Beethoven's Major Heroes

Brahms: A German Requiem Beethoven's Major Heroes Tuesday 28 January 2020 Southbank Centre’s Queen Elizabeth Hall

Lisa Beznosiuk Principal Flute

Six Chapters of the Enlightenment - Part 3

Salvation and Damnation is the third of our Six Chapters of Enlightenment, six seasons of music exploring the golden age of science and philosophy that gave our Orchestra its name.

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The Enlightenment may have been the shining age of Isaac Newton and the development of vaccinations, but in the 18th century you could still be broken on the wheel for heresy. The question of Salvation and Damnation is therefore not only about what you believe about life and the thereafter; it is also about how we reconcile what we do know with what we don’t, and how we cope with the limits of what we can bring to rational order. It is the final challenge to the fashionable eighteenth century delusion that we can figure everything out and there will always be a reasonable explanation when we find it.

The focal point of our season is Faust: The Life of a Composer (Wednesday 25 March 2020). Ever since his appearance in medieval English stories, Faust has been sent to hell for his unfortunate dealings with the Devil. Thomas Mann reimagined him as a composer in his 1947 novel Doctor Faustus, and we play music by Schoenberg, Wagner and others either referred or alluded to in the book.

Elsewhere, we explore those whose star dims on death.

Michael Haydn, once vaunted younger brother of Joseph, drowned his talents in booze and was quickly overshadowed and forgotten. It falls to us to continue his resurrection to the canon with the performance and recording of his violin concertos with Alina Ibragimova (Tuesday 19 May 2020).

Then there’s the question of posterity. Is celebrity the real afterlife? Are we transported by the guru feats of the virtuoso (in our case Stephen Hough) in performances of Liszt’s piano concertos (Friday 26 June 2020)?

Tonight, to celebrate Beethoven's 250th birthday we are performing two of the composer's major symphonic masterpieces: his second and third symphonies. Sir Roger Norrington joins us with his unmistakable enthusiam and energy to lead us through some of Beethoven's most popular music.

All souls welcome!

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Contents

Welcome 03 Concert repertoire 06 Orchestra 08 Programme notes Richard Wigmore and Richard Bratby 10 Support us 16 Happy 250th Birthday, Beethoven!

18 Biographies 22 OAE team 24 Supporters 26 OAE Education 28 Upcoming concerts 30

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Beethoven's Major Heroes

Repertoire

Tuesday 28 January Southbank Centre's Queen Elizabeth Hall 7pm

Sir Roger Norrington conductor

The performance will run for approximately one hour and 40 minutes including a 20 minute interval

Beethoven Symphony No.2

Pre-concert talk Queen Elizabeth Hall Foyer 6pm

Beethoven Symphony No.3, Eroica

Concert supported by Selina and David Marks.

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INTERVAL

Margaret Faultless leader

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Orchestra

Violin 1 Margaret Faultless Henry Tong Rodolfo Richter Andrew Roberts Dominika Feher Nia Lewis Daniel Edgar Sarah Bleile* Claudia Delago-Norz Violin 2 Matthew Truscott Kinga Ujszaszi Alice Evans Claire Holden Jane Gordon Stephen Rouse Rebecca Livermore Alba Encinas Viola Max Mandel Nicholas Logie Martin Kelly Katie Heller Marina Ascherson Christina Gestido Cello Jonathan Rees Helen Verney Penny Driver Richard Tunnicliffe Eugenio Solinas* Double Bass Jan Zahourek Kate Brooke Dawn Baker Zaynab Martin

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Flute Lisa Beznosiuk Emma Halnan Oboe Daniel Bates Leo Duarte Clarinet Antony Pay Sarah Thurlow Bassoon Jane Gower Sally Jackson Horn Roger Montgomery Martin Lawrence Gavin Edwards Trumpet Matthew Wells Phillip Bainbridge Timpani Adrian Bending

*Participants in the Ann and Peter Law OAE Experience Scheme.

