers a rare opportunity to hear his original thoughts. by Hoppner,

‘The introduction excited deepest attention,’ wrote the Morning Chronicle after No. 103’s premiere on 2 March 1795. As well it might. With its initial drumroll or fanfare - marked, simply, ‘Intrada’ - and its sepulchral theme on cellos, basses and bassoons (evoking the ancient Dies irae chant), this is the most mysterious symphonic opening before Schubert’s ‘Unfinished’ and Beethoven’s Ninth. Haydn then proceeds to integrate the introduction systematically into the 6/8 Allegro con spirito. A fragment of the Dies irae theme flits by, transmuted into a leaping dance, just before the waltzing second theme. At the heart of the development, after a grand pause, it appears in its original bass register, like a spectre at the feast. Then, near the end of the movement, a series of apocalyptic orchestral crashes heralds another dramatic pause and a return of the introduction, complete with drumroll, in its original Adagio tempo. This is finally banished by the Dies irae theme in its dance transformation: at once a gleeful parody and a reinforcement of the symbiotic link between introduction and Allegro. The not-so-slow second movement (Haydn later qualified his original Andante with ‘più tosto Allegretto’) is a set of ‘double variations’ on two related tunes, one in C minor, the other in C major. Both are derived from Croatian folk melodies. Haydn gave the C major tune a more exotic gypsy flavour by raising its F naturals to F sharps, in the process aligning it more closely with the C minor tune. The first C major variation is an ingratiating violin solo for Viotti, while the following C minor variation is dominated by bellicose trumpets and timpani. After the second major-keyed variation, beginning as charming ‘toy soldier’ music and ending as an imperious march, a nostalgic reminiscence of the C major theme suggests a final envoi. Haydn, though, suddenly veers into E flat – the symphony’s main key – for a dramatic coda that draws new shades of meaning from the C major tune. The whole movement is a quintessential example of Haydn using popular-style material to highly sophisticated Wittilyends.

John

1791

No. 1 in B-flat major, K. 207 Biographers long assumed that the teenaged Mozart composed all five of his violin concertos in a sustained burst during 1775, with No. 1 in B flat completed on 13 April. But close studies have revealed that the year on the manuscript was altered from 1775 to 1773. No. 1 is thus Mozart’s first original concerto for any instrument. The seventeen-year-old composer could hardly have got off to a more exuberant start. Coloured by the ringing sonority of high horns, the first movement mingles athletic bravura and brief moments of lyricism. The ebullient opening theme, later taken up and decorated by the soloist, bears a family likeness to the beginning of K216. After a bout of modest violin virtuosity, the second theme from the orchestral tutti is refashioned as a dialogue between orchestra and playfully cavorting soloist. The whole movement is opera buffa by other means. In the Adagio, Mozart seems to evoke the spirit of his friend Johann Christian Bach, master of graceful galanterie. All the melodic ideas are clichés, skilfully woven into a beguiling tapestry. The scampering finale revives the buffo atmosphere of the first movement, with an added mischief in the tootling oboe interjections and impish repartee between soloist and orchestra.

Silverpoint drawing of Mozart by Doris Stock, 1789

No. 3 in G major, K. 216 By 1775 the 19-year old Mozart was becoming increasingly frustrated in the service of the loathed (by him) Salzburg prince-archbishop Hieronymus Colloredo. For the time being, though, he knuckled down to his duties as violinist and purveyor of entertainment music for the court, producing a serenata, Il re pastore, and four of his five violin concertos. We know from Mozart’s correspondence that he played some of the concertos on his travels in 1777-8. Writing from Augsburg in October 1777, he informed his father that his socalled ‘Strassbourger-Concert’ ‘went like oil. Everyone praised my beautiful, pure tone’. The violin concertos epitomise the 19th-century notion of Mozart as the embodiment of Apollonian serenity untainted by darker undercurrents. This view, of course, hopelessly misrepresents many of his later works. But here all is Arcadian bliss. Dated 12 September, the G major concerto represents a striking advance over its predecessors in wit, poetry and sheer memorability. The buoyant opening theme recycles an aria sung by the shepherd-king Aminta in Il re pastore. There is another quotation from the serenata at the end of the central ‘development’, where the violin mimics snatches of ‘heroic’ recitative sung by Aminta’s lover Elisa. In the idyllic Adagio Mozart replaces the oboes with pastoral flutes. After the orchestral introduction the soloist spins a virtually unbroken melody over pulsating muted violins and pizzicato basses. After this Arcadian vision, the jig-like finale restores us to a world of robust physicality. But Mozart has plenty of surprises up his sleeve, including two episodes in contrasting metre: a dainty gavotte, and a rustic contredanse which quotes a popular song known as ‘the Strassburger’ - hence Mozart’s reference to his ‘Strassbourger-Concert’ in Augsburg.

