NOT ALL ORCHESTRAS ARE THE SAME
Conductor: รdรกm Fischer
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Gustav Mahler Symphony no.2 ‘Resurrection’ 7.30pm, Thursday 22nd June 2017 Royal Academy of Music Symphony Orchestra, Chorus and Soloists
Semyon Bychkov conductor Royal Festival Hall, Southbank Centre Tickets £7.50–£20 (concessions 50%) www.southbankcentre.co.uk 020 7960 4200; booking fees apply
‘The philosophical essence of the piece is the question that everyone is confronted with. Why are we here and what comes after?’ Semyon Bychkov Presented as part of Southbank Centre’s Belief and Beyond Belief Festival
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WELCOME INTRODUCING OUR SEASON
Double bass and 2016–17 season curator Cecelia Bruggemeyer gives her take on our current season.
oremost in my mind when curating are questions like ‘who are the excellent interesting artists we want to collaborate with? What are the fascinating stories we want to share? How do we show off our wonderful period instruments?’ I’m delighted we’ve managed to include so many fantastic artists this season. Some we’ve had long relationships with like Ádám Fischer, Steven Isserlis, Sarah Connolly and William Christie; some we’re delighted to welcome back after only one or two previous projects like Ottavio Dantone, Isabelle Faust and Jonathan Cohen. I use the word collaboration in its truest sense as every time we get together it really feels like a two way process that yields exciting performances. Another question was how do we follow our magnificent 30th Birthday Season with its boundary-breaking foray into Mahler 2 and Der Freischütz? But we’re not done with
asking questions about how we perform the most familiar of composers and this season sees a rich seam of Bach running through five of our concerts. With William Christie we’ll be telling the story of how the ‘suite’ format, so very familiar to us in Bach’s music, actually started out in Paris. And of course Bach gives us the opportunity to show off our charismatic baroque instruments, and equally brilliant players, in the Brandenburg concerti. An often employed device when putting programmes together is to focus on a composer. We decided to focus on a city instead: Paris in the classical period. What was it that drew so many composers from round Europe to this artistic honey pot? One of the key figures of this time turns out to be Méhul. It was he who was famous rather than the likes of Mozart or Beethoven; he who was considered the revolutionary composer of his time, and yet we hardly hear any of his music today. Our gala gives a picture of the world Mozart and Beethoven were trying to make their name in. How will it sound to our ears in 2017? With the virtuosic Michael Spyres, who sang so fabulously in Les Martyrs, and John Irvin this will be an evening like no other.
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69 10 14 Tonight’s concert
2017–18 concerts Supporters
STEVEN CONCERT SOLOISTS / REPERTOIRE
HAYDN This concert is generously supported by: Bob & Laura Cory, Julian & Camilla Mash, and John & Rosemary Shannon.
Monday 20 March 7pm Royal Festival Hall
รdรกm Fischer conductor Steven Isserlis cello
The concert will finish at approximately 9.15pm, including a 20 minute interval. Pre-concert talk at 5.45pm in the Clore Ballroom (down the steps from the foyer on level 2).