Help the next generation of gifted period instrument players. To find out more visit oae.co.uk/support or contact: Marina Abel Smith, Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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Beethoven's Major Heroes

Programme Notes Richard Wigmore

Ludwig Van Beethoven (1770-1827) Symphony No. 2 in D, Op. 36

Adagio molto-Allegro con brio Larghetto Scherzo -Allegro Allegro molto

Following the success of his First Symphony in April 1800, Beethoven started sketching another one for a benefit concert the following April. By the end of 1800 he had more or less completed the first movement in outline.

But, true to form, Beethoven became immersed in other projects, including the piano sonatas Op. 26, 27 and 28 and the Prometheus ballet music, and only returned to the symphony during the winter of 1801-2. By February, the work was almost ready, though Beethoven continued to make changes to the last movement during the spring and summer.

The Second Symphony was finally heard in a benefit concert in the Theater an der Wien on 5 April 1803. There is a famous account of the rehearsal by Beethoven's friend and pupil Ferdinand Ries. It began at eight in the morning and continued with minimal breaks until two-thirty and the players and singers, unsurprisingly, were exhausted and disgruntled.

The situation was only saved when Beethoven's patron Prince Lichnowsky revived the musicians' flagging spirits with copious quantities of cold meat and wine. Though the concert was a financial success, Beethoven's new symphony proved much more controversial than its predecessor. While the influential

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Leipzig critic, F. J. Rochlitz, wrote of the symphony's 'powerful, fiery spirit' and 'its wealth of new ideas and almost completely original treatment', other reactions ranged from bemusement to repulsion. Another critic dubbed the work 'a crass monster, a hideously writhing wounded dragon that refuses to die and, in the finale, though bleeding, lashes about furiously with its tail'

Theater an der Wien

Theatre an der Wien

In spite of the controversy, even those early listeners who were thrown by the piece’s boldness would have found the Larghetto more to their taste. This is the most lyrical of all Beethoven's symphonic slow movements where the many themes unfold at glorious leisure. There are moments of drama in the development; but nothing seriously disturbs the music's mingled serenity, tenderness and playfulness. In tactless contrast, the Scherzo is Beethoven at his most explosive, bandying its three-note motif around the orchestra with lightning changes of dynamics. The Trio initially offers respite with a little pastoral

Richard Bratby

tune on oboes and bassoons before a grotesque outburst in the alien key of F sharp major.

Ferdinand Ries

The Finale seems to have proved the biggest problem, both to the composer and his audience. Its dominant spirit is one of boisterous comedy, with the composer delighting in pulling the rug from under the listener's feet, à la Haydn. But Beethoven being Beethoven, the mood is more wilful; the humour more violent; the scale more ambitious.

There is, for a finale, an unprecedented range of contrasting material, from the madcap opening, with its rudely insistent two-note figure, to the smooth polyphony of the 'transition' theme and the relaxed, Schubertian expansiveness of the second subject. Where that early critic heard merely the furious tail-lashing of a bleeding dragon, we can appreciate the coda as a brilliant, extended tour de force that crowns the whole symphonic structure.

INTERVAL

Symphony No.3 in E flat, Eroica

Allegro con brio Marcia funebre (Adagio assai) Scherzo - Allegro vivace Allegro molto – Poco Andante, con espressione

Two chords ring out. Ludwig van Beethoven seizes the score of his newly-completed 'Bonaparte Symphony', tears off its title page and, furious, hurls it to the floor. Few moments in music are more powerful than the opening of Beethoven’s Third Symphony, and few musical christenings have been more dramatic. And just this once, the legend might be true. Early in 1804, Beethoven’s biographer Ferdinand Ries saw with his own eyes the title page of the new symphony. It read, simply: 'Bonaparte'.

