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REFLECTIONS ON 2016–17 It’s the last of nine concerts in our 2016–17 Southbank Centre season. Viola Nicholas Logie has played in more of them than anyone, so we asked him to reflect on his highlights and surprises from the season just gone. ‘It was always going to be a tall order following on from last season’s bonanza celebration of our 30th birthday. Focusing this season on a specific location, Paris, was the inspirational concept of curators Cecelia Bruggemeyer and Colin Kitching – both for the fascinating programmes it has generated but also to underscore our links, both historic and contemporary, to mainland Europe. Musicians from mainland Europe have always played a key role in British music and we continue to reflect this in our membership. ‘What have been the surprises? Our programming is always full of surprises, as well as risk and innovation, and this season has been no exception. Personally, I believe it’s important for orchestras to go beyond the essential canon of the classical repertoire. This season has featured lesser performed composers such as Méhul, Kreutzer, Salieri, as well as tonight’s JCF Fischer and André Campra. Perhaps most controversially, we played Mendelssohn’s own revision of his Symphony no.4, the Italian – to some a case of unnecessary meddling with a much-loved piece, but still worth exploring once in a while. ‘This season has also given members opportunities to display their leadership skills in programmes without conductors: Kati Debretzeni directing the Berlioz/ Mendelssohn programme, Matthew

Above: OAE viola player, Nicholas Logie

Truscott in the Mozart/Haydn programme, and Huw Daniel and the whole team in the Brandenburg concertos. It is both thrilling and sometimes a little nervewracking to perform without conductor but all the directors brought originality and musicianship to the fore. ‘And once again, it has been an honour to work with the conductors and directors we cherish: Ottavio Dantone for his vivacious musicianship, Jonathan Cohen for his spontaneity, Ádám Fischer for his infectious wonder of the classical repertoire, and William Christie for sheer inventiveness and inspiration. But perhaps for me, the greatest surprise of this season has been the performances of Bach’s Christmas Oratorio, under Masaaki Suzuki. It felt as though all the planets were aligned, with each individual performer – conductor, soloists, chorus and orchestra – pulling in the same direction. Thrilling!’


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69 10 14 Tonight’s concert

The Orchestra

Programme notes

Bach’s Europe






This concert is generously supported by Nigel Jones and Françoise Valat-Jones.

Tuesday 4 July 7pm St John’s Smith Square

William Christie conductor The concert will finish at approximately 8.45pm, including a 20 minute interval. Pre-concert talk at 5.45pm in the hall – free admission.


CAMPRA Suite from Les fêtes vénitiennes JCF FISCHER Suite No. 7 from Le Journal du Printemps

BACH Orchestral Suite No. 4 INTERVAL RAMEAU Suite from Les Indes galantes BACH Orchestral Suite No. 3


Violins II


9 Margaret Faultless Alice Evans Huw Daniel James Toll Roy Mowatt Victoria Melik


Lisa Beznosiuk Neil McLaren


Katharina Spreckelsen Sarah Humphrys Bethan White

Julia Kuhn Rodolfo Richter Andrew Roberts Claudia Norz Claire Holden Joanna Lawrence


Rebecca Hammond Sally Jackson


Neil Brough Phillip Bainbridge Matthew Wells

Alfonso Leal del Ojo Annette Isserlis Nicholas Logie Marina Ascherson


Jude Carlton


Stephen Farr


Andrew Skidmore Catherine Rimer Ruth Alford

Double basses

Cecelia Bruggemeyer Kate Aldridge


PROGRAMME NOTES André Campra (1660–1744)

SUITE FROM LES FÊTES VÉNITIENNES (1710) 1 Ouverture 2 Entrée de la Suite de la Folie 3 Gigue 4 Air des Masques 5 Premier Air comique 6 Deuxième Air comique 7 Marche des Saltimbanques 8 Air pour les Arlequins 9 Air des Espagnols 10 Air des Polichinelles 11 Chaconne

Tonight’s concert of dance music from France and Germany (with a French accent) opens with an insatiably colourful score by one of the more robust personalities of the mid-Baroque period, André Campra. Musically speaking, Campra was one of the great stars of his day and was largely responsible for sweeping aside the furrowed-brow formality of the doyen of early French Baroque composers JeanBaptiste Lully (1632-87) in exchange for a more elegant, foot-tapping, Italian style that proved highly popular with the fast-emerging bourgeoisie. The sense of fun so vividly conveyed in much of Campra’s secular music, was matched by a racy personality that saw him dismissed from a series of ecclesiastical appointments for what then passed for unacceptably worldly behaviour, including becoming involved in ‘vulgar’ theatrical productions, ‘Carry On’-style assignations with women, and introducing violins (then considered fit only for street performers) into services at Notre-Dame de Paris. When, following the sell-out production of his first opéra-ballet L’Europe galante

