SEA VOYAGES AND SALVATION
GRAUPNER Fahre auf in die Höhe
TELEMANN Concerto for three oboes and three violins in B flat BRUHNS Mein Herz ist bereit
JS BACH Cantata BWV 56 Ich will den Kreuzstab gerne tragen
Recorded at New St Lawrence Church, Ayot St Lawrence May 2021
Director/Solo Baritone Roderick Williams Director/Leader Kati Debretzeni Violin Kati Debretzeni Kinga Ujszaszi Nia Lewis Viola Martin Kelly Cello Jonathan Manson Double Bass Cecelia Bruggemeyer Oboe Katharina Spreckelsen Sarah Humphrys Bethan White (+ taille) Bassoon Zoe Shevlin Organ Steven Devine
We are grateful for the support of Christine Stevenson and the parish of Ayot St Lawrence.
PROGRAMME NOTES RIchard Bratby
FAHRE AUF IN DIE HÖHE, GWV 1146/46 Christoph Graupner (1683-1760) In the summer of 1722, Georg Philipp Telemann declined the post of Kantor at St Thomas’s Church in Leipzig. Disappointed, the chairman of the appointment committee offered the job to their second choice, Christoph Graupner. It was a sound decision: Graupner had trained in Leipzig before playing beside the young Handel as a violinist in the Hamburg Opera orchestra. Since 1711, he’d been hofkapellmeister to the Landgrave of Hesse-Darmstadt. A connoisseur of the rare and valuable, the Landgrave refused to release Graupner from his contract. Councillor Platz, frustrated, declared that “since the best man could not be hired, a mediocre one will have to be tolerated instead”. Graupner recommended an alternative, a musician who was (he said) “as strong on the organ as he is expert in church music". The Leipzig committee duly swallowed their disappointment, accepted Graupner’s recommendation and gave the post to Johann Sebastian Bach. It’s a story that makes modern jaws drop: but it does demonstrate Graupner’s contemporary reputation as a composer of sacred music (and his lifetime total of some 1400 cantatas makes Bach’s look modest). Fahre auf in die Höhe was composed in June 1746 for the fifth Sunday in Trinity at Darmstadt, to text by the court chaplain (and Graupner’s relative by marriage) Johann Conrad Lichtenberg. The basic pattern of chorales and arias will be familiar to anyone who loves Bach’s cantatas, but the eloquent lyricism of Graupner’s setting – framing the bass voice amid a deep-hued string accompaniment, with a bassoon for added sonorous warmth – is wholly Graupner’s own.
CONCERTO IN B FLAT FOR THREE OBOES AND THREE VIOLINS TWV 44:43 Georg Philipp Telemann (1681-1767) Allegro Largo Allegro Telemann’s family never wanted him to be a musician. They feared (as he recalled, in his autobiography) “that I would end up as charlatan, tightrope walker, minstrel, or marmot trainer”. But he persevered, cultivating friendships as energetically as, in later life, he tended his garden of rare plants: Handel was a lifelong correspondent and Bach regarded Telemann so fondly that he made him godfather of his son Carl Philipp Emanuel (whose middle name is no coincidence). Hamburg, where Telemann worked for most of his life, was (and is) a bustling port city: a cosmopolitan crossroads of ideas and cultures where musical innovations arrived early and were swiftly embraced. (It’s no coincidence that The Beatles found their voice there). This irresistible mini-masterpiece (believed to date from around 1740) for three violins, three oboes and an unspecified bass shows Telemann as a master of the bravura Italian concerto style, as pioneered by Vivaldi. The two trios of soloists operate as teams – calling and answering – and the melodies are clear-cut and lively, especially in the bounding final jig. This is music designed to make an instant appeal, as well as providing endless entertainment to connoisseurs (Telemann’s multi-purpose bass line opened the option of playing the Concerto at home). But in the C minor central Largo he suddenly shifts perspective into an altogether more melancholy world. The emerging trend was for expressive emotion, or “sensibility” - and Telemann, a man of fashion as well as feeling, always stayed one step ahead of the crowd.
