NOT ALL ORCHESTRAS ARE THE SAME
SARAH CONNOLLYâ€™S NIGHTS OF SUMMER
BOARDING SCHOOL FOR THE
CREATIVE & PERFORMING ARTS
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A Celebration for Claire
FOR CLAIRE This eveningâ€™s concert is dedicated to the memory of our dear colleague Claire Sansom, violinist with the OAE for more than 25 years, who shared the stage with us here at Royal Festival Hall many times. Claire was also a valued and gifted member of the OAE Education team, with a special talent for working with TOTS under the age of five. She is lovingly remembered and much missed. OAE TOTS: Going on a Journey
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CONCERT SOLOISTS / REPERTOIRE
SARAH CONNOLLY’S NIGHTS OF SUMMER
This concert is generously supported by: Patricia & Stephen Crew, Adrian Frost, Bruce Harris, Malcolm Herring, Mark & Sarah Holford, Peter & Veronica Lofthouse, and Michael & Harriet Maunsell. We are delighted to recognise the generosity of our Supporting, Bronze, Silver and Gold Friends, and Patrons in all their support of the Orchestra’s work.
Monday 20 February 7pm Royal Festival Hall
Kati Debretzeni director Sarah Connolly mezzo-soprano The concert will finish at approximately 8.45pm, including a 20 minute interval. Pre-concert talk at 5.45pm in the Level 5 Function Room (green side) – free admission. Post-concert discussion – join concert director Kati Debretzeni in the Clore Ballroom (level 2) for a look at the Italian symphony – free admission.
MENDELSSOHN The fair Melusina
Les nuits d’été
Rêverie et Caprice
Symphony No. 4, Italian (1834 version)
Kati Debretzeni Julia Kuhn Andrew Roberts Jane Gordon Alice Evans Martin Gwilym-Jones Rachel Isserlis Jayne Spencer James Toll Leonie Curtin Laure Chan*
Michael Gurevich Roy Mowatt Claire Holden Declan Daly Deborah Diamond Claudia Norz Stephen Rouse Dominika Feher Magdalena Cieslak*
Simone Jandl Nicholas Logie Annette Isserlis Katie Heller Luba Tunnicliffe Francesca Piccioni
Andrew Skidmore Ruth Alford Helen Verney Penny Driver Daisy Vatalaro Alex Jellici*
Cecelia Bruggemeyer Andrei Mihailescu Pippa Macmillan Marianne Schofield*
Lisa Beznosiuk Neil McLaren
Daniel Bates Mark Baigent
Antony Pay Margaret Archibald
Meyrick Alexander Sally Jackson
Roger Montgomery Martin Lawrence Gavin Edwards
Paul Sharp Simon Munday
*participants in the Ann and Peter Law OAE Experience for Talented Young Players
PROGRAMME NOTES Felix Mendelssohn (1809-1847)
companion whom she is, in the original folk tale, forced to renounce. The conversation between those two themes that ensues demonstrates Mendelssohn’s singular combination of classical poise and emotional punch.
Overture, The Fair MelusinA Les Nuits d’été O Hector Berlioz (1803-1869)
ne trait that Berlioz shared with his junior Felix Mendelssohn was the instinctive ability to transfer feelings, stories or concepts from other art forms into sound. Mendelssohn had an uncanny ability to distil the dramatic essence of a place, work of art or human experience into music that was at once concise and evocative.
Between 1828 and 1834 the composer wrote three celebrated concert overtures that did just that. Two of them, The Hebrides and Calm Sea & Prosperous Voyage, were concerned with salt water. The Fair Melusina, in contrast, was inspired by European folklore’s image of the spirit of springs and rivers. The piece was first performed here in London, in the presence of the composer, in April 1834. Mendelssohn might have been a Romantic like Berlioz, but his sense of concision was connected to his respect for the discipline of ‘Classicism’ – the idea that traditional rules surrounding musical form aided creativity and were, in a sense, liberating in themselves. Thus The Fair Melusina follows the rules of ‘sonata form’ to the letter, presenting two themes and discussing them together in search of a conclusion. The liquid first theme represents the water sprite herself, while the more aggressive secondary theme (introduced soon afterwards by the strings) depicts the earth-bound
1. Villanelle 2. Le Spectre de la rose 3. Absence 4. Sur les lagunes 5. Au cimetière 6. L’île inconnue
It wasn’t so much the opposite sex that prompted such an overwhelming and allencompassing reaction from Hector Berlioz, as his own capacity to fall hopelessly in love with members of it. The composer became famously infatuated with the Irish actress Harriet Smithson after seeing her perform on stage just once – a predicament that spawned the giant outpouring of emotions that is his Symphonie fantastique. But as a paid-up Romantic, Berlioz was obliged to react to the predicament of love with artistic means – with probing
examination, brave forethought, an exploration of human truths and perhaps even a dash of real-world cynicism (as hard as the latter might have been for him). He needed to do more than wear his heart on his sleeve, and soon enough a collection of poetry by his friend Théophile Gautier prompted him to do so. Gautier’s poems, six of which Berlioz set for voice and piano in 1841 (the same year he wrote Rêverie et Caprice), are anchored by love – passionate, unrequited and lost. Berlioz was no pianist, and in their original form the songs lacked something even by the composer’s own admission. Fifteen years later the composer was prompted to orchestrate five of the six songs by his publisher (Absence had already been orchestrated in 1843). Enhanced by Berlioz’s distinctive orchestral touch and shifts in key, the songs have remained favourites ever since. The musicologist Alfred Einstein commented that with Les Nuits d’été, Berlioz ‘sowed the seeds for the entire musical lyricism of the nineteenth century in the French language – its colour, noble sentimentality, refined sensuousness and grace.’ There’s no evidence to suggest Berlioz intended the songs solely for performance as a single cycle; most are dedicated to different singers and their original keys vary in range. When Above: 1869 illustration they are performed of Théophile Gautier together, the six are unified from L’Illustration, after a specially-commissioned by intoxicating beauty of photography by M. Bertall. melody, exotic languor and poignant harmonic twists.