Overture from La fedeltÃ premiata
Cello Concerto in C
Symphony No. 7
Kati Debretzeni Kenichiro Aiso Andrew Roberts Alice Evans Alison Bury Rachel Isserlis Colin Scobie Iona Davies Sophie Barber Roy Mowatt Judith Templeman Jane Gordon Ellen Bundy*
Margaret Faultless Henry Tong Huw Daniel Diana Lee Jayne Spencer Nancy Elan Deborah Diamond Stephen Rouse Simon Kodurand Joanna Lawrence Justyna Skatulnik*
Max Mandel Simone Jandl Nicholas Logie Katie Heller Martin Kelly Annette Isserlis Marina Ascherson Penelope Veryard Victoria Bernath*
Luise Buchberger Catherine Rimer Andrew Skidmore Helen Verney Ruth Alford Penny Driver Richard Tunnicliffe Josh Salter Octavie Dostaler-Lalonde*
Cecelia Bruggemeyer Marcus Van Horn Paul Sherman John-Henry Baker Dawn Baker Catherine Ricketts Marianne Schofield*
Lisa Beznosiuk Katharine Bircher
Daniel Lanthier Alexandra Bellamy
Antony Pay Sarah Thurlow
Meyrick Alexander Sally Jackson
Phillip Eastop Martin Lawrence
Paul Sharp Phillip Bainbridge Matthew Wells
*participants in the Ann and Peter Law OAE Experience for Talented Young Players
PROGRAMME NOTES FRANZ JOSEPH HAYDN (1732-1809)
Overture from La fedeltà premiata
was cut off from the world,’ said Haydn to his biographer Griesinger, of his three decades of service to the Esterházy family. ‘There was no-one to distract me, and I was forced to become original.’ But sometimes, inspiration simply presented itself on a plate. Prince Nikolaus Esterházy may have built his great palace of Eszterháza far from civilization, on reclaimed swampland by Lake Neusiedl. But with its thousand-strong household staff – including Haydn and his court orchestra – its
opera house, marionette theatre and concert hall, Eszterháza was like a medium-sized town in its own right. When, on 18th November 1779, a fire caused by an exploding stove destroyed the Eszterháza opera house, the entire community was affected. The prince ordered immediate rebuilding: he had a reputation to maintain, after all (the Empress Maria Theresa, visiting the palace in 1773, had remarked ‘If I want to enjoy a good opera, I go to Eszterháza’). The new opera house was inaugurated on 25th February 1781 with a brand new Haydn opera: La fedeltà premiata (Fidelity Rewarded), to a libretto by the Neapolitan Giovanni Battista Lorenzi. The setting was ancient Cumae, where thanks to a curse from Diana, goddess of the hunt, faithful couples are sentenced to be sacrificed to a sea monster. Accordingly, infidelity starts to make surprisingly good sense. This lavish spoof on opera seria was later heard and enjoyed in Vienna by Mozart; but Haydn’s main concern was to please his employer. With its satyrs, shepherds, storms and monsters, La fedeltà premiata must have given a thoroughly entertaining work-out to the new theatre’s state-of-the-art equipment. More to the point, a story that centred on Diana was calculated to
delight a nobleman who loved hunting almost as much as he loved music. The galloping overture sets out to do exactly that, complete with hunting horns, drums and ceremonial trumpets – and so successfully that Haydn recycled it the following year as the finale of his Symphony No.73, appropriately titled (for once, it appears, by the composer himself ) La Chasse.
FRANZ JOSEPH HAYDN (1732-1809)
CONCERTO IN C i) Moderato ii) Adagio iii) Finale (Allegro molto)
ithin living memory, there was only one Haydn cello concerto in the repertoire. Then, in 1961, the Czech musicologist Oldřich Pulkert discovered a set of manuscript parts in the Prague National Museum. The opening bars corresponded directly to the excerpt of a ‘concerto per il violoncello’ that Haydn had noted down in the Entwurf-Katalog of his
works that he wrote for his employer Prince Nikolaus Esterházy around 1765. There was no doubt about it. Cellists from Mstislav Rostropovich to Jacqueline du Pré rushed to perform what H C Robbins Landon called ‘the single greatest musicological discovery since the Second World War’, discovering, in the process that this was no mere historical curiosity, but a work of an inspiration and grandeur unsurpassed by any other mid-18th century cello concerto.
As well it might be. Haydn signed his contract with the Esterházy family on 1 May 1761, at the age of 29. One month later, the Prince’s orchestra signed a new cellist, the 20 year old Joseph Franz Weigl. Weigl may or may not have been hired at Haydn’s suggestion; certainly, the two young musicians had known each other in Vienna and remained lifelong friends (Haydn went on to be godfather to Weigl’s two sons). During Haydn’s early years with the Esterházys he felt the need to assert himself professionally: his direct superior, the septuagenarian kapellmeister Gregor Werner complained to the Prince that Haydn was no more than a ‘G’sanglmacher’ (song-scribbler) and ‘Modehansl’ (fashion-follower). It’s easy to imagine the two youngsters Haydn and Weigl putting their heads together and Below: Eszterháza in deciding to prove what Fertőd, Hungary. Photo: Szvitek Péter they could both do.