in 1697, he discovered his true metier as a composer for the dance theatre, he initially wrote under his brother’s name to protect his identity from the church authorities. Such was his success that in 1700 he took the bold step of quitting the security of Notre-Dame for the life of a freelance composer. It was during this first flush of success that in 1710 he produced a sure-fire hit in Les Fêtes Vénitiennes (Venetian Festivities). By now, the fledgling genre of opéra-ballet had become all the rage, with its sequence of scenarios (or entrées) often held together by the flimsiest of means – in this case that they all take place in Venice. This allowed Campra to adapt his latest work according to changing moods and tastes, often leaving out certain entrées, adding others and reordering the rest so that after a while the work seemed to take on a life of its own. The various self-explanatory titles of the delightful vignettes from which tonight’s suite is taken include ‘The Triumph of Folly over Reason during the Carnival’, ‘The Acrobats of St. Mark’s Square’, ‘The Fortune-Tellers of St Mark’s Square’ and ‘The Marine Festival’.

Above: André Campra, engraving by Nicolas Edelinck after André Bouys, 1725.

Johann Caspar Ferdinand Fischer (1656–1746)


Ouverture Passacaille Menuet Bourée

orchestral suites (referred to as ‘symphonies’ in the Collection Philador) known collectively as Le Journal du Printemps, the first of Fischer’s works to be published and proudly designated ‘Op.1’. While by no means as imposing as Bach’s orchestral suites, which represent the high pinnacle of the Baroque tradition, the various dance forms Fischer incorporated into his music are handled with a deftness and sleight-of-hand that was never Bach’s modus operandi. Suite No.7 is especially notable for its passacaglia second movement, a set of variations over a recurring bassline (actual or implied), whose indomitable structural potential can be heard resonating centuries later in the music of Brahms, Shostakovich and Britten.

Although Johann Fischer was one of the most celebrated keyboard virtuosos and composers of his day – both Bach and Handel admired his trailblazing volumes of harpsichord suites – sadly much of his music hasn’t survived the ravages of time. On paper, he appears to have Johann Sebastian Bach (1685–1750) followed the traditional central European route for composers and music directors during the 17th and 18th centuries of searching out a court appointment, which brought with it both financial security and prestige. In Fischer’s case, by 1693 (the exact date remains uncertain) he had entered the service of Margrave Ludwig 1 Ouverture Wilhelm von Baden-Baden, whose family he 2 Bourrée I & II continued to serve right up to the time of his 3 Gavotte death over half-a-century later. 4 Menuet I & II The new appointment appears to have had an 5 Réjouissance immediate effect on Fischer’s musical style as Margrave Ludwig was one of several German Unlike the Brandenburg Concertos, which aristocrats at the time who encouraged French Bach bound together in one presentation volume, his four surviving Orchestral Suites taste, elegance and refinement at court. were never intended to form a single collection. Although there is no direct evidence that The latest research suggests that Nos.1 and 4 Fischer ever visited or studied in Paris during this period, his music was widely admired and originated in the mid-1720s, whereas No.3, which concludes tonight’s concert, dates from performed at the court of Versailles by the 1731 and the Second Suite (for flute and celebrated instrumental group Les Vingtquatre Violons du Roy (The King’s 24 Violins). strings), which includes the famous Badinerie, from the late 1730s. The strongest evidence of a royal connection can be found in the Collection Philador, an Bach originally described his orchestral suites important compendium of music performed as ‘ouvertures’, referring to the first movement at the French court between 1684 and 1703, of each work, which adopts the standard form which features only two works by nonas perfected by Lully. Typically, a slow, stately French musicians: Xerxes by the celebrated introduction is followed by a faster fugal Italian opera composer Francesco Cavalli section and a return of the opening material. It (1602–1676), and Fischer’s collection of eight

ORCHESTRAL SUITE NO.4 (c.1725, rev.1730)



PROGRAMME NOTES is the series of dance movements that follows each overture that inspired the posthumous designation ‘suite’. Bach never once left his native Germany, yet he kept abreast of the latest developments elsewhere, absorbing them into his musical bloodstream – most notably the Italian concerto and the French suite of dance movements.

Jean-Philippe Rameau (1683–1764)

Bach’s fourth orchestral Suite began life scored modestly for two contrasted groups (oboes & bassoons and strings), yet such was the impact of its magisterial overture that he promptly adapted it as the opening movement of his Christmas cantata of 1725: No.110, Unser Mund sei voll Lachens (Then was our mouth filled with laughter). In keeping with the cantata’s festive spirit, Bach added parts for trumpets and drums, and it was this new, more rousing orchestration which formed the basis of the 1730 revision we hear played tonight, scored for three oboes, bassoon, three trumpets, drums, strings and basso continuo.