MEIN HERZ IST BEREIT Nicolaus Bruhns (1665-1697) Every music lover knows how in 1705, the 20-year old Johann Sebastian Bach walked 280 miles from Arnstadt to Lübeck in order to hear Dieterich Buxtehude playing the organ. Nicolaus Bruhns, born in the coastal port of Husum, had a slightly easier journey: as the descendant of a family of Lübeck musicians he was sent to the great Hanseatic port at the age of sixteen to study with Buxtehude himself. Buxtehude was impressed and recommended Bruhns for an organist’s post in Copenhagen but Bruhns soon returned to Husum as organist, and refused to be lured away (even for generous fees). Few of his compositions survive. As an organist, he was far more given to improvisation – meaning that much of the music that his contemporaries admired most passionately was heard once and lost forever. But we do have this spirited little motet – well really, half motet, half violin concerto. Believed to date from around 1690, it’s a gloriously exuberant response to Psalm 57: “My heart, O God, is steadfast, I will sing and make music”. The bass soloist declaims the text, and Bruhns relishes its theatricality – firing vocal fanfares into the sky on the words “Wache auf!”. Meanwhile the solo violin embodies the soul – by turns ebullient and stately, anticipating and accompanying the singer, as it sings and dances for joy. Bruhns was a skilled violinist and there’s every reason to suppose that in Husum – where the local musicians were of distinctly mixed ability – he performed this music himself.
CANTATA BWV 56, ICH WILL DEN KREUZSTAB GERNE TRAGEN Johann Sebastian Bach (1685-1750) Johann Sebastian Bach was a working musician; the cantatas that he wrote in his role as Kantor at St Thomas’s Church in Leipzig were intended for – and tailored to – quite specific dates in the church calendar. The solo Cantata No.56, Ich will den Kreuzstab gerne tragen, was first performed on 27th October 1726 – the nineteenth Sunday after Trinity, and the third occasion upon which Bach had composed a cantata for this specific liturgical occasion. The prescribed New Testament reading for that particular Sunday came from the Book of Matthew, and opens with a description of Christ’s journey across the Sea of Galilee to Capernaum. So Bach themed his whole cantata around the idea of faith as a lifelong voyage – specifically a sea voyage. The poet was most probably the Leipzig theologian (and Bach’s sometime student) Christoph Birkmann, and Bach sets his text for an orchestra that included two oboes and a taille (or alto oboe), colouring each movement to illustrate the poetic images. A solo oboe brightens the bass soloist’s optimistic central aria, Endlich, endlich wird mein Joch – circling above the musical texture like the eagle that the poet describes. First, though, comes an opening aria whose yearning, straining vocal line echoes the burden of the Cross, and a recitative in which a solo cello rocks like a small boat on a choppy sea. With the solemn final chorale (by the 17th century hymnist Johann Franck), the voyage reaches its peaceful destination: safe in the eternal harbour of Christ’s love.
TEXT AND TRANSLATION Graupner Fahre auf in die Höhe Dictum Fahre auf in die Höhe, und werfet eure Netze aus, dass ihr einen Zug tut.
Dictum Go up on high, and cast out your nets, So that you make a catch.
Recitativo Wirft man in Jesus Wort und Willen sein Nahrungsnetze aus, so kommt ein Überfluss ins Haus, denn Er kann Netz und Schiffe füllen. Ach ja, wer Jesus Lehre ehrt und lässt sich durch dies Netz in dessen Folge ziehen, dem wird auf weniges Bemühen ein reicher Segen zugekehrt
Recitative If you cast out your nets for sustenance in the word and will of Jesus, plenty shall come to your house, for He can fill net and ship. Yes, he who honours Jesus' teaching and will be drawn after him by this net, will be given a rich blessing for the lightest toil.
Aria Großes Haupt der Menschenfischer, schließ mich in Dein Netze ein. Werd’ ich Dein Gefang’ner sein, ach! so wird in Deinen Stricken mich viel tausend Trost erquicken. Jesu, ja, mein Herz ist Dein.