PROGRAMME NOTES And in the absence of any known date for the concerto’s composition (other than the period 1761–1765), it’s decidedly tempting. But this concerto remains, unmistakably, a work of its place and time. Weigl will have wanted a piece that showed his artistry to advantage; the Prince will have expected a work that demonstrated the full prowess of both his composer and new cellist; and Haydn will have hoped to demonstrate his own thoroughly up-to-date mastery – while remaining mindful of the conventions of the period, and of court life. The concerto’s resplendent opening movement, with its expansive pace and majestic baroque dotted rhythms does exactly that. It’s hard to imagine that Werner could have found much to fault here; but by choosing the celebratory key of C major – allowing the cello to use its full top-to-bottom range and deploy ringing chords (spread across all four strings) – Haydn gives the whole piece an added brilliance and sonority. The Adagio is all about the cellist as singer, and man of taste. Haydn always regretted that he never had the chance to study opera in Italy, but the cello’s deployment of the vocal technique of messa di voce (holding a sustained note while steadily increasing in tone and volume) shows that he had little to learn, and the blossoming musical embroidery that follows gives glorious scope for poetic phrasing. And then: a racing finale that’s practically a moto perpetuo. The orchestra hurtles along in sleek classical style, while Weigl’s long notes soar briefly before breaking into dazzling high-speed (and frequently high-altitude) passagework. Ancient meets modern; exuberant sonic spectacle meets expressive elegance. And both composer and soloist, no doubt, could congratulate each other on a job superbly done.
Ludwig van Beethoven (1770-1827)
Symphony No.7 i) Poco sostenuto – Vivace i) Allegretto i) Presto i) Allegro con brio
ew music often has a troubled birth. Beethoven’s Seventh Symphony was premiered in Vienna on 8th December 1813. The occasion was a benefit concert for Austrian soldiers wounded in the recent Battle of Hanau, and the impresario, Beethoven’s friend Johann Mälzel had assembled an all-star orchestra. The virtuoso violinist Schuppanzigh was the leader, Dragonetti (the father of modern bass technique) led the basses, and the composers Spohr, Meyerbeer and Romberg sat in the strings, as did the guitar virtuoso Mauro Giuliani (on cello). Johann Nepomuk Hummel was on timpani, and just offstage, cuing the special effects in Beethoven’s other contribution to the evening, the socalled ‘Battle-Symphony’, was living legend Antonio Salieri. But even a super-group of this calibre couldn’t cope with the Seventh Symphony. The future music publisher Franz Glöggl was at rehearsals, and witnessed the problems. Music that couldn’t be played, protested the violinists, shouldn’t be written. Contrary to expectations, Beethoven kept his cool. Anticipating the words of a thousand amateur orchestra conductors, he ‘begged the gentlemen to take their parts home with them’ to practice. They did – and the performance was one of the supreme triumphs of Beethoven’s career. The Allegretto was even encored, and a delighted Beethoven wrote to the Wiener Zeitung to thank his ‘honoured colleagues’ for ‘their zeal
in contributing to such a splendid result.’ The Seventh Symphony has been a special favourite ever since. In 19th century France, Berlioz noted that conductors used to insert the Allegretto into less popular Beethoven symphonies – like the Second – to guarantee
wrote that an audience in Leipzig concluded that Beethoven must have composed it while drunk. Even if these anecdotes are apocryphal, they must have had the authentic ring of contemporary opinion. And that wouldn’t be wholly surprising. It’s not just the Symphony’s rough-cut humour (after the massive accumulation of energy in the first movement’s introduction, the Vivace launches not with a breaking storm, but a bright country-dance tune on the flute). And it’s not just the way every movement is driven by colossal build-ups of dance rhythm (even the haunting second movement has the rhythm of a pavane).
Wagner apparently once performed a one-man dance routine to the entire symphony
applause. Richard Wagner apparently once performed a one-man dance routine to the entire symphony (in Liszt’s piano transcription), in support of his theory that the symphony was ‘the apotheosis of dance’, which must have been an interesting half hour.