1 Musette en Rondeau 2 Air pour Borée et La Rose 3 Air pour Zéphire 4 Air vif pour Zéphire et la Rose 5 1er & 2eme Rigaudons en Rondeau 6 Marche des Persans 7 Gavottee pour les Fleurs 8 1er & 2eme Tambourins 9 1er Air des Fleurs 10 Air pour les Amants & les Amantes 11 Entrée des Sauvages

The remaining four dance movements form an object lesson in how to obtain the maximum contrast from the minimum number of instruments. Trumpets and drums are reserved for Bourrée I, the Gavotte and Réjouissance, while the woodwind come in to their own in Bourrée II and the Gavotte and the strings in Menuet II. All come together in the finale, a Réjouissance which fully lives up to its title of general rejoicing.



For such a major composer, it is surprising how little we know with any certainty about Rameau’s personal life. He was extremely tall and thin – ‘more like a ghost than a man’ attested one contemporary, another that he ‘resembled a long organ pipe with the blower away.’ Those who knew him in childhood remembered a lively, outgoing personality. Yet as time went by, while his music retained its sparkle and vigour, he personally became more withdrawn and introspective as he dedicated his energies exclusively to composing and writing learned treatises. His belief in the power of music – what he described as ‘the language of the heart’ – was absolute, and woe betide anyone who disagreed with him! Between 1735 and 1753 Rameau served as the Maître de musique to the wealthy financier La Pouplinière. This was something of a dream appointment, for it not only gave him the opportunity to mix with the cream of Paris’s writers, artists and musicians (alongside the infamous libertine, Giovanni Casanova) at La Pouplinière’s various residences, but it

also brought him into direct contact with the French court. The first major work to appear during this period was Les Indes galantes (The Amorous Indies), an exotic ‘ballet héroïque’ in the form of a Prologue and four self-contained ‘entrées’ bursting with memorable, first-rate invention. Following a Prologue in which Cupid resolves that the Indies is a more relaxed in matters of love than Europe, the first scenario, entitled Le turc genéreux (The Generous Turk), is based on the same story of a compassionate Pasha who releases a slave he loves for the sake of her happiness that inspired Mozart’s Die Entführung aus dem Serail. There follows Les incas de Pérou (The Incas of Peru), in which a priest’s jealous love for an Incan princess causes a volcanic eruption (!), the enchanting Les fleurs (The Flowers), a gentle tale of mistaken identities that climaxes in a festival of flowers and from which much of tonight’s suite is taken, and Les sauvages (The Savages), in which a love-match relieves tensions between Native Americans and their European invaders.

Johann Sebastian Bach

ORCHESTRAL SUITE NO.3 (c.1731) 1 2 3 4 5

Ouverture Air Gavotte I & II Bourrée Gigue

Bach was not instinctively drawn towards music on the lighter side of the creative spectrum, although on the evidence of his third orchestral Suite he could do so when required. Composed during his extended final period based in Leipzig when sacred vocal music formed the core of his musical output, the Suite was almost certainly composed for the Collegium Aureum, an ensemble of gifted local players of which he had been appointed

Director in 1729. The group played regularly on a Friday evening at the Zimmermann Coffee House in Leipzig’s Cather Strasse and it is here that the Suite would have almost certainly received its first performance sometime during 1731. The Third Suite is scored for two oboes, three trumpets, drums, strings and basso continuo, opening with a regal ouverture, whose spectacular impact is due in no small measure to the militaristic presence of trumpets and drums. There follows one of Bach’s most famous movements, a timeless Air whose supreme poise inspired the virtuoso violinist August Wilhelmj to make a famous transcription known the world over as the Air on the G String. The suite is rounded out in style by outstanding examples of three popular dance forms: two duple-time Gavottes of French folk origin, a closely related though swifter Bourrée and a lively Gigue, with its characteristic swaying rhythms.

©Julian Haylock

Below: Café Zimmermann, detail of an engraving by Johann Georg Schreiber, 1732.



BACH’S EUROPE Bach never travelled outside what is now Germany. In fact he spent most of his life in a 100-mile area in the centre of the country. And, apart from occasional trips to visit children, give recitals and inspect organs, he remained pretty static.

This map points out the key places in Bach’s world as well as other Baroque musical hotbeds visited by composers featured in tonight’s programme and other luminaries. And on the opposite page is a (by no means exhaustive) list of where he was and when.

Modern borders shown.


Bach’s local movements around Leipzig

1685 Bach was born in Eisenach. 1714 Promoted to Konzertmeister in Weimar. 1695 Went to live with his brother in nearby Ohrdruf after the death of his parents. 1717 Is appointed Kapellmeister in Köthen. 1700 Enrolls in school in Lüneburg, two 1718 Travels to Karlsbad with his employer, weeks from Ohrdruf by foot (which is probably how he would have travelled). He would have made trips from there to nearby Hamburg, to see ‘the great North German organist Johann Adam Reincken’.