Napoleon Bonaparte

And Ries was the first to tell Beethoven, some time shortly after 18 May that year, that the great republican had crowned himself Emperor. “He flew 011

Beethoven's Major Heroes

Programme notes into a rage and shouted: ‘So he, too, is just an ordinary man like the rest. Now he will trample on the rights of man, pander only to his own ambitions and become a tyrant!’ Beethoven went to the table, took hold of the title page, ripped it all the way through, and flung it on the floor.” The manuscript still shows the damage. He gave the work a new name: Sinfonia eroica, composta per festiggiare il sovvenire di un grand ‘Uomo – 'Heroic Symphony, composed to celebrate the memory of a great man'. Its final dedication was to Prince Joseph von Lobkowitz, whose 28-strong house orchestra gave the first public performance in December 1804.

The Eroica was never a literal musical portrait of Napoleon, though generations of listeners have tried to pick out his biography in its notes.

Anthony Burgess wrote a whole novel on that premise. But however elegant the concert room of the Lobkowitz Palace, and however Haydnesque the forces that performed it, the Eroica’s revolutionary power was impossible to ignore. “A daring, wild fantasia of inordinate length and extreme difficulty of execution” declared an early Viennese critic. And indeed, in 1802, Beethoven had told the violinist Wenzel Krumpholtz that “I am not satisfied with my music so far. From today I mean to take a new road”.

Prince Joseph von Lobkowitz

Those two opening chords blast that road wide open – and within bars, a 012

syncopated dissonance is grating against the swinging first theme. The movement climaxes with a further series of huge, pounding dissonances, and moments later, as the orchestra holds, breathlessly, for the grand return of the opening theme, the second horn enters seemingly two bars early – a “mistake” that halted many early rehearsals of the work. But it’s no more an error than the dissonance, and Beethoven’s point is hard to miss: what was once wrong is now gloriously right.

Nor is the tremendous Marcia Funebre that follows to be taken as literal (even if, on the death of Napoleon, Beethoven wryly commented that “I have already written the music for that tragedy”).

Beethoven takes the muffled drums and keening woodwinds of French Revolutionary march music and turn them into an expression of mourning on a universal scale. The brilliant, freewheeling Scherzo is a natural musical reaction to emotion on such a scale – and its central Trio section, scored for three horns (liberated by Beethoven’s third horn from the classical tradition of “hunting in pairs”) is both exhilarating and genuinely surprising.

But there’s a bigger surprise in store as, after a grand opening flourish, Beethoven launches his finale with a bare sequence of bass notes. They’re repeated, the orchestra ventures the odd comment until, with wonderful simplicity, the long-awaited theme glides gracefully in. It’s with the development of this theme, and particularly the serene, elysian Andante into which it finally broadens, that the temptation to put a narrative to Beethoven’s music becomes too hard to resist. The ballet was Prometheus; its story, broadly, was the liberation of humanity through art. Beethoven’s jubilant final flourish declares an allegiance higher than any politician.

Leo Duarte oboe

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Beethoven's Major Heroes

Happy 250th Birthday, Beethoven!

Elle Docx

2020 marks 250 years since Beethoven was born. In his honour, the Southbank Centre is hosting a year-long festival of Beethoven concerts starting with our performance tonight, so let's raise a glass and celebrate like its 1770 with a drinking song:

Erhebt das Glas mit froher Hand Und trinkt euch heitren Mut. Wenn schon, den Freundschaft euch verband, Nun das Geschicke trennt, So heitert dennoch euren Schmerz Und kr채nket nicht des Freundes Herz.

Erheitert, Br체der, euren Schmerz Und kr채nket nicht des Freundes Herz.

Nun trinkt, erhebt den Becher hoch, Ihr Br체der, hoch!

Und singt nach treuer Freunde weisem Brauch Und singt das frohe Lied.

Uns trennt das Schicksal, doch es bricht Die Freundschaft treuer Herzen nicht.

Uns trennt das Schicksal, doch es bricht Die Freundschaft treuer Herzen nicht.

Raise the glass with a joyful hand And drink your cheery courage.

If friendship united you Now fortune separates you, So cheer up your pain And do not offend the friend's heart.

Cheer up your pain, brothers, And do not offend the friend's heart.