ViolinMozartConcerto

Legend has it that Mozart composed his last three symphonies in the summer of 1788 from inner compulsion, with no immediate prospect of performance. This is poppycock. Mozart never wrote without external stimuli. He almost certainly intended the symphonies for subscription concerts in Vienna that autumn. Beyond this, they would have come in useful on his tours to Leipzig and Frankfurt in 1789 and 1790, and a long-planned visit to London, encouraged by his friends Nancy Storace (the first Susanna in Figaro) and her brother

The opening theme returns in full, an oasis of tranquillity after the turbulent development. Yet this melody seems to exist for itself, serenely oblivious of the wider symphonic Theargument.Andante con moto, in A-flat, is a rarefied march that varies and develops its opening phrases with delicate poetry. Twice the mood is disrupted by violent minor-keyed music that sets scything violins against wailing woodwind. The second eruption plunges into the (by the standards of 1788) shockingly remote key of B minor. Each time tranquillity is restored by a ravishing passage of woodwind imitation that prefigures the sound world of Così fan tutte Like the opening Allegro, the Minuet juxtaposes swashbuckling vigour with graceful lyricism. Urbanity yields to stylised rusticity in the Trio, where the first clarinet sings a melody based on a traditional Austrian Ländler over gurgling arpeggios in the second clarinet’s deep chalumeau register. We can guess that Mozart wrote this Trio for the clarinettist brothers Anton and Johann WhereasStadler. Haydn’s instincts were to make much of little, Mozart was by nature melodically lavish. In the finale of No. 39, though, he plays against type. Like Haydn in the ‘Drum Roll’, he bases the whole wittily inventive movement on a single, popular-style theme. After the theme is recast as a chirpy violin-wind dialogue, a dip to a remote key adds a characteristic note of mystery. In a beginning-as-ending pun, Mozart finally leaves the opening phrase hanging in the air. Haydn, you sense, would have approved. Richard Wigmore © 2022 Vienna as seen from the Upper Belvedere by Karl Schütz, 1784

SymphonyMozart No. 39 in E-flat major, K. 543

WhileStephen.itis a romanticising fallacy to view Nos 39, 40 and 41 as Mozart’s symphonic testament, the contrasts between them do suggest that he designed them to display the fullest range of his art. Uniquely in his symphonies, No. 39 omits the oboes in favour of clarinets, whose liquid tones enhance the mellow warmth associated with the key of E flat. The majestic dotted rhythms of the slow introduction initially evoke a Baroque French overture. But ceremonial grandeur is first questioned, then shattered in a hammering, dissonant climax above surging bass scales. In four mysterious bars the music dissolves into the triple-time Allegro. Opening with a gracious theme, like an etherealised minuet, this is built on extreme contrasts between limpid cantabile melodies and striding tuttis, including a ‘galloping’ motif that drives the development to a powerful climax. Nowhere does Mozart integrate the movement’s lyrical and declamatory aspects.

VIOLIN

Isabelle Faust captivates her audiences with 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 Aftercomposers.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 Orchestra, the Boston Symphony Orchestra, the NHK Symphony Orchestra Tokyo, the Chamber Orchestra of Europe and the Baroque Orchestra Freiburg. This led to close and sustained cooperation with conductors like Claudio Abbado, Giovanni Antonini, Frans Brüggen, Sir John Eliot Gardiner, Bernard Haitink, Daniel Harding, Philippe Herreweghe, Andris Nelsons and Robin IsabelleTicciati.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 György Kurtág’s Kafka Fragments with Anna Prohaska and Igor Stravinsky’s L’Histoire du Soldat with Dominique Horwitz. With great commitment she renders an outstanding service to the performance of contemporary music. Premieres of Péter Eötvös, Brett Dean, Ondřej Adámek and Oscar Strasnoy are in preparation for the upcoming seasons. 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 Johann Sebastian Bach’s Violin Concertos with Akademie für Alte Musik Berlin and Mendelssohn Bartholdy’s Violin Concerto with Freiburg Baroque Orchestra under the direction of Pablo Heras-Casado. In 2018, a recording of sonatas for violin and harpsichord by Johann Sebastian Bach was released, recorded with Kristian IsabelleBezuidenhout.Faustpresented further popular recordings 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.