It’s the sheer, elemental energy with which Beethoven brings the whole thing off. Exuberance is written into the Symphony’s very texture. By setting the symphony in A major, Beethoven automatically made life difficult for the brass players – and the sound of the horns, whooping through the climaxes at the very top of their register, means that the symphony even sounds exhilarating, unbridled and wild. Even the quieter, slower music is as compelling – that melancholy Allegretto is both one of the simplest and most sophisticated movements Beethoven ever wrote, while the echoing horn calls in the third movement’s central interlude set the tone for a century of Romantic horn-writing. Perhaps that Leipzig audience had a point after all. Listen to the torrential gallop of the finale, and then consider, if you like, what may or may not have been Beethoven’s own words, related to Goethe by Beethoven’s sometime friend and correspondent Bettina Brentano: ‘Music is the spirit that inspires us to new creation; and I am the Bacchus, who presses out this glorious wine to intoxicate all mankind.’ Programme notes by Richard Bratby.
There do seem to have been dissenters. According to Beethoven’s (admittedly partial) assistant and biographer Schindler, Weber’s reaction to the first movement was to declare Beethoven ‘ripe for the madhouse’. Schumann’s father-in-law Friedrich Wieck
Corberon Top: spruce Back and ribs: willow Scroll: beech MAKER: Antonio Stradivari, Cremona, 1726
HISTORY: First recorded as belonging
to the Marquis De Corberon. When the Marquis and his family perished in the revolution, the cello found its way into the hands of a Monsieur Loeb of Paris. It was presented to the Royal Academy of Music by Audrey Melville in 1960 on the condition that Zara Nelsova could have lifelong use of it.
Images reproduced with permission from the Royal Academy of Music, London.
love the Marquis de Corberon Strad – it is a truly aristocratic cello, with a unique character. I first saw and heard it played by Zara Nelsova in a concert in London when I was (I think) a teenager. Somewhat later, I heard her play it at IMS Prussia Cove in Cornwall; I remember that when the performance had finished, my friend David Waterman (cellist of the Endellion Quartet) turned to me and said: ‘That’s the cello for you!’ Of course, I had no thought of playing it then; it was very much Zara’s, having been loaned to her for life. But his words turned out to be prophetic. In later years, I had a more poignant encounter with the cello, when I visited Zara (whom I loved) twice in New York during her final days; on both occasions, the cello stood (or lay) faithfully by her side. After her death, the cello was returned to the Royal Academy; but by then I was playing another beautiful Stradivarius (the De Munck, or Feuermann, of 1739, owned by the Nippon Music Foundation of Japan). But I was lucky enough, when it was time to return the Feuermann to the Foundation, to be offered the loan of the Marquis by the Royal Academy. ’
— Steven Isserlis
THE NIGHT SHIFT
Our series of late-night, laid-back classical music gigs is back for 2017. Catch it every month at The George Tavern in Shadwell, The Old Queen’s Head in Islington, the CLF Art Cafe/Bussey Building in Peckham, and new venue the Assembly Rooms in Camden.
VISIONS, ILLUSION AND DELUSIONS
Next gig at The Old Queen’s Head on 3 April 2017. Visit thenightshift.co.uk for more details.
Can I trust my senses? Is what you see really what you get? The philosophers of the Enlightenment started with these radical doubts, which still hit home in an age of digital identities and fake news. We’ve just launched our 2017–18 Southbank Centreseason, Visions, Illusions and Delusions, with these issues right at its heart. On sale now – view the entire season on page 27 or visit oae.co.uk.
Follow us for more news orchestraoftheageofenlightenment
We’re taking our Mozart programme with Isabelle Faust (catch it in London at the Royal Festival Hall on 18 April 2017) on tour to Italy and New York throughout April. So if you happen to be there then do drop in and say hi. Check the dates at oae.co.uk
SUPPORT US The past 30 years have seen the OAE grow to become one of the worldâ€™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 weâ€™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.
OAE Young Patrons
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Leaving a Legacy to the OAE
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 Danielle Robson at email@example.com, 0207 239 9386.
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.
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.
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 www.oae.co.uk/support or contact Alex Madgwick, Head of Individual Giving, at firstname.lastname@example.org, 020 7239 9380.
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. Please contact Emily Stubbs, Development Director at email@example.com, 020 7239 9381 for more information.