After the feigned naiveté of Villanelle, La spectre de la rose appears like a waking dream, borrowing some material from Berlioz’s Roméo et Juliet symphony. Each verse of Sur les lagunes, a despairing lament for a dead lover, ends with the same desperate exclamation. The soloist calls out passionately in Absence, which is saturated with the text’s longing, while in Au cimetière the pain is even more marked than that of Sur les lagunes – its accompaniment emphasizing so with unusual harmonic restlessness and eerie tone colours.
In L’île inconnue the mood returns to the free-spirited sentiments of the cycle’s opening. Berlioz depicts an exhilarating, surging ocean in his accompaniment as a young sailor tempts a pretty girl to join him on his adventures, and there’s playful irony in the suggestion that true love might ultimately be unattainable – though it’s unlikely Berlioz himself believed so for a second.
INTERVAL Hector Berlioz (1803-1869)
Rêverie et Caprice Hector Berlioz was born half a dozen years before Mendelssohn and Schumann. He arrived on the musical scene just as Romanticism in all its passion was beginning to take flight. Music was becoming more and more emotional; orchestras were expanding to embrace new colours and sonorities; composers were looking increasingly to other art forms for inspiration. This spirit of individualism and emotionalism spurred Berlioz on. Many of the French composer’s contemporaries were dumbfounded by his
PROGRAMME NOTES music, including Mendelssohn, who considered him reckless and talentless. But music that might have seemed grossly orchestrated, loosely structured and messy on the surface was actually conceived with a pioneering knowledge of orchestral sound by Berlioz – both aesthetic and scientific. The composer’s short Rêverie et Caprice bears that theory out. The piece uses material from an aria Berlioz wrote for his 1838 opera Benvenuto Cellini – music that was withdrawn and replaced when the soprano took a disliking to it. Berlioz used its main theme for this short, two-part work for violin and orchestra written in 1841. It was first performed the following year by the celebrated violinist Jean-Delphin Alard. Despite the work’s clear two-part structure (the dreamy ‘rêverie’ and the more quick and unpredictable ‘caprice’), with use of subtle orchestration and strange, unpredictable rhythms Berlioz captures that improvisatory freedom that made his music so alluring to some and bizarre to others.
Felix Mendelssohn (1809-1847)
Symphony No.4, Italian
(1834 version) I Allegro vivace II Andante con moto III Con moto moderato IV Saltarello: Presto
Mendelssohn’s respect for the Classical rulebook was founded on his intense admiration for the music of the past at a time when the past wasn’t too fashionable. But despite his frequent acts of retrospection, Mendelssohn was spontaneous, innovative and every bit the Romantic – a fine painter, draughtsman and linguist who had a thirst for non-musical inspiration. Much of that inspiration came from travel. Among the German composer’s favoured destinations were Britain (he had a particular penchant for Scotland and the West Midlands) and Italy. Mendelssohn found himself in the latter country in 1830, sketching his Italian symphony as the country’s towns, villages, landscapes and unusually bright sunlight filled him with music. But this German-composed Italian symphony was destined for an English audience. As he returned to Berlin, the music complete only in his mind, a commission for a symphony from the Royal Philharmonic Society in London dropped through Mendelssohn’s letterbox. He took advantage of the timing, writing the symphony down and travelling to London to conduct it here on 13 May 1833. There were some misgivings from the audience after that first performance. But paradoxically, it was after a second performance in June 1834 – one at which the reception was significantly more positive – that Mendelssohn decided to undertake a major revision of the symphony and to completely re-write the opening movement. The decision was induced by Mendelssohn’s writing of long passages from the symphony down from memory at the behest of a student, a process that led the composer to conclude that ‘many very necessary improvements’ were necessary. As it happens, Mendelssohn never got round to ‘improving’ the symphony’s opening movement. But he did comprehensively overhaul the subsequent three movements,
creating a version of the Italian Symphony that is largely forgotten today when performances of the original 1833 score abound (probably due to the lack of a ‘revised’ first movement). Tonight, we have a rare and fascinating chance to hear the 1834 revision (actually finished in early 1835) that Mendelssohn’s sister Fanny – and many others – considered unnecessary. Some musicologists believe the re-writes were aimed at making the symphony sound more Beethovenian. But the intended debt to Beethoven can surely be felt anyway in the taut, precise but thrilling orchestration of the opening bars of the unchanged Allegro vivace, where pulsating woodwind chords underlay the wide-eyed ecstasy of a soaring string theme. A secondary theme introduced by the clarinets takes in its surroundings more languorously, before another theme forms the basis of a fugue (the musical discussion of a single theme, in which that theme is introduced at staggered intervals by different instruments or instrumental groups) initiated in the strings. The second movement is where we start to hear the changes of 1834, with a rhythmic simplification of the main melody known as the Pilgrim’s March (a label that may well have come from Berlioz, not Mendelssohn). In the third movement, fashioned as a Minuet and Trio, the theme of the trio section in three-
