Roderick Williams directs Bach and Handel

RODERICK WILLIAMS DIRECTS BACH AND HANDEL

TELEMANN CANTATA DER AM OLBERG ZAGENDE JESUS , TWV.1:364 JS BACH CANTATA ICH HABE GENUG, BWV 82 HANDEL CONCERTO GROSSO OP.3 NO.2, MVMT.1 HANDEL APOLLO E DAFNE

By kind permission of BBC Radio 3 and the Wiltshire Music Centre.

Violin Huw Daniel Margaret Faultless Daniel Edgar Kati Debretzeni Henry Tong Alice Evans Viola Max Mandel Annette Isserlis

Bassoon Gyorgyi Farkas Keyboard Steven Devine Theorbo David Miller

Cello Jonathan Manson Andrew Skidmore Double Bass Cecelia Bruggemeyer Flute Lisa Beznosiuk Oboe Katharina Spreckelsen Sarah Humphrys

We are grateful for the support of Stephen and Penny Pickles, Jenny and Tim Morrison and our friends at Southbank Centre and Wiltshire Music Centre

PROGRAMME NOTES Richard Bratby

CANTATA ICH HABE GENUG, BWV 82 Johann Sebastian Bach (1685-1750)

CANTATA DER AM OLBERG ZAGENDE JESUS, TVWV 1:364 Georg Philipp Telemann (1681-1767) In the summer of 1722, by a unanimous vote, Georg Philipp Telemann was offered the post of Kantor at St Thomas’s Church in Leipzig. He turned it down. Disappointed, the chairman of the appointment committee, Councillor Platz, declared that “since the best man could not be hired, a mediocre one will have to be tolerated instead”. The “mediocre” second-best that they duly appointed was Telemann’s friend Johann Sebastian Bach.

It’s a story that makes modern jaws drop: but it does demonstrate Telemann’s contemporary reputation as a composer of sacred music (and his lifetime total of some 1040 cantatas makes Bach look like a slacker). He composed his Passion cantata Der am Ölberg zagende Jesus in Frankfurt between 1712 and 1721, and he may have sung the vocal part himself (he was a fine baritone). The very first bars grab the imagination: conjuring the tense, hushed atmosphere of Christ’s vigil in Gethsemane, before narrating the Biblical tale, from despair to hope, in music of striking emotional directness intensified by vivid flashes of instrumental colour.

“I am content. I have held the Saviour, the hope of all humanity, in the warmth of my arms…now I wish, this very day, to depart from here in joy”. Johann Sebastian Bach was a working musician and the cantatas that he wrote in his role as Kantor at St Thomas’s Church in Leipzig were intended for – and tailored to – quite specific dates in the church calendar. The Cantata No.82, Ich habe genug was first performed on 2 February 1727 – the feast of the Purification of Mary.

And so it tells how elderly Simeon, having held the Christ child, is possessed of an overwhelming sense of contentment and completion. His impending death, with such knowledge, is no longer a source of dread but of unqualified joy. Bach, as ever, finds exactly the musical voice for the story – from the tranquil, elegiac opening aria, with its poignant solo oboe, through to a final aria that is effectively a dance: a song not of death, but of life without end

APOLLO E DAFNE, HWV.122 George Frederic Handel (1685-1759)

On 14 January 1707 the diarist Francesco Valesio recorded the arrival in Rome of “a Saxon, a most excellent player on the harpsichord and composer, who today gave a flourish of his skill by playing on the organ in the church of San Giovanni, to the amazement of everyone present”. It was old Handel, and he was swiftly welcomed into the circle of the Arcadian Academy: an elite club for artists and connoisseurs, whose members adopted nicknames from classical myth.

Naturally, Handel was keen to impress.

Completed in 1710 after his return to Germany, the cantata Apollo e Dafne tells a story familiar to every educated Roman: how Apollo pursues the nymph Daphne, who escapes him (since “no” rarely meant “no” to the gods of Olympus) by transforming into a laurel tree. The libretto (by an anonymous writer who had clearly read Ovid’s Metamorphoses) provides Handel with wonderful scope for musical colour, alternating a fresh Italianate lyricism with the dance-like, faux-naïf strains of that imagined Arcadia – an opera in all but name.