1703 Becomes court musician at Weimar. 1703 Leaves Weimar to become a church organist in Arnstadt.

1705 Is granted a four-week leave to visit

the city of Lübeck, but stays away for four months.

Prince Leopold.

1719 Bach travels to Halle to meet Handel, but Handel isn’t in.

1720 Travels to Karlsbad and Hamburg. 1723 Bach is appointed Cantor of the

Thomasschule in Leipzig.

1729 Visits Weißenfels and Köthen but

illness thwarts another attempt to meet with Handel in Halle.



Is appointed Hofcompositeur to the Elector of Saxony in Dresden.

1708 Bach returns to the court at Weimar as

Visits court of Frederick the Great at Potsdam.

Bach leaves Arnstadt to take up an organist post in Mühlhausen. organist.


1750 Dies in Leipzig aged 65.


SUPPORT US The past 30 years have seen the OAE grow to become one of the world’s leading period instrument orchestras performing to a global audience of over 5 million people each year.

Our education work reaches over 12,000 participants annually across the UK. The Night Shift, our pioneering late night series of informal performances, now tours internationally attracting audiences of over 4,000 each year. We love what we do and we’re proud of our international reputation for performing with warmth, imagination and expertise.


We could not have reached these milestones without our loyal band of supporters. Our box office sales, touring and public funding brings in 70% of the income we need and the generosity of our donors is vital to make up the remaining 30%. Without this support, we could not realise our ambitious plans to continue our pioneering work on the concert platform and beyond.

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If you’ve been to a few of our concerts this year, there’s a good chance you’ll have heard quite a bit about JS Bach. But what about Rameau, the French master who epitomised French Baroque music in the same era?

1 2 3

Rameau was taught to play harpsichord before he could read or write and he never became fluent in his speech – and his handwriting was difficult to read too. He originally became a lawyer, but the position never suited him.

He had very strong views on music, which he described as ‘the language of the heart’. His musical views ended up making him several personal enemies. Before he settled in Paris to become a serious composer at the age of 40, he performed with a troupe of wandering violin players. He also held a series of temporary organist posts in Paris, Avignon, Clermont, Dijon, and Lyons.

5 6 7

In 1722 Rameau wrote a book on musical theory, the Treatise on Harmony. It started a sort of revolution in music theory and he became known as the ‘Isaac Newton of Music.’ The book formed the foundation for instruction in Western music theory that is still used today. Rameau’s music was often written in sharp contrast between another well-established French composer, Jean-Baptiste Lully. Lully was known for his French poise and reserve, while Rameau preferred red-blooded passion and intensity. When Rameau’s first opera, Hippolyte Et Aricie, premiered in 1733, it was accompanied by storms of protest. The OAE’s performance of Zaïs in 2013 was the opera’s UK-premiere.


photo: Jean-Baptiste Millot




illiam Christie, harpsichordist, conductor, musicologist, and teacher, is the inspiration behind one of the most exciting musical adventures of the last 30 years. A pioneer in the rediscovery of Baroque music, he has introduced the repertoire of 17thand 18th-century France to a very wide audience across the globe. Born in Buffalo, and educated at Harvard and Yale, William Christie has lived in France since 1971. The turning point in his career came in 1979, when he founded Les Arts Florissants. As Director of this vocal and instrumental ensemble, William Christie soon made his mark as both a musician and man of the theater, in the concert hall and the opera house, with new interpretations of largely neglected or forgotten works. Major public recognition came in 1987 with the production of Lully’s Atys at the OpÊra Comique in Paris, which then went on to tour internationally to huge success.

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.




hree 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 conductorless Bach there. All the while, the Orchestra’s players called the shots.

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 performance have redefined concert parameters. Its new home at London’s Kings Place has fostered further diversity of planning and music-making. Great performances now become recordings on the Orchestra’s in-house CD label. 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 At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, Elder still mines for luminosity, shade and line. Vladimir Jurowski, the podium the OAE survived to a year. Then to two. technician with an insatiable appetite for Then to five. It began to make benchmark creative renewal, has drawn from it some of recordings and attract the finest conductors. the most revelatory noises of recent years. It became the toast of the European touring And, most recently, John Butt has conducted circuit. It bagged distinguished residencies his experiments in Bach inside it. All five at the Southbank Centre and Glyndebourne Festival Opera. It began, before long, to thrive. of them share the title Principal Artist. 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,

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



RISING STARS OF THE ENLIGHTENMENT Earlier this year we invited applications for the Risings Stars of the Enlightenment – a scheme for young singers that would give them a chance to work with our players and guest artists including tonight’s conductor, William Christie.