Now drink, raise the cup, You brothers, high! You brothers, high!

And sing to loyal friends of wise custom And sing the joyful song.

Destiny separates us, but it breaks not The friendship of loyal hearts.

Destiny separates us, but it breaks not The friendship of loyal hearts.

The tune to this song is called 'Erhebt das Glas mit froher Hand'. Beethoven composed it in the early 1790s, but the lyricist is unknown.

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In the good old days of the 1700s, concert crowds loved a drinking song.

Did you know that they would even burst into song during a concert?

Talking during a performance was normal too, as was eating, drinking, fighting, booing, hissing and even reading books because the hall was well lit with candles. And that's just the cheap seats on the floor! If you were a well-heeled concert-goer and could afford a box you could nap, play cards, have sex, visit pals in other boxes, or whack out your brazier to cook a little dinner for your date.

It wasn't until the late 1800s that composers such as Wagner attempted to create a more immersive event experience by dimming the lights and encouraging audiences to be quiet during a performance. It was as recently as 1904 that Mahler specified in the Kindertotenlieder score that there should be no applause between movements*. A culture of perceived concert etiquette gradually became the norm, starting from the late 19th century and popularised by the 1960s. Still, it's not something that Beethoven would have recognised, and so tonight we invite you to bring your drinks into the hall and to raise a glass. Happy Birthday, Beethoven!

*Incidentally the OAE will be performing Mahler's Kindertotenlieder on 25 March at Southbank Centre's Queen Elizabeth Hall. There will be 20 musicians on stage playing their hearts out for you so if you feel compelled to clap between movements then who are we to stop you?

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Beethoven's Major Heroes

Biographies

Credit: Manfred Esser

Sir Roger Norrington - conductor Roger Norrington has had a close relationship with the OAE since its foundation. He conducted one of its earliest concerts in 1986, and when he gave up the London Classical Players a few years later, he offered all their forward dates to OAE as a gesture of good will. He is glad now to be working with another whole generation of early instrument players, thirty years later.

For fifty years Roger Norrington has been at the forefront of the movement for historically informed orchestral playing. Whether with his own London Classical Players in the 1980’s, with his Stuttgart Radio Symphony, Camerata Salzburg, or Zurich Chamber Orchestra in recent years, or with the Orchestra of the Age of Enlightenment from its foundation, he has sought to put modern players in touch with the historical style of the music they play.

The work involves orchestra size and seating, tempo, phrasing, articulation and sound.

Sir Roger (he was knighted by the Queen in 1997) sang and played the violin from a young age, and began to conduct at Cambridge. He studied at the Royal College of Music under Sir Adrian Boult and in 1962 founded the first of several groups for the performance of early music, the Heinrich Schütz Choir. This was followed ten years later by the London Classical Players, which achieved worldwide fame with their dramatic recordings of the nine Beethoven Symphonies. Works by Haydn, Mozart, Berlioz, Brahms, Bruckner, and many others followed, and established Norrington as a leading exponent of historical style.

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As early as 1966 Norrington had been made Music Director of the new and stimulating Kent Opera.

Here again he introduced innovative thinking about orchestra size, playing style and tempi, particularly with the earlier repertoire. He brought to opera the distinguished directors Jonathan Miller and Nicholas Hytner. He conducted many hundreds of performances for Kent and went on to work at Covent Garden and the English National Opera, for La Scala and La Fenice and at the Vienna Staatsoper.

The choir, the orchestra and the opera had done their pioneering work and Norrington moved on to share his historical findings with more “modern” orchestras, choirs and opera companies. He has been a frequent guest with many of the world’s major orchestras – the Berlin Philharmonic and the Vienna Philharmonic, the Deutsche Symphonie, the Leipzig Gewandhaus, l’Orchestre de Paris, the NHK in Tokyo, and the London Philharmonic.

In the US he has appeared over many years with the Boston, Chicago and San Francisco Symphonies, the Philadelphia Orchestra, the Cincinnati and Detroit Symphonies, and the LA Philharmonic.

