Mozart's Final Flourish programme

Brahms: A German Requiem Mozart's Final Flourish Friday 7 February 2020 Southbank Centre’s Royal Festival Hall

Cecelia Bruggemeyer double bass

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 concerti 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 concerti (Friday 26 June 2020)?

In tonight's concert, we're performing the final three symphonies that Mozart composed. Generally, Mozart wrote his symphonies to commission, but symphonies 39, 40 and 41 were the products of a remarkable creative spurt. What was the reason behind this final flourish?

All souls welcome!

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Contents

Welcome 03 Concert repertoire 06 Orchestra 08 Programme notes 10 Support us 16 Being the lone flute Lisa Beznosiuk 16 Biographies 22 OAE team 24 Supporters 26 OAE Education 28 Upcoming concerts 30

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Mozart's Final Flourish

Repertoire

Friday 7 February Southbank Centre's Royal Festival Hall 7pm

Iván Fischer conductor

The performance will run for approximately one hour and 50 minutes with one 20 minute interval Pre-concert talk with Dr Robert Samuels from the Open University: Pure Inspiration or Self-Promotion? Mozart’s Last Symphonies Level 5 Function Room, Royal Festival Hall 6pm

Mozart Symphony No. 39 Symphony No.40

Molto Allegro Andante

INTERVAL Mozart Symphony No.40

Menuetto - Allegretto Allegro assai

Symphony No.41, Jupiter

Concert supported by Bruce Harris, Nigel Jones & Françoise Valat-Jones, Julian & Annette Armstrong and Roger Mears & Joanie Speers.

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Jam Orrell viola, Ann and Peter Law OAE Experience scheme

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Orchestra

Violin 1 Matthew Truscott Kenichiro Aiso Rodolfo Richter Julia Kuhn Alice Evans Daniel Edgar Dominika Feher Stephen Rouse Rachel Isserlis Kinga Ujszaszi Violin 2 Margaret Faultless Nia Lewis Huw Daniel Andrew Roberts Sijie Chen Deborah Diamond Claire Holden Christiane Eidsten Dahl Viola Max Mandel Simone Jandl Nicholas Logie Martin Kelly Annette Isserlis Katie Heller Cello Anna-Luise Buchberger Andrew Skidmore Helen Verney Richard Tunnicliffe Bianca Riesner Double bass Christine Sticher Carina Cosgrave John Henry Baker

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Flute Lisa Beznosiuk Oboe Daniel Bates Leo Duarte Clarinet Antony Pay Katherine Spencer Bassoon Philip Turbett Sally Jackson Horn Gavin Edwards Martin Lawrence Trumpet David Blackadder Phillip Bainbridge Timpani Adrian Bending

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Mozart's Final Flourish

Programme Notes Wolfgang Amadeus Mozart (1756-1791)

Mozart’s Final Flourish During the late 1700s, it was common for composers to write symphonies primarily on commission. This was especially true for Mozart after he moved to Vienna and attempted to support himself solely through composition and performance. It is therefore a mystery why Mozart wrote his last three symphonies. He had not received a commission at that time, and it would have been far more profitable for him to write piano concertos. And yet, the three works which you will hear tonight were written in quick succession in the summer of 1788, and they remain among music history’s most famous feats of inspiration.

Symphony No.39 in E flat major, K.543

Adagio - Allegro Andante con moto Menuetto - Allegretto Finale - Allegro Symphony No. 39 is the least studied and performed of the three works. It doesn’t have the tragic romanticism of No. 40 or the magnificent heroics of No. 41, but it is no less a masterpiece.

The first movement boasts a slow, grand introduction which Mozart rarely uses in his symphonies. The timpani adds a fan-fare-like rhythmic figure, while the violins sweep down in rapid scales. The effect is subtle and very modern, almost cinematic.

The Andante is also disarmingly simple in style. It starts with an elegant string theme, followed by a quiet phrase for the wind instruments, forming a transition to a violent outburst across the full orchestra. Listen out for the return of the opening theme, which appears in a much more menacing guise. These moments of great power and passion are remarkable in music of such sparse, chamber-music textures.

Wolfgang Amadeus Mozart

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The third movement is one of Mozart’s most celebrated Minuets, complete with a Trio introduced by clarinets and based, for once, on a real rather than an imaginary folk dance! The energetic Finale is built entirely from one theme, and although Mozart pretends that his ‘second theme’ is new, it is in fact a clever makeover of the first. For all their finality, the closing bars sound curiously abrupt, as though the brakes have been applied with intentional suddenness.

and insistent. But there is no doubt that the most turbulent portion of the symphony is the Finale in which the rushing motifs from the violins are joined by the full force of the orchestra. Mozart allows us a brief pause to catch our breath before the drama picks up again with stress and agitation, controlled only through the tight grip of classical architecture.

Mozart's birthplace in Salzburg

Symphony No.40 in G minor K.550

Molto Allegro Andante Menuetto - Allegretto Allegro assai Symphony No. 40 is one of only two symphonies that Mozart wrote in a minor key and some music critics believe it reflects his interest in the gothic-literary movement known as Sturm und Drang (Storm and Stress), in which stronger and darker emotions are explored.