Aria Great captain of the fishers of men, take me up in your nets. If I become your catch, Ah! in your bonds many thousands of comforts will refresh me. Jesus, yes, my heart is yours.
Choral Mir hat die Welt trüglich gericht’t mit Lügen und mit falschem G’dicht, viel Netz und heimlich Stricke. Herr, nimm mein’ wahr in dieser G’fahr, b’hüt mich vor falschen Tücke
Chorale The world has led me astray with lies and falsehood many nets and hidden snares. Lord, keep me safe in this danger protect me from teacherous perils.
Recitativo Wir schweben hier im Meer der Welt, wo Gott Sein’ Netze emsig ziehet und Sich bemühet, durch’s Wort die Herzen zu gewinnen. Doch Satan stellt auch seine Netz und Stricke. Er lockt und reizt die Sinnen durch Lust und Eitelkeit, dass er das Herz zum Fall berücke. Erbarm Dich, Herr der Christenheit,
Recitative We float here in the sea of the world where God diligently draws his nets and seeks to win hearts through the Word. But Satan also sets his nets and traps. He tempts and entices our sense with Vanity and pleasure to lure our hearts to perdition. Have mercy, King of Christianity,
lass doch dem Feind den Zug nicht so gelingen. Lass deines Wortes Netz allzeit viel Segen bringe
Do not let the enemy win his catch. May the net of your word always bring great blessings.
Aria Segne, Jesu, Deine Lehre segne Deiner Knechte Zug. Will der Feind sein Handwerk preisen, ach, so lass sein Netz zerreißen und entdecke den Betru
Aria Bless, Jesus, your teaching Bless the fisher's haul of your servants. If the enemy boast his handiwork, Ah, let his net be ripped apart and the treachery be exposed.
Recitativo Hilf, Herr, dass ich in meinem Amt und Stand allzeit ein reines Netze ziehe und aller Eitelkeiten Tand als Satans Netz und Stricke fliehe. Und kann ich denn an meinem Ende des Todes Stricken nicht entgeh’n, so eile Herr mir beizusteh’n und nimm dann meine Seel’ in Deine Vaterhände.
Recitative Help, O lord, that I in word and deed may always draw a pure net And avoid the sham of vanities of Satan's nets and traps. And if at my life's end I cannot escape the bonds of death, So hurry Lord to my side, and then take my soul into your fatherly hands.
Choral Herr, meinen Geist befehl’ ich Dir, mein Gott, mein Gott, weich’ nicht von mir, nimm mich in Deine Hände. O wahrer Gott, aus aller Not hilf mir am letzten En
Chorale Lord, I commend my spirt to You, My God, my God, stray not from me, Take me in Your hands. O true God, Out of all adversity Help me at my last.
Bruhns Mein Herz ist bereit Mein Herz ist bereit, Gott, dass ich singe und lobe. Wache auf, meine Ehre, wache auf. Wohlauf, Psalter und Harfen wohlauf! Früh will ich aufwachen. Herr, ich will dir danken unter den Völkern, ich will dir lobsingen unter den Leuten. Denn deine Gnade reichet so weit der Himmel ist und deine Wahrheit, so weit die Wolken gehen. Erhebe dich, Gott, über den Himmel und deine Ehre über alle Welt. Alleluia
My heart is fixed, O God, my heart is fixed: I will sing, and give praise. Awake up, my glory; awake, lute and harp: I myself will awake right early. I will give thanks unto thee, O Lord, among the people: and I will sing unto thee among the nations. For the greatness of thy mercy reacheth unto the heavens: and thy truth unto the clouds. Set up thyself, O God, above the heavens: and thy glory above all the earth.
JS Bach Cantata BWV 56 Ich will den Kreuzstab gerne tragen Arie Ich will den Kreuzstab gerne tragen, Er kömmt von Gottes lieber Hand, Der führet mich nach meinen Plagen Zu Gott, in das gelobte Land. Da leg ich den Kummer auf einmal ins Grab, Da wischt mir die Tränen mein Heiland selbst ab.