STEVEN GET TO KNOW
Last time you performed with the OAE was in 2012. What do you enjoy about the Orchestra and its ethos?
I like the fact that the Orchestra is full of strong characters and of musical idealism; and that it takes on a range of styles and challenges. And that both my sisters often play in the Orchestra.
You’ll be performing Haydn’s Cello Concerto with us. What’s so special about it and why should people come and see it? It is the perfect classical cello concerto. It has everything – charm, beauty and infectious joy. Amazing to think that it was lost for 200 years!
You’ve got a book out about Robert Schumann. Can you tell us more about it and why you decided to look again at his Advice for Young Musicians?
Schumann is my hero! Not only do I adore his music, but I also adore the man. So generous, so sensitive, so good. Typical of him that he would strive to help and guide young musicians. I’ve always loved his book of ‘advice’, and I thought that it was a pity that it had fallen out of fashion. This book is my attempt to explain its relevance to every musician and musiclover today. Writing the book was really a labour of love – but it was fun too!
This is a question we ask our Principal Players: if you could have lunch with one composer or performer, dead or alive, who would it be and why? Hmm... maybe Schumann, for the reasons above, but he might just sit in silence, which would be a bit frustrating. Possibly Bach, but he’d probably be too busy to stay for longer than 10 minutes. Mozart? But I think I’d be lucky to catch him in the right mood. Maybe Beethoven? He sounds absolutely wonderful, from his letters, and accounts of people who met him. Though I wouldn’t have wanted to share a flat with him, I have to admit...
photo: Kevin Davis
This article originally appeared in Enlightenment, the OAE supporters magazine. To find out more about supporting the Orchestra please contact Alex Madgwick, Head of Individual Giving: firstname.lastname@example.org, 020 7239 9380
photo: Nikolaj Lund
Ádám Fischer CONDUCTOR
photo: Satoshi Aoyagi
STEVEN ISSERLIS CELLO
In 2017 he was appointed Honorary Member of the Wiener Staatsoper, and has appeared at leading opera houses worldwide for more than thirty years. In 2002 he was named Conductor of the Year by German magazine Opernwelt.
He appears regularly with the world’s leading orchestras and conductors, and as a chamber musician has curated concert series for many prestigious venues. Unusually, he also directs chamber orchestras from the cello in classical programmes. He has a strong interest in historical performance, working with many period-instrument orchestras and giving recitals with harpsichord and fortepiano.
orld-renowned conductor Ádám Fischer’s creative work is characterised by dynamic initiative and diversity. He is the founder of the Wagner Festival in Budapest and the Haydn Festival in Eisenstadt and Principal Conductor of the Danish Chamber Orchestra.
After studying in Budapest and Vienna with the legendary Hans Swarowsky, Ádám first took up engagements as a répétiteur and Kapellmeister. He was General Music Director in Freiburg (1981-1983), Kassel (1987-1992) and Mannheim (2000-2005) before returning to his native Budapest as Artistic Director of the Budapest Opera (2007-2010). Ádám is an Honorary Member of the Musikverein für Steiermark in Graz. He is a recipient of the Order of Dannebrog which was given to him by the Queen of Denmark and has been awarded the honorary title of Professor by the Austrian Federal President.
cclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a uniquely varied career as a soloist, chamber musician, educator, author and broadcaster.
For the past twenty years Steven has been Artistic Director of the International Musicians Seminar at Prussia Cove, Cornwall. He also enjoys playing for children, and has created three musical stories with the composer Anne Dudley. His two books for children have been translated into many languages. The recipient of many awards, Steven Isserlis’s honours include a CBE in recognition of his services to music and the Schumann Prize of the City of Zwickau.