FAUSTISABELLE

JOHN GARDINERELIOT CONDUCTOR

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.

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-in-the-Fields.

ENGLISH SOLOISTSBAROQUE

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 music by Handel and Bach at two of Europe’s most prestigious music festivals; the BBC Proms and the Berliner InFestspiele.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, Brazil, Uruguay, Argentina and Chile alongside the Monteverdi Choir, with a programme of works by Monteverdi, Carissimi, Scarlatti and Purcell.

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.

Founded in 1978 by John Eliot Gardiner, the English Baroque Soloists (EBS) 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.

The EBS is regularly involved in joint projects with the Monteverdi Choir, with whom it took part in the iconic Bach Cantata Pilgrimage in 2000, performing all of Bach’s sacred cantatas throughout Europe. The ensemble 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. More recently it toured Gluck’s Orphée et Eurydice to Hamburg and Versailles, following a staged production at the Royal Opera House, Covent Garden, in collaboration with the Hofesh Shechter dance company.

VIOLIN I Kati SophieBeatriceJayneJennaMayBeatriceJaneDebretzeniGordonPhilipsKunstovnySherrySpencerScaldiniSimpson VIOLIN II Davina Clarke Liz ChloeAnnaHenriettaHåkanDebbieJeanMcCarthyPatersonDiamondWikströmWayneLesterPrendergast VIOLA Fanny JordanMariLisaMonikaPaccoudGrimmCochraneGiskeBowron CELLO Marco KingaRuthCatherineFrezzatoRimerAlfordGáborjáni DOUBLE BASS Valerie MarkusCeceliaBotwrightBruggemeyervanHorn FLUTE Rachel ChristineBeckettGarratt OBOE Michael Niesemann Rachel Chaplin CLARINET Frank van den Brink James Maltby BASSOON Veit CatrionaScholzMcDermid HORN Anneke Scott Gijs Laceulle TRUMPET Neil RobertBroughVanryne TIMPANI Robert Kendell ©Eric Larraydieu

MONTEVERDI CHOIR & ORCHESTRAS

Over 50 years ago the Monteverdi Choir was formed for a one-off performance on Monteverdi’s Vespers of 1610 in Kings College Chapel Cambridge conducted by a student, John Eliot Gardiner. Since then, John Eliot Gardiner’s ensembles have expanded to include the English Baroque Soloists and the Orchestre Révolutionnaire et TheRomantique.threeensembles have embarked on milestone international tours including the Beethoven 250th anniversary symphony cycle in 2020, the Monteverdi 450 Opera

Monteverdi Choir and the ORR performing at St Martin-in-the-Fields, December 2021 © Paul Marc Mitchell

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.

Trilogy in 2017 (which was recognised by a Royal Philharmonic Society award) and the monumental Bach Cantata Pilgrimage in 2000 which led to the founding of the ensembles’ own award-winning record label, Soli Deo Gloria (SDG).

From the monumental to the intimate, from sacred music to opera, from early music to the 20th century, often in unexpected combinations, in each of our projects we strive for excellence. Possessed of an instantly recognisable core sound, the three ensembles are in constant renewal and evolution.

Our current Apprentices – 11 string players from the UK, Netherlands, Spain, France, and Canada – have worked with the ORR since December 2019, and took part in our Beethoven 250th anniversary tour in 2020. Following a hiatus lasting until autumn 2021, they have been very busy: projects have included performing Berlioz’s L’enfance du Christ with the ORR in London and in Ely, various chamber music workshops led by ORR principals, and two recitals of their own at St Martin-in-the-Fields. These musicians have specialised in the work of the ORR, and are therefore not performing with the EBS this evening. Their final project will be a European tour of Beethoven’s Missa solemnis with the ORR and Monteverdi Choir later this year. This great work was to conclude their time as Apprentices back in 2020: it is most gratifying to be able to end their Apprenticeship in the manner originally intended, and thus bringing the Programme back full circle. 2019-22 Monteverdi String Apprentices

Alongside our performance and project work, The Monteverdi Choir and Orchestras is committed to providing opportunities for professional development and education: we believe passionately in nurturing future generations of players and singers and developing emerging talent. The Monteverdi Apprentice Programme enables outstanding young musicians to spend an entire year training and performing with our three world-class ensembles, under the direction of John Eliot Gardiner.