Aria I will gladly carry the cross, It comes from God's beloved hand, It leads me after my tribulations, To God, into the promised land. There I will lay to rest my sorrows in the grave Then my saviour himself will wipe away my tears.
Rezitativ Mein Wandel auf der Welt Ist einer Schiffahrt gleich: Betrübnis, Kreuz und Not Sind Wellen, welche mich bedecken Und auf den Tod Mich täglich schrecken; Mein Anker aber, der mich hält, Ist die Barmherzigkeit, Womit mein Gott mich oft erfreut. Der rufet so zu mir: Ich bin bei dir, Ich will dich nicht verlassen noch versäumen! Und wenn das wütenvolle Schäumen Sein Ende hat, So tret ich aus dem Schiff in meine Stadt, Die ist das Himmelreich, Wohin ich mit den Frommen Aus vielem Trübsal werde kommen.
Recitative My sojourn in the world Is like a voyage at sea: Sadness, suffering and need Are waves which overwhelm me And until death Are a daily terror; My anchor, though, that holds me still, Is the compassion With which my God often consoles me. He calls to me thus: I am with you, I will not ever abandon or forsake you! And when the foaming billows Come to an end, I will step off my ship into my city; Which is the heavenly kingdom, Where I with the righteous will enter after much travail.
Arie Endlich, endlich wird mein Joch Wieder von mir weichen müssen. Da krieg ich in dem Herren Kraft, Da hab ich Adlers Eigenschaft, Da fahr ich auf von dieser Erden Und laufe sonder matt zu werden. O gescheh es heute noch!
Aria One day, one day will my burden Once again be lifted from me. Then will I find strength in the Lord Then will I be as an eagle Then will I rise up from the earth And soar tirelessly. Oh could this be today!
Rezitativ und Arioso Ich stehe fertig und bereit, Das Erbe meiner Seligkeit Mit Sehnen und Verlangen Von Jesus Händen zu empfangen. Wie wohl wird mir geschehn, Wenn ich den Port der Ruhe werde sehn.
Recitative and Arioso I stand ready and prepared, The inheritance of my bliss With yearning and longing to receive at last from Jesus' hands. What joy I will feel When I see the harbour of peace.
Da leg ich den Kummer auf einmal ins Grab, Da wischt mir die Tränen mein Heiland selbst ab.
There I will lay to rest my sorrows in the grave Then my saviour himself will wipe away my tears.
Choral Komm, o Tod, du Schlafes Bruder, Komm und führe mich nur fort; Löse meines Schiffleins Ruder, Bringe mich an sichern Port! Es mag, wer da will, dich scheuen, Du kannst mich vielmehr erfreuen; Denn durch dich komm ich herein Zu dem schönsten Jesulein.
Chorale Come, O death, brother of sleep, Come and take me away from here; Loosen now my little ship's rudder, Bring me to safe habour! Others may choose to forsake you, But you can delight me all the more, For through you I will come inside To the fairest little Jesus.