Well, here they are – eight talented vocalists destined to grace the top billings of concert halls and opera houses around the world. Keep an eye out: they’ll be performing with us across the 2017–18 season. The Rising Stars of the Enlightenment are:


Charlotte Beament Rowan Pierce

MEZZO-SOPRANO Ciara Hendrick Helen Charlston


James Way Nick Pritchard

BASS / BARITONE James Newby Dingle Yandell

The Rising Stars of the Enlightenment is generously supported by Denys and Vicki Firth.

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them to join the chorale singing, to reflect on inspiring discoveries and intellectual challenges, and to talk afterwards over coffee and cake.’ Later this year, we’re launching Bach, the Universe and Everything, a new Sunday morning series at Kings Place. Mixing performances of Bach cantatas with talks from guest scientists that explore the wonders of the universe, it’ll be an inspiring new way to start your Sunday. Our Chief Executive Crispin Woodhead explains. ‘I can’t claim credit for the idea,’ confesses Crispin: ‘It was Andrew Watts, our very brilliant associate principal bassoon, who suggested that we try reimagining a Sunday service which included a Bach cantata, communally sung chorales and a stimulating secular sermon or lecture.’ It was a concept that resonated strongly with Crispin, offering an opportunity to juxtapose the Cantatas with lectures by some of today’s leading thinkers, from fields as diverse as physics and psychiatry, medicine and politics. ‘We want to give people a flavour of congregational engagement. We’ll invite

Written each week by Bach to fulfil his duties as a Kantor, the Cantatas are exquisite meditations on Biblical texts and remain one of the great wonders of western music, an inexhaustible trove of art and ideas: ‘They are a distillation of human life experience, created by an artist working at such an intense rate over such a span of time. They form a complete expression of a people and its concerns: the crisis between body and soul, between seen and unseen, faith and doubt.’ In the first season, leading physicists will be invited to talk about their area of work, including such luminaries as Sir John Pendry, Tara Shears and Dame Jocelyn Bell. For Crispin, mixing music and science in this way makes complete sense for an Orchestra inspired by the Age of Enlightenment. ‘I think there is a problem in extreme specialisation today. I’m always being told by people that they ‘don’t know enough about music’ and feel that’s a barrier to attending concerts. And I find this in the scientific community too: people are so specialised, they feel ill-equipped to explore


other areas, strands of work become isolated in silos and important connections are missed. Enlightenment thought is inspiring because it was a time of coherence, not separation.’ We’re hoping this series will become a regular date in your diary, bringing the curious and open-minded together in a new Sunday morning community. Article by Helen Wallace/ Kings Place Longer version first published in Kings Place Autumn 2017 What’s On @Kings Place

ABOVE: A very massive cluster of galaxies called MACS J0416.1-2403, seen through the Hubble Space Telescope. It’s about 4 billion light-years away. The inset shows Tayna, a small and extremely faint and distant galaxy that existed only 400 million years after the big bang. It’s rapidly making stars and might be the growing core of what was to eventually evolve into a full-sized galaxy. Prof Carlos Frenk talks about the origin of galaxies in our opening event. Image: NASA/ESA/Pontificia Universidad Católica de Chile

SUN 22 OCTOBER, 2017

Origin of Galaxies with Professor Carlos Frenk


What is Light? with Professor Sir John Pendry


Antimatter Matters with Professor Tara Shears

SUN 14 JANAURY, 2018

Time and Vision with Professor Helen F Gleeson


Seeing Life in a New Light with Professor Kishan Dholakia

SUN 18 MARCH, 2018

We Are All Made of Star Stuff with Dame Jocelyn Bell Burnell Each event starts at 11.30am and last approximately one hour. Tickets £16.50. Book three, save 15% or book all six, save 25% / 020 7520 1490

I don’t think a greater genius than Bach has walked the earth. Of the three great composers, Beethoven tells us what it’s like to be Beethoven and Mozart tells us what it’s like to be human. Bach tells us what it’s like to be the universe. — Douglas Adams




s you’re watching William Christie and the Orchestra tonight, our Education team is coming towards the end of its busy Musical Landscapes tour, which visited County Durham, Mildenhall (Suffolk), Lowestoft and King’s Lynn.

