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Credit Marco Borggreve


BEETHOVEN OCTET IN E flat OP.103 MOZART TRIEBENSEE SELECTION FROM DON GIOVANNI ‘Ouvertura’ No.5 ‘Là ci darem la mano’ No.8 ‘Fin ch'han dal vino’ No.13 ‘Deh vieni alla finestra’ No.19 ‘Già la mensa è preparata’

Oboe Daniel Bates Leo Duarte Clarinet Katherine Spencer Sarah Thurlow Bassoon Philip Turbett Sally Jackson Horn Roger Montgomery Martin Lawrence

We are grateful for the support of Jenny and Tim Morrison and our friends at Asylum Chapel

PROGRAMME NOTES by Richard Bratby

OCTET IN E flat OP.103 Ludwig van Beethoven (1770-1827)



Menuetto (Allegro)

TRIEBENSEE SELECTION FROM DON GIOVANNI Wolfgang Amadeus Mozart (1756-91), arr. Joseph Triebensee ‘Ouvertura’

No.5 ‘Là ci darem la mano’ No.8 ‘Fin ch'han dal vino’

No.13 ‘Deh vieni alla finestra’


No.19 ‘Già la mensa è preparata’

From around the 1770s to the late 1820s, central Europe was mad about harmoniemusik: music for wind ensemble. The classic harmonie line-up comprised matching pairs of oboes, clarinets, horns and bassoons (the wooden flutes of the period would have been inaudible), an ideal ensemble when music was to be performed out of doors, at banquets and social gatherings or anywhere it had to be heard over background chatter.

Before the invention of recordings, one way to hear hit songs from favourite operas was through arrangements for other instruments. In late 18th century Austria, successful operas were rewritten, often almost immediately, for six or eight-piece wind ensembles (harmoniemusik). Mozart even incorporated one into the banquet scene of Don Giovanni. The Don, after all, appreciates the finer things in life. Naturally he’d have his own house band.

It’s hard to imagine Beethoven tolerating that. However, despite the opus number, this isn't late Beethoven, but very early Beethoven, composed in Bonn in 1792 before he left for Vienna and only rediscovered after his death. It’s the work of a young composer out to make an impact, and some money, energetic, unashamedly cheerful. It takes delight (especially in the headlong Minuetto) in the endless colours that can be created, kaleidoscope-like, by blending and contrasting those eight instruments. The finale is practically a musical fit of the giggles.

Emperor Joseph II of Austria certainly did and it was probably for the Imperial ear, around 1788, that Joseph Triebensee , first oboist of the court harmoniemusik, arranged his own selection from Mozart’s sensational new opera. Joseph might have balked at giving Mozart a full-time job at court but he was genuinely fascinated by his music. Triebensee offers a lively guided tour of the score’s highlights from the ominous opening chords of the overture, and crowd-pleasers such as La ci darem la mano and Don Giovanni’s “Champagne Aria”, to the exuberant final chorus.




We have a free YouTube channel where you can watch more of our musicians talk about their period instruments.

BEHIND THE SCENES Daniel Bates, OAE Principal Oboe "Having been lucky enough to have played these pieces on the lawn at Glyndebourne this summer, it was a treat to play them again with my OAE colleagues inside a building with an acoustic without the worry of inhaling flying ants and other insects! Though we were standing much farther apart than we would have done in normal times, we were suddenly able to hear each other much better. We could really listen and respond to the ideas and phrasing of the wonderful winds of the OAE. The Asylum Chapel is an incredibly atmospheric space and its crumbling grandeur chimed very well with Triebensee's arrangement of some of the numbers from Don Giovanni".

“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 Acland Burghley School, Camden 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. 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