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ABOUT NEW ST LAWRENCE CHURCH Rupert Powell How lovely and strange was the first service at St Lawrence Church in 1779; the starched villagers, plucked from the still, English waters of their medieval parish church, were plunged by Sir Lionel Lyde, 1st Bart., into the sun-kissed froth of the Aegean. Here, their buttons and bonnets were ridiculous in a place where clinging drapery and tanned nudity would not be inappropriate. Here, they watched agog as a Hertfordshire squire of classical education performed the chaste rites of the Protestant Church in the fancy dress of pagan Greece. The vicar must have been deafened by the tutting. St Lawrence’s, often mislabelled Palladian, is all Ancient Greece rather than the Veneto of Palladio: Nicholas Revett - who, with James Athenian Stuart had dashed between the Greek islands with sketchbooks and watercolour box and rulers - copies the doric columns from the Temple of Apollo at Delos. The restrained bands of fluting at the foot and collar of each shaft throw out a fine golden thread that ties damp Hertfordshire to the ravishing Cyclades, and Georgian peasants wanting teeth and electoral rights to Greek shepherds and priestesses two thousand years before. Revett’s idea - as with all of the Society of Dilettanti - was to give the muslin-draped daughters of the gentry a suitable backdrop for their fine feelings and refined taste, and in this way St Lawrence’s was no different from his porticoes at Trafalgar Park and West Wycombe. It hardly mattered to him whether these English girls gave up their prayers to God and His Son or to Apollo and his sister with her bows and arrows and hounds. When one seeks to “correct and purify the taste of the country” all manner of ridiculous inconsistencies may be thrown up, much as when one walks from the front of the church (designed to be seen by Sir Lionel and Lady Lyde from the windows of their drawing room) to the charming hodge-podge of its brick rear-end, where the mechanics of the theatre are laid bare. How annoying this church must have been to those parishioners who remembered the old days, but how delightful to us: softened by time and by English weather, it exudes more than ever before the soft, kind air of the Golden Age of the Athenians.
BEHIND THE SCENES Katharina Spreckelsen OAE Principal Oboe 'Roderick and I started off by choosing the Bach Cantata. Simply, because it’s one of the most wonderful ones we know. And it is for bass, of course. And it has a nice oboe part. I then thought about the fact that when Bach was appointed to his job in Leipzig at the
ThomasKirche, he actually wasn’t part of their plan A. They offered the job to Telemann first, who declined, because he got a better offer in Hamburg. Then they offered it to
Graupner, but he got offered more money in Darmstadt. It seems that Bach was plan C! As for the Bruhns, I chose it because I just loved the piece. It seems like it was written for
Kati, our Leader and co-director for this concert. Legend has it that Bruhns performed it by himself. Apparently he played the fiendish violin part whilst playing the bass with the
organ pedals and singing the vocal part. If it is true, he must have been a very clever chap. Not totally believable, but the story is good anyway!!'
Roderick Williams Roderick Williams is one of the most sought-after baritones of his generation with a wide repertoire spanning baroque to contemporary which he performs in opera, concert and recital. He enjoys relationships with all the major UK opera houses and has sung opera world premières by David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton and Alexander Knaifel as well as performing major roles including Papageno, Don Alfonso, Onegin and Billy Budd. He performs regularly with leading conductors and orchestras throughout the UK, Europe, North America and Australia, and his many festival appearances include the BBC Proms, Edinburgh, Cheltenham, Aldeburgh and Melbourne. As a composer he has had works premièred at The Wigmore Hall, the Barbican, the Purcell Room and on national radio. In December 2016 he won the prize for Best Choral Composition at the British Composer Awards. Roderick Williams was awarded an OBE in June 2017 and was nominated for Outstanding Achievement in Opera in both the 2018 Olivier Awards for his performance in the title role of the Royal Opera House production of Monteverdi’s Il ritorno d’Ulisse in patria and in 2019 for his role in ENO’s production of Britten’s War Requiem. He is Artist in Residence with the Royal Liverpool Philharmonic Orchestra from 2020/21 for two years.
Kati Debretzeni Born in Transylvania, Kati studied the violin with Ora Shiran in Israel, and the baroque violin with Catherine Mackintosh and Walter Reiter at the Royal College of Music in London. Kati has taken a starring role in several OAE performances. She performed alongside the dancers in our fresh take on Vivaldi’s The Four Seasons when we collaborated with renowned choreographer Henri Oguike in 2013 and fused authentic performance with contemporary choreography. Also, Kati directed our concert with mezzo-soprano Sarah Connolly from the violin in 2017, which was an unusual, challenging and rewarding feat.
“Not all orchestras are the same” Three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It began to make benchmark recordings and attract the finest conductors. It became the toast of the European touring circuit. It bagged distinguished residencies at Southbank Centre and Glyndebourne Festival Opera. It began, before long, to thrive. And then came the real challenge. The ensemble’s musicians were branded eccentric idealists. And that they were determined to remain. In the face of the music industry’s big guns, the OAE kept its head. It got organised but remained experimentalist. It sustained its founding drive but welcomed new talent. It kept on exploring performance formats, rehearsal approaches and musical techniques. It searched for the right repertoire, instruments and approaches with even greater resolve. It kept true to its founding vow.