The most recent leg of the tour was in King’s Lynn, where our players performed a new Symphony for Kings Lynn written by composer James Redwood in conjunction with children from Churchill Park School. This was performed live as a soundtrack to a film about the town by Zen Grisdale (who works as Digital Content Officer in our office) at a concert featuring 11 local schools

REEDS,DANCES AND MARCHES For the final concert in Musical Landscapes we return to King’s Lynn to recreate the unique sound of the oboe band of the splendid court of Louis XIV. This concert includes marches, ceremonial music and delightful chamber music showing the more sophisticated side of the oboe and bassoon. It’ll feature works by Philidor, Braun, Lully, Fasch and Purcell. 5.30pm, Monday 17 July 2017, King’s Lynn Town Hall.

at King’s Lynn Corn Exchange on Tuesday 20 June, alongside music by Bach, Biber and even Philip Glass. Then from Wednesday 21 June to Friday 23 June we were in Norfolk villages, performing schools and TOTS concerts, and a concert for children with special educational needs. The idea of Musical Landscapes is to tell the constantly changing landscape of the world we live in. Starting at the very beginnings of the earth, you hear music which illustrates the earth’s journey from its creation, through the millennia of change which has led us to where we are now. How have human beings adapted? And how we have impacted our environment in both positive and destructive ways? Finally, we ask ourselves ‘What worlddo we want to create for tomorrow?’

SUPPORT OUR EDUCATION PROGRAMMES The work we do could not happen without the support of our generous donors. If you would like to support our Education work please contact Alex Madgwick, Head of Individual Giving 020 7239 9380

Right: Durham student plays with Co-Principal Cello, Luise Buchberger.





Monday 25 September 2017 St John’s Smith Square — Sally Beamish The Judas Passion — David Harsent libretto Nicholas McGegan conductor Julia Doyle Mary Brenden Gunnell Judas Roderick Williams Christ Choir of the Age of Enlightenment


Wednesday 18 October 2017 Royal Festival Hall — Handel Semele — Ivor Bolton conductor Louise Alder Semele Ray Chenez Athamas James Way Jupiter Brindley Sherratt Somnus/ Cadmus Mary Bevan Iris Catherine Wyn-Rogers Juno Ciara Hendrick Ino Nick Pritchard Apollo James Newby High Priest


Monday 27 November 2017 St John’s Smith Square — Haydn Symphony No. 26 Mozart Violin Concerto No. 1 JC Bach Symphony in G minor Mozart Violin Concerto No. 5 — Rachel Podger director/violin


Sunday 4 February 2018 Royal Festival Hall — Beethoven Symphony No. 4 Beethoven Violin Concerto — Marin Alsop conductor Nicola Benedetti violin


Tuesday 27 February 2018 Royal Festival Hall — Mozart Arias including Parto, ma tu ben mio from La clemenza di Tito Mozart Symphony No. 38 Haydn Scena di Berenice Haydn Symphony No. 103, Drumroll — Ádám Fischer conductor Christine Rice mezzo-soprano


Monday 26 March 2018 Royal Festival Hall — Bach St Matthew Passion — Mark Padmore director/ Evangelist Roderick Williams baritone/ Christus Katherine Watson soprano Claudia Huckle mezzo-soprano Hugo Hymas tenor Jessica Cale soprano Eleanor Minney mezzo-soprano Matthew Brook bass Choir of the Age of Enlightenment


Wednesday 11 April 2018 Queen Elizabeth Hall — Mozart Symphony No. 33 Mozart Horn Concerto No. 4 Mozart Horn Concerto No. 1 Mozart Symphony No. 36 — Sir Roger Norrington conductor Roger Montgomery horn


Thursday 17 May 2018 Queen Elizabeth Hall — Richard Strauss Der Rosenkavalier [salon score] Selection of songs by Richard Strauss — Tom Kemp conductor Miah Persson soprano


Tuesday 26 June 2018 Queen Elizabeth Hall — Programme including music by Lully, Campra, Charpentier, Clérambault, Destouches, Rameau. — John Butt conductor/harpsichord Hubert Hazebroucq choreographer Anna Dennis soprano


Wednesday 4 July 2018 Queen Elizabeth Hall — Haydn Piano Concerto No. 11 Haydn Symphony No. 94, Surprise Haydn Harmoniemesse — Sir András Schiff conductor/ piano Choir of the Age of Enlightenment

THE OAE TEAM Chief Executive Crispin Woodhead Director of Finance and Operations Ivan Rockey

27 Head of Individual Giving Alex Madgwick Development Manager Catherine Kinsler

Development Director Emily Stubbs

Trusts and Foundation Manager Andrew Mackenzie

Director of Marketing and Audience Development John Holmes

Development and Events Administrator Danielle Robson

Director of PR & Press Katy Bell Education Director Cherry Forbes Projects Manager Jo Perry Orchestra Manager Philippa Brownsword Projects Officer Hannah Bache Librarian Colin Kitching Education Officer Andrew Thomson Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Charles Lewis

Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Cecelia Bruggemeyer Lisa Beznosiuk Luise Buchberger Max Mandel Roger Montgomery

Development Trainee Ben Carr Board of Directors Sir Martin Smith (Chairman) Cecelia Bruggemeyer (Vice-Chair) Lisa Beznosiuk Luise Buchberger Robert Cory Denys Firth Nigel Jones Max Mandel David Marks Roger Montgomery Olivia Roberts Susannah Simons Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith (Chair) Edward Bonham Carter Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen

Administration Orchestra of the Age of Enlightenment Kings Place, 90 York Way, London, N1 9AG Tel: 020 7239 9370 Email: Website: Registered Charity No. 295329 Registered Company No. 2040312


SUPPORTERS 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.