ORCHESTRA OF THE AGE OF ENLIGHTENMENT
hree decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductorless Bach there. All the while, the Orchestra’s players called the shots. 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 the 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, 21 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, John Butt has conducted his experiments in Bach inside it. 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
THE OAE TEAM Chief Executive Crispin Woodhead Director of Finance and Operations Ivan Rockey
Head of Individual Giving Alex Madgwick Development Manager Catherine Kinsler
Development Director Emily Stubbs
Trusts and Foundation Manager Andrew Mackenzie
Director of Marketing and Audience Development John Holmes
Development and Events Administrator Danielle Robson
Director of PR & Press Katy Bell Education Director Cherry Forbes Projects Manager Jo Perry Orchestra Manager Philippa Brownsword Projects Officer Sarah Irving Librarian Colin Kitching Education Officer Andrew Thomson Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Charles Lewis
Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Playersâ€™ Artistic Committee Cecelia Bruggemeyer Lisa Beznosiuk Luise Buchberger Max Mandel Roger Montgomery
Development Trainee Alice Macrae Board of Directors Sir Martin Smith (Chairman) Cecelia Bruggemeyer (Vice-Chair) Lisa Beznosiuk Luise Buchberger Robert Cory Denys Firth Nigel Jones Max Mandel David Marks Roger Montgomery Olivia Roberts Susannah Simons Mark Williams Crispin Woodhead
Administration Orchestra of the Age of Enlightenment Kings Place, 90 York Way, London, N1 9AG Tel: 020 7239 9370 Email: email@example.com Website: oae.co.uk Registered Charity No. 295329 Registered Company No. 2040312
OAE Trust Sir Martin Smith (Chair) Edward Bonham Carter Robert Cory Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen
VISIONS, ILLUSIONS AND DELUSIONS
The Judas Passion
The Corridors of Power
Sally Beamish The Judas Passion — David Harsent libretto Nicholas McGegan conductor Julia Doyle Mary Brenden Gunnell Judas Roderick Williams Christ Choir of the Age of Enlightenment
— Mozart Arias including Parto, ma tu ben mio from La clemenza di Tito Mozart Symphony No. 38 Haydn Scena di Berenice Haydn Symphony No. 103, Drumroll — Ádám Fischer conductor Christine Rice mezzo-soprano
— Richard Strauss Der Rosenkavalier [salon score] Selection of songs by Richard Strauss — Tom Kemp conductor Miah Persson soprano
Monday 25 September 2017 St John’s Smith Square —
Wednesday 18 October 2017 Royal Festival Hall — Handel Semele — Ivor Bolton conductor Louise Alder Semele Ray Chenez Athamas Brindley Sherratt Somnus / Cadmus Mary Bevan Iris Catherine Wyn-Rogers Juno
Mozart: Master of Deception with Rachel Podger
Monday 27 November 2017 St John’s Smith Square
— Haydn Symphony No. 26 Mozart Violin Concerto No. 1 JC Bach Symphony in G minor Mozart Violin Concerto No. 5 — Rachel Podger director/violin
Marin Alsop and Nicola Benedetti
Sunday 4 February 2018 Royal Festival Hall
— Beethoven Symphony No. 4 Beethoven Violin Concerto — Marin Alsop conductor Nicola Benedetti violin
Tuesday 27 February 2018 Royal Festival Hall
Bach’s St Matthew Passion Monday 26 March 2018 Royal Festival Hall
— Bach St Matthew Passion — Mark Padmore director/ Evangelist Roderick Williams baritone/ Christus Katherine Watson soprano Claudia Huckle mezzo-soprano Hugo Hymas tenor Jessica Cale soprano Eleanor Minney mezzo-soprano Matthew Brook bass Choir of the Age of Enlightenment
Mozart: Master of Deception with Sir Roger Norrington Wednesday 11 April 2018 Queen Elizabeth Hall
— Mozart Symphony No. 33 Mozart Horn Concerto No. 4 Mozart Horn Concerto No. 1 Mozart Symphony No. 36 — Sir Roger Norrington conductor Roger Montgomery horn
Thursday 17 May 2018 Queen Elizabeth Hall
Tuesday 26 June 2018 Queen Elizabeth Hall
— Programme including music by Lully, Campra, Charpentier, Clérambault, Destouches, Rameau. — John Butt conductor/harpsichord Hubert Hazebroucq choreographer Anna Dennis soprano
Wednesday 4 July 2018 Queen Elizabeth Hall
— Haydn Piano Concerto No. 11 Haydn Symphony No. 94, Surprise Haydn Harmoniemesse — Sir András Schiff conductor/ piano Choir of the Age of Enlightenment
EDUCATION We often talk about the Orchestra of the Age of Enlightenment being like a family, and families have members of all ages and abilities. Thatâ€™s why we run our OAE Education programme. Each year it reaches over 15,000 people across the country, often in areas where there is little or no access to live classical music.