In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America. And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its former home at London’s Kings Place has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the Orchestra of the Age of Enlightment to live, work and play amongst the students of the school. Remarkable people are behind it. Simon Rattle, the young conductor in whom the OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the visionary who punted some of his most individual musical ideas on the young orchestra, continues to challenge it. Mark Elder still mines it for luminosity, shade and line. Vladimir Jurowski, the podium technician with an insatiable appetite for creative renewal, has drawn from it some of the most revelatory noises of recent years. And, most recently, it’s been a laboratory for John Butt’s most exciting Bach experiments. All five of them share the title Principal Artist. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor
OAE TEAM Chief Executive Crispin Woodhead
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Librarian Colin Kitching Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Steven Devine Max Mandel Roger Montgomery Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington
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TECHNICAL TEAM Technical Director/Post Production Zen Grisdale Camera Operator Sophie Adams Ed Ault Camera Operator/Key Grip Edward Shaw Vision Mix Crispin Woodhead Audio Engineer David Hinitt Music Producer Annette Isserlis Grip Adrian Bending Venue New St Lawrence Church, Ayot St Lawrence
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The 29th May 1961 Charitable Trust The Loveday Charitable Trust
The R&I Pilkington Charitable Trust The Vernon Ellis Foundation
Brian Mitchell Charitable Settlement
Catherine Cookson Charitable Trust
Two Anonymous Donors
Graham and Claire Buckland
Peter Cundill Foundation
Simon and Karen Taube
Paul Bassham Charitable Trust
The Charles Peel Charitable Trust
Arts Council England
Her Honour Suzanne Stewart
Trusts & Foundations
Mr and Mrs Michael Cooper
Anthony and Jo Diamond
National Foundation for Youth Music
Metropolitan Masonic Charity
The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to our sponsors and Patrons and hope you will consider joining them. We offer a close involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour. For more information on supporting the OAE please contact Emily Stubbs Development Director
0208 159 9318
WE MOVED INTO A SCHOOL We are thrilled to announce that we are now the resident orchestra of Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school. Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project, so for the first time, we will all be in the same place: players, staff and library! Crispin Woodhead, our chief executive who came up with the idea of a new partnership, says: “Our accommodation at Kings Place was coming to an agreed end and we needed to find a new home. I felt that we should not settle for a conventional office space solution. We already had a strong relationship with many schools in Camden through our education programme and our appeal hit the desk of Kat Miller, director of operations at Acland Burghley School. She was working on ways to expand the school’s revenue from its resources and recognised that their excellent school hall might be somewhere we could rehearse. It felt like a thunderbolt and meant we wanted to find a way for this place to be our home, and embark on this new adventure to challenge and transform the way we engage with young adults.” The school isn't just our landlord or physical home. Instead, it will offer the opportunity to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. This new move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible. A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing. Margaret Faultless, OAE leader and violinist, said: “As classical musicians, it can often feel as though we exist in a bubble. I think I can speak for the whole Orchestra when I say that we’re all looking forward to this new adventure. We are all used to meeting with people from outside the classical music world of course, but the value of our new project lies in the long-term work we’ll be doing at the school and the relationship that will hopefully develop between the students, their parents and teachers and the orchestra.” “The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” continues Margaret. “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.” The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts. Their support is facilitating the move to the school and underwriting the first three years of education work.
OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. 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 they live. The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players. This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.
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 and Digital Development email@example.com 0208 159 9319
OAE TOTS at Saffron Hall
oae.co.uk orchestraoftheageofenlightenment theoae oae_photos
The OAE is a registered charity number 295329 Registered company number 2040312. Acland Burghley School, 93 Burghley Road, London NW5 1UH 0208 159 9310 | firstname.lastname@example.org Photography | Zen Grisdale