Infant Musicality

INFANT

MUSICALITY

What is Bach, the Universe & Everything?

If this is your first Bach, the Universe & Everything (BUE), welcome!

We like to think of the series as a community, similar to the one Bach enjoyed in Leipzig where he produced cantatas at an extraordinary rate, providing innovative music for the weekly services at the church where he worked from 1723 until his death in 1750. At that time, the congregation was as open to science and new ideas as it was united by faith. It is in that spirit that we come together for a thought-provoking cantata and a talk from a leading scientist.

Research on the sounds that caregivers exchange with infants has profound implications for the way we understand classical music; how we sing and play these scores and how music moves us. In this talk, Professor Daniel Leech-Wilkinson of King’s College London invites us to consider how we can use musical performance to empathise with others.

A note from our Principal Keyboard, Steven Devine, about today’s programme: The cantata for the first Sunday in Advent, Nun komm der Heiden Heiland BWV 62, written in Leipzig in 1724, is Bach’s second cantata setting of this Lutheran chorale, some ten years after the first was written in Weimar. The cantata was further performed in 1736 (often a sign of Bach’s satisfaction with a work) when he added a violone part – the Thomasschule had acquired one at in an auction that year. Johann Pachelbel’s life was very much intertwined with the Bach family – he lived in the house of J.S. Bach’s elder brother for a time – and J.S. Bach certainly copied some of Pachelbel’s organ and choral music. Finally, as the festive season draws upon us, it felt appropriate to perform some music suited to the season and though Michael-Richard Delalande’s music may never have found its way into J.S. Bach’s music library (that we know of), he was a composer at the court of Louis XIV and such fragrant dance-inspired music was certainly not unknown in the Capelmeister’s house…

INFANT

MUSICALITY Speaker Professor Daniel Leech-Wilkinson King’s College London

Orchestra Steven Devine director, organ Margaret Faultless violin Julia Kuhn violin Max Mandel viola Jonathan Manson cello Cecelia Bruggemeyer bass Katharina Spreckelsen oboe Sarah Humphrys oboe William Gough bassoon Steven Devine organ Chorus Jessica Cale soprano* Emma Walshe soprano David Clegg alto/choir director Hugh Cutting alto* Guy Cutting tenor*+ Philippe Durrant tenor Malachy Frame bass* Tom Lowen bass

Welcome

Crispin Woodhead

Prelude

Johann Pachelbel Nun komm’ der Heiden Heiland P.386

Polyphony

William Byrd Puer Natus Est Nobis

Reading

Johann Mayrhofer Schlaflied, ‘Schlummerlied’.

Cantata

J.S. Bach Nun komm der Heiden Heiland BWV 62

Science

Professor Daniel Leech-Wilkinson Infant Musicality

Closing

Crispin Woodhead

Postlude

Michel Richard Delalande Première Symphonie de Noels

* Soloists +Present singers of the Rising Stars of the Enlightenment Scheme.

Polyphony Puer Natus Est Nobis

by William Byrd (1543-1623) Puer natus est nobis Et filius datus est nobis Caius imperium super humdrum eius Et vocabitur nomen eius Magni consoli Angelus

To us a boy is born, and to us a son is given upon whose shoulders authority rests, and His name will be called “The Angel of Great Counsel”.

Reading Schlaflied, ‘Schlummerlied’.

(Sleep song, ‘Slumber song’) byJohann Mayrhofer (1787-1836) Es mahnt der Wald, es ruft der Strom: ,,Du liebes Bübchen, zu uns komm!”

Der Knabe kommt, und staunend weilt, Und ist von jedem Schmerz geheilt.

The woods exhort, the river cries out: ‘Sweet boy, come to us!’ The boy approaches, marvels and tarries, and is healed of all pain.

Aus Büschen flötet Wachtelschlag, Mit ihren Farben spielt der Tag; Auf Blümchen rot, auf Blümchen blau Erglänzt des Himmels feuchter Tau.

The quail’s song echoes from the bushes, the day makes play with shimmering colours; on flowers red and blue the moist dew of heaven glistens.

Ins frische Gras legt er sich hin, Lässt über sich die Wolken ziehn, An seine Mutter angeschmiegt, Hat ihn der Traumgott eingewiegt.

He lies down in the cool grass and lets the clouds drift above him; nestling close to his mother he is lulled to sleep by the god of dreams.

Translated by Richard Wigmore Read by Cecelia Bruggemeyer, Bass

Cantata

BWV 62 Nun komm, der Heiden Heiland (Now come, Savior of the Heathens) J.S. Bach 1685-1750 Chor Nun komm, der Heiden Heiland, der Jungfrauen Kind erkannt, des sich wundert alle Welt: Gott solch Geburt ihm bestellt.

Chorus Come now, Savior of the heathens, the Virgin’s child made known, at which the whole world marvels that God assigned him such a birth.