Permanent posts with orchestras have included Chief Conductor of the Bournemouth Sinfonietta, Music Director of the Orchestra of St Lukes in New York, Chief Conductor (now Emeritus) of the Salzburg Camerata, Chief Conductor (now Emeritus for life) of the Stuttgart Radio Symphony Orchestra, Principal Conductor (now Emeritus) of the Zurich Chamber Orchestra, and Conductor Emeritus of the Orchestra of the Age of Enlightenment. He is a regular guest with many other European orchestras in Germany, Austria, France, Holland and Finland.

With Stuttgart Sir Roger made a remarkable series of over 60 recordings, spanning a large part of the core orchestral repertoire, with sets of works by Haydn, Mozart, Beethoven, Schubert, Berlioz, Mendelssohn, Schumann, Brahms, Dvorak, Tchaikovsky, Wagner, Bruckner, Mahler, and Elgar.

Taken together they offer a vivid glimpse of how a modern orchestra can get in touch with its historical roots, cherishing the gesture and sound each composer might have expected in his lifetime.

Orchestra of the Age of Enlightenment “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. 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 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

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OAE team

The OAE is a registered charity number 295329 and a registered company number 2040312. Registered office: Kings Place, 90 York Way, London N1 9AG Telephone 020 7239 9370 info@oae.co.uk Design and art direction –LucienneRoberts+ Photography – Alex Grace

Chief Executive Crispin Woodhead

Box Office and Data Manager Carly Mills

Life President Sir Martin Smith

Director of Finance and Operations Ivan Rockey

Head of Individual Giving Marina Abel Smith

Board of Directors Imogen Overli [Chairman] Steven Devine Denys Firth Adrian Frost Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Andrew Roberts Olivia Roberts Katharina Spreckelsen Mark Williams Crispin Woodhead

Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes

Development Officer Helena Wynn Development Events Coordinator Kiki Betts-Dean Development Manager Catherine Kinsler

Director of Marketing and Audience Development Elle Docx General Manager Edward Shaw Orchestra Consultant Philippa Brownsword Choir Manager David Clegg Librarian Colin Kitching Education Officer Andrew Thomson Projects Officer Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale

Leaders 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

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Life President

OAE Trust Imogen Overli [Chairman] Paul Forman Caroline Noblet 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

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THE KIRKER MUSIC FESTIVAL IN TENERIFE A SEVEN NIGHT HOLIDAY | 19 JANUARY 2020 For our fifth exclusive music festival on the north coast of Tenerife, we will present concerts featuring the Castalian String Quartet, Daniel Lebhardt, pianist and Christopher Monckton, tenor, pianist and organist.

Staying at the 5* Hotel Botanico, surrounded by lush tropical gardens, we shall also enjoy a programme of fascinating excursions. Highlights include the Sitio Litro Orchid Garden and a cable car journey to the peak of Mount Teide. We will also visit historic and picturesque villages along the spectacular north coast, including Garachico with its 17th century convent, and La Orotava, the most historic and picturesque town on the island.

Price from £2,885 (single supp. £398) for seven nights including flights, transfers, accommodation with breakfast, six dinners, six concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.

THE KIRKER SPRING MUSIC FESTIVAL AT THE HOTEL TRESANTON, ST. MAWES A THREE NIGHT HOLIDAY | 9 MARCH 2020 Our annual visit to Olga Polizzi’s fabled Hotel Tresanton in St Mawes combines a relaxing spring escape in Cornwall, with a series of world-class chamber music recitals.

Performances in 2020 will be given by the Piatti String Quartet and violist Simon Rowland-Jones in the Old Methodist Hall, and include works

by Beethoven, Brahms and Mendelssohn. There will also be a series of musical talks and a visit to the private garden at Lamorran, inspired by Lady Walton’s garden on the island of Ischia. Dinner is included each evening at the excellent Tresanton restaurant which overlooks the sea and is lit by candles in the evening.