We have partnerships in ten cities across the country, work with 12 music hubs and numerous venues and concert halls, and in every location we have created an extended OAE family, something we are very proud of.
Our 2016â€“2017 our education work will include:
21 SCHOOLS CONCERTS
BRAND NEW FLAGSHIP PROJECTS
6 nurturing talent events
6 Community concerts
Special needs events
18 TOTS CONCERTS
Support our Education programmes
Building upon our highly successful Three Towns Tour (2015–2016), we will be going on a tour between January and July 2017 which will deepen our relationships in both King’s Lynn and Lowestoft and extend our programme into Mildenhall (Suffolk) and County Durham. Working with early years, primary and secondary schools, and community groups, our aim is to inspire, excite and animate thousands of people in exploring their musical landscape.
The work we do could not happen without the support of our generous donors. If you would like to support our Education work please contact Alex Madgwick, Head of Individual Giving firstname.lastname@example.org, 020 7239 9380
For our schools and community concerts we have commissioned new music to tell the story of the constantly changing landscape of the world we live in.
Below: OAE TOTS on the Royal Festival Hall stage
Starting at the very beginnings of the earth, we will hear music which illustrates the earth’s journey from its creation, through the millennia of change which has led us to where we are now. How have human beings adapted? And how we have impacted our environment in both positive and destructive ways? Finally, we ask ourselves ‘What world do we want to create for tomorrow?’ Each concert will feature a film of the local landscape with a soundtrack composed by young people and the Orchestra, looking at the world that they live in and what they see around them every day.
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Tuesday 11 April 2017, 7pm Cadogan Hall
Tuesday 11th April, 7.00 Tuesday 11th April, 7.00 5 Sloane Terrace, London SW1X 9DQ www.cadoganhall.com 0207 730 4500 Tickets: £30, £25, £20 & £15
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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 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 & Laura Cory Sir Martin Smith & Lady Smith OBE THIRTY CIRCLE MEMBERS Victoria & Edward Bonham Carter Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Julian & Camilla Mash Mark & Rosamund Williams
OUR SUPPORTERS ANN & PETER LAW OAE EXPERIENCE SCHEME Ann & Peter Law MAJOR SPONSOR
CORPORATE PARTNERS Apax Partners E.S.J.G. Limited Lindt Lubbock Fine Chartered Accountants Parabola Land Stephen Levinson at Keystone Law Swan Turton SEASON PATRONS Bob & Laura Cory Bruce Harris Nigel Jones & Franรงoise Valat-Jones Selina & David Marks Sir Martin Smith & Lady Smith OBE Philip & Rosalyn Wilkinson Mark & Rosamund Williams
PROJECT PATRONS Julian & Annette Armstrong JMS Advisory Limited Adrian Frost Julian & Camilla Mash ARIA PATRONS Denys & Vicki Firth Gary & Nina Moss Rupert Sebag-Montefiore Eric Tomsett CHAIR PATRONS Mrs Nicola Armitage Education Director Hugh & Michelle Arthur Violin Victoria & Edward Bonham Carter Principal Trumpet Anthony & Celia Edwards Principal Oboe Sir Vernon & Lady Ellis Co-Principal Viola James Flynn QC Co-Principal Lute/Theorbo Paul Forman Co-Principal Cello and Co-Principal Bassoon Su Li and Stephen Gibbons violin The Mark Williams Foundation Co-Principal Bassoon Sandy Mitchell Jenny and Tim Morrison Second Violin Andrew Nurnberg Co-Principal Oboe Haakon & Imogen Overli Co-Principal Cello Jonathan Parker Charitable Trust Co-Principal Cello Professor Richard Portes CBE FBA Co-Principal Bassoon Olivia Roberts Violin John & Rosemary Shannon Principal Horn Roger & Pam Stubbs Sub-Principal Clarinet Crispin Woodhead & Christine Rice Principal Timpani