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BEHIND THE SCENES Huw Daniel, OAE Leader, violin As the strange summer of 2020 went on it became clear that we would not be able to perform Handel's Solomon at our Southbank season opening concert.

Instead we had the pleasure of performing this more intimate programme with Roddy and Rowan, which included a Telemann Cantata, new to us all, I think. Roddy wanted this to be a chamber music collaboration, and he invited us all to contribute to the rehearsal process. This, combined with Roddy's positive energy and inspiring ideas, made the rehearsals feel organic and satisfying.

One of the challenges for me in this programme was to try to set that magical tempo of each movement that made the music slot into place. A tempo that was even slightly too slow potentially had a profound effect on the music. We quickly overcame any difficulties presented by the greater distances between musicians, as everyone pulled together to make it work. Roddy's thoughts about Ich habe Genug in particular were revelatory for us and inspired us to think differently about many aspects of the music and the text. I particularly enjoyed Roddy's descriptions of what he was trying to find in the music, especially the "reckless" character of the last aria, 'Ich freue mich auf meinen Tod'.

It felt good to be back "home" at the Southbank Centre after so many months. The Royal Festival Hall, a large venue for this intimate music, felt strangely appropriate as we realised that we did not have to fill the hall with sound, but that we could play to the radio listeners and to each other.

It was particularly luxurious and pleasurable for us to have Roddy and Rowan sing facing us — in a sense we became their substitute audience. This intensified the sense of dialogue between orchestra and soloists and made it easier for us to pick up on every nuance of their expression. This was indeed chamber music in the round.

SOLOIST BIOGRAPHIES

Roderick Williams Roderick Williams is one of the most sought after baritones of his generation with a wide repertoire spanning baroque to contemporary which he performs in opera, concert and recital.

He enjoys relationships with all the major UK opera houses and has sung opera world premières by David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton and Alexander Knaifel as well as performing major roles including Papageno, Don Alfonso, Onegin and Billy Budd.

He performs regularly with leading conductors and orchestras throughout the UK, Europe, North America and Australia, and his many festival appearances include the BBC Proms, Edinburgh, Cheltenham, Aldeburgh and Melbourne.

As a composer he has had works premièred at Wigmore Hall, the Barbican, the Purcell Room and on national radio. In December 2016 he won the prize for Best Choral Composition at the British Composer Awards.

Roderick Williams was awarded an OBE in June 2017 and was nominated for Outstanding Achievement in Opera in both the 2018 Olivier Awards for his performance in the title role of the Royal Opera House production of Monteverdi’s Il ritorno d’Ulisse in patria and in 2019 for his role in ENO’s production of Britten’s War Requiem. He is Artist in Residence with the Royal Liverpool Philharmonic Orchestra from 2020/21 for two years.

Rowan Pierce Yorkshire-born Rowan Pierce is a former Rising Star of the OAE and Harewood Artist at English National Opera.

She appears regularly with ensembles including the Academy of Ancient Music, Gabrieli Consort, Scottish Chamber Orchestra, BBC Scottish Symphony, OAE, City of Birmingham Symphony Orchestra, Florilegium and Royal Northern Sinfonia. In 2017 she made her BBC Proms and Wigmore Hall debuts.

Recent and future operatic roles include Tiny / Paul Bunyan and Papagena / The Magic Flute for English National Opera, Barbarina / Le Nozze di Figaro (Covent Garden, Nevill Holt Opera, Grange Festival and ENO), Papiria / Lucio Papirio Dittatore for the Buxton Opera Festival, Oberto / Alcina for Glyndebourne Festival Opera and Quivera and Orazia / The Indian Queen for the Opéra de Lille under Emmanuelle Haïm.

Recent and future festival performances include appearances at the Ryedale, Oxford Lieder, Bath, Cheltenham, BBC Proms, Edinburgh, Leeds Lieder and Chiltern Arts Festivals.

Recordings include a solo disc of Purcell songs, Vaughan Williams’ Ninth Symphony with the RLPO / Andrew Manze and the award winning recordings of King Arthur and the Fairy Queen with the Gabrieli Consort.

Katharina Spreckelsen Katharina Spreckelsen is one of the leading baroque oboists of her generation. She was born in Germany and after studying with the late Michel Piguet in Basle, Katharina moved to London for further studies with Paul Goodwin at the Royal College of Music.