Price from £1,268 (single supp. £280) for three nights including accommodation with breakfast, three dinners, three concerts, two talks, a visit to Lamorran and the services of the Kirker Tour Leader.

Speak to an expert or request a brochure:

020 7593 2284 quote code GOG www.kirkerholidays.com

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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.

Our Supporters Ann and Peter Law OAE Experience scheme Ann and Peter Law Principal Sponsor

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

Corporate Partners Champagne Deutz E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Marquee.TV Parabola Land Swan Turton Corporate Associates Aston Lark Bannenberg and Rowell Belgravia Gallery Gelato Incipio Group Kirker Holidays Zaeem Jamal

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 Telephone 020 7239 9381

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Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Adrian Frost Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin Smith and Lady Smith OBE Mark and Rosamund Williams Project Patrons Bruce Harris Julian and Camilla Mash Philip and Rosalyn Wilkinson 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 Anthony and Celia Edwards Principal Oboe 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 Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Andrew Nurnberg - Principal Oboe Professor Richard Portes - Principal Bassoon Olivia Roberts - Violin John and Rosemary Shannon Principal Horn Roger and Pam Stubbs - Clarinet Crispin Woodhead and Christine Rice - Principal Timpani Education Patrons John and Sue Edwards – Principal 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

We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm.

Rising Stars Supporters Annette and Julian Armstrong Mrs Rosamund Bernays Denys and Vicki Firth Mr Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Mr Peter 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 Roger Mears and Joanie Speers David Mildon in memory of Lesley Mildon MM Design - France John Nickson and Simon Rew Jonathan Parker Charitable Trust Andrew and Cindy Peck Peter Rosenthal Ivor Samuels and Gerry Wakelin Emily Stubbs and Stephen McCrum Shelley von Strunckel Mr J Westwood Robert Wilkinson Young Ambassador Patrons Jessica Kemp and Alex Kemp Rebecca Miller William Norris Nkeiru Scotcher

Young Patrons David Gillbe Marianne and William Cartwright-Hignett Sam Hucklebridge Alex Madgwick Henry Mason Peter Yardley-Jones Gold Friends Michael Brecknell Mr and Mrs C Cochin de Billy Gerard Cleary Chris Gould Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher Robin Broadhurst Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper Anthony and Jo Diamond Dr Elizabeth Glyn Malcolm Herring Patricia Herrmann Val Hudson Rupert and Alice King Cynthia and Neil McClennan Stephen and Roberta Rosefield David and Ruth Samuels Susannah Simons Her Honour Suzanne Stewart Bronze Friends Tony Baines Graham and Claire Buckland Dan Burt Mrs SM Edge Mrs Mary Fysh Martin and Helen Haddon Ray and Liz Harsant The Lady Heseltine Mrs Auriel Hill Julian Markson Stuart Martin Sir Nicholas Montagu Stephen and Penny Pickles John Ransom Anthony and Carol Rentoul

Paul Rivlin Alan Sainer Mr Anthony Thompson Mr and Mrs Tony Timms Mrs Joy Whitby David Wilson And three anonymous donors Trusts and Foundations Angus Allnatt Charitable Foundation Apax Foundation Arts Council England (ACE) Ashley Family Foundation Brian Mitchell Charitable Settlement Charles Peel Charitable Trust Derek Hill Foundation Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust Henocq Law Trust for Ann and Peter Law John Lyon’s Charity Metropolitan Masonic Charity Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Old Possum’s Practical Trust Orchestras Live Palazzetto Bru-Zane Paul Bassham Charitable Trust The Patrick Rowland Foundation PF Charitable Trust Pitt-Rivers Charitable Trust PRS Foundation Pye Charitable Settlement RK Charitable Trust RVW Trust Schroder Charity Trust Sir James Knott Trust Small Capital Grants Stanley Picker Trust Strategic Touring Fund The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Sobell Foundation Valentine Charitable Trust Violet Mauray Charitable Trust The 29th May 1961 Charitable Trust 027

OAE Education

OAE TOTS at Saffron Hall

A programme to involve, empower and inspire Over the past twenty years OAE Education has grown in stature and reach to involve thousands of Support our people nationwide in creative music projects. Our education programme participants come from a wide range of backgrounds The work we do could not happen without and we pride ourselves in working flexibly, adapting the support of our generous donors. to the needs of local people and the places they live. If you would like to support our Education programme please contact:

Last season we undertook

366 workshops 58 concerts in 17 towns, cities and villages

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Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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.

