Page 1




Air: "Abscheulicher"

Duet: "O namenlose Freude"

Introduction and Air: "Gott! welch’ Dunkel hier!"


Violin Concerto in D major, op 77



Solo Violin


Sir Mark Elder Alina Ibragimova

Emma Bell David Butt Philip

Violin I Kati Debretzeni Rodolfo Richter Jennifer Godson Andrew Roberts Alice Evans Henry Tong Kinga Ujszaszi Dominika Feher Judith Templeman Debbie Diamond Violin II Margaret Faultless Claire Holden Huw Daniel Daniel Edgar Nia Lewis Stephen Rouse Rebecca Livermore Viola Max Mandel Oliver Wilson Martin Kelly Annette Isserlis Kate Heller Ian Rathbone Cello Jonathan Manson Andrew Skidmore Catherine Rimer Ruth Alford Richard Tunnicliffe

Double Bass Cecelia Bruggemeyer Carina Cosgrave Paul Sherman Flute Lisa Beznosiuk Neil McLaren Oboe Daniel Bates Leo Duarte Clarinet Katherine Spencer Sarah Thurlow Bassoon Philip Turbett Sally Jackson Horn Roger Montgomery Martin Lawrence Gavin Edwards David Bentley Trumpet David Blackadder Phillip Bainbridge Trombone Philip Dale Edward Hilton Timpani Adrian Bending

We are grateful for the support of Jenny and Tim Morrison and our friends at Glyndebourne.


VIOLIN CONCERTO IN D, OP.77 Johannes Brahms (1833-1897)

FIDELIO Ludwig van Beethoven (1770-1827) Beethoven wrote a great number of musical works; 32 piano sonatas, 16 string quartets, 9 symphonies…but he only composed 1 opera.

Action-packed and full of drama, Fidelio features portrayals of heroic figures and depictions of triumph of good over evil. The overall noble, moral tone is pervasive and the plot serves as an allegorical vehicle to express Beethoven’s own Enlightenment beliefs of justice, brotherhood and a strong distaste for tyranny.

However, the composer’s standalone opera was not an easy feat by any means. As a renowned virtuoso of instrumental compositions, Beethoven wasn’t known for being a man of the theatre. Undergoing numerous revisions, name changes and spanning a compositional period of ten years, from 1804 to 1814, Fidelio proved to be one of Beethoven’s most challenging and heartbreaking efforts. After the opera’s premiere in November 1805 at the Theater an der Wien in Vienna, Fidelio, or Leonore as it was then titled, was subject to harsh criticism and backlash which spurred the composer to revise his opera drastically until it finally received its well-deserved public acclaim in Vienna in November of 1814. During this time, Beethoven wrote three different versions of the Overture until finally settling on his fourth and final rendering for Fidelio which he felt best set the appropriate tone for the opera. It is this version that you will hear tonight.

Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace

The history of Brahms’s Violin Concerto is a tale of a particular place and a particular person. The place was the lakeside resort of Pörtschach in Austrian Carinthia, where Brahms arrived in May 1878. And the person the Hungarian violinist Joseph Joachim. The whole concerto is as much a homage to Joachim’s friendship as to the Carinthian scenery.

From the very beginning of the concerto never a million miles from a waltz – the music unfolds at an expansive pace. Brahms feared his Adagio might sound too modest; but its opening - in which the violin spins a Bach aria over a transfigured Mozart wind serenade – could scarcely make a better foil. Then, in the finale, the solo violin launches a vigorous Hungarian rondo. Brahms might be serious, but he’s never self-important. When Joachim premiered the concerto in Leipzig, on New Year’s Day 1879, the composer was nearly late. He took the podium in the nick of time – suspenders unbuttoned, shirt untucked, and wearing a pair of grey everyday trousers.