The OAE is particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust THIRTY CIRCLE PATRONS Bob & Laura Cory Sir Martin Smith & Lady Smith OBE THIRTY CIRCLE MEMBERS Victoria & Edward Bonham Carter Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Julian & Camilla Mash Mark & Rosamund Williams


CORPORATE PARTNERS Apax Partners E.S.J.G. Limited Lindt Lubbock Fine Chartered Accountants Parabola Land Stephen Levinson at Keystone Law Swan Turton SEASON PATRONS John Armitage Charitable Trust Bob & Laura Cory Bruce Harris Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Sir Martin Smith & Lady Smith OBE Philip & Rosalyn Wilkinson Mark & Rosamund Williams

PROJECT PATRONS Julian & Annette Armstrong JMS Advisory Limited Adrian Frost Julian & Camilla Mash Haakon & Imogen Overli ARIA PATRONS Denys & Vicki Firth Stanley Lowy Gary & Nina Moss Rupert Sebag-Montefiore Eric Tomsett

CHAIR PATRONS Felix Appelbe & Lisa Bolgar-Smith Cello Mrs Nicola Armitage Education Director Hugh & Michelle Arthur Violin Victoria & Edward Bonham Carter Principal Trumpet Anthony & Celia Edwards Principal Oboe Sir Vernon & Lady Ellis Co-Principal Viola James Flynn QC Co-Principal Lute/Theorbo Paul Forman Co-Principal Cello and Co-Principal Bassoon Su Li and Stephen Gibbons violin The Mark Williams Foundation Co-Principal Bassoon Sandy Mitchell Jenny and Tim Morrison Second Violin Andrew Nurnberg Co-Principal Oboe Jonathan Parker Charitable Trust Co-Principal Cello Professor Richard Portes CBE FBA Co-Principal Bassoon Olivia Roberts Violin John & Rosemary Shannon Principal Horn Roger & Pam Stubbs Sub-Principal Clarinet Crispin Woodhead & Christine Rice Principal Timpani

EDUCATION PATRONS John & Sue Edwards (Principal Education Patrons) Mrs Nicola Armitage Patricia & Stephen Crew The Nigel Gee Foundation Venetia Hoare Rory & Louise Landman Professor Richard Portes CBE FBA ASSOCIATE PATRONS Noël & Caroline Annesley David & Marilyn Clark Christopher & Lesley Cooke David Emmerson Ian S. Ferguson & Dr. Susan Tranter Jonathan & Tessa Gaisman Noel De Keyzer Marc-Olivier & Agnes Laurent Sir Timothy & Lady Lloyd Michael & Harriet Maunsell David Mildon in memory of Lesley Mildon Andrew & Cindy Peck Michael & Giustina Ryan Ivor Samuels & Gerry Wakelin Emily Stubbs & Stephen McCrum Shelley von Strunckel Rev.d John Wates OBE & Carol Wates Mr J Westwood Tim Wise YOUNG AMBASSADOR PATRONS Pamela Dow William Norris YOUNG PATRONS Josh Bell & Adam Pile Marianne & William Cartwright-Hignett Sam Hucklebridge Joseph Cooke & Rowan Roberts

GOLD FRIENDS Mr & Mrs C Cochin de Billy Mrs A Boettcher Geoffrey Collens Roger Mears & Joanie Speers SILVER FRIENDS Haylee & Michael Bowsher Michael Brecknell Christopher Campbell Michael A. Conlon Mr & Mrs Michael Cooper Simon Edelsten Norman & Sarah Fiore Malcolm Herring Patricia Herrmann Peter & Sally Hilliar Rupert & Alice King Stephen & Roberta Rosefield Susannah Simons Her Honour Suzanne Stewart David Swanson BRONZE FRIENDS Keith Barton Dennis Baldry Dan Burt Tony Burt Hugh Courts Anthony & Jo Diamond Mrs S M Edge Mrs Mary Fysh Ray & Liz Harsant Auriel Hill Nigel Mackintosh Angus Macpherson Julian Markson Alan Sainer Ruth & David Samuels Gillian Threlfall Mr & Mrs Tony Timms Mrs Joy Whitby

TRUSTS AND 29 FOUNDATIONS Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement The Charles Peel Charitable Trust Chapman Charitable Trust John S. Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Fenton Arts Trust Garfield Weston Foundation The Golden Bottle Trust Goldsmiths’ Company Charity Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Orchestras Live Palazzetto Bru Zane The Patrick Rowland Foundation P F Charitable Trust Schroder Charity Trust The Shears Foundation Valentine Charitable Trust We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm. For more information on supporting the OAE please contact Emily Stubbs, Development Director 020 7239 9381.

