Mozart: Master of Deception, with Rachel Podger programme

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There is more to Mozart than meets the eye.

Mozart: Master of Deception, with Rachel Podger Monday 27 November 2017 St John's Smith Square 7pm

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KIRKER MUSIC HOLIDAYS F O R D I S C E R N I N G T R AV E L L E R S Kirker Holidays offers an extensive range of independent and escorted music holidays, many with flights available from your local airport. Tours include leading festivals in Europe such as Grafenegg and the Verdi Festval in Parma, as well as Glyndebourne, Buxton and opera weekends in Vienna, Milan, Venice and New York.

We also host our own exclusive music festivals on land and at sea, and arrange short breaks with opera, ballet or concert tickets, to all the great classical cities in Europe.

MUSIC IN BADEN-BADEN A SIX NIGHT HOLIDAY | 23 MARCH 2018 FIVE NIGHT HOLIDAYS | 17 MAY & 20 JULY 2018 Baden-Baden is one of Europe’s most stylish and beautiful spa towns – for years the favoured destination of Europe’s royalty and aristocrats. Its glorious woods and parks have also attracted leading writers, musicians and artists, and the state-of-the-art Festspielhaus is now one of Europe’s finest music venues.

We will visit Baden-Baden on three separate occasions in 2018, staying at the 4 star Radisson Blu Badischer Hof Hotel, and making excursions to the house where Johannes Brahms spent his summer holidays, the Frieder Burda Museum and the Baroque palace at Ludwigsburg in the Black Forest. Our first holiday will include Sir Simon Rattle’s final Easter Festival with the Berlin Philharmonic; the baton passes to Kirill Petrenko in 2019. The Easter Festival is followed by two mouthwatering programmes at Whitsun, including appearances from Bryn Terfel and Diana Damrau; and then the annual Valery Gergiev Festival in July, featuring the orchestra and chorus of the Mariinsky Theatre.

Price from £2,475 per person including return flights, accommodation with breakfast, one lunch, four dinners, all performance tickets, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.

OPERA & MUSIC IN BERLIN A SIX NIGHT HOLIDAY | 26 MARCH 2018 Berlin’s historic opera house, the Staatsoper unter den Linden, reopens during the 2017/18 season having been closed since 2010, and next spring will play host to Daniel Barenboim’s annual Easter Festival.

As music director and chief conductor of the resident Berlin Staatskapelle, Barenboim invites his closest friends and colleagues to join him each year for an exceptional series of concerts in the German capital. Our holiday will include two opera performances:Verdi’s Falstaff and Wagner’s Parsifal, as well as a special concert at the Berliner Philharmonie featuring both Barenboim and Martha Argerich on piano. During our stay we shall also visit Berlin’s most important art galleries, and Max Liebermann’s villa on Wannsee.

Price from £2,467 per person including flights, accommodation with breakfast, three dinners, tickets for three performances, 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 02 www.kirkerholidays.com

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TURNER VIOLINS

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info@turnerviolins.co.uk www.turnerviolins.co.uk Tuesday 27th February 2018, 7.00pm

St John’s Smith Square, London

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Handel Celebration MARY BEVAN Soprano TIM MEAD Countertenor STEPHEN LAYTON Conductor FLORILEGIUM

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Six Chapters of Enlightenment - Part One Visions, Illusions and Delusions 'You see everything through the lens of your own system'. - Denis Diderot

From now until 2023, we’re going back to our roots. Not one, not two, but Six Chapters of Enlightenment. Six special seasons exploring the golden age of science and philosophy that gave our Orchestra its name.

Each year we’ll be exploring different ideas handed down to us by the great Enlightenment authors of social freedom, human rights and equality, and the scientific pioneers who gave us everything from vaccination and cataract surgery to fizzy drinks.

In 2017-18, we open our first chapter, Visions, Illusions and Delusions. Shaken out of old certainties by quantum leaps in science, the Enlightenment started with radical doubts: Is seeing believing? Should we really judge by appearances? Who can I trust? Is love what you think it is? What is right and what is wrong? We’ll be exploring these questions, be it through characters like Judas, Semele and Berenice, musicians that are always confounding expectations, such as Nicola Benedetti and Sir András Schiff, or the jokes and hidden secrets of Mozart’s scores.

If you’re new to the Orchestra, you should know that we play on instruments from the period the music was written. Each concert needs hours of research to understand centuries of performance tradition, making old music new.

If you’re already a fan, our lovingly-crafted performances will be combined more than ever with special efforts to help you discover what the composers were thinking, and how the times they lived in influenced their music.

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Welcome to this concert with the Orchestra of the Age of Enlightenment, one of Southbank Centre’s four Resident Orchestras.

Some of our concerts this year will be held at St John’s Smith Square.

They’re still part of our Southbank Centre residency, but while Queen Elizabeth Hall is closed for refurbishment, they’re taking place at St John’s Smith Square instead.

Contents Concert repertoire and soloists 08 Programme Note Julian Haycock 10 J.C. Bach: A London Life 14 Is seeing believing?

Rabbi Julia Neuberger 16 Support Us 18 Biographies 22 OAE team 24 OAE news 25 Supporters 26 OAE Education 28 Upcoming concerts 32

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Mozart: Master of Deception

Concert repertoire and orchestra

Monday 27 November 2017 St John's Smith Square 7pm The concert will finish at approximately 9pm, there will be one 20 minute interval.

Haydn - Symphony No. 26 Lamentatione Concert supported by Selina and David Marks

Mozart - Violin Concerto No.1 J.C. Bach - Symphony in G minor Mozart - Violin Concerto in No.5 Rachel Podger - director and violin Orchestra Violins 1 Rodolfo Richter Alice Evans Kinga Ujszaszi Roy Mowatt Violins 2 Daniel Edgar Claire Holden Iona Davies Stephen Rouse

Violas Max Mandel Nicholas Logie Martin Kelly

Oboes Daniel Bates Leo Duarte

Cellos Sarah McMahon Catherine Rimer

Bassoon Sally Jackson

Bass Cecelia Bruggemeyer

Horns Roger Montgomery Martin Lawrence

Pre-concert event Mozart the Violinist 6pm The pre-concert event is in the hall free admission

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Max Mandel – Co-Principal Viola

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Mozart: Master of Deception

Programme note Julian Haycock

Joseph Haydn (1732–1809)

Symphony no. 26 in D minor Lamentatione (1768) 1 Allegro assai con spirito 2 Adagio 3 Menuet e Trio

Haydn spent most of his creative life in isolation away from the bright lights of Vienna, working for the Esterházy family at their magnificent palace in Austro-Hungary. ‘I was cut off from the world,’ he declared passionately. ‘There was no one near to torment me or make me doubt myself, and so I had to become original.’ Far from becoming another in the long line of dutiful court composers, Haydn established an international reputation as the 'father’ of 107 symphonies, the creator of the modern string quartet (83 in total), and the astonishingly fertile composer of 45 piano trios, 62 piano sonatas, 14 masses and 26 operas, among countless other scores.

Several important elements helped Haydn forge his symphonic style. Firstly, the prevailing gallant mode of expression, with its propensity for formal balance, grace and symmetry; also, the world of opera, from which he borrowed the structure of the traditional overture, as well as passages reminiscent of arias, recitative and blustering buffo finales. The early Viennese symphony was also of crucial importance, with its love of dramatic contrast and experimental interplay of tonal areas. So too the concerto grosso, whose special feature was the contrast between solo and tutti passages, and the relatively light-hearted serenade.

These various musical ingredients were absorbed

by Haydn’s insatiable creative personality, characterised by his delight in rusticity, his revelling in the unexpected, his tongue-in-cheek musical ‘jokes’ for the special appreciation of the cognoscenti, his dabbling in unusual instrumental combinations and colours, and unrivalled flexibility with form and design.

If Haydn’s early symphonies find him experimenting gleefully with the possibilities thrown up by the fledgling genre, by the late 1760s he had begun composing with a searing intensity of expression that contemporary writers referred to as Sturm und Drang (‘storm and stress’). In 1768 alone, Haydn composed the Trauer (No.44), La Passione (No.49) and Lamentatione (No.26), symphonies, all in the minor mode and imbued from time to time with a sense of inconsolable despair.

The Lamentatione, composed specifically for Easter week, earned its nickname as the result of a chant melody taken from the Lamentations employed by the Roman Catholic Church on Holy Thursday. This appears in both the opening Allegro (as its second main theme) and the Adagio slow movement. Associated with the Passion of Christ, the chant represents (in sequence) the Evangelist, Christ and the crowd of Jews. The symphony closes unconventionally with a searingly intense minuet and enchanting central trio section in the major mode.

Wolfgang Amadeus Mozart (1756–1791)

Violin Concerto no.1 in Bb (1773) 1 Allegro moderato 2 Adagio 3 Presto

It was in the year of Mozart’s birth (1756) that his father, Leopold, published his School of Violin Playing, which quickly established itself as one of the most important works of its kind. It was therefore hardly surprising that young Wolfgang had access to a violin as well as a keyboard from an early age, nor that his first published work was a set of four-movement violin sonatas, Kk6-9 (1762). According to a letter of January 1763 (when Wolfgang was still only six years old) it seems that the boy genius hardly ever touched the instrument. Yet just four months later he had already progressed to the point that he was making public concerto appearances with the court orchestra.

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Mozart went on to become a highly-accomplished player, although his lack of application was still a stumbling block. Following one concert in Munich in 1777, he reported to his father with the greatest excitement: ‘I played as if I were the greatest fiddler in all of Europe.’ This inspired an inevitably frustrated response: ‘You yourself do not know how well you play the violin; if only you will do yourself credit and play with energy, with your whole heart and mind, yes, just as if you were the finest violinist in Europe’.

Although Mozart loathed the Italian style of showy virtuosity – ‘I am no lover of difficulties’ he insisted – his youthful exuberance is everywhere apparent in this most sparkling and untroubled of all his concertos. It was extremely well received, so much so that the following year the newly-appointed leader of the Archbishop’s orchestra, Antonio Brunetti, took it under his wing and established for it a place in the repertoire which it has enjoyed ever since.

Clearly keen to assert his playing credentials with his first ever violin concerto, Mozart adopted the Parisian, gallant style that was very much in vogue at the time, with its characteristic delight in crisp and exhilarating passage-work. In the outer movements ideas emerge with such quicksilver élan it feels as though melodies are tumbling over one another to be heard. Offsetting these musical outbursts of high spirits is a deeply-felt central Adagio, which borrows an operatic melody sung originally by a heroine longing for the return of a distant lover.

INTERVAL

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Johann Christian Bach (1735–1782)

Symphony in G minor (c.1768) 1 Allegro 2 Andante più tosto adagio 3 Allegro molto

The youngest of Johann Sebastian’s surviving sons, Johann Christian Bach first spread his musical wings in Berlin, where he shared accommodation with his older brother Carl Philipp Emanuel. Finding the staunch atmosphere of Lutheran Germany less than congenial, he moved to sunny Italy, where he quickly established a reputation as both composer and organist – aged just 25 he was appointed organist at Milan Cathedral. Yet it was the theatre that particularly attracted him, and having successful produced two operas in Italy, an invitation to compose for the King’s Theatre in London necessitated a move to London in the Spring of 1762.

It was here that he met Carl Friedrich Abel, who had been Johann Sebastian Bach’s principal viola da gamba player in Leipzig. The two became good friends and in 1765 founded an influential concert series, initially at the Spring Gardens’ Great Room and later at Carlisle House (in Soho), St. James and finally the prestigious Hanover Square Rooms, which were built specifically to their designs (and sadly demolished in 1900 for redevelopment). It was during this period that J.C. first came into contact with the boy genius Mozart, who became a lifelong friend and who fell heavily under the spell of J.C.’s groundbreaking sonatas and symphonies.

J.C.’s set of six symphonies Op.6 were premiered sometime during the late 1760s at the Bach-Abel concerts and then published in Amsterdam in 1770, after which they became a firm fixture at many European musical centres. Listening to these era-defining works, composed around the same time as the Haydn symphony which opened tonight’s concert, is to be reminded how far Johann Christian had travelled since his early training under his father’s watchful eye. The contrapuntal ingenuity of the late Baroque period is here exchanged for a simple elegance, designed to be understood and appreciated at first hearing, and structured in the style of the Italian overture (or sinfonia) in three movements: fast–slow–fast.

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The Hanover Square Rooms, where J.C. Bach and Carl Friedrich Abel held their pioneering concert series.

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Little wonder that the final work in the set caused such a sensation. Cast in the passionately resonant key of G minor, J.C shatters contemporary sensibilities with forks of musical lightning in the modish Sturm und Drang manner. He constantly toys with our expectations, counter-balancing an explosive opening Allegro with a C minor Andante of profound (for the period) expressive intensity, and a finale that resolves its surging angst in a surprise pianissimo ending. Audiences were left with their emotions in tatters – and loved every minute!

The intensity of feeling generated by the central Adagio – the longest of the concerto slow movements – so perplexed contemporary audiences used to lighter fayre that the following year Brunetti requested Mozart compose a substitute. Inexplicably to modern ears, Brunetti found the original (which we hear played tonight) ‘too contrived’ and hoped for something more in the vein of a lightweight Italian intermezzo. No record survives of Brunetti’s reaction to the resulting Adagio in E K261 (1776), which ironically is if anything emotionally more complex.

Wolfgang Amadeus Mozart

The finale is a French-style rondeau, based around a recurring minuet theme which is slightly varied on each occasion. The most immediately striking feature is the 'noisy' third episode in A minor, borrowed from Mozart's opera Lucio Silla and composed in what was then the fashionable Janissary (‘alla turca’) style, with cellos and basses instructed to play with the wood of their bows.

Violin Concerto no.5 in A major Turkish (1775) 1 Allegro aperto 2 Adagio 3 Rondo: Tempo di minuetto

Following the first in the series, which closed the first half of tonight’s concert, the remainder of Mozart’s five authenticated violin concertos – K211 in D, K216 in G, K218 in D and K219 in A (‘Turkish’) – followed in quick succession over an eight-month period between April and December 1775. It remains unclear what compelled Mozart to suddenly show such a keen interest in a genre for which he had so far demonstrated little enthusiasm. One possibility is that he wished to ingratiate himself with his over-bearing employer, the Archbishop of Salzburg.

This would appear to tie in with a remark made by the concertmaster of the court orchestra, Antonio Brunetti, who insisted that Mozart ‘could play anything, if he put his mind to it.’ On the other hand, Brunetti was very much the star player in Salzburg at the time and 12 years Mozart’s senior, so he may well have simply directed the various premieres from the leader’s chair.

The opening Allegro aperto of K219 is notable both for its fertile melodic invention and Mozart's structural sleights of hand – in particular the soloist's very first appearance, which starts with a six-bar adagio interlude as though it were the most natural thing in the world. Irrepressible energy and humour is everywhere apparent, most notably the innocent-sounding arpeggio figure which immediately precedes the violinist’s initial entry, then crops up in the central development section and finally returns to round the movement off.

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Mozart: Master of Deception

J.C. Bach: A London Life The younger Bach has a special resonance for us. A London celebrity in his own time, Johann Christian Bach enjoyed the patronage of the royal family, and drew large crowds to his forward-thinking concert series in Soho. Sadly his life was an early illustration of the illusions of fame. With his popularity and finances in decline, J.C. Bach died indebted and was buried in a mass grave at St Pancras Old Church (very near to our offices at King's Place).

Besides his famous parentage, J.C. Bach is primarily known as one of Mozart’s formative influences. But he has increasingly been recognised for his important role in breaking away from the contrapuntal concerns of his father Johann Sebastian Bach. Here are five facts that you probably didn't know about him.

The Litigant The Piano Pioneer J.C. Bach is generally recognised as the first person to perform a public concert using the piano, in 1768. His work was focusing on this strange new instrument even earlier, as can be seen in the 1766 Sonatas for Harpsichord or Pianoforte. These sonatas make use of a range of dynamic markings (including crescendo) which would have been impossible on all but the most expensive of harpsichords. It's probable that the Keyboard Concertos for an orchestra containing horns and oboes (1770) would have very likely required a proto-grand piano, and models were available in London by this time.

J.C. Bach was involved in publishing his music from the time he moved to London. He was given the royal privilege of publishing his compositions exclusively for 14 years, and later became involved in a key copyright case which had a notable influence on the way music was perceived in copyright law.

J.C. Bach filed a lawsuit against the music publishers John Longman and Charles Lukey. The 1709 Copyright Act (Statute of Anne) at this time covered ‘books and other writings’, but in effect only protected books rather than music. Lord Mansfield, who was asked to adjudicate in this case, made a landmark ruling in Bach’s favour, declaring that ‘music is a science, it may be written; and the mode of conveying the ideas, is by signs and marks.’ Mansfield’s interpretation would be considered reductive by modern jurisprudence, but it had a major influence on copyright law, and raised two fascinating questions: what exactly are we referring to when we talk about music, and can it really be traded and owned as property?

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The Stage Coach Robbery In 1775 J.C. Bach rented a house in Richmond to be near the Royal Family's residence by the river.

The journey to Richmond was a notorious area for highway robbers. On July 7th, 1775, Bach was travelling by coach to Richmond with his close friend Thomas Gainesborough, a celebrated painter. He was rudely awakened by the cry 'Your money or your watch!' The unfortunate Bach was relieved of both items, and an expensive chain. His case became something of a cause célèbre, and the robbers were eventually caught.

Perhaps fearing repercussions, Bach refused to identify them.

The Promoter

Ever the entrepreneur, J.C. Bach parnered with an old friend, the viola de gamba player and composer Carl Friedrich Abel, to put on a public series of concerts together.

These weekly events featured a variety of performances of both composers’ works, and grew so popular that they eventually required a purpose-built venue in Hanover square. The Bach-Abel concerts, as they were known, formed the basic template for the classical concert series that we recognise today.

The Populist

Many regard the Enlightenment era as fundamentally concerned with objective truth and rationality. There is another argument to be made about the rise of individualism in this period, strongly evident in the proto-romantic literature of sturm und drang which celebrates the intensity of the passions.

J.C. Bach’s rejection of his father and Handel’s musical approach in favour of the fashionably direct 'Galant' style may have been a pragmatic move. But he was also innovative in its own way, forging ahead with a deliberate attempt to engage the passions with the full range of contemporary instrumentation. The G Minor Symphony you will hear tonight is a fine example, giving us a sense of the fresh appetite for drama, darkness and instrumental might in J.C. Bach's time.

J.C. Bach's tombstone at St. Pancras Old Church.

We recently celebrated the launch of Somers Town Bridge, which joins Somers Town and Kings Cross for the first time since the 1800s, with a pop- up performance of music by J.C. Bach.

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Mozart: Master of Deception

Is seeing believing?

Rabbi Julia Neuberger, Senior Rabbi, West London Synagogue

Mozart used a variety of tricks in his music, to delight the listener, of course, but also to provide a hidden subtext of masonic ‘secrets’, codes, and references to Enlightenment ideas such as freedom for all, or equality of nobility.

For instance often the low born (Figaro) has as noble a spirit as the aristocrat, or even nobler (for the Count Almaviva was something of a disgrace even in his own time, let alone in our post-Weinstein and Westminster shenanigans age).

Freemasonry was pulled in two directions during Mozart’s lifetime, and he was a keen member of at least one lodge if not more. There were the masonic traditionalists, obsessed with secrets and codes, and there were the so-called ‘illuminati’, the ones influenced by Enlightenment ideas, wanting to spread the word and indeed even open up freemasonry to people hitherto denied entry, of whom Jews were a significant group.

Long before other European institutions, freemasonry was open to Jews, who were regarded as deists - believers in God- and therefore acceptable to Freemasons, even though they were not Christians. And along with all this is the total opposition to freemasonry on the part of the Catholic Church, which made difficulties for some but was welcomed by others- and Mozart was of course a composer of much church music, knowing of the Church’s disapproval of his masonic activities.

This is music, and indeed these are opera libretti, that require listening and watching, intellectual rigour, and intellectual curiosity, emotional intelligence and emotional bandwidth, to allow ourselves to respond in a variety of different ways, using all our senses, except possibly smell, and all our intellectual and emotional capacity.

Mozart in Salzburg, 1766/67, by Franz Thaddeus Hebbling

So when we watch a Mozart opera, or listen to his music, we need to understand that we are listening and looking both at the obvious, AND at the subtext or subtexts beneath. All is not as it seems.

Just watching isn’t enough.

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In our modern age, we focus on the visual all the time - screens, appearances, images, what you can understand from what you read or see on TV or elsewhere.

Children are virtually born looking at screen and operating a cellphone and iPad. We’ve forgotten how to use our other senses, be it smell, which doctors and nurses are rediscovering as a way of diagnosing a variety of conditions, touch, to get the sensuousness of rich fabrics or the knowledge from rough or calloused skin that something is wrong, taste, where we should be able not only to delight in food but be able to tell what is fit to eat and what not, and of course hearing, which is often said to be the last sense to go when we die, and which allows many of us the greatest of pleasures by way of both music and the spoken word.

Our modern age does not understand the value of training all the senses, and many professionals are reluctant to use old methods, using human sensibility, to carry out their roles. But we will see a change, and touch, smell and hearing will all re-emerge to match with vision alone, where we only attempt to understand through what we see. And the music of Mozart is a classic case where seeing and hearing, understanding and digging deeper intellectually, brings the emotion home as well as satisfying the mind, heart and head. We need to reenergise our senses, and Mozart supplies the wake-up call.

Rabbi Julia Neuberger writes and broadcasts frequently on a variety of social and religious issues. Among her books is ‘Not Dead Yet – a Manifesto for old age’ (Harper Collins 2008), and ‘Is that all there is?’ – (Rider Books 2011), reflections on life, mortality and leaving a legacy.

We return to West London Synagogue on Sunday 10 December, with Rachel Podger.

We'll be performing: Mozart The Marriage of Figaro - Overture and selection of arias Gluck Dance of the Blessed Spirits (from Orfeo ed Euridice) Mozart Don Giovanni - Overture and selection of arias Mozart Violin Concerto no. 5 Visit oae.co.uk for more information.

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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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Images opposite, left to right: Steven Devine – Co-Principal Keyboard Roger Montgomery – Principal Horn Simone Jandl – Co-Principal Viola 018

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Supporting our projects Every year, the OAE curates a season full of inspiring and unique projects. We are always looking for enlightened individuals who are interested in supporting this aspect of our work. Project supporters enjoy the chance to meet players and soloists and be involved in the creative process from the early stages right up to the performance.

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OAE Young Patrons We’re committed to enthusing the next generation of philanthropists through our Young Patrons programme. Aimed at people under 45, this membership scheme includes the opportunity to socialise with our musicians, 2 for 1 tickets to The Night Shift and a chance to meet like-minded people at networking events.

Leaving a legacy to the OAE Legacies are crucial to our fundraising and help to sustain and increase the scope of our work.

By leaving a legacy to the OAE you will be helping to shape the Orchestra’s future ensuring we can continue to inspire, enthuse and challenge audiences for years to come.

To find out more visit oae.co.uk/support or contact: Alex Madgwick Head of Individual Giving alex.madgwick@oae.co.uk Telephone 020 7239 9380

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Mozart: Master of Deception

Biographies

Rachel Podger - Director and Violin Rachel Podger has established herself as a leading interpreter of the Baroque and Classical music periods. She was the first woman to be awarded the prestigious Royal Academy of Music/Kohn Foundation Bach Prize in October 2015. A creative programmer, she is the founder and Artistic Director of Brecon Baroque Festival and her ensemble Brecon Baroque, and was resident artist at Kings Place for their 2016 season Baroque Unwrapped.

Rachel celebrates her 50th birthday in 2018 with a much-anticipated recording of Bach cello suites on violin, a recording of Vivaldi Four Seasons, and an exciting and innovative collaboration with world-renowned a cappella group VOCES8, ‘Guardian Angel’.

Upcoming engagements include a collaboration with Kristian Bezuidenhout with performances in Italy (Padova), Katowice (Polish National Radio Symphony Orchestra), Antwerp (AMUZ), Amsterdam (Noorderkerkconcerten), Den Haag, Germany (Kiel), Spain (Seville), Music at Oxford, and Boston Early Music Festival (USA). Additional engagements include an international tour with The Orchestra of the Age of Enlightenment (Musica Viva, Australia and Europe); Edinburgh International Festival with Brecon Baroque; solo recitals at Eindhoven, Trondheim Barokk, Fundación Juan March (Madrid), Ohrdruf and Weimar (Germany), and Canary Islands; collaborations with I Fagiolini and BBC NOW as well as broadcasts on BBC Radio 3, continued educational work at Juilliard and the Royal Academy of Music, and a residency at Wigmore Hall.

Rachel has enjoyed countless collaborations as director and soloist with orchestras all over the world. Highlights include Robert Levin, Jordi Savall, Masaaki Suzuki, The Academy of Ancient Music, The European Union Baroque Orchestra, Holland Baroque Society, Tafelmusik (Toronto), The English Concert, The Orchestra of the Age of Enlightenment, and within the USA the Philharmonia Baroque Orchestra, San Francisco Early Music, Berwick Academy, and the Oregon Bach Festival.

Rachel records exclusively for Channel Classics with over 25 discs including the complete Mozart Sonatas. Bach's Art of Fugue with Brecon Baroque was released in September 2016 to rave reviews with playing of this sophistication, the restricted sound palette works wonderfully, supporting a calm, ruminative exploration of the many fugal devices” (The Guardian). Her latest recording with Brecon Baroque, Grandissima Gravita, will be released in 2017.

Rachel has won numerous awards including two Baroque Instrumental Gramophone Awards for La Stravaganza (2003) and Biber Rosary Sonatas (2016), the Diapason d’Or de l’année in the Baroque Ensemble category for her recording of the La Cetra Vivaldi concertos (2012), a BBC Music Magazine award in the instrumental category for Guardian Angel (2014), and multiple Diapasons d’Or. The complete Vivaldi L’Estro Armonico concertos was released in 2015 with her own ensemble Brecon Baroque and has received critical acclaim, winning the concerto category of BBC Music Magazine Awards 2016 and was shortlisted for a Gramophone Award (2015).

She is a dedicated educator and holds an honorary member of both the Royal Academy of Music, where she holds the Micaela Comberti Chair for Baroque Violin (founded in 2008), and the Royal Welsh College of Music and Drama, where she holds the Jane Hodge Foundation International Chair in Baroque Violin. She also has a developing relationship with The Juilliard School in New York.

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Orchestra of the Age of the 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.

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 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 Elder still mines 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.

Written by Andrew Mellor

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OAE team

Chief Executive Crispin Woodhead

Finance Officer Fabio Lodato

Director of Finance and Operations Ivan Rockey

Digital Content Officer Zen Grisdale

Development Director Emily Stubbs Director of Marketing and Audience Development John Holmes Director of Press Katy Bell Projects Manager Jo Perry Orchestra Manager Philippa Brownsword Librarian Colin Kitching Education Director Cherry Forbes Education Officer Andrew Thomson

Marketing and Press Officer Thomas Short Head of Individual Giving Alex Madgwick Development Manager Catherine Kinsler Trusts and Foundation Manager Andrew Mackenzie Development Trainee Andrea Jung

Board of Directors Sir Martin Smith [Chair] Luise Buchberger Steven Devine Denys Firth Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Olivia Roberts Susannah Simons Katharina Spreckelsen Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith [Chair] Edward Bonham Carter Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Luise Buchberger Steven Devine Max Mandel Roger Montgomery (Chair) Katharina Spreckelsen

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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 – Angela Moore 024

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OAE news

The World Cup of Opera We've been invited to be the house band for the first ever Glyndebourne Opera Cup, a new competition designed to discover the best young singers from around the world. With preliminary rounds in London, Philadelphia and Berlin, it's truly an international competition. The semi-finals [Thursday 22 March 2018] and final [Saturday 24 March 2018] at Glyndebourne will be ticketed and open to the public. There will also be an accompanying TV series on Sky Arts. glyndebourne.com

OAE Academy The Ann & Peter Law OAE Experience scheme for gifted young period instrument players kicks off with our intensive 2018 academy [Wednesday 24 January - Friday 26 January 2018]. Participants will have the opportunity to work with players including Maggie Faultless, Roger Montgomery and Luise Buchburger before performing at Daylight Music, a series of lunchtime concerts in Islington's stunning Union Chapel.

Christmas with the OAE and Stephen Layton Why not let us soundtrack your Christmas preparations? Begin on Monday 4 December with our performance of Handel's Messiah with the Choir of Clair College at Union Chapel. Then catch our festive double-bill at St John's Smith Square: Friday 22 December sees us perform Bach's joyous Christmas Oratorio with the Choir of Trinity College, and on Saturday 22 December we'll be exploring Handel's Messiah again with a fantastic suite of soloists including Katherine Watson, Iestyn Davies, Gwilym Bowen and Neal Davies. sjss.org.uk/whatson 025

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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 involvementin the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.

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

Corporate Partners Apax Partners E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Parabola Land Stephen Levinson at Keystone Law Swan Turton

Season Patrons Julian and Annette Armstrong Bob and Laura Cory Adrian Frost Bruce Harris John Armitage Charitable Trust Nigel Jones and Françoise Valat-Jones Selina and David Marks Sir Martin Smith and Lady Smith OBE Philip and Rosalyn Wilkinson Mark and Rosamund Williams Project Patrons JMS Advisory Limited Julian and Camilla Mash Haakon and Imogen Overli Aria Patrons Denys and Vicki Firth Madeleine Hodgkin Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Eric Tomsett Chair Patrons Felix Appelbe and Lisa Bolgar Smith – Co-principal Cello Mrs Nicola Armitage – Education Director Hugh and Michelle Arthur – Viola Victoria and Edward Bonham Carter – Principal Trumpet Anthony and Celia Edwards – Principal Oboe Sir Vernon and Lady Ellis – Co-Principal Viola James Flynn QC – Co-Principal Lute/Theorbo Paul Forman – Co-Principal Cello, Co-Principal Bassoon and Co-Principal Horn Su Li and Stephen Gibbons – Violin The Mark Williams Foundation – Co-Principal Bassoon

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 and Rosemary Shannon – Principal Horn Christopher Stewart Roger and Pam Stubbs – Sub-Principal Clarinet Crispin Woodhead and Christine Rice – Principal Timpani Education Patrons John and Sue Edwards – Principal Education Patrons Mrs Nicola Armitage Patricia and Stephen Crew The Nigel Gee Foundation Venetia Hoare Rory and Louise Landman Professor Richard Portes CBE FBA

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

Associate Patrons Noël and Caroline Annesley David and Marilyn Clark Christopher and Lesley Cooke David Emmerson Ian S Ferguson and Dr Susan Tranter Jonathan and Tessa Gaisman Peter and Sally Hilliar Noel De Keyzer Marc-Olivier and Agnes Laurent Madame M Lege-Germain Sir Timothy and Lady Lloyd Michael and Harriet Maunsell David Mildon in memory of Lesley Mildon Andrew and Cindy Peck Michael and Giustina Ryan Ivor Samuels and Gerry Wakelin Emily Stubbs and Stephen McCrum Shelley von Strunckel Rev’d John Wates OBE and Carol Wates Mr J Westwood Young Ambassador Patrons Pamela Dow William Norris Young Patrons Josh Bell and Adam Pile Marianne and William Cartwright-Hignett Sam Hucklebridge Joseph Cooke and Rowan Roberts Natalie Watson

For more information on supporting the OAE please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381

Gold Friends Mr and Mrs C Cochin de Billy Mrs A Boettcher Michael Brecknell Geoffrey Collens Hugh Courts Roger Mears and Joanie Speers Silver Friends Dennis Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper Simon Edelsten Norman and Sarah Fiore Malcolm Herring Patricia Herrmann Rupert and Alice King Stephen and Roberta Rosefield David and Ruth Samuels Susannah Simons Her Honour Suzanne Stewart Bronze Friends Tony Baines Keith Barton Dan Burt Anthony and Jo Diamond Mrs SM Edge Mrs Mary Fysh Ray and Liz Harsant The Lady Heseltine Auriel Hill Nigel Mackintosh Angus Macpherson Julian Markson Anthony and Carol Rentoul Paul Rivlin Alan Sainer Gillian Threlfall Mr and Mrs Tony Timms Mrs Joy Whitby David Wilson

Trusts and 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 Cockayne – London Community Foundation 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 Idlewild Trust 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 PF Charitable Trust PRS Foundation Pye Charitable Settlement RK Charitable Trust RVW Trust Schroder Charity Trust The Shears Foundation Valentine Charitable Trust Violet Mauray Charitable Trust

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OAE Education

A programme to involve, empower and inspire Over the past twenty years our OAE Education family has grown to include thousands of people nationwide through creative musical projects. In 2016–17 we worked with over 20,500 people, delivered more than 250 workshops and performed over 80 concerts in 22 cities, towns and villages across England.

Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places where they live. The extensive partnerships we have built up over many years helps us to engage fully with all the communities we work with to ensure maximum and lasting impact.

We take inspiration from the OAE’s repertoire, instruments and players, which 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 in the work we do.

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Vision 4 Music In 2017–18 we will be creating a programme of events inspired by the question we asked in our Musical Landscapes flagship project: ‘What world do we want to create for tomorrow?’

Vision 4 Music will encompass all our strands in our residency work.

Our TOTS programme will be based on ‘Stories of old’. Our OPERA and SCHOOLS work will focus on a newly written opera based on Purcell’s Fairy Queen by Hazel Gould and James Redwood. Our Nurturing talent work will be extended to include general teacher training, endangered instrument work and a new summer school for post A Level students. Finally, our Special Needs programme will be expanded to seven groups across the country with our new Our Band project.

Support our education programme The work we do could not happen without the support of our generous donors.

If you would like to support our Education programme please contact: Alex Madgwick Head of Individual Giving alex.madgwick@oae.co.uk Telephone 020 7239 9380 029

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Bach, the Universe and Everything

Sunday 17 December ANTIMATTER MATTERS Cantata: Darzu ist erschienen (‘For this the Son of God appeared’), BWV 40 Steven Devine director Helen Charlston alto James Way tenor Edward Grint bass with Professor Tara Shears, University of Liverpool

Marvel at our extraordinary universe and the music of Bach with our new Sunday morning series for inquiring and curious minds.

Bach wrote more than 200 cantatas, a sublime collection exploring everything from faith and hope to time and eternity.

Enjoy a different cantata every month, put into context by an inspiring speaker exploring the physics and natural philosophy of Bach’s subject matter.

• THE MUSIC It’s Christmas time, so we perform a cantata Bach wrote for the festive period, 1723. It’s not all comfort and joy, though – this one has a serious message about Jesus conquering the devil.

• THE SCIENCE Bach’s music was all about symmetries.

Professor Tara Shears also works in symmetries. A world expert in antimatter, she’ll explain how these elusive particles involve symmetries that are almost, but not quite perfect.

With a little bit of communal singing and conversation afterwards, our very own Sunday service is a place to bond with music lovers and revel in the wonders of science.

Feel invigorated, energised and inspired for the week ahead – there is no better way to start a Sunday morning.

HOW TO BOOK Online: kingsplace.co.uk/btuae Telephone: 020 7520 1490 In person: Kings Place, 90 York Way, N1 9AG Prices advertised are online rates. A £3 booking fee applies to all online and telephone bookings.

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'Beethoven tells you what it’s like to be Beethoven and Mozart tells you what it’s like to be human. Bach tells you what it’s like to be the universe.'

Douglas Adams Sunday 18 February SEEING LIFE IN A NEW LIGHT Cantata: Erfreute Zeit im neuen Bunde (‘Joyful time in the new covenant’), BWV 83 Steven Devine director Ciara Hendrick alto James Way tenor James Newby baritone with Professor Kishan Dholakia, School of Physics and Astronomy, University of St Andrews

Sunday 14 January TIME AND VISION Cantata: Lobe den Herrn, meine Seele (‘Praise the Lord, my soul’), BWV 143 Steven Devine director Charlotte Beament soprano Nicholas Pritchard tenor James Newby bass with Professor Helen F Gleeson, Cavendish Professor of Physics and Head of School of Physics and Astronomy, University of Leeds

• THE MUSIC One of Bach’s most varied cantatas.

Mixing joyful arias with funeral sounds, it’s a rollercoaster journey celebrating the glories of life and the sadness of death.

• THE SCIENCE Our guest is Professor Kishan Dholakia from the University of St Andrew’s Optical Manipulation Group. A world expert in the physics of light, he’s fascinated by how photonic imaging can unravel the mysteries of the brain.

• THE MUSIC To mark the New Year, we’ll be performing a cantata Bach wrote for New Year’s Day. As well as three solo singers, it’s notable for its unusual instruments, including timpani and three horns.

• THE SCIENCE Joining us is experimental physicist Helen Gleeson, who produced the first graphenebased liquid crystal device in collaboration with the team that discovered the wonder material at the University of Manchester.

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Upcoming concerts Visit oae.co.uk for more details on all upcoming concerts.

Rachel Podger at West London Synagogue Sunday 10 December 2017 West London Synagogue 6.30pm

Bach and Handel: Great Balls of Fire Thursday 1 March 2018 King's Place 7.30pm

Rachel Podger and singers from our Rising Stars programme join forces to perform Mozart and Gluck.

Explore the virtuosic keyboard music of Bach and Handel – who both enjoyed unrivalled reputations as master organ players. Find out what it's like to play work by these two musicians, and vote for the encore.

Christmas Oratorio Friday 22 December 2017 St John’s Smith Square 7.30pm Parts 1, 2, 3 and 6 of Bach's majestic festive masterpiece. In collaboration with The Choir of Trinity College Cambridge.

Handel’s Messiah Saturday 23 December 2017 St John’s Smith Square 7.30pm We join forces with Polyphony for Handel’s visionary, ecstatic Messiah.

In the beginning...The Creation Saturday 6 January 2018 King's Place 7.30pm Make Haydn’s Creation your first concert of 2018 with this intimate New Year performance at Kings Place.

Marin Alsop and Nicola Benedetti Sunday 4 February 2018 Royal Festival Hall, Southbank Centre 7pm Nicola Benedetti makes her first appearance with us alongside conductor Marin Alsop for a night of Beethoven performed with pure unvarnished musicality.

Bach's St Matthew Passion Monday 26 March 2018 Royal Festival Hall, Southbank Centre 7pm Celebrate Easter with Bach's St Matthew Passion, featuring an all-star line-up of singers, led by Mark Padmore.

Mozart: Master of Deception, with Sir Roger Norrington Wednesday 11 April 2018 Queen Elizabeth Hall, Southbank Centre 7pm Join us for the second of two concerts exploring the hidden secrets of Mozart’s familiar scores, with its very own two Rogers – Emeritus Conductor Sir Roger Norrington and Principal Horn Roger Montgomery.

Der Rosenkavalier Thursday 17 May 2018 Queen Elizabeth Hall, Southbank Centre 7pm We’re going to the cinema. Enjoy the big screen adaptation of Richard Strauss’ great comic opera Der Rosenkavalier, accompanied by a live orchestra playing the music Strauss himself wrote to accompany the film.

The Corridors of Power Tuesday 27 February 2018 Royal Festival Hall, Southbank Centre 7pm

How to book Southbank Centre concerts

What wins - love or duty? A packed programme explores this question through selections from Mozart and Hadyn's operas.

There are no transaction fees for in-person bookings.

For all other bookings transaction fees apply - £2.50 online, £3 over the phone.

If you wish to receive tickets by post, a 75p delivery charge applies.

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southbankcentre.co.uk/oae i020 3879 9555, daily 9am-8pm Royal Festival Hall Ticket Office, daily 10am-8pm

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Theatre Angels Love Theatre?

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What is a theatre Angel?

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The lifeblood of Commercial Theatre are the investors. The ordinary people who invest the money through Producers to make the Shows Happen.

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By doing so they join a select club of individuals who are an integral part of the producing process, and enjoy the insider benefits of glamorous press night parties, priority booking and of course if the production is successful, the financial rewards.

“Go on, be an angel” www.theatreangels.com

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Experience

Exceptional

Classical Music Tickets f ram £15

The Wigmore Hall Trust • 36 Wigmore Street London W1U 2BP

Director: John Gilhooly QBE• Registered Charity Number 1024838

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Lisa Beznosiouk [above] – Principal Flute

Bethan White [front cover] – Oboe [OAE Experience]

Principal sponsor oae.co.uk orchestraoftheageofenlightenment theoae oae_photos

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