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BEHIND THE SCENES David Blackadder, OAE Principal Trumpet The concert, which was filmed at Glyndebourne in December, seems like a world away now that we are back in lockdown. Although we were all distanced on stage it was such a fantastic feeling to be back where we belong alongside long-standing friends and colleagues. I suppose you might say it was like the first drop of beer after a long day in the sun. Musically it was a challenge being so far apart and such a long way back from the soloist and conductor but the performance was full of energy and drive and I think most of us felt the same sense of excitement at returning to our true vocation. I know lots of colleagues who had being doing other jobs throughout the first lockdown to survive and I really hope that we will all get back to doing what we love so much again as soon as possible in 2021.


Sir Mark Elder

Alina Ibragimova

Currently a Principal Artist of the OAE and Music Director of the Hallé, he was previously Music Director of ENO, Principal Guest Conductor of CBSO, Music Director of Rochester Philharmonic Orchestra, USA, Principal Guest Conductor of BBC SO and the London Mozart Players, and Artistic Director of Opera Rara. He has worked with many of the world’s leading symphony orchestras and has appeared annually at the Proms for many years. He works regularly in the most prominent international opera houses and his many recordings have met with critical acclaim. He was knighted in 2008, was awarded the CBE in 1989 and was created a Companion of Honour in the Queen’s Birthday Honours in 2017. He won an Olivier Award in 1991 for his outstanding work at ENO, and in 2006 he was named Conductor of the Year by the Royal Philharmonic Society. He was awarded Honorary Membership of the Royal Philharmonic Society in 2011.

Performing music from baroque to new commissions on both modern and period instruments, Alina has established a reputation as one of the most accomplished and intriguing violinists of her generation. This is illustrated by her prominent presence at the BBC Proms since 2015. In the 2018 Proms, she gave the World Premiere of the Rolf Wallin Violin Concerto with the Bergen Philharmonic Orchestra, conducted by Edward Gardner. Born in Russia she studied at the Moscow Gnesin School before moving with her family to the UK in 1995 where she studied at the Yehudi Menuhin School and Royal College of Music. She was also a member of the Kronberg Academy Masters programme. Alina’s awards include the Royal Philharmonic Society Young Artist Award 2010, the Borletti-Buitoni Trust Award 2008, the Classical BRIT Young Performer of the Year Award 2009 and she was a member of the BBC New Generation Artists Scheme 2005-7. She was made an MBE in the 2016 New Year Honours List. She records for Hyperion Records and performs on a c.1775 Anselmo Bellosio violin kindly provided by Georg von Opel.

Emma Bell

David Butt Philip

The Stratford-upon-Avon born soprano is a former winner of the prestigious Kathleen Ferrier Award. She established her career with celebrated performances of the Mozart heroines, and in recent seasons has developed her repertoire, moving to the key jugendlich-dramatisch roles of Wagner and Beethoven. Alongside operatic performances across the globe, she is an engaging concert performer with a repertoire including Strauss’ Vier letzte Lieder and Mahler’s Symphony No 8.

One of the most exciting tenors Britain has to offer today, he has attracted major acclaim with recent debuts including the title role in Der Zwerg at Deutsche Oper Berlin, Florestan in a new production of Fidelio at ROH, the title role in Brett Dean’s Hamlet at Glyndebourne, Essex/Gloriana at Teatro Real, Erik/Der fliegende Holländer at Opéra de Lille, Laca/Jenůfa at ON and Grigory/ Boris Godunov at ROH and the BBC Proms. An alumnus of the Jette Parker Young Artists Programme at ROH, his current and future engagements include debuts with Wiener Staatsoper, Staatsoper Berlin and the Met, as well as returns to ROH, ENO, Teatro Real Madrid, Glyndebourne and Deutsche Oper Berlin.

“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 former 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


Orchestra Consultant Philippa Brownsword

Life President Sir Martin Smith

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Choir Manager David Clegg

Finance and Governance Director Pascale Nicholls

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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

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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


We are particularly grateful to the following members of the Thirty Circle who have so

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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

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

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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 | Photography | Zen Grisdale