She soon became a much sought-after player with many European Ensembles. Katharina was principal oboist with the Amsterdam Baroque Orchestra, the Gabrieli Consort & Players and Florilegium and she now divides her time between The English Concert, the Orchestra of the Age of Enlightenment and Christian Curnyn’s Early Opera Company.

Katharina has recorded extensively. She can be heard on many of Ton Koopman’s Bach Cantata recordings. With the Gabrieli Consort & Players she has recorded Oratorios by Handel, sacred works by J S Bach and Haydn’s Creation.

With The English Concert she appears notably on discs with David Daniels, Elizabeth Watts, Danielle De Niese and Lucy Crowe.

Katharina is professor of baroque and classical oboe at the Royal Academy of Music. Over the past twenty years she has fostered a new generation of baroque oboists, many of whom are now her colleagues

“Not all orchestras are the same” Three 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 conductor-less 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 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, 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 performances have redefined concert parameters. Its home at London’s Kings Place has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions.

In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the Orchestra of the Age of Enlightment to live, work and play amongst the students of the school.

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 it 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, it’s been a laboratory for John Butt’s most exciting Bach experiments. 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 TEAM

Orchestra Consultant Philippa Brownsword

Life President Sir Martin Smith

Chief Executive Crispin Woodhead

Choir Manager David Clegg

Finance and Governance Director Pascale Nicholls

Librarian Colin Kitching

Board of Directors Imogen Overli [Chairman] Steven Devine Denys Firth Adrian Frost Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead

Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Communications Director Elle Docx General Manager Edward Shaw Education Officer Andrew Thomson Projects Officer Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale

Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Steven Devine Max Mandel Roger Montgomery Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington

Marketing and Press Officer Anna Bennett Box Office and Data Manager Carly Mills Head of Individual Giving and Digital Development Marina Abel Smith Development Operations Officer Kiki Betts-Dean

Life President

OAE Trust Adrian Frost [Chairman] Paul Forman Steven Larcombe Alison McFadyen Caroline Noblet Imogen Overli Rupert Sebag-Montefiore Diane Segalen Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams

SUPPORTERS OAE Thirty Circle

We are 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 and Laura Cory

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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.

For more information on supporting the OAE please contact Emily Stubbs Development Director

emily.stubbs@oae.co.uk

0208 159 9318

WE MOVED INTO A SCHOOL We are thrilled to announce that we are now the resident orchestra of Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school.

Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project, so for the first time, we will all be in the same place: players, staff and library!

Crispin Woodhead, our chief executive who came up with the idea of a new partnership, says: “Our accommodation at Kings Place was coming to an agreed end and we needed to find a new home. I felt that we should not settle for a conventional office space solution. We already had a strong relationship with many schools in Camden through our education programme and our appeal hit the desk of Kat Miller, director of operations at Acland Burghley School. She was working on ways to expand the school’s revenue from its resources and recognised that their excellent school hall might be somewhere we could rehearse.

It felt like a thunderbolt and meant we wanted to find a way for this place to be our home, and embark on this new adventure to challenge and transform the way we engage with young adults.”

The school isn't just our landlord or physical home. Instead, it will offer the opportunity to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. This new move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible.

A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing.

Margaret Faultless, OAE leader and violinist, said: “As classical musicians, it can often feel as though we exist in a bubble. I think I can speak for the whole Orchestra when I say that we’re all looking forward to this new adventure. We are all used to meeting with people from outside the classical music world of course, but the value of our new project lies in the long-term work we’ll be doing at the school and the relationship that will hopefully develop between the students, their parents and teachers and the orchestra.”

“The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” continues Margaret. “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.”

The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts. Their support is facilitating the move to the school and underwriting the first three years of education work.

OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live.

The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players.

This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.

SUPPORT OUR EDUCATION PROGRAMME The work we do could not happen without the support of our generous donors.

If you would like to support our education programme please contact Marina Abel Smith, Head of Individual Giving and Digital Development marina.abelsmith@oae.co.uk 0208 159 9319

OAE TOTS at Saffron Hall

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The OAE is a registered charity number 295329 Registered company number 2040312.

Acland Burghley School, 93 Burghley Road, London NW5 1UH 0208 159 9310 | info@oae.co.uk Photography | Zen Grisdale