The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses.


SUMMER EVEN S This may be the last concert in our 2016–17 Southbank Centre season, but there are still loads of opportunities to hear us over the summer:


Dress up and picnic on the lawns as we play in two new productions at Glyndebourne Festival Opera.



A special, one-off chamber performance at a luxury cottage in south-west Wales. Bach Contrapunctus XIX from Art of Fugue Haydn String Quartet in D minor, Op. 103 Satoko Doi-Luck disperatamente! Mozart String Quartet No. 14 Beethoven String Quartet No. 11, Serioso

Nantwen, Pembrokeshire Saturday 12 August

The UK premiere of Cavalli’s vast tale of love, betrayal and destruction. Glyndebourne, East Sussex Until 8 July




Mozart’s last operatic tale of revenge makes a rare appearance at Glyndebourne. Glyndebourne, East Sussex From 26 July to 26 August


The Proms – a great British tradition. Buy ticket in advance or queue on the day for a truly unique way to experience the music.

PROM 23: ISRAEL IN EGYPT Handel Israel in Egypt William Christie conductor

Royal Albert Hall Tuesday 1 August

PROM 59: LA CLEMENZA DI TITO Mozart La Clemenza di Tito Robin Ticciati conductor

Royal Albert Hall Monday 28 August

Our late-night, laid-back series, The Night Shift, is back.

Thursday 17 August An adventure in music we’ve never dared play at The Night Shift before. Heath Street Baptist Church, Hampstead Thursday 17 August


A special outdoor gig combining Handel arias with some of pop’s most Handelian moments. Kensington Palace Friday 18 August


We get rid of our usual violin, viola and cello players and replace them with oboes and bassoons. George Tavern, Whitechapel Tuesday 29th August

Visit for more details on all concerts.

One of the best selections in the country of good quality, old and new • violins • violas • cellos • basses • bows and accessories invest in the future... our old instruments can increase in value and are in excellent playing condition

Also at 16 Hanover Square, Mayfair, London BY APPOINTMENT Tel: 07831 265272

• expertise • valuations • restorations 1-5 Lily Grove, Beeston, NOTTINGHAM NG9 1QL Tel:

0115 943 0333 www.

KIRKER MUSIC HOLIDAYS FOR DISCERNING TRAVELLERS Kirker Holidays offers an extensive range of holidays for music lovers. These include our own exclusive opera and chamber music festivals on land and at sea and tours to leading festivals in Europe.


Marking the centenary year of Finnish independence, this year the Sibelius Festival in Lahti will include a guest performance by the Gothenburg Symphony Orchestra along with its new principal conductor, Santtu-Matias Rouvali who comes from Lahti. We stay at the Hotel Kamp (5* Deluxe) in the heart of Helsinki for the first two nights, before travelling to Lahti where we will attend four concerts at the striking modern Sibelius Hall, which overlooks the lake. We will also make excursions to important sites associated with the composer, including his birthplace and the simple house where he lived for his final years, and take a boat trip on Lake Vesijarvi. Price from £2,749 per person for six nights including return flights, accommodation with breakfast, three lunches, five dinners, tickets for four concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.

Speak to an expert or request a brochure:

020 7593 2284 quote code GCN

ACADEMY OF ANCIENT MUSIC London concert season 2016-17 PURCELL THE FAIRY QUEEN Monday 10 October 2016, Barbican Hall

JAMES GILCHRIST DIRECTS Thursday 20 October 2016, Milton Court Concert Hall

THE GLORY OF VENICE Wednesday 7 December 2016, Milton Court Concert Hall

BACH AND THE ITALIAN CONCERTO Wednesday 15 February 2017, Milton Court Concert Hall

JORDI SAVALL DIRECTS Saturday 11 March 2017, Barbican Hall

BACH RECONSTRUCTED Friday 7 April 2017, Milton Court Concert Hall

RICHARD EGARR DIRECTS Friday 5 May 2017, Milton Court Concert Hall

MONTEVERDI VESPERS Friday 23 June 2017, Barbican Hall

Tickets £10-50 plus booking fee* £5 for AAMplify members | £70 premium seats available

Book at or call 020 7638 8891 * £3 online, £4 by telephone, no fee when booked in person

2016-17 London Listings167x239.indd 1

10/08/2016 23:00

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Photography: Eric Richmond


Bach goes to Paris  

Concert programme for Bach goes to Paris at St John's Smith Square on 4 July 2017. More details:

Bach goes to Paris  

Concert programme for Bach goes to Paris at St John's Smith Square on 4 July 2017. More details: