Schiff's Surprise Wednesday 4 July 2018 Queen Elizabeth Hall Southbank Centre 7pm
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Dealers in Fine Violins, Violas, Cellos, Basses and Bows
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Harmonic Spiritual Theatre
Mon 26 March, 7.30pm St John’s Smith Square
Ex Cathedra Consort & Continuo Jeffrey Skidmore conductor Carissimi Jephte Charpentier Le reniement de St Pierre
The agonisingly beautiful lament of Jephte’s daughter concludes this programme, which opens the SJSS Holy Week Festival with glorious Lenten music by Carissimi, Charpentier, Monteverdi, Gesualdo and Anerio – whose Teatro armonico spirituale de madrigali lends the concert its name.
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Contents Welcome, Sir Andrรกs Schiff 06 Soloists and concert information 08 Orchestra & choir 09 Programme notes Misha Donat 10
Harmoniemesse text 14 Crispin explains...The Surprise Symphony Crispin Woodhead 16 Support us 18 Biographies 20 OAE team 25 OAE education 26 Supporters 28 Future concerts 31 OAE news 32
Welcome, Sir András Schiff
Sir András Schiff © Nadia F Romanini
We're thrilled to announce the distinguished pianist and conductor Sir András Schiff as our new Principal Artist. Sir András conducts and plays in tonight’s concert, and joins us again for Brahms' Piano Concertos over two nights on Monday 18 and Tuesday 19 March, 2019. He’s our sixth Principal Artist, joining Sir Simon Rattle, Sir Mark Elder, Vladimir Jurowski, John Butt and Iván Fischer. He says, “The Orchestra of the Age of Enlightenment combines exemplary musicianship with a commitment to faithfully representing the composer’s intentions, style and spirit. These principles are important to me, and I’m delighted and honoured to accept a position with this wonderful orchestra.”
Our Chief Executive, Crispin Woodhead, adds, “We discovered a special connection with Sir András Schiff in our approach to music when working together for the first time in 2013 on the Mozart piano concertos, and again in 2015 in a programme of Schumann and Mendelssohn. It felt right to cement our future with this extraordinary, virtuoso musician by inviting Sir András to become Principal Artist. Sir András is the first OAE Principal Artist to be an internationally acclaimed pianist as well as a conductor.”
Sir András Schiff biography Sir András Schiff was born in Budapest, Hungary, in 1953 and started piano lessons at the age of five with Elisabeth Vadász. Subsequently he continued his musical studies at the Ferenc Liszt Academy with Professor Pál Kadosa, György Kurtág and Ferenc Rados, and in London with George Malcolm. Recitals and special cycles, including the major keyboard works of J.S. Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann and Bartók form an important part of his activities. Since 2004 he has performed complete cycles of the 32 Beethoven Piano Sonatas in 20 cities, and the cycle in the Tonhalle Zürich was recorded live. His latest disc with ECM records, released in April 2015, features the late piano works of Franz Schubert recorded on a 1820 Viennese fortepiano made by Franz Brodmann and was recently awarded the International Classical Music Award for best “Solo Instrumental Recording of the Year”. This is the second time András Schiff has received this award. The first was in 2012 for his recording Geistervariationen with works by Robert Schumann (ECM). Sir András has worked with most of the major international orchestras and conductors, but nowadays he performs mainly as a conductor and soloist. In 1999 he created his own chamber orchestra, the Cappella Andrea Barca, which consists of international soloists, chamber musicians and friends. In addition to working annually with this orchestra, he also works with the Chamber Orchestra of Europe. Since childhood he has enjoyed playing chamber music and from 1989 until 1998 was Artistic Director of the internationally highly praised Musiktage Mondsee chamber music festival near Salzburg.
In 1995, together with Heinz Holliger, he founded the Ittinger Pfingstkonzerte in Kartause Ittingen, Switzerland. In 1998, Sir András started a similar series, entitled Hommage to Palladio at the Teatro Olimpico in Vicenza. Sir András has been awarded numerous international prizes. In 2006 he became an Honorary Member of the Beethoven House in Bonn in recognition of his interpretations of Beethoven’s works; in 2008 he was awarded the Wigmore Hall Medal in appreciation of 30 years of music-making at Wigmore Hall; in 2009 he was made a Special Supernumerary Fellow of Balliol College (Oxford, UK); in 2011 he received the Schumann Prize awarded by the city of Zwickau; in 2012 he received the Golden Mozart-Medaille by the International Stiftung Mozarteum, the Order pour le mérite for Sciences and Arts, the Grosse Verdienstkreuz mit Stern der Bundesrepublik Deutschland, and was made a Member of Honour of Vienna Konzerthaus; in December 2013 he was given The Royal Philharmonic Society’s Gold Medal; in July 2014 he was awarded an Honorary Degree of Doctor of Music honoris causa by the University of Leeds. In the spring of 2011, Sir András attracted attention because of his opposition to the alarming political development in Hungary and in view of the ensuing attacks on him from some Hungarian Nationalists, decided not to perform again in his home country. In June 2014, he was bestowed a Knighthood for services to Music in the Queen’s Birthday Honours List. András Schiff’s book, Musik kommt aus der Stille, essays and conversations with Martin Meyer, was published in March 2017 by Bärenreiter and Henschel.
Soloists, repertoire and concert info
Wednesday 4 July 2018 Queen Elizabeth Hall Southbank Centre 7pm The concert will finish at approximately at 9.10pm. There will be one 20 minute interval. Haydn – Symphony no. 94 Surprise Haydn – Piano Concerto no.11 in D INTERVAL
Haydn – Mass in B flat Harmoniemesse
Concert supported by Mark and Rosamund Williams
Sir András Schiff – conductor, piano Charlotte Beament – soprano Helen Charlston – mezzo-soprano Nick Pritchard – tenor
This concert is being broadcast live on Radio 3 and will be available to listen to for 30 days via the BBC iPlayer.
Dingle Yandell – bass Choir of the Age of Enlightenment Pre-concert talk 6pm Queen Elizabeth Hall foyer
Violin 1 Kati Debretzeni Jennifer Godson Ken Aiso Julia Kuhn Iona Davies Daniel Edgar Aliza Vicente* Violin 2 Matthew Truscott Rodolfo Richter Andrew Roberts Roy Mowatt Rachel Isserlis Debbie Diamond Bruno van Esseveld* Viola Max Mandel Nicholas Logie Martin Kelly Annette Isserlis Emma van Schoonhoven*
Alto David Clegg Christopher Field Rebekah Jones Eleanor Minney
Trumpet Neil Brough Simon Gabriel
Bass Cecelia Bruggemeyer Kate Aldridge
Timpani Adrian Bending
Flute Lisa Beznosiuk Neil McLaren
Organ James Johnstone
Oboe Daniel Bates Lars Henrikkson Clarinet Antony Pay Margaret Archibald Bassoon Philip Turbett Sally Jackson
Soprano Amy Carson Emily Dickens Rosemary Galton Hannah King
Horn Phillip Eastop Martin Lawrence
Cello Luise Buchberger Andrew Skidmore Helen Verney Martyna Jankowska*
*Participant in the Ann & Peter Law OAE Experience scheme for talented emerging period instrument players.
Tenor Matthew Beale John Bowen Christopher Fitzgerald Lombard Daniel Thomson Bass Jonathan Brown Jack Comerford William Gaunt Philip Tebb
Programme note Misha Donat
The Hanover Square Rooms in 1830
Symphony No.94 in G Surprise (1792)
Adagio – Vivace assai Andante Menuet: Allegro molto Finale: Allegro di molto
The years Haydn spent in England, from 1791-2 and 1794-5, were in many ways the most triumphant he ever experienced. A few days after he reached London for the first time he wrote to his old Viennese friend Maria Anna von Genzinger:
"My arrival caused a great sensation throughout the whole city, and I went the round of all the newspapers for three successive days. Everyone wants to know me… Yesterday I was invited to a grand amateur concert, but I arrived a little late, and when I showed my ticket they wouldn’t let me in, but led me to an antechamber where I had to wait until the piece which was being played in the hall was over.
Then they opened the door, and I was conducted, on the arm of the entrepreneur, up the centre of the hall to the front of the orchestra amid universal applause, and there I was stared at and greeted by a great number of English compliments. I was assured that such honours had not been conferred on anyone for 50 years." Of the twelve symphonies Haydn composed for London, none proved more popular than the so-called Surprise No.94. Following its first performance in the Hanover Square Rooms on 23 March 1792, The Oracle reported: “The Second Movement was equal to the happiest of this great Master’s conceptions. The surprise might not be unaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmer of a distant Waterfall, starts alarmed by the unexpected firing of a fowling-piece.”
Legend has it that Haydn introduced his explosive fortissimo chord between the two halves of the slow movement’s quiet theme in order to wake up any members of his audience who had fallen asleep. Once the joke, with its loud contribution from the timpanist, is over, the remainder of the piece is deeply serious, and it includes not only a forceful variation in the minor, but also a coda in which the theme is heard as though filtered through a haze of nostalgia. The tune itself is of almost folk-like simplicity – indeed, by the time Haydn came to compose his second great oratorio, The Seasons, nearly a decade later, it had achieved almost the status of a folk melody, and the cheerful farmer can be heard whistling it as he goes off to plough his field. The symphony begins in highly original fashion with the winds on their own. The slow introduction soon accrues a darker, more mysterious hue, before it comes to an expectant half-close with a phrase played by the first violins alone. The exceptionally quick first movement proper is set in motion by the violins, too. Their first subject begins away from the home key, so that each time it returns during the course of the piece it does so as part of a continuing musical argument. As so often in the ‘London’ symphonies, Haydn bases the major part of the movement’s first stage on a single subject before he introduces a new theme of a more popular cast – in this case, a quick waltz. Following the minuet, the symphony ends with an energetic sonata-rondo. Ingeniously, Haydn has its second subject accompanied by the rhythm and figuration of the first, thereby binding the music together. Towards the end, there is a moment of calm, as the winds give out fragments of the main theme above a long-held horn note and a quiet timpani roll. Haydn’s intention, it turns out, is to propel the boisterous conclusion – a long stretch of frenetic fortissimo activity that must have brought the house down.
Piano Concerto no. 11 in D (1784)
Vivace Un poco Adagio Rondo all’Ungarese. Allegro assai
Unlike his younger contemporary Mozart, Haydn was not himself a virtuoso performer, and concertos play a comparatively minor role in his output. Moreover, no manuscript scores survive for any of his keyboard concertos, and several works that have been attributed to him are of doubtful authenticity. The best of them, and the only one to have retained a toe-hold in the repertoire, is the D major work being performed this evening. It was issued in 1784 by the Viennese firm of Artaria, who advertised it as “the only piano concerto by Haydn that has so far appeared in print.” Throughout his life, Haydn was fascinated by the gypsy music he heard during the many years he spent as Kapellmeister at Esterháza, just across the Hungarian border from Austria. We can hear the influence of the gypsy style in such pieces as the syncopated Menuet alla Zingarese from the D major String Quartet op.20 no.4, the dark-hued improvisatory slow movement from the C major Quartet op.54 no.2, or the famous Rondo, in the Gypsies’ stile which forms the finale of the G major Piano Trio Hob.XV.25. The Rondo all’Ungarese which ends the D major piano concerto is written in the same spirit as the piano trio’s finale, and Brahms may well have been paying tribute to both these pieces when he wrote the even more paprika-spiced Rondo alla Zingarese of his G minor Piano Quartet op.25. One of the striking features of Haydn’s concerto finale is its tendency to turn from major to minor where we least expect it. Almost every re-entry of the soloist throws the music into the minor, while the movement’s central episode is itself in the minor. Here, accompanied only by the stark sound of the horns playing in octaves, the pianist launches into an unbroken chain of trills, as though Haydn were trying to reproduce the characteristic rasping sound of the Hungarian gypsy instrument called the cimbalom.
If the finale is the concerto’s most spectacular movement, the remainder of the work is if anything even finer. In the opening movement we may be struck by a mysterious moment of stillness which interrupts the music shortly before the piano makes its first appearance. The same passage returns later, elaborately decorated with a continual flow of semiquavers from the soloist, and leading to a syncopated interlude in the minor, acting almost as a harbinger of the finale’s gypsy events. The slow movement shows Haydn’s lyricism at its warmest. The repeated-note triplets in the orchestral opening bars later give rise to a wonderfully expressive passage for the soloist, replete with achingly intense harmonic suspensions. The repeated-note triplets are everywhere in evidence in the minor-mode middle section, too, after which Haydn provides a richly ornamented reprise of the opening section.
Mass in Bb Harmoniemesse (1802) By the time Haydn returned from London for the last time, in the summer of 1795, his circumstances had changed. Prince Anton Esterházy had died in the previous year, and the new Prince, Nikolaus II (the grandson of Haydn’s long-term employer) revitalised the musical life of the palace. Haydn’s duties henceforth consisted principally in supplying a new Mass each year for the name-day of the Princess, Marie Hermenegild. It was for this occasion that he wrote his six late Masses, between 1796 and 1802.
Although he lived on until 1809, the Harmoniemesse was the last important piece he was able to complete, and he spent his last years in a sad state of physical and mental decline. The Harmoniemesse owes its nickname to the opulence of its scoring: 'Harmonie' is the German for a wind-band, and in this work Haydn made full use of the grandly reconstituted orchestra at Eisenstadt — flute, two oboes, two clarinets, two bassoons, two horns and two trumpets, plus timpani, strings and organ. However much of a struggle he may have had to complete the piece it shows no signs of any weakening of his creative powers – indeed, it is in many respects the most consistently original among his series of late Masses. With the single exception of the Nelson Mass of 1798, Haydn's preceding works of the kind had each begun with a slow introduction. This time, however, the entire Kyrie and Christe are set together, as a gigantic slow movement in sonata form. Perhaps the greatest surprise of this splendid movement is the very first choral entry, on a dramatic discord, before the orchestral opening section has been allowed to run its course. At the point, three bars later, where any lesser composer would predictably have placed this entry, Haydn instead introduces the bass soloist, followed shortly afterwards by the remaining solo singers.
Hungarian Hussars with Gypsy musicians
Haydn begins the Gloria with the soprano soloist, so that the subsequent choral entry, coinciding with the first orchestral tutti, may have greater impact. The 'rocking' figure of the violin accompaniment at the very opening characterises much of the movement: it returns at the words 'bonae voluntatis'; and again — this time in the wind instruments — at the passage following the martial setting of 'Laudamus te'. The centrepiece of the Gloria is the gentle, siciliano-like 'Gratias', in which the soloists are introduced one by one, at widely spaced intervals. Just as the listener is beginning to feel that the pattern is in danger of becoming predictable, Haydn abridges the tenor's contribution, and has the bass enter almost immediately, so that the two male voices sing in duet. The breadth of this largely relaxed opening has the effect of enhancing the first choral entry, in F minor, at the words 'Qui tollis peccata mundi'. The 'Quoniam tu solus sanctus' erupts splendidly with an unexpected switch in key, and reintroducing the full orchestra. Having contributed a stirring series of fanfares, the brass instruments and timpani fall silent for a double fugue (‘In gloria Dei patris, amen'), only to reappear to still greather effect at the return to a simpler style. Even this, however, is capped by the unexpected and ecstatic entry of the soloists, before the whole movement is wound up fortissimo. The Credo again falls into three parts, alternately fast and slow. The opening section is, perhaps, not the most striking portion of the Harmoniemesse, but the 'Et incarnatus est', in which— not for the first time in the score — Haydn indulges his fondness for the warm sound of the clarinet, provides one of the work's most serenely beautiful moments. The use of the vocal forces here is particularly effective: the long opening soprano solo ends with a striking modulation to a hushed G flat major, and it is in this key that the remaining soloists enter with the words, 'Et homo factus est'. They are followed a few bars later by a forceful choral entry for the 'Crucifixus’.
The 'Et resurrexit' is surprisingly restrained. It begins in the minor, and with the brass instruments and timpani noticeably absent. As was his custom in his late Masses, Haydn is reserving his climactic moment for the 'judicare vivos', which is heralded by dramatic fanfares. The final section of the Credo, the 'Et vitam venturi', is a lilting fugue. Towards its end, the solo voices make a very brief appearance, with the soprano and tenor lines each expanded to two voices, moving in warm parallel thirds. Since the additional solo voices do not otherwise appear in the Mass, we may assume that their parts were taken by members of the chorus. If the Sanctus follows the pattern established in all of Haydn's late Masses — a slow opening section, followed by an Allegro for the “Pleni sunt coeli et terra” — the Benedictus is as unlike any of its predecessors as could be imagined. It is, indeed, an almost quirkily original symphonic Allegro in full sonata form. Its opening subject is given out pianissimo by the strings, in bare two-part writing — a texture that is, astonishingly, maintained for the first entry of the chorus, which has all the voices singing in subdued octaves. Nor is there any precedent for the concluding ‘Osanna’ of this section, which makes a return to the material of the ‘Osanna’ from the Sanctus. The use of this earlier music necessitates a sudden change in metre, together with a slight reduction in tempo. For the hymn-like Agnus Dei, which uses the solo voices throughout, Haydn moves into the radiant key of G major. The serene theme of its opening, bearing a distant kinship to God save the King, is one that he had used on two previous occasions: the slow movement of the Symphony No. 98, and the trio with chorus 'Sei nun gnädig' from The Seasons. The Agnus leads directly into what is perhaps the most thrilling and unforgettable moment of the Harmoniemesse. As the music becomes suspended on the chord of D major, the orchestra cuts in with resounding fanfares on the unison note D. A minor third is added a few bars later, imparting an overwhelming impression of the key of D minor, before the timpani enter below on the note B flat, pulling the music into the home key for the appearance of the chorus with the words, 'Dona nobis pacem'. This great inspiration of prefacing a prayer for peace with the savage sounds of war was one that Beethoven was to raise to greater heights in his Missa solemnis. © Misha Donat 2018
Harmoniemesse text Kyrie Kyrie eleison Christe eleison Kyrie eleison
Kyrie Lord, have mercy. Christ, have mercy. Lord, have mercy.
Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te.
Gloria Glory to God in the highest, and on earth peace, to men of good will. We praise thee, we bless thee, we adore thee, we glorify thee.
Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis; Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.
We give thanks for thy great glory, O Lord God, heavenly King, God the Father Almighty. O Lord Jesus Christ, the only-begotten Son! O Lord God, Lamb of God, Son of the Father, Who takest away the sins of the world, have mercy upon us. Who takest away the sins of the world, receive our prayer. Who sittest at the right hand of God the Father, have mercy upon us.
Quoniam tu solus Sanctus, Tu solus Dominus, Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen.
For thou only art holy. Thou alone art Lord. Thou only art most high, O Jesus Christ, together with the Holy Ghost, in the glory of God the Father. Amen.
Credo Credo in unum Deum. Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum, Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de caelis.
Credo I believe in one God, the Father almighty, creator of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, only-begotten Son of God, born of the Father before all ages; God of God, light of light, true God of true God. begotten, not made, in one with being with the Father: by whom all things were made. Who for us men and for our salvation, came down from heaven; 014
Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato: passus, et sepultus est.
And was incarnate by the Holy Ghost of the Virgin Mary; and was made man. He was crucified also for us, suffered under Pontius Pilate, and was buried.
Et resurrexit tertia die, secundum Scripturas, Et ascendit in caelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria, iudicare vivos et mortuos, cuius regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Et unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, Et vitam venturi saeculi. Amen.
And the third day He rose again according to the scriptures; And ascended into heaven, He sitteth at the right hand of the Father and He shall come again with glory to judge the living and the dead; His kingdom shall have no end. And in the Holy Ghost, the Lord and giver of life, who proceedeth from the Father and the Son: who together with the Father and Son is adored and glorified; who spoke through the Prophets. And in one holy catholic and apostolic Church. I confess one baptism for the remission of sins. And I await the resurrection of the dead, and the life of the world to come. Amen.
Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.
Sanctus Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory. Hosanna in the highest.
Benedictus qui venit in nomine Domini.
Blessed is he who comes in the name of the Lord.
Hosanna in excelsis.
Hosanna in the highest.
Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, have mercy on us. Lamb of God, who takes away the sins of the world, grant us peace. 015
Crispin explains...Haydn's Surprise Symphony
One thing we easily forget about Haydn is that when he was writing his symphonies, it was big business and there was money to be made. When he came to London in the 1790s he found himself in a ratings war, a bit like The Voice versus Britain’s Got Talent. It was all about getting people in and making sure the experience was something they would talk about and remember.
The second movement, the Andante, gives the symphony its name and celebrity status. It starts simply, just the common notes in each scale dancing up and down on the strings - it’s so naïve and innocent, like a children’s nursery rhyme. And then suddenly, out of the blue, the whole orchestra comes in together in a surprise blast. They talked about women fainting, it was such a stunning event.
It just so happens that when Haydn was in London, so was one of his brilliant pupils, Pleyel. He knew Pleyel was major competition, so he needed a hit – something people would be thrilled by. So what he did was literally thump the timpani, (the German for this, Paukenschlag, became a familiar name for the Symphony) to stir up the audience, and create a huge amount of excitement that people roared and cheered about.
But it’s actually what follows in this piece, quite apart from this joke, which is the real surprise. The simple start leads to the drama and storm of a minor key, virtuosic writing and all kinds of interplay between ideas and remodelling of the tune. He keeps the audience on their toes with ingeniously inventive variation on that simple tune – a ditty that seemed so content just as it was. Listen how the movement ends in an afterthought of enigmatic harmony, the bass instruments lingering on something more profound and, just as we wonder what that might be, it's all gone in a dash of wit.
Another thing we forget about Haydn is that he really was up for audience engagement. He wanted people to cheer and whoop and cry out when things happened. He wasn't satisfied by the stony silence of an audience neatly waiting for the last chord. He wanted his audience right in there with him, responding and engaged, and this is what the Surprise Symphony is all about.
That’s the story of Haydn, the king of symphonies, the consummate master of how to present an idea then pull you from your seat into the orchestra and into his world. Crispin Woodhead Watch the full video youtube.com/orchestraoftheageofenlightenment
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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. For more information please contact: Emily Stubbs Development Director email@example.com Telephone 020 7239 9381 OAE Friends As an OAE Friend [from £50], you can be sure to get your hands on your favourite seats with our priority booking period. You’ll also benefit from a unique insight into the inner workings of the Orchestra with regular rehearsal access, opportunities to meet the players and invitations to other events throughout the season. Join the OAE Friends at oae.co.uk/support or contact: Helena Wynn Helena.firstname.lastname@example.org Telephone 020 7239 9386 OAE Corporate supporters OAE Corporate supporters recognise the need for corporate sponsorship of the arts and relish the experiences such sponsorship affords. A wide variety of options awaits companies looking to offer their staff or clients the opportunity to experience live classical music performances. From private recitals in exclusive clubs, to Gala dinners with internationally-acclaimed stars and the unparalleled delights of Glyndebourne Festival Opera, our OAE Corporate supporters benefit from unforgettable events. To find out more visit oae.co.uk/support or contact: Catherine Kinsler Development Manager email@example.com Telephone 020 7239 9370
OAE Patrons OAE Patrons [from £1,000] enjoy unrivalled access to our artistic activity, with opportunities for involvement including invitations to Glyndebourne dress rehearsals, dinner with OAE players and guest artists, Patron trips, and the chance to select a concert in our Southbank Centre season, gaining special insight into the artistic process through backstage and rehearsal access. 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: Marina Abel Smith Head of Individual Giving firstname.lastname@example.org Telephone 020 7239 9380
Images opposite, left to right: Steven Devine – Co-Principal Keyboard Roger Montgomery – Principal Horn Simone Jandl – Co-Principal Viola
Charlotte Beament British Soprano Charlotte Beament is a first class honours graduate of the Guildhall School of Music. With the OAE she has recently returned from a trip to Shanghai performing a concert of Strauss songs and made her Queen Elizabeth Hall debut with the same programme in May. She also made another debut this year at Kings Place under the baton of Ádám Fischer, singing Haydn’s Creation. Charlotte’s operatic roles and covers include Armilla in Porpora’s L’Agrippina (Barber Opera), Semele Semele (Garsington), Mabel The Pirates of Penzance (ENO), Tytania A Midsummer Night’s Dream, Serpetta La Finta Giardiniera, Barbarina Le Nozze di Figaro, Lucia The Rape of Lucretia, Une Pastourelle L’enfant et les Sortiléges, La Priestess Hippolyte et Aricie, (GFO), Zerlina Don Giovanni, Michal Saul, Teresa The Yellow Sofa (GTO), Berenice Berenice, (LHF), Belinda Dido and Aeneas (Brighton Festival), and Enone/Proserpine La Descente D’Orfée Aux Enfers (Jerwood Young Artist Scheme). Other recent performances include Shadow Marnie 1 in the world premiere of Nico Muhly’s Marnie and the role of Miss Schlesen in Phillip Glass’ Satyagraha at the Coliseum for English National Opera and an early music concert with HEMF baroque ensemble at the Hastings Music Festival. Forthcoming engagements include the cover of Tytania in Britten’s A Midsummer Night’s Dream (ENO), Haydn’s Nelson Mass (Bath Festival) and a tour of Bach’s B Minor Mass (Gabrieli Consort).
Helen Charlston Hailed “a rather special mezzo” (Music Web International), Helen Charlston began singing as chorister and head chorister of the St Albans Abbey Girls Choir. She then studied music at Trinity College, Cambridge where she held a choral scholarship for four years. A young artist increasingly in demand in the UK and abroad, Helen won First Prize in the 2018 London Handel Singing Competition. Recent concert highlights include Telemann Ihr Völker hört with Florilegium at Wigmore Hall, Schoenberg’s Lied der Waldtaube at Cadogan Hall, Handel Jephtha at the London Festival of Baroque Music and Mendelssohn Lobgesang with Royal Northern Sinfonia at Sage Gateshead. Helen has often been heard on BBC Radio 3 in live radio concert relays, as a guest on In Tune and features on Hyperion’s newly released recording of Bach B Minor Mass (Orchestra of the Age of Enlightenment/Trinity College Choir for Hyperion). Further afield, solo roles include Bach St Matthew Passion at Grand Théâtre de Provence as part of the Aix-en-Provence Festival de Pâques (Gabrieli Consort and Players/Paul McCreesh); a worldwide tour of Handel Messiah with the Seattle Symphony, the Western Australian Symphony Orchestra and Adelaide Symphony Orchestra; Bach Magnificat in D (Auckland Symphony Orchestra/Stephen Layton); Mozart Requiem at the Three Choirs Festival (Philharmonia Orchestra/Simon Halsey); Duruflé Requiem in Frankfurt Cathedral; Handel Dixit Dominus at the Eliat Chamber Music Festival, Israel (Gabrieli Consort and Players/Paul McCreesh) and Elgar Sea Pictures with Cambridge University Sinfonia.
Nick Pritchard Nick Pritchard read music as a choral scholar at New College, Oxford and studied at the Royal College of Music International Opera School. Last year, he won the 2017 Whatsonstage Opera Poll award for Breakthrough Artist in UK Opera. Highlights to date include King Arthur for the Early Opera Company (Christian Curnyn), Bach's Mass in B minor with the Monteverdi Choir (Sir John Eliot Gardiner), Bach’s St Matthew Passion with the St Paul Chamber Orchestra (Paul McCreesh), Bach Cantatas with Ensemble Pygmalion (Raphaël Pichon), Matthew in Mark Simpson’s Pleasure for Opera North, and Prologue The Turn of the Screw for Opera Holland Park Recent and future engagements include Lysander A Midsummer Night’s Dream for the Aldeburgh Music Festival, Amphinomus Il ritorno d’Ulisse in patria for the Royal Opera House, Ferrando Così fan tutte for Opera Holland Park, Henry Crawford Mansfield Park for The Grange Festival, Acis Acis and Galatea for the London Handel Festival (Laurence Cummings), John/Angel 3 Written on Skin with Melos Sinfonia (Oliver Zeffman), Britten’s Les Illuminations and Serenade with L’Orchestre de Chambre de Paris (Adrien Perruchon), Charpentier’s Te Deum with the Early Opera Company at Wigmore Hall, Bach’s St John Passion arias/Evangelist with the BBC National Orchestra of Wales (John Butt), Polyphony (Stephen Layton), and in New York with the Choir of New College, Oxford.
The singers performing tonight were all appointed in 2017 as Rising Stars of the Enlightenment, our programme for brilliant young vocal talent. We are extremely grateful to all of our supporters of this scheme (listed on the supporters pages).
Dingle Yandell British Bass-Baritone Dingle Yandell studied at the Guildhall School of Music and Drama with Brian Parsons and now studies singing independently with Jessica Cash. He is a recent alumni of The National Opera Studio, London and is the grateful recipient of a Sybil Tutton Opera Award administered by Help Musicians UK. Recent operatic roles have included the title role in Don Pasquale for Rye Arts Festival, Don Alfonso and Figaro from scenes of the Da Ponte Operas at Opera North conducted by Aleksandar Markovic, Talbot from Maria Stuarda and Collatinus from The Rape of Lucretia at Welsh National Opera directed by Elaine Kidd and Mel from scenes of The Knot Garden at Sadlers Wells directed by Graham Vick. He has recently given a recital of operatic arias for Rhinegold Live, a recital of German Lieder with Ian Burnside and a recital of English Song with Susan Bullock. Recent solo work includes A Venetian Coronation with the Gabrieli Consort and Paul McCreesh at the Lincoln Centre in New York and a tour with Holland Baroque. Dingle was a founder member of the award-winning British ensemble Voces8 with whom he toured internationally for ten years. He appeared regularly on BBC Radio, Classic FM and MPR and was a Decca Classics recording artist. Solo concert engagements have included Bach Christmas Oratorio and Handel Messiah at Hitomi Hall, Tokyo, Bach Wachet Auf and Erfreut Euch at Dijon Opera House, Vaughan Williams Serenade to Music directed by John Wilson at The Royal Festival Hall, Williams Fantasia on Christmas Carols at Isumi Hall, Osaka, The Cold Song from Purcell's King Arthur with Les Inventions, Purcell O Sing Unto the Lord with the Gabrieli Consort, Phoebus in Purcell Dido and Aeneus with L'Arpeggiata at The Festival Oude Muziek Utrecht, Beethoven 9th Symphony at Colston Hall Bristol, Theodora with Basingstoke Choral Society, Dvorak Stabat Mater at Winchester Cathedral and Rossini Stabat Mater for the Rossini Society. 021
Orchestra of the Age of Enlightenment “Not all orchestras are the same”.
Choir of the Age of Enlightenment The Choir of the Age of Enlightenment is a group of professional singers, many of whom are soloists in their own right. Originally the choir had appeared exclusively with the Orchestra of the Age of Enlightenment – at British and European festivals, as well as regularly as part of their concert series at London’s Southbank Centre. However 2016 saw the choir performing their first unaccompanied concerts, without the OAE by their side. The Choir has taken part in many of the OAE’s recordings over the years, including Monteverdi’s Vespers of 1610, Purcell’s Dido and Aeneas, Bach Cantatas with Gustav Leonhardt, and Mozart’s Così fan tutte with Sir Simon Rattle. It has also appeared frequently on radio and television with the Orchestra, perhaps most memorably in July 2000 when the Choir and Orchestra performed Bach’s B Minor Mass at the BBC Proms on the 250th anniversary of his death. During recent seasons the Choir of the Age of Enlightenment has performed with the Orchestra in the UK and further afield, working on a wide range of repertoire with conductors such as Richard Egarr, Emmanuelle Haim, John Butt, Sir Roger Norrington and Sir Mark Elder. In 2013 the Choir performed the Brahms Requiem at the BBC Proms with Marin Alsop and the OAE. One review praised ‘the most homogenous sound I think I’ve ever heard from a choir….they rightly received the loudest ovation of the night’.
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 and inventing as long as it lived. Residencies at the Southbank Centre and the Glyndebourne Festival didn’t numb its experimentalist bent. A major record deal didn’t iron out its quirks. Instead, the OAE examined musical notes with ever more freedom and resolve. That creative thirst remains unquenched. Informal night-time performances are redefining concert formats. New generations of exploratory musicians are encouraged into its ranks. Great performances now become recordings on the Orchestra’s own CD label. It thrives internationally: New York and Amsterdam court it; Oxford and Bristol cherish it. In its 32nd year, the OAE is part of our musical furniture. But don’t ever think the ensemble has lost sight of its founding vow. Not all orchestras are the same. And there’s nothing quite like this one.
Andrew Mellor © 2018
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Board of Directors Sir Martin Smith [Chairman] Luise Buchberger Steven Devine Denys Firth Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Imogen Overli 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 Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington
OAE Education news
OAE TOTS at Saffron Hall
Vision 4 Music In June we have been on the road a lot! Our OAE Education residencies in London, Wiltshire and Norfolk featured retellings of Purcell’s The Fairy Queen for children aged two to 14 in four different age groups – TOTS, Key Stage (KS) 1, KS2 and KS3. We also completed the first year of three of our special needs projects in Norfolk, Plymouth and London, culminating in performances to friends and family of mini operas inspired by Purcell’s Dido and Aeneas. Our OAE TOTS concerts for the youngest of music lovers visited Saffron Hall in Essex for the very first time. One parent commented, “My two girls are now singing themselves to sleep with ‘the apple tree is loaded with fruit!!’….. amazed! Your concert certainly had impact – fantastic!” Support our education programme
The work we do could not happen without the support of our generous donors. If you would like to support our Education programme please contact: Marina Abel Smith Head of Individual Giving email@example.com Telephone 020 7239 9380
The Paston Papers
The Paston Papers are a collection of hundreds of letters dating back to 15th century Norfolk and are a fascinating record of the life and times of the Paston family who lived there. The earliest known Paston letter was written in 1408, and, to mark the 600th anniversary, our Education team were involved in a weekend of musical events including TOTS workshops and concerts, care home visits, a pub gig and a musical adventure walk around Holt Country Park. These events culminated in a concert designed by Rob Howarth with the Orchestra at St Nicholas Church in North Walsham on Sunday 1 July. The concert featured a specially-commissioned piece titled Agnes â€“ a pocket oratorio by composer Sarah Rodgers featuring soprano Julia Doyle and the boys, girls, and men of the Choir of St Nicholas, North Walsham, directed by David Ballard.
A programme to involve, empower and inspire So far this season we have undertaken Over 200 workshops
50 concerts With over 18,000 people across the country
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.
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 Mark and Rosamund Williams Project Patrons JMS Advisory Limited Julian and Camilla Mash Haakon and Imogen Overli Philip and Rosalyn Wilkinson Aria Patrons Denys and Vicki Firth Madeleine Hodgkin Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Caroline Steane 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 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 Rising Stars Supporters Di Allison Mrs Rosamund Bernays Denys and Vicki Firth Bruce Harris Madeleine Hodgkin Mark and Sarah Holford Nigel Jones and Francoise Valat-Jones Peter and Veronica Lofthouse Mark and Eliza Loveday Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli The Reed Foundation Associate Patrons Julia Abel Smith 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
We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm.
Jonathan Parker Charitable Trust Noel De Keyzer Marc-Olivier and Agnes Laurent Madame M Lege-Germain Sir Timothy and Lady Lloyd Michael and Harriet Maunsell John Nickson & Simon Rew Roger Mears and Joanie Speers David Mildon in memory of Lesley Mildon Andrew and Cindy Peck 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 William Norris Young Patrons Josh Bell and Adam Pile Nina Hamilton Marianne and William Cartwright-Hignett Sam Hucklebridge Joseph Cooke and Rowan Roberts Natalie Watson Gold Friends Michael Brecknell Mr and Mrs C Cochin de Billy Geoffrey Collens Hugh Courts Silver Friends Dennis Baldry Mrs A Boettcher Haylee and Michael Bowsher Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper 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
For more information on supporting the OAE please contact: Emily Stubbs Development Director firstname.lastname@example.org Telephone 020 7239 9381
Bronze Friends Tony Baines Keith Barton Mr Graham Buckland 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 Stephen & Penny Pickles Anthony and Carol Rentoul Paul Rivlin Alan Sainer Gillian Threlfall Mr and Mrs Tony Timms Mrs Joy Whitby David Wilson Trusts and foundations AMK Angus Allnatt Charitable Foundation Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Barbour Foundation Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement Catherine Cookson Charitable Trust The Charles Peel Charitable Trust Chapman Charitable Trust Chivers Trust Cockayne – London Community Foundation John S Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Esmee Fairbairn Foundation Fenton Arts Trust Foyle Foundation Garfield Weston Foundation Geoffrey Watling Charity The Golden Bottle Trust Goldsmiths’ Company Charity
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Like what you heard tonight? There are plenty of opportunities to hear us throughout the year...
Handel's spectacular oratorio returns
Brahms Piano Concertos 1 and 2
Monday 18 and Tuesday 19 March 2019 Royal Festival Hall 7pm
19 July - 25 August 2018 Glyndebourne Various times
Written 22 years apart, Brahms’ only piano concertos are snapshots of his life. The first is youthful, raw and expressive; the second is mature, structured and wiser. Both embody radical ideas of the 19th century, when revolution was in the air and artists joined political movements to overturn the old order.
Barrie Kosky’s blazingly original and visually spectacular staging of Handel’s oratorio returns for a first revival.
We perform these blockbuster piano concertos over two nights with our new Principal Artist, Sir András Schiff, paired with symphonies by Brahms’ friend and inspiration, Robert Schumann. Monday 18 March 2019 – Brahms Piano Concerto no. 1; Schumann Konzertstück and Symphony no. 4 Tuesday 19 March 2019 – Brahms Piano Concerto no. 2; Schumann Symphony no. 3
Handel’s vision of a Lear-like king is astonishing in its psychological complexity, offering a musical portrait of mental collapse few have since matched. Combined with thrilling choruses , exquisite arias and bold orchestration filled with unusual instruments, it creates a Biblical drama of truly Shakespearean scope. Handel expert Laurence Cummings conducts an all-star cast, including Festival favourites Iestyn Davies and Allan Clayton. Laurence Cummings – Conductor Barrie Kosky – Director
Visit oae.co.uk for more details on all upcoming concerts.
Our new Box Office Manager Starting today in the office is Mark Ennis, our first ever Box Office Manager. His job is to set up our Box Office so that soon, if you prefer, you’ll be able to book tickets directly through us for many of our concerts.
Summer in Europe It’s a bumper summer for us, with performances at four festivals across the continent. Kinga Ujszászi
First up, Katherine Watson sings Handel at the Festival Internacional de Santander (Sun 19 Aug). Then we’re off to Germany for a spectacular double-header in the historic Eberbach Monastery at the Rheingau Music Festival (Thu 30 and Fri 31 Aug). Ádám Fischer conducts us at Bonn’s Beethovenfest (Sat 8 Sep), and then we round off the summer with a very special visit to Prague for the Dvorák Festival (Sun 16 Sep) to play Elgar, Schubert and, of course, Dvorák.
Our section violin appointments It's always very exciting to have new player members joining the orchestra. Our six new violinists have already been playing with us for over 18 months and we look forward to having them perform with us over the course of many more seasons. They are: Iona Davies Dan Edgar Alice Evans Julia Kuhn Henry Tong Kinga Ujszászi
Photo: Elena Lekhova
Dancing with the Stars
Students 12+ yrs
Faculty Sarah Lamb Yasmine Naghdi Federico Bonelli Begoña Cao Roberta Marquez Stephen Beagley Vanessa Fenton Susan Robinson Andrew Ward
4 Day Easter Ballet Course
30 March – 02 April
Venue: RAD Studios London
BOOK NOW Call 020 8480 7118 or book online Quote “GOOD” and get £10 off!
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Simone Jandl – Co-Principal Viola [above] and Peter Whelan [front cover] – Co-Principal Bassoon
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Audience programme for our Schiff's Surprise concert on Wednesday 4 July at Queen Elizabeth Hall, Southbank Centre. Pick up a free hard copy...
Published on Jul 3, 2018
Audience programme for our Schiff's Surprise concert on Wednesday 4 July at Queen Elizabeth Hall, Southbank Centre. Pick up a free hard copy...