ABOUT ASYLUM CHAPEL Caroline Gardens Chapel in Peckham forms the heart of London’s largest complex of almshouses originally known as the Licensed Victuallers’ Benevolent Institution Asylum. However, despite being called an “asylum”, the grade-II-listed site was not a home for lunatics. Instead, the word was used in its older sense of “sanctuary” and it was in fact an old folks’ home for retired pub landlords (or “decayed members of the trade” as they were known at the time). The welfare state still being over 100 years in the future, almshouses were an important part of life, offering impoverished Georgian and Victorian elderly people the only alternative to destitution or the workhouse. Residents were entitled to a small weekly cash payment, coal, medical care and medicine. Dating the chapel between 1827 and 1833, architectural historian Nicolaus Pevsner describes the six-acre complex as “the only grand composition among the many almshouses of Camberwell. Exceptionally large”. Other almshouses in Southwark included those of the Girdlers’ Company and the Metropolitan Beer and Wine Trade Society. At that time, North Peckham was an area of market gardens and fields adjacent to the largely unbuilt-up Old Kent Road and a middle-class area called Peckham New Town, which was the first local example of planned development. However, rural or not, 10,000 people are reported to have watched the opening ceremony. At the time, the chapel was the beating heart of the community. A contemporary account declared that: “The services are bright and, though eminently congregational, are partly choral. The excellence of the congregational singing is mainly due to the establishment, some years since, of the Licensed Victuallers’ Choral Association, composed chiefly of the younger members of the various families who attend the Asylum Chapel.” The chapel is described as having “an organ of considerable power, by Messrs Bovington and Sons, erected by voluntary contributions” while the walls bore “several costly tablets to the memory of benefactors, the most conspicuous being those to HRH the Duke of Sussex and HRH the Prince Consort”. Most of these carved stone memorials are still here. In 1858 the Albert Wing was added, and opened by the Prince Consort himself, adding 31 more dwellings. As a result, a 16ft statue of Albert was unveiled in the middle of the lawn. It was unveiled in 1864 by the Prince of Wales after Albert’s death in 1861. To find out more about this facisnating venue, please visit

OAE TEAM Chief Executive Crispin Woodhead Finance and Governance Director Pascale Nicholls 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 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

Orchestra Consultant Philippa Brownsword

Life President Sir Martin Smith

Choir Manager David Clegg

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

Librarian Colin Kitching 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

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


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

Sir Martin Smith and Lady Smith OBE Thirty Circle Members

Victoria and Edward Bonham Carter

Nigel Jones and Françoise Valat-Jones

Selina and David Marks

Julian and Camilla Mash

Mark and Rosamund Williams

OAE Experience scheme

- Principal Keyboard

Ann and Peter Law

Jenny and Tim Morrison

Corporate Partners

Caroline Noblet

Lubbock Fine Chartered Accountants

Andrew Nurnberg

Swan Turton

Professor Richard Portes

Corporate Associates

Olivia Roberts

Bannenberg and Rowell

John and Rosemary Shannon

Champagne Deutz Mark Allen Group

Aston Lark Gelato

Season Patrons

John Armitage Charitable Trust Julian and Annette Armstrong Adrian Frost

Nigel Jones and Françoise Valat-Jones

Selina and David Marks

Imogen and Haakon Overli

Sir Martin Smith and Lady Smith OBE Philip and Rosalyn Wilkinson

Mark and Rosamund Williams

One Anonymous Donor Project Patrons

Anthony and Celia Edwards Bruce Harris

One Anonymous Donor Aria Patrons

Mrs A Boettcher

Stanley Lowy

Gary and Nina Moss

Rupert Sebag-Montefiore

Maarten and Taina Slendebroek

Caroline Steane Eric Tomsett

Chair Patrons

Mrs Nicola Armitage

- Education Director

Hugh and Michelle Arthur - Double Bass

Victoria and Edward Bonham Carter -Principal Trumpet

Ian S Ferguson and Dr Susan Tranter

- Double Bass

James Flynn QC

- Principal Lute/Theorbo

Paul Forman

- Principal Cello, Principal Horn, Violin

Jonathan and Tessa Gaisman - Viola

Michael and Harriet Maunsell

- Second Violin - Oboe

- Principal Oboe

- Principal Bassoon - Violin

- Principal Horn

Roger and Pam Stubbs - Clarinet

Crispin Woodhead and Christine Rice - Principal Timpani

Education Patrons

Mrs Nicola Armitage

Patricia and Stephen Crew Rory and Louise Landman

Sir Timothy and Lady Lloyd

Andrew & Cindy Peck

Professor Richard Portes CBE FBA Rising Stars Supporters

Annette and Julian Armstrong Mrs Rosamund Bernays Denys and Vicki Firth Bruce Harris

Ms Madeleine Hodgkin Mrs Sarah Holford

Nigel Jones and Francoise Valat-Jones Peter & Veronica Lofthouse Mark and Liza Loveday Mr Andrew Nurnberg

Old Possum's Practical Trust Imogen and Haakon Overli

The Reed Foundation Associate Patrons

Charles and Julia Abel Smith Noël and Caroline Annesley

Sir Richard Arnold and Mary Elford

Catherine and Barney Burgess Katharine Campbell

David and Marilyn Clark David Emmerson

Peter and Sally Hilliar

Steven Larcombe

Moira and Robert Latham

Sir Timothy and Lady Lloyd

Alison McFadyen

Roger Mears and Joanie Speers

David Mildon in memory of Lesley Mildon

Julian Markson

John Nickson and Simon Rew

Cynthia and Neil McClennan

Andrew and Cindy Peck

John Ransom

Ivor Samuels and Gerry Wakelin

Alan Sainer

Emily Stubbs and Stephen McCrum

Mr and Mrs Tony Timms

The Patrick Rowland Foundation

David Wilson

Peter Stebbings Memorial Charity

MM Design - France

Jonathan Parker Charitable Trust Peter Rosenthal

Sue Sheridan OBE

Shelley von Strunckel Mr J Westwood

Robert Wilkinson

Two Anonymous Donors Gold Friends

Michael Brecknell

Gerard Cleary

Mr and Mrs C Cochin de Billy

Stuart Martin

Paul Rivlin

Palazzetto Bru-Zane

Matthew & Sarah Shorter Mrs Joy Whitby

Six Anonymous Donors Young Patron Ed Abel Smith

Marianne and William Cartwright-Hignett Elizabeth George David Gillbe

David and Ruth Samuels

Peter Yardley-Jones

Mr Anthony Thompson

Silver Friends

Dennis and Sheila Baldry

Haylee and Michael Bowsher

Tony Burt

Henry Mason

Young Ambassador Patron

Jessica Kemp

Breandán Knowlton Rebecca Miller

Apax Foundation

Anthony and Jo Diamond

Ashley Family Foundation

Malcolm Herring

Boshier-Hinton Foundation

Rupert and Alice King

Catherine Cookson Charitable Trust

Mr and Mrs Michael Cooper

Arts Council England

Rachel & Charles Henderson

Barbour Foundation

Brian Mitchell Charitable Settlement

Alison and Ian Lowdon

The Charles Peel Charitable Trust

Her Honour Suzanne Stewart

Chivers Trust

Susannah Simons

Chapman Charitable Trust

Two Anonymous Donors

Derek Hill Foundation

Bronze Friends

Dyers Company

Tony Baines

Robin Broadhurst

Graham and Claire Buckland Dan Burt

D’Oyly Carte Charitable Trust Ernest Cook Trust

Esmee Fairbairn Foundation Fidelio Charitable Trust Foyle Foundation

Sir Anthony & Lady Cleaver

Garfield Weston Foundation

Roger Easy

Geoffrey Watling Charity

Michael A Conlon Mrs SM Edge

Mrs Mary Fysh

Stephen & Cristina Goldring Martin and Helen Haddon

Garrick Charitable Trust Henocq Law Trust

JMCMRJ Sorrell Foundation J Paul Getty Jnr

General Charitable Trust

Ray and Liz Harsant

John Lyon’s Charity

Mrs Auriel Hill

Lord and Lady Lurgan Trust

The Lady Heseltine

Orchestras Live

Parabola Foundation

Paul Bassham Charitable Trust Peter Cundill Foundation PF Charitable Trust

Pitt-Rivers Charitable Trust Radcliffe Trust

Rainbow Dickinson Trust RK Charitable Trust

Schroder Charity Trust Sir James Knott Trust Sobell Foundation

Stanley Picker Trust

The 29th May 1961 Charitable Trust The Loveday Charitable Trust

The R&I Pilkington Charitable Trust The Shears Foundation

The Vernon Ellis Foundation

Trusts & Foundations

Christopher Campbell

Patricia Herrmann

National Foundation for Youth Music

Old Possum’s Practical Trust

Sam Hucklebridge

Two Anonymous Donors

Michael Marks Charitable Trust

Stephen and Penny Pickles

Chris Gould

Anthony and Carol Rentoul

Metropolitan Masonic Charity

Linbury Trust

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

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 0208 159 9319

OAE TOTS at Saffron Hall  orchestraoftheageofenlightenment  theoae  oae_photos

The OAE is a registered charity number 295329 Registered company number 2040312. Acland Burghley School, 93 Burghley Road, London NW5 1UH 0208 159 9310 | Photography | Zen Grisdale