EDUCATION PATRONS John & Sue Edwards (Principal Education Patrons) Mrs Nicola Armitage Patricia & Stephen Crew The Nigel Gee Foundation Venetia Hoare Professor Richard Portes CBE FBA ASSOCIATE PATRONS Felix Appelbe & Lisa Bolgar Smith David & Marilyn Clark Christopher & Lesley Cooke David Emmerson Ian S. Ferguson & Dr. Susan Tranter Jonathan & Tessa Gaisman Marc-Olivier & Agnes Laurent Sir Timothy & Lady Lloyd Stanley Lowy Michael & Harriet Maunsell David Mildon in memory of Lesley Mildon Andrew & Cindy Peck Michael & Giustina Ryan Ivor Samuels & Gerry Wakelin Emily Stubbs & Stephen McCrum Shelley von Strunckel Rev.d John Wates OBE & Carol Wates Tim Wise YOUNG AMBASSADOR PATRONS William Norris YOUNG PATRONS Josh Bell & Adam Pile Marianne & William Cartwright-Hignett Sam Hucklebridge Joseph Cooke & Rowan Roberts
GOLD FRIENDS Noël & Caroline Annesley Mr & Mrs C Cochin de Billy Mrs A Boettcher Geoffrey Collens Roger Mears & Joanie Speers Mr J Westwood SILVER FRIENDS Haylee & Michael Bowsher Michael Brecknell Christopher Campbell Michael A Conlon Mr & Mrs Michael Cooper Norman & Sarah Fiore Malcolm Herring Patricia Herrmann Peter & Sally Hilliar Rupert & Alice King Stephen & Roberta Rosefield Susannah Simons Her Honour Suzanne Stewart David Swanson BRONZE FRIENDS Keith Barton Dennis Baldry Michael Bowen Dan Burt Tony Burt Hugh Courts Anthony & Jo Diamond Mrs S M Edge Mrs Mary Fysh Ray & Liz Harsant Auriel Hill Nigel Mackintosh Angus Macpherson Julian Markson Nigel Pantling Alan Sainer Ruth & David Samuels Gillian Threlfall Mr & Mrs Tony Timms Mrs Joy Whitby
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 John S. Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Fenton Arts Trust Garfield Weston Foundation The Golden Bottle Trust Goldsmiths’ Company Charity Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Orchestras Live Palazzetto Bru Zane P F Charitable Trust Schroder Charity Trust The Shears Foundation Valentine Charitable Trust We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm. For more information on supporting the OAE please contact Emily Stubbs, Development Director email@example.com 020 7239 9381.
The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses.
COMING THE NIGHT SHIFT
Our late-night rule-breaking series returns to our favourite pub in Islington. 8.30pm, Monday 3 April 2017 The Old Queen’s Head, Islington Tickets: thenightshift.co.uk
ST JOHN PASSION Some of London’s greatest singers perform Bach’s masterpiece on Good Friday. 2.30pm, Friday 14 April 2017 St John’s Smith Square Tickets: sjss.org.uk
FAUST AND THE MOZART CONCERTOS Star violinist enchants us with not one but two Mozart violin concertos. 7pm, Tuesday 18 April 2017
Royal Festival Hall Tickets: southbankcentre.co.uk /oae (And on tour in Turin, Milan and New York)
SOON SOUNDS OF LOWESTOFT OAE TOTS MUSIC TO YOUR BEERS
Part of our Musical Landscapes education tour. 19–20 April 2017 Various venues, Lowestoft
THE ART OF CONTINUO Musicians from the OAE Experience Scheme explore the role of continuo. 7.30pm, Saturday 22 April 2017 Kings Place Tickets: kingsplace.co.uk
THE NIGHT SHIFT In the creative heart of South London, Peckham. 8.30pm, Tuesday 25 April 2017
CLF Art Cafe/Bussey Building, Peckham Tickets: thenightshift.co.uk
The complete set of Bach’s virtuosic concertos. 7pm, Tuesday 2 May 2017
St John’s Smith Square Tickets: southbankcentre.co.uk/oae (And on tour in Nottingham, Manchester and Cheltenham)
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• expertise • valuations • restorations 1-5 Lily Grove, Beeston, NOTTINGHAM NG9 1QL Tel:
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KIRKER