The symphony starts with the instantly recognisable theme, whispered first by violins and then reinforced with power and insistence by wind and brass. By contrast, the second movement is a lyrical work featuring repeated notes sung by the violas. The second violins, and then the neighbouring first violins, join imitatively at successively higher pitches.

The atmosphere is delicately coloured by the wind section.

The third movement is labelled Minuet although it is in no way suitable for dancing. The rhythm is at times angry

For our historically informed performance, you’ll notice that there are two horn players on stage. One horn is pitched in B flat, the other in G. This is because when Mozart wrote Symphony No.40 in 1788, the valves had not yet been invented which allowed a single instrument to play the full chromatic range.

INTERVAL (after Symphony no.40, Andante)

Symphony No.41 in C major K.551, ‘Jupiter’

Allegro vivace Andante cantabile Menuetto - Allegretto Molto Allegro Symphony No. 41 is the majestic climax to Mozart’s Final Flourish. Its popular subtitle, 'Jupiter', originated around 1821 in London and was likely inspired by the outbursts of trumpets and drums in the first movement, as if the Roman God Jupiter himself were laughing heartily in the celebratory key of C Major. The name became permanent in 1823 when it was printed on the title page of a piano arrangement.

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Mozart's Final Flourish

Programme notes

The symphony opens with stately phrases, but this music takes on strikingly different characters when it recurs. For example, in the middle of the movement, the opening theme is played softly by just the first and second violins, beneath a chuckling spring of scales from the flute, oboe and bassoons. Mozart then goes on to inject a lighthearted, skipping tune, self-borrowed from his concert aria Un bacio di mano. For all its simplicity, it reveals a brilliant touch of orchestration.

The beautiful second movement contains one of the longest themes Mozart would ever write, totalling eleven bars. Another interesting thing to listen out for in the second movement is the sound of the violins. Notice that the players install mutes which yields a veiled ‘murmuring’ timbre. The third movement is a stately Minuet where a descending line and chromatic curve stakes its place at the top of the texture, which Mozart develops into a serpentine canon for wood-winds. However, the hallmark of this symphony is the Finale. It is bold, brisk and full of surprises. The most astonishing of these surprises is in the coda in which five melodies can be heard sounding against one another, worked out so any of them can fall at any pitch level within the orchestral texture. The climax may be viewed as looking both backward, to the sort of contrapuntal virtuosity we associate with Bach and Handel, and forward, to the dramatic power of fugue as demonstrated in many of the greatest compositions of Beethoven.

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Zurich International Orchestra Series 2019–20 Monday 10 February, 7.30pm

Thursday 23 April, 7.30pm

Iceland Symphony Orchestra

Siberian Symphony Orchestra

Yeol Eum Son piano Yan Pascal Tortelier conductor Bizet L’Arlésienne Suites (selection) Ravel Piano Concerto for the Left Hand Anna Thorvaldsdóttir Aeriality Prokofiev Romeo and Juliet (selection)

Freddy Kempf piano Dmitry Vasiliev conductor Shostakovich Festive Overture Rachmaninov Piano Concerto No. 3 Tchaikovsky Symphony No. 4

Friday 13 March, 7.30pm

Swedish Philharmonia (Gävle Symphony Orchestra) Viktoria Mullova violin Jaime Martín conductor Mendelssohn Symphony No. 5 ‘Reformation’ Prokofiev Violin Concerto No. 2 Sibelius Symphony No. 5

Wednesday 27 April, 7.30pm

St Petersburg Symphony Orchestra Jennifer Pike violin Nikolai Alexeev conductor Shostakovich Cinderella Suite No. 1 (excerpts) Tchaikovsky Violin Concerto Tchaikovsky Symphony No. 5

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Mozart's Final Flourish

Being the lone flute

Our Principal Flute, Lisa Beznosiuk, writes about being the lone flute in Mozart’s Symphony No. 40, which we will be performing tonight.

"THE FLAUTIST'S ROLE FEELS LIKE

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Mozart's Final Flourish

Being the lone flute

“It is uniquely thrilling to be the lone flute player in a performance of Mozart 40. All the other wind parts are written for pairs of instruments, the strings are similarly paired – violins 1+2, cellos and basses, and the richly divided violas at the start.

So the flautist’s role feels like that of a musical chameleon; sometimes a colour blending with violins or winds, elsewhere breaking into tender solo sighs or joyful frolics (often paired with the first bassoon in this work). After the bad-tempered Minuet it is blissful to blend with the other winds in the peaceful and optimistic Trio – soaring high in an oasis of G Major, what a relief! Then it’s back to the turmoil of G minor… though the flute has the last cheeky word.

My favourite moment is at the recap of the first movement, where the orchestra, having almost torn itself apart in agonising screams, seems to surrender to tragedy; the flute leads a heart-breaking downward chromatic slide back to the inevitable.”

THAT OF A MUSICAL CHAMELEON"

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Mozart's Final Flourish

Biographies

Credit: Akos Stiller

Iván Fischer - conductor Iván Fischer is the founder and Music Director of the Budapest Festival Orchestra since 1983 and Honorary Conductor of Berlin’s Konzerthaus and Konzerthausorchester, after six years as Music Director of the Konzerthaus Berlin (2012-2018). In 2018 he became Artistic Director of the Vicenza Opera Festival. In recent years, he has also gained renown as a composer, with his works being performed in the United States, the Netherlands, Belgium, Hungary, Germany and Austria.

The Budapest Festival Orchestra’s frequent worldwide tours and a series of critically acclaimed recordings, which have been awarded prestigious international prizes, released first by Philips Classics and later by Channel Classics, have contributed to Iván Fischer’s reputation as one of the world’s most visionary music directors. In Budapest and Berlin he introduced innovative concerts including cocoa concerts for small children, autism friendly concerts, midnight music for students and a variety of outreach activities.

A regular presence on the podium with leading orchestras of the world, Mr. Fischer has guest conducted the Berlin Philharmonic more than ten times and spends two weeks each year with Amsterdam’s Royal Concertgebouw Orchestra.

He is a frequent guest of the Cleveland Orchestra and New York Philharmonic, and held the position of Principal Conductor of the National Symphony Orchestra in Washington, D.C. from 2006 to 2010. Mr. Fischer has conducted operas in the Staatsoper Vienna, the Royal Opera House in 022

London, the Opera de Paris, and in opera houses in Zurich, Amsterdam, Stockholm, Brussels, Berlin and Budapest. He has held music director posts with both the Kent Opera and the Opera National de Lyon. Since 2013, he has worked exclusively with the Iván Fischer Opera Company, with whom he has directed a number of successful “staged concerts” in Budapest, New York, Berlin, Amsterdam, London, Bruges and in the Abu Dhabi and Edinburgh Festivals.

Iván Fischer is a founder of the Hungarian Mahler Society and Patron of the British Kodaly Academy.

He has received the Golden Medal Award from the President of the Republic of Hungary and the Crystal Award from the World Economic Forum for his services in promoting international cultural relations. The government of the French Republic made him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. In 2011 he received the Royal Philharmonic Society Music Award, Hungary’s Prima Primissima Prize and the Dutch Ovatie Prize.

In 2013 he was accorded Honorary Membership to the Royal Academy of Music in London. In 2015, he was presented with the Abu Dhabi Festival Award for Lifetime Achievement and in 2016, he won the Association of Music Critics of Argentina’s award for Best Foreign Conductor.

Mr. Fischer studied piano, violin, and later the cello and composition in Budapest, before continuing his education in Vienna and Salzburg where he studied conducting under Hans Swarowsky and Nikolaus Harnoncourt.

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 Marketing and Press Officer Anna Bennett

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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

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 Sue Palmer OBE Jan Schlapp Susannah Simons Lady Smith OBE Rosalyn Wilkinson

KIRKER MUSIC FESTIVALS F O R

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Kirker Holidays offers an extensive range of independent and escorted music holidays, including tours to leading festivals in Europe as well as our own exclusive music festivals.

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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.

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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 for2019-20 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

The Beauty of Mathematics Sunday 23 February

Faust: the Life of a Composer Wednesday 25 March

Kings Place 11.30am

Southbank Centre's Queen Elizabeth Hall 7pm

Mathematical Institute, University of Oxford 5:30pm

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.

THE SCIENCE You’ve heard that some people find mathematics as beautiful as Bach’s music, but you’re not really sure why. Dr Vicky Neale is here to convince you it is, as she explores the intoxicating mysteries of prime numbers and how they push the limits of human understanding.

THE MUSIC BWV 196 is one of Bach’s first cantatas, written when he was in his early twenties for a friend’s wedding. It features a striking soprano aria and an overall theme of ‘partnership’, with two factions of instruments uniting to become one.

Bach Der Herr denket an uns (The Lord hath been mindful of us) BWV 196

The German writer Thomas Mann imagined a composer who intentionally sought a prostitute lover so that he could contract syphilis, believing that the madness would deepen his artistic inspiration.

The composer is then visited by a demon and agrees to trade his soul in exchange for twenty-four years of creative genius and the creation of a radical new method of composition, similar to Arnold Schoenberg's serialism.

This programme of music has been inspired by Mann's novel, Doctor Faustus: The Life of the German Composer Adrian Leverkühn, Told by a Friend, performed in new arrangements written for our Orchestra.

Wagner Prelude to Act 3 from Die Meistersinger von Nürnberg (arrangement) Pfitzner Prelude to Act 2 from Palestrina (arrangement) Schoenberg Chamber Symphony No.1, Op.9 Webern Concerto for 9 instruments, Op.24 Mahler Kindertotenlieder (arrangement) Geoffrey Paterson conductor Dominic Sedgwick baritone

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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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Margaret Faultless leader

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