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Students from Cricket Green School performing with our musicians and 1500 singers at the RAHMerton concert.

2020 Programme As the OAE embarks on its season of Salvation and Damnation, the third part of our Six Chapters of Enlightenment, in OAE Education we will also take inspiration from the golden age of science and philosophy that gave us our name.

Our FLAGSHIP project for 2019-20 will see the first performances of our community opera The Moon Hares featuring music from Dioclesian by Henry Purcell, alongside new work

by James Redwood and a libretto by Hazel Gould.

Our TOTS programme will be inspired by Mozart, Telemann and Beethoven with a lively set of workshops and concerts entitled Animal Adventures

Our SCHOOLS programme will include a new concert telling the story of Don Quichotte for KS1 pupils and an invitation to our KS2 pupils to join us at Southbank Centre's Queen Elizabeth Hall for The Moon Hares.

Our SPECIAL NEEDS programme will see performances of Fairy Queen: Three Wishes in Suffolk and Brighton and students involved in Our Band will join us for our community operas in County

Durham, Norfolk and London.

Musicians on Call will be expanded to enable more people who are unable to come to the concert hall to experience world class music in informal settings

Our NURTURING TALENT programme will include our Peter and Ann Law Experience scheme, coaching projects with young musicians with the aim of inspiring the next generation of musicians.

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Upcoming concerts Bach, the Universe and Everything

Salvation and Damnation

Cell Your Soul Sunday 2 February 2020

Mozart's Final Flourish Friday 7 February 2020

Kings Place 11.30am

Southbank Centre's Royal Festival Hall 7pm

Bach, the Universe and Everything is our very own Sunday service for inquiring and curious minds; a place to bond with music lovers and revel in the wonders of science.

Mozart composed 41 symphonies, but the first 38 weren’t his pet projects; he generally wrote them to commission.

THE SCIENCE ‘My core interest has been in trying to think like a cell,’ says UCL’s Buzz Baum, who works at the intersection of biology and physics, trying to understand how cells evolve. He’s published a radical new theory as to how eukaryotic cells – which make up complex life forms such as ourselves – came to be.

THE MUSIC Written for the last Sunday before lent, the cantata BWV 127 repurposes a famous tune from Bach’s St Matthew Passion and features lovely writing for an oboe and recorders.

Thematically, it’s a serious one, mostly about death and how it’s easier to face it with Jesus at your side.

Bach Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true man and God) BWV 127

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Then in the final years before his untimely death he had a remarkable creative spurt, completing Symphonies No.39, 40 and 41 within a few months in 1788.

What was behind this final flourish? A sense of an ending? A mysterious affair?

Principal Artist Iván Fischer joins the Orchestra to explore this enigma.

Mozart Symphony No. 39 Mozart Symphony No. 40 Mozart Symphony No. 41, Jupiter Iván Fischer conductor Visit oae.co.uk for more details on all upcoming concerts.

Perfectly tuned insurance

“We are the music makers, and we are the dreamers of dreams” - Arthur O’Shaughnessy Our music policy has been carefully designed to allow you to make music and dream your dreams with complete peace of mind. Lark Music is focused on protecting your possessions and supporting the musical arts.

T: 0207 543 2800 www.larkmusic.com Lark Music is a trading name of Aston Lark Limited Registered in England and Wales No: 02831010.

Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY Aston Lark Limited is authorised and regulated by the Financial Conduct Authority.

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Martin Kelly viola

Principal sponsor