Above: Tarantarella dancers in traditional costumes by Giacomo Brogi. Naples, c.1880
time is presented harmonized by bassoons and horns. But in the revised version, the rhythm and shape of the trio’s horn melody is different: a simple scale without jagged ‘dotted’ rhythms. The Minuet section, meanwhile, is altered and extended with a repeat. Mendelssohn’s finale is the most explicitly Italian movement of the four, even from its title. The basic material remains in the revised version, much of it in the guise of a ‘Saltarello’, a dance of Roman origin in which a couple ‘skip’ in semi-circular movements (the woman traditionally holding her apron) while the tempo gradually quickens. But the later version of the movement is longer, mostly as Mendelssohn ‘recapitulates’ his secondary melodic idea (in other words, revives it later in the conversation). The third theme, heard first on violins, remains unchanged beyond a few extensions. This is formatted not as a Saltarello but as a Tarantella: a traditional Neapolitan dance of furiously fast tempo. Quite a souvenir from Mendelssohn’s trip to Italy – whatever the detail of the scoring. Programme notes by Andrew Mellor, 2017.
THEN? One thing you’ll probably notice about tonight’s concert is that there’s no conductor. Instead, OAE Leader Kati Debretzeni directs the Orchestra from the violin. What’s it like to play the violin and direct the orchestra at the same time? How does it make life different for the other musicians? And why do we do it? Kati explains.
First things first, what does it mean to have a concert directed from the violin?
n short it means there is no conductor on stage, and the concertmaster is a sort of traffic controller responsible for keeping things together. It also means there is no one with a baton whose energy the orchestra can feed on, so the shaping of the musical phrases is a communal endeavour. This is active rather than reactive orchestral playing, and the communal listening to each other is on a different level from a conducted concert, as is the personal responsibility of each and every player. Contribution to the whole is shared equally throughout the orchestra, as is the sense of achievement!
People are perhaps used to seeing chamber music or baroque music directed from the violin. But is there a tradition of self-directing Romantic-era repertoire such as Mendelssohn and Berlioz that informs your approach to this concert? Throughout the Romantic era concertmasters took responsibility for orchestral playing. If there was a conductor, this responsibility was shared. Mendelssohn used to sit at a fortepiano throughout the concerts, but by his own admission conducted only ‘such passages as were necessary’. It was Ferdinand David, the
concertmaster of the Gewandhaus orchestra, who was responsible for keeping things generally together. The same practice happened with François Habeneck and Berlioz. The methods of keeping the orchestra together varied - in fact both Berlioz and Mendelssohn write in the same year (1831) about the disagreeable noise made by the conductor tapping his bow on the stand to keep the beat at the Teatro San Carlo in Naples. I hope not to be doing that...
What challenges does directing from the violin throw up compared to leading a concert with a conductor? Leading for a conductor means being alert to his/her wishes and being the link between their needs of getting a particular musical response and those of the orchestra in getting the appropriate signals. Directing from the violin means providing that information in a very different way: making players aware of whom to listen to at any one point; generating the communal energy needed; being clear about what the communal shape of the music should be; giving the beat (with the bow instead of a baton) where needed; shaping dynamics through body language and, finally, delegating responsibility to principals and to the different sections wherever they need to take responsibility for an entry. All this whilst playing most of the notes...
How does it make life different for a musician sitting in the string section? And the wind players? It is a completely different experience. For the whole of the orchestra, playing a conducted concert means essentially executing a vision of a piece which is one person’s: the conductor’s. Here, that vision has to be created and be shaped by us, the players. String players, especially in the middle and rear of sections, have a much more difficult job than in a conducted concert,
as information can get blurred when transmitted from desk to desk about the ‘when’ and the ‘how’ of playing. In a conducted concert a string player relies mainly on their eyes (seeing the conductor’s beat). Here, this is not always possible as the concertmaster is sometimes busy giving entries or playing, which means that the information is not as immediate. One has to rely on one’s ears a lot more, and listen to the different parts of the orchestra, for example to a faster moving part than your own, or to a melody you accompany. Thus everyone needs to know the whole the score in an infinitely more intimate way than in a conducted concert. In addition, everybody’s responsibility for shaping dynamics and phrases is an individual responsibility which, as I said, is active rather than reactive. For wind players, hearing and seeing each other is absolutely essential. They can strive to have a chamber-music-like experience as their numbers are not as great as the strings. However, since every note they play is heard, they are in fact all soloists in terms of playing their parts on their own. Thus, their responsibility in terms of the building blocks of orchestral performance (ensemble, intonation and shaping) is enormous.