THE MONTEVERDICURRENTAPPRENTICES

The

Handel’s Semele at the

SUPPORT MONTEVERDITHE ENSEMBLES

The Monteverdi Choir & Orchestras is committed to producing work of the highest calibre and to sharing our distinctive performance practice with audiences around the world. Our supporters are a group of dedicated and discerning music lovers who take pride in the knowledge that their donations help us to achieve our artistic vision. As a registered charity without public subsidy, we rely on the generosity of our supporters to continue planning our ambitious, historically inspired artistic programme, and regularly perform worldclass 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: Palau de

JOIN OUR MEMBERSHIP SCHEME

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.

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.

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

CORPORATE SPONSORSHIP OPPORTUNITIES

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 no obligation discussion with our General Director, Rosa www.monteverdi.co.ukMonday+44development@monteverdi.org.ukSolinas.(0)2077190120toFriday10amto6pm

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.

Portes

MONTEVERDI SUPPORTERS The Monteverdi Choir & Orchestras gratefully acknowledges the generous support of the following individuals, organisations and Trusts & Foundations: ROYAL PATRON HRH The Prince of Wales PRESIDENT Ian Hay Davison CBE BENEFACTORS Michael L. Cioffi Sebastiano Cossia Castiglioni Mrs Carol Grigor & Mr Murray Grigor Judith McCartin Scheide MEMBERSHIP SCHEME Platinum David IanDavidMichaelBestBeverley&SandraBrierwoodHayDavisonCBE&Morny Davison Lady Virginia Fraser Andrey Kidel William Lock Francis Norton Sir David Walker Gold Lord Burns Sir Stephen Gomersall Gordon ChristianGullan&Myrto Rochat Helen StephenSkinner&Victoria Swift Silver Geoffrey Barnett Roger & Rosemary Chadder Peter & Stephanie Chapman Dr Carol Cobb Felicity Fairbairn Jake Donovan & Gracia Lafuente Yi-Peng Li Lady ProfessorNixonRichard

CORPORATE PARTNERS Morgan Stanley TRUSTS & FOUNDATIONS The Claude Greenhill Trust The D’Oyly Carte Charitable Trust The Derek Hill Foundation Dunard Fund The Golsoncott Foundation The Idlewild Trust The Kirby Laing Foundation The Prince of Wales’s Charitable Foundation The Thistle Trust

AndrewAndrewChristopherStevenDrThomasDaanMaryNicholasMollieJaneGarethRichardGeorgeJánosSteveAnthonyVanessaPeterJohnDonaldBernardD.CampbellCanadyJ.ChapmanClaypoledeGreyEdge&DietlindeHidasi&JennyHillJacques&CharlotteKeeneKellettNorwich&ChristyllePhillipsPinnellPosthumaRichterPaulA.Sackin&OliviaSchaeferJ.H.ThornhillTusaWales

CBE FBA Anthony C. Shoults Bronze Mary

AMERICAN FRIENDS Conductor’s Circle - Platinum The Negaunee Foundation The New York Community Trust - The Scheide Fund Conductor’s Circle - Gold Laurie & Bill Benenson Jeffrey Calman Conductor’s Circle - Silver Neil Graham Seth Levi Conductor’s Circle - Bronze Leslie MatthiasFerneMarshaAndrewSébastienFrancescaGwenMandyCalmanDeFilippoDeLucaHayslettHeinisHuntHunterMeleOhr&Shannon Coulter Judith Perlman IN MEMORIAM Donald LauraChristopherGormanStewartYouens LEGACIES The Estate of Howard Hodgkin The Estate of Kevin Lavery We are grateful for the donations made in memory of our supporters With grateful thanks to those who wish to remain anonymous and to the other individuals who give regular donations in support of our work. © Slawek Przerwa

Board of Directors Sir David Walker (Chairman) David Best Lady

MCO FrancisAndreySirVirginiaDebenFraserStephenGomersallKidelNorton Bank Street, London (0)20

THE MONTEVERDI CHOIR AND ORCHESTRAS LIMITED Level 12, 20

Canary Wharf,

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 Andrew Softley Tours & Concerts Manager Tom Hansell Projects & Partnerships Manager (Choir Manager) Conor O’Dwyer Marketing & Communications Coordinator Dinis Sousa Associate Conductor Philip Turbett Orchestra Fixer Matthew Muller Stage Manager Bonzo’s Consultancy Ltd Instrument Transport

E14 4AD, UK www.monteverdi.co.uk +44

7719 CompanyRegisteredFindinfo@monteverdi.org.uk0120usonsocialmediacharity272279registeredinEngland & Wales 01277513 Programme notes by Richard Wigmore © 2022 Cover image: Mozartplatz, Salzburg (anon., 1775)