Arie Bewundert, o Menschen, dies große Geheimnis: der höchste Beherrscher erscheinet der Welt.

Hier werden die Schätze des Himmels entdecket, hier wird uns ein göttliches Manna bestellt, o Wunder! die Keuschheit wird gar nicht beflecket.

Aria Marvel, O humanity, at this great mystery: the highest authority is manifest in the world.

Here the treasures of heaven will be uncovered, here a divine manna will be ordained for us, O wonder! chastity will remain completely unstained

Recitativo So geht aus Gottes Herrlichkeit und Thron sein eingeborner Sohn.

Der Held aus Juda bricht herein, den Weg mit Freudigkeit zu laufen und uns Gefallne zu erkaufen.

O heller Glanz, o wunderbarer Segensschein!

Recitative Thus departs from God’s glory and throne his only begotten Son. The champion of Judah sets forth to run the course with gladness and purchase us, the fallen.

O bright radiance, O wondrous beam of blessing!

Arie Streite, siege, starker Held!

Sei vor uns im Fleische kräftig.

Sei geschäftig, das Vermögen in uns Schwachen stark zu machen!

Aria Battle, triumph, mighty champion!

Be mighty before us in the flesh!

Be engaged to strengthen the capacity within us, the weak!

Recitativo Wir ehren diese Herrlichkeit und nahen nun zu deiner Krippen und preisen mit erfreuten Lippen, was du uns zubereit’; die Dunkelheit verstört’ uns nicht und sahen dein unendlich Licht.

Recitative We revere this splendor and now draw near your manger and praise with gladsome lips, what you have prepared for us; the darkness does not deter us we have seen your unending light.

Chorale Lob sei Gott, dem Vater, g’ton, Lob sei Gott, seinm ein’gen Sohn, Lob sei Gott, dem heilgen Geist, immer und in Ewigkeit.

Chorale Praise be to God the Father, intoned, praise be to God, his only Son, praise be to God, the Holy Spirit, ever and in eternity!

Translation by Tobin Schmuck

Biographies Jessica Cale Welsh Soprano, Jessica Cale, completed her studies in 2021 at the Royal College of Music International Opera Studio where she was the Robert Lancaster scholar. Jessica is the 2020 First Prize winner of the Kathleen Ferrier Awards and Audience Prize winner at the London Handel Festival International Singing Competition. In addition to her studies, Jessica has a successful career performing as both a soloist and consort singer, working regularly with many of today’s leading ensembles including the Orchestra of the Age of Enlightenment, the Monteverdi Choir, and the Gabrieli Consort. Recent notable solo engagements include Handel’s Messiah at the Royal Albert Hall and Mendelssohn’s Elijah at the Berlin Philharmonie. In 2021 Jessica will give her final performance at the Royal College of Music in the title role of Handel’s opera, Rodelinda.

Jessica is hugely grateful for the support of an Help Musicians UK Sybil Tutton Award, the Josephine Baker Trust and the Countess of Munster Trust.

Hugh Cutting Hugh Cutting is currently a member of the RCM International Opera Studio. In the autumn of 2021 Hugh won the Kathleen Ferrier Award, the first countertenor to do so. Recent and upcoming engagements include the English Concert and Kristian Bezuidenhout (Purcell Odes for a Queen), BBC Philharmonic Orchestra, Collegium Vocale Gent and Philippe Herreweghe (Bach B Minor Mass), Polyphony and Stephen Layton (Bach St John Passion), Orchestra of the Age of Enlightenment and Graham Ross (Bach St Matthew Passion), la Nuova Muisca and David Bates (Monteverdi Vespers and Motets). On the operatic stage, his roles include Arsace/’Partenope’ for Le Jardin des Voix Academy with Les Arts Florissants and William Christie, Bertarido/’Rodelinda’ and Refugee/‘Flight’ for the RCM International Opera Studio. Hugh makes his debut with Opernhaus Zürich in 2023. He has recorded Purcell ‘Royal Odes’ with The King’s Consort and Robert King, and ‘Lamento’ with Iestyn Davies and Fretwork for Signum Classics.

Biographies Guy Cutting Guy Cutting was a chorister and later a choral scholar at New College, Oxford where he gained a first-class degree in Music. In 2013 he became the inaugural recipient of the American Bach Soloists’ Jeffrey Thomas Award and is currently a Rising Star of the Enlightenment. His engagements have included appearances with The Orchestra of the Age of Enlightenment (Purcell and Bach Cantatas with John Butt, Schütz with Robert Howarth, Purcell with Laurence Cummings and Bach with Steven Devine); The Academy of Ancient Music /Edward Higginbotom (Tenor Arias St Matthew Passion); Monteverdi Choir / John Eliot Gardiner (Handel); Collegium Vocale Gent / Philippe Herreweghe (Bach, Monteverdi, Palestrina, Victoria); The Gabrieli Consort Paul McCreesh (A Venetian Coronation, St John Passion); A Nocte Temporis / Reinoud van Mecelen (Clerambault); the Choir of New College, Oxford/Robert Quinney (Evangelist St John Passion); Ludus Baroque/Richard Neville-Towle (Bach Christmas Oratorio); Le Concert Lorrain /Marcus Creed (Bach Cantatas); Nieuwe Philharmonie Utrecht / Johannes Leertouwer (Evangelist St. Matthew Passion); De Nederlandse Bachvereniging /Jos van Veldhoven (Tenor Arias St John Passion); Swedish Baroque Orchestra/Mats Nilsson (Bach B Minor Mass); Real Filharmonia de Galcia / Robert Howarth (Messiah); the American Bach Soloists / Jeffrey Thomas (Bach Magnificat and Evangelist St Matthew Passion); Ensemble Cantatio/John Duxbury (Purcell The Tempest), Instruments of Time and Truth/Edward Higginbottom (Mozart Arias) and the Monteverdi Choir /Gardiner (Handel). His repertoire includes the Mozart Requiem, Britten Serenade for Tenor, Horn and Strings and St Nicholas. Guy recently filmed Schubert with Kristian Bezuidenhout for OAE Player and with pianist Hannah Ely Guy has given recitals of Gurney and Butterworth at the Oundle International Music Festival and Britten and Finzi at the Clifton International Festival of Music. He has performed Purcell Songs with Hirono Tozaki, harpsichord, in Shizuoka, Japan and Purcell, Lawes and Blow with Aileen Henry, baroque harp, at The Music Room, Mayfair. Guy is a member of Damask Vocal Quartet performing the 19th and 20th century chamber repertoire as well as commissioning new works for vocal quartet. He has recorded Scarlatti and Handel on the Avie label, Charpentier, Couperin, Blow and Mozart for Novum and Gabriel Passion for Delphian.

Malachy Frame Belfast-born baritone Malachy Frame was Northern Ireland Opera’s ‘Voice of 2016,’ having won the competition at the company’s annual Festival of Voice in August. Since then, operatic roles have included Figaro in Rossini’s Il barbiere di Siviglia and Mozart’s Le Nozze di Figaro, Slook in Rossini’s La Cambiale di Matrimonio, Leporello and Masetto in Mozart’s Don Giovanni, Guglielmo in Mozart’s Così fan tutte, Count Ceprano in Verdi’s Rigoletto, and Aeneas in Purcell’s Dido and Aeneas. As a concert soloist, recent performances have included Britten’s War Requiem, Orff’s Carmina burana, Bach’s Christmas Oratorio, Magnificat, St John Passion, and St Matthew Passion, Brahms’ Ein Deutsches Requiem, Handel’s Messiah, and Alexander’s Feast, Vaughan-Williams’ Five Mystical Songs. Malachy completed a Masters at the Royal Academy of Music in London, graduating with distinction and a DipRAM for an outstanding final recital. Prior to this he graduated from the University of Cambridge, where he was a choral scholar at Gonville and Caius college.

Biographies Steven Devine

Steven Devine enjoys a busy career as a music director and keyboard player working with some of the finest musicians. He made his London conducting debut in 2002 at the Royal Albert Hall and is now a regular performer there - including making his Proms directing debut in August 2007, with the Orchestra of the Age of Enlightenment.

Since 2007 Steven has been the harpsichordist with London Baroque in addition to his position as Principal Keyboard Player with the Orchestra of the Age of Enlightenment.

He has recorded over forty discs with other artists and ensembles and made many solo recordings including Bach’s Well-Tempered Clavier and Goldberg Variations. Steven is Early Keyboard Consultant at both the Royal Welsh College of Music and Drama and Royal Birmingham Conservatoire and a regular teacher and examiner at many other institutions.

Professor Daniel Leech-Wilkinson Daniel Leech-Wilkinson is Emeritus Professor of Music at King’s College London. He studied at the Royal College of Music, King’s College London and Clare College, Cambridge, becoming first a medievalist and then, since c. 2000, specialising in the implications of early recordings for modern performers. He led a project on ‘Expressivity in Schubert Song Performance’ within the Arts & Humanities Research Council’s Centre for the History and Analysis of Recorded Music (CHARM, 2004–9), followed by ‘Shaping Music in Performance’ within the Centre for Musical Performance as Creative Practice (2009–14). His current research takes a critical look at the politics of classical music performance, in particular the policing of performance norms, and explores creative alternatives. Books include The Modern Invention of Medieval Music (2002), The Changing Sound of Music (2009), Music and Shape (with Helen Prior, 2018), and Challenging Performance: Classical Music Performance Norms and How to Escape Them (2020).

Orchestra of the Age of Enlightenment 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. Please visit oae.co.uk for more information, videos, podcasts and blogs.

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RANDOMNESS 30 JANUARY 2022, 11.30AM KINGS PLACE