Finally, given that it poses new challenges for the musicians, why do we do it? Having a great conductor in front of you is a hugely enabling and gratifying experience as you can feed off their vision, energy and inspiration. Playing unconducted is immeasurably more difficult in terms of the working process, but it is enabling in a different way – it enables each and every member of the orchestra to be directly responsible for and invested in the convincing nature of the performance. We all have to communally provide the vision, energy and inspiration that a conductor would normally provide. Individual contributions can be more active and more meaningful, and if the performance is successful and convincing, there is ultimately no conductor to bask in the glory of the applause: it belongs to each and every one of us.
Les nuits d’été
MUSIC Hector Berlioz TEXT Théophile Gautier
1. Villanelle Quand viendra la saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, Pour cueillir le muguet aux bois. Sous nos pieds égrenant les perles Que l’on voit au matin trembler. Nous irons écouter les merles siffler. Le printemps est venu, ma belle, C’est le mois des amants béni; Et l’oiseau satinant son aile, Dit ses vers au rebord du nid. Oh! Viens donc, sur ce banc de mousse Pour parler de nos beaux amours, Et dis-moi de ta voix si douce, Toujours!
When the new season has come, when the cold has disappeared, together we will go, my lovely one, to gather lilies-of-the-valley in the woods. Beneath our feet picking the pearls that one sees trembling in the morning. We will go to hear the blackbirds whistle. Spring has come, my lovely one, this is the month blessed by lovers; and the bird, smoothing its wing, speaks its verses from the rim of its nest. Oh! Come here, onto this mossy bank to speak of our beautiful love, and say to me, in your sweet voice, Forever!
Loin, bien loin, égarant nos courses, Faisant fuir le lapins caché, Et le daim, au miroir des sources Admirant son grand bois penché; Puis chez nous, tout heureux, tout aisés, En paniers enlaçant nos doigts, Revenons, rapportant des fraises des bois.
Far, very far, wandering from our path, setting to flight the hidden rabbit, and the buck, in the mirror of the spring admiring its great twisted antlers; then home, all happy and at ease, lacing our fingers together like baskets, we’ll return, carrying wild strawberries.
2. Le spectre de la rose
The Ghost of the Rose
Soulève ta paupière close Q’effleure un songe virginal! Je suis le spectre d’une rose Que tu portais hier au bal.
Lift your closed eyelids, touched by a virginal dream! I am the ghost of a rose which you wore last night at the ball.
Tu me pris, encore emperlée Des pleurs d’argent, de l‘arrosoir, Et, parmi la fête etoilée, Tu me promenas tout le soir.
You took me, still pearled with silver tears from the watering can, and, throughout the star-filled festival you carried me all the evening.
O toi qui de ma mort fu cause, Sans que tu puisses le chasser, toute les nuits mon spectre rose A ton chevet viendra danser.
Oh you who were the cause of my death, without your being able to chase it away, every night my rose-colored ghost will dance by your pillow.
Mais ne crains rein, je ne réclame Ne messi ni De Profundis, Ce léger parfum est mon âme, Et j’arrive du paradis.
But fear nothing; I claim neither mass nor requiem. This light perfume is my soul, and I have come from paradise.
Mon destin fut digne d’envie, Et pour avoir un sort si beau Plus d’un aurait donné sa vie; Car sur ton sein j’ai mon tombeau,
My destiny is worthy of envy and to have a fate so beautiful more than one might have given his life; since your bosom is my tomb,
Et sur l’albâtre où je repose Un poet avec un baiser Ecrivit: “Ci-git une rose, Que tous les rois vont jalouser.”
And upon the alabaster where I rest a poet has written with a kiss: “Here lies a rose which all kings might envy.”
3. SUR LES LAGUNES
On THE LAGOONS
Ma belle amie est morte, Je pleurerai toujours; Sous la tombe elle emporte Mon âme et mes amours. Dans le ciel, sans m’attendre, Elle se retourna; L’ange qui l’emmena Ne voulut pas me prendre. Que mon sort est amer! Ah! Sans amour s’en aller sur la mer!
My beautiful friend is dead; I will weep forever. Into the tomb she has carried my soul and my heart. To heaven, without waiting for me, she has returned; the angel who led her did not want to take me. How bitter is my fate! Ah! To go to sea without love!
La blanche creature Est couchée au cercuil; Comme dans la nature Tout me parait en deuil! La colombe oubliée Pleure et songe a l’absent. Mon âme pleure et sent Qu’elle est déparaillée! Que mon sort est amer! Ah! Sans amour s’en aller sur la mer!
The fair creature is lying in her coffin; how everything in nature seems to me to be in mourning! The forsaken dove weeps and dreams of the absent one. My soul weeps and feels that it has lost its partner! How bitter is my fate! Ah! To go to sea without love!
Sur moi la nuit immense S’étend comme un linceul. Je chante ma romance Que le ciel entend seul: Ah! Comme elle était belle Et comme je l’aimais! Je n’aimerai jamais Une femme autant qu’elle… Que mon sort est amer! Ah! Sans amour s’en aller sur la mer!
Over me the immense night spreads itself like a shroud. I sing my romance which only heaven hears: Ah! How beautiful she was and how I loved her! I will never love another woman as much as I loved her… How bitter is my fate! Ah! To go to sea without love!
Reviens, reviens, ma belle aimée! Comme une fleur lon du soleil, La fleur de ma vie est fermée Loin de ton sourire vermeil!
Return, return, my beloved! Like a flower far from the sun, the flower of my life is closed far from your brilliant smile!
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Entre nos cœurs quelle distance! Tant d’espace entre nos baisers! O sort amer! ô dure absence! O grands désirs inapaisés!
Between our hearts what distance! What space between our kisses! O bitter fate! O hard absence! O great, unappeasable desires!
D’ici làbas que de campagnes, Que de villes et de hameaux, Que de vallons et de montagnes, A lasser le pied des chevaux!
Between here and there what fields, what cities and towns, what valleys and mountains to weary the feet of the horses!
5. AU Cimitière (clair de Lune)
AT THE CEMETeRY (MOONLIGHT)
Connaisez-vous la blanche tombe, Où flotte avec un son plaintif L’ombre d’un if ? Sur l’if une pâle colombe Triste et seule au soleil couchant, Chante son chant:
Do you know the white tomb, where floats, with a plaintive sound, the shadow of a yew-tree? On the yew a pale dove, sad and alone in the sunset, sings its song:
Un air maladivement tendre, A la fois charmant et fatal, Qui vous fait mal E qu’on voudrait toujour entendre; Un air comme en soupire aux ciex L’ange amoureux.
A melody morbidly tender, at once charming and deadly, which will do you harm and which one wishes to listen to forever; a melody like the sighing in heaven of an angel in love.
On dirait que l’âme éveillée Pleure sous terre à l’unisson De la chanson, Et du malheur d’être oubliée Se plaint dans un roucoulement Bien doucement.
One might say that an awakened soul weeps beneath the earth together with the song, and, in sorrow at having been forgotten, laments by cooing very sweetly.
Sur les ailes de la musique On sent lentement revenir Un souvenir. Une ombre, une forme angélique Passe dans un rayon trembant En voile blanc.
On the wings of the music one slowly feels returning a memory. A shadow, an angelic form passes in a ray of trembling light, veiled in white.
Les belles de nuit demiclose Jettent leur parfum faible et doux Autour de vous, Et la fantôme aux molles poses Murmure en vous tendant les bras: Tu reviendras!
The half-closed Marvels of Peru spread their delicate and sweet perfume about you, and the ghost, standing limply, murmurs, holding her arms out to you: “You will return!”
Oh! Jamais plus, près de la tombe, Je n’irai, quand descend le soir Au manteau noir, Ecouter la pâle colombe Chanter sur la pointe de l’if Son chant plaintif.
Oh! Never again will I go near the tomb when evening falls in its black robe, to listen to the pale dove singing, on the branch of the yew-tree, its plaintive song.
6. L’ILE INCONNUE
6. THE UNKNOWN ISLAND
Dites, la jeune belle, Où voulez-vous aller? La voile enfle son aile, La brise va souffler.
Tell me, pretty young girl, where do you wish to go? The sail spreads its wing, the breeze is beginning to blow.
L’aviron est d’ivoire, Le pavillon de moire, Le gouvernail d’or fin; J’ai pour lest une orange, Pour voile une aile d’ange, Pour mousse un séraphin.
The oar is of ivory, the flag of silk, the rudder of pure gold; for ballast I have an orange, for sail the wing of an angel, for cabin-boy, a seraph.
Est-ce dans la Baltique? Dans la mer Pacifique? Dans l’île de Java? Où bien est-ce en Norvège, Cuillir la fleur de neige, Ou la fleur a’Angsoka? Dites, dites, où voulez-vous aller?
Is it to the Baltic sea? To the Pacific ocean? To the island of Java? Or is it rather to Norway, to gather snow-flowers, or the flowers of Angsoka? Tell me, tell me, where do you want to go?
Menez moi, dit la belle, A la rive fidèle Où l’on aime toujours! Cette rive, ma chère, On ne la connaît guère Au pays des amours.
“Take me,” says the pretty one, “to the faithful shore where people love forever!” That shore, my dear, is almost unknown in the country of love.
Où voulez-vous allez? La brise va souffler.
Where do you want to go? The breeze is beginning to blow.
TRANSLATION Marion Leeds Carroll
SARAH CONNOLLY MEZZO-SOPRANO
photo: Jan Capinski
arah Connolly studied piano and singing at the Royal College of Music, of which she is now a fellow. She was made CBE in the 2010 New Year’s Honours List. In 2011 she was presented with the Distinguished Musician Award by the Incorporated Society of Musicians and she was the recipient of the Royal Philharmonic Society’s 2012 Singer Award. Renowned as one of the superlative singers of her generation, highlights in her 2016–17 season include Geschwitz’s Lulu with English National Opera and the world premiere of Brett Dean’s Hamlet at Glyndebourne.
KATI DEBRETZENI DIRECTOR
photo: Eric Richmond
orn in Transylvania, Kati studied the violin with Ora Shiran in Israel, and the Baroque violin with Catherine Mackintosh and Walter Reiter in London.
Since the year 2000 she has led the English Baroque Soloists under Sir John Eliot Gardiner, and can be heard on their recent recordings of J.S. Bach’s Brandenburg Concerti, B Minor Mass and St Matthew Passion (to be released in 2017).
Kati has been one of the leaders of the Orchestra of the Age of Enlightenment since 2008. In this capacity she has worked with Sir Simon Rattle, William Christie, Ivan Fischer, Sir Mark Elder, Ottavio Concert appearances include the Edinburgh, Dantone, Robin Ticciati, Adam Fischer and Salzburg, Tanglewood and Three Choirs others. Festivals and at the BBC Proms where, in 2009, she was a memorable guest soloist at Kati has recorded numerous award winning the Last Night. She is much in demand CDs with Florilegium, Ricordo, Trio Goya, with the world’s great orchestras. and the European Brandenburg Ensemble under Trevor Pinnock (Gramophone Award Twice nominated for a Grammy Award, she winners 2007). Her latest solo recording is has recorded prolifically. that of Vivaldi’s Four Seasons with the OAE. She has directed various ensembles, and teaches the Baroque and Classical violin at the Royal Conservatory of Music in The Hague.
ORCHESTRA OF THE AGE OF ENLIGHTENMENT
hree decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductorless Bach there. All the while, the Orchestra’s players called the shots. At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It began to make benchmark recordings and attract the finest conductors. It became the toast of the European touring circuit. It bagged distinguished residencies at the Southbank Centre and Glyndebourne Festival Opera. It began, before long, to thrive. And then came the real challenge. The ensemble’s musicians were branded eccentric idealists, and that they were determined to remain. In the face of the music industry’s big guns, the OAE kept its head. It got organised but remained experimentalist. It sustained its founding drive but welcomed new talent. It kept on exploring performance formats, rehearsal approaches and musical techniques.
It searched for the right repertoire, 23 instruments and approaches with even greater resolve. It kept true to its founding vow. In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America. And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performance have redefined concert parameters. Its new home at London’s Kings Place has fostered further diversity of planning and music-making. Great performances now become recordings on the Orchestra’s in-house CD label. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. It travels as much abroad as to the UK regions: New York and Amsterdam court it, Birmingham and Bristol cherish it. Remarkable people are behind it. Simon Rattle, the young conductor in whom the OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the visionary who punted some of his most individual musical ideas on the young orchestra, continues to challenge it. Mark Elder still mines for luminosity, shade and line. Vladimir Jurowski, the podium technician with an insatiable appetite for creative renewal, has drawn from it some of the most revelatory noises of recent years. And, most recently, John Butt has conducted his experiments in Bach inside it. All five of them share the title Principal Artist. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor
OAE EDUCATION We often talk about the Orchestra of the Age of Enlightenment being like a family, and families have members of all ages and abilities. Thatâ€™s why we run our OAE Education programme. Each year it reaches over 15,000 people across the country, often in areas where there is little or no access to live classical music. There are six main parts to our educational work: TOTS, Schools, Special Needs, Nurturing Talent, Opera and Flagship projects. We have partnerships in ten cities across the country, work with 12 music hubs and numerous venues and concert halls, and in every location we have created an extended OAE family, something we are very proud of.
Our 2016â€“2017 our education work will include:
21 SCHOOLS CONCERTS
Special needs events
BRAND NEW FLAGSHIP PROJECTS
6 nurturing talent events
6 Community concerts
18 TOTS CONCERTS
Support our Education programmes
Building upon our highly successful Three Towns Tour (2015–2016), we will be going on a tour between January and July 2017 which will deepen our relationships in both King’s Lynn and Lowestoft and extend our programme into Mildenhall (Suffolk) and County Durham. Working with early years, primary and secondary schools, and community groups, our aim is to inspire, excite and animate thousands of people in exploring their musical landscape.
The work we do could not happen without the support of our generous donors. If you would like to support our Education work please contact Alex Madgwick, Head of Individual Giving firstname.lastname@example.org, 020 7239 9380
For our schools and community concerts we have commissioned new music to tell the story of the constantly changing landscape of the world we live in.
Below: OAE TOTS on the Royal Festival Hall stage
Starting at the very beginnings of the earth, we will hear music which illustrates the earth’s journey from its creation, through the millennia of change which has led us to where we are now. How have human beings have adapted and how we have impacted our environment in positive and destructive ways? Finally, we ask ourselves ‘What world do we want to create for tomorrow?’ Each concert will feature a film of the local landscape with a soundtrack composed by young people and the Orchestra, looking at the world that they live in and what they see around them every day.
THE OAE TEAM Chief Executive Crispin Woodhead Director of Finance and Operations Ivan Rockey
Head of Individual Giving Alex Madgwick Development Manager Catherine Kinsler
Development Director Emily Stubbs
Trusts and Foundation Manager Andrew Mackenzie
Director of Marketing and Audience Development John Holmes
Development and Events Administrator Danielle Robson
Director of PR & Press Katy Bell Education Director Cherry Forbes Projects Manager Jo Perry Orchestra Manager Philippa Brownsword Projects Officer Sarah Irving Librarian Colin Kitching Education Officer Andrew Thomson Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Charles Lewis
Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Playersâ€™ Artistic Committee Cecelia Bruggemeyer Lisa Beznosiuk Luise Buchberger Max Mandel Roger Montgomery
Development Trainee Alice Macrae Board of Directors Sir Martin Smith (Chairman) Cecelia Bruggemeyer (Vice-Chair) Lisa Beznosiuk Luise Buchberger Robert Cory Denys Firth Nigel Jones Max Mandel David Marks Roger Montgomery Olivia Roberts Susannah Simons Mark Williams Crispin Woodhead
Administration Orchestra of the Age of Enlightenment Kings Place, 90 York Way, London, N1 9AG Tel: 020 7239 9370 Email: email@example.com Website: oae.co.uk Registered Charity No. 295329 Registered Company No. 2040312
OAE Trust Sir Martin Smith (Chair) Edward Bonham Carter Robert Cory Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen
Regional Marketing Officer Holly Cassidy
THE NIGHT SHIFT
Our series of late-night, laid-back classical music gigs is back for 2017. Catch it every month at The George Tavern in Shadwell, The Old Queen’s Head in Islington, the CLF Art Cafe/Bussey Building in Peckham, and new venue the Assembly Rooms in Camden.
VISIONS, ILLUSION AND DELUSIONS
First gig at The George Tavern on 28 February 2017. Visit thenightshift.co.uk for more details.
Can I trust my senses? Is what you see really what you get? The philosophers of the Enlightenment started with these radical doubts, which still hit home in an age of digital identities and fake news. We’ve just launched our 2017–18 Southbank Centreseason, Visions, Illusions and Delusions, with these issues right at its heart. Get a sneak peek of highlights including Handel’s Semele and a controversial new passion at bit.ly/OAE1718
Follow us for more news orchestraoftheageofenlightenment
We’re taking our Mozart programme with Isabelle Faust (catch it in London at the Royal Festival Hall on 18 April 2017) on tour to Italy and New York. throughout April. So if you happen to be there then do drop in and say hi. Check the dates at oae.co.uk
SUPPORTERS The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to our sponsors and patrons and hope you will consider joining them. We offer a close involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.
OAE THIRTY CIRCLE The OAE is particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust THIRTY CIRCLE PATRONS Bob & Laura Cory Sir Martin Smith & Lady Smith OBE THIRTY CIRCLE MEMBERS Victoria & Edward Bonham Carter Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Julian & Camilla Mash Mark & Rosamund Williams
OUR SUPPORTERS ANN & PETER LAW OAE EXPERIENCE SCHEME Ann & Peter Law MAJOR SPONSOR
CORPORATE PARTNERS Apax Partners E.S.J.G. Limited Lindt Lubbock Fine Chartered Accountants Parabola Land Stephen Levinson at Keystone Law Swan Turton SEASON PATRONS Bob & Laura Cory Bruce Harris Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Sir Martin Smith & Lady Smith OBE Philip & Rosalyn Wilkinson Mark & Rosamund Williams
PROJECT PATRONS Julian & Annette Armstrong JMS Advisory Limited Adrian Frost Julian & Camilla Mash ARIA PATRONS Denys & Vicki Firth Gary & Nina Moss Andrew Nurnberg Rupert Sebag-Montefiore Eric Tomsett CHAIR PATRONS Mrs Nicola Armitage Education Director Hugh & Michelle Arthur Violin Victoria & Edward Bonham Carter Principal Trumpet Anthony & Celia Edwards Principal Oboe Sir Vernon & Lady Ellis Co-Principal Viola James Flynn QC Co-Principal Lute/Theorbo Paul Forman Co-Principal Cello and Co-Principal Bassoon Su Li and Stephen Gibbons violin The Mark Williams Foundation Co-Principal Bassoon Sandy Mitchell Jenny and Tim Morrison Second Violin Haakon & Imogen Overli Co-Principal Cello Jonathan Parker Charitable Trust Co-Principal Cello Professor Richard Portes CBE FBA Co-Principal Bassoon Olivia Roberts Violin John & Rosemary Shannon Principal Horn Roger & Pam Stubbs Sub-Principal Clarinet Crispin Woodhead & Christine Rice Principal Timpani
John & Sue Edwards (Principal Education Patrons) Mrs Nicola Armitage Patricia & Stephen Crew The Nigel Gee Foundation Venetia Hoare Professor Richard Portes CBE FBA ASSOCIATE PATRONS Felix Appelbe & Lisa Bolgar Smith David & Marilyn Clark Christopher & Lesley Cooke David Emmerson Ian S. Ferguson & Dr. Susan Tranter Jonathan & Tessa Gaisman Marc-Olivier & Agnes Laurent Sir Timothy & Lady Lloyd Stanley Lowy Michael & Harriet Maunsell David Mildon in memory of Lesley Mildon Andrew & Cindy Peck Michael & Giustina Ryan Ivor Samuels & Gerry Wakelin Emily Stubbs & Stephen McCrum Shelley von Strunckel Rev.d John Wates OBE & Carol Wates Tim Wise YOUNG PATRONS Josh Bell & Adam Pile Marianne & William Cartwright-Hignett Sam Hucklebridge Joseph Cooke & Rowan Roberts
GOLD FRIENDS Noël & Caroline Annesley Mr & Mrs C Cochin de Billy Mrs A Boettcher Geoffrey Collens Roger Mears & Joanie Speers Mr J Westwood SILVER FRIENDS Haylee & Michael Bowsher Michael Brecknell Christopher Campbell Mr & Mrs Michael Cooper Norman & Sarah Fiore Malcolm Herring Patricia Herrmann Peter & Sally Hilliar Rupert & Alice King William Norris Stephen & Roberta Rosefield Susannah Simons Her Honour Suzanne Stewart David Swanson BRONZE FRIENDS Keith Barton Dennis Baldry Michael Bowen Dan Burt Tony Burt Michael A. Conlon Hugh Courts Anthony & Jo Diamond Mrs S M Edge Mrs Mary Fysh Ray & Liz Harsant Auriel Hill Nigel Mackintosh Angus Macpherson Julian Markson Nigel Pantling Alan Sainer Ruth & David Samuels Gillian Threlfall Mr & Mrs Tony Timms Mrs Joy Whitby
TRUSTS AND 29 FOUNDATIONS Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement The Charles Peel Charitable Trust Chapman Charitable Trust John S. Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Fenton Arts Trust Garfield Weston Foundation The Golden Bottle Trust Goldsmiths’ Company Charity Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Orchestras Live Palazzetto Bru Zane P F Charitable Trust Schroder Charity Trust The Shears Foundation Valentine Charitable Trust We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm. For more information on supporting the OAE please contact Emily Stubbs, Development Director firstname.lastname@example.org 020 7239 9381.
The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses.
COMING THE NIGHT SHIFT
SOON FAUST AND THE MOZART CONCERTOS
Our late-night gig series returns. Expect pints and plenty of Baroque. 8.30pm, Tuesday 28 February 2017
Star violinist enchants us with not one but two Mozart violin concertos. 7pm, Tuesday 18 April 2017
STEVEN ISSERLIS PERFORMS HAYDN
BACH’S ORCHESTRAL SUITES
The George Tavern, Shadwell Tickets: thenightshift.co.uk
The British cello legend tackles Haydn’s once-lost concerto. 7pm, Monday 20 March 2017 Royal Festival Hall Tickets: southbankcentre.co.uk /oae
Royal Festival Hall Tickets: southbankcentre.co.uk /oae
Our new ‘Turning Points’ series continues with Bach’s Orchestral Suites. Tickets still available. 7.30pm, Saturday 20 May 2017 Kings Place, Hall One. Tickets: kingsplace.co.uk
OAE TOTS: MUSICAL JOURNEYS
An introduction to the OAE for the youngest of music lovers. 10am & 11.30am Wednesday 31 May 2017 Royal Festival Hall Tickets: southbankcentre.co.uk /oae
BACH GOES TO PARIS What if Bach, who never actually left Germany, had met his great French contemporary, Rameau? 7pm, Tuesday 4 July 2017 St John’s Smith Square Tickets: southbankcentre.co.uk /oae
KIRKER MUSIC HOLIDAYS FOR DISCERNING TRAVELLERS Kirker Holidays offers an extensive range of holidays for music lovers. These include our own exclusive opera and chamber music festivals on land and at sea and tours to leading festivals in Europe.
THE DRESDEN MUSIC FESTIVAL A SEVEN NIGHT HOLIDAY | 17 MAY 2017
The Saxon capital is one of Europeâ€™s most beautiful cities and a historic centre of musical excellence. Our holiday to the annual Dresden Music festival takes in performances by Diana Damrau, Steven Isserlis and Francesco Piemontesi and three major European orchestras. In addition to five concerts at venues including the famous Semper Opera and the Schloss Wackerbarth, we shall also explore the historic heart of Dresden itself. Highlights include the extraordinary collection amassed by the Electors of Saxony at the Green Vaults, the important exhibition of Old Masters housed in the elaborate rococo Zwinger Gallery, and the magnificently restored Frauenkirche. Price from ÂŁ2,725 per person for seven nights including return flights, accommodation with breakfast, three lunches, two dinners, tickets for five concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.
Speak to an expert or request a brochure:
020 7593 2284 quote code GCN www.kirkerholidays.com
ACADEMY OF ANCIENT MUSIC london concert season 2016-17 Purcell the fairy queen Monday 10 October 2016, Barbican Hall
James Gilchrist Directs Thursday 20 October 2016, Milton Court Concert Hall
the Glory of Venice Wednesday 7 December 2016, Milton Court Concert Hall
bach anD the italian concerto Wednesday 15 February 2017, Milton Court Concert Hall
JorDi saVall Directs Saturday 11 March 2017, Barbican Hall
bach reconstructeD Friday 7 April 2017, Milton Court Concert Hall
richarD eGarr Directs Friday 5 May 2017, Milton Court Concert Hall
monteVerDi VeSPerS Friday 23 June 2017, Barbican Hall
tickets £10-50 plus booking fee* £5 for aamplify members | £70 premium seats available
Book at barbican.org.uk or call 020 7638 8891 aam.co.uk/london * £3 online, £4 by telephone, no fee when booked in person
2016-17 London Listings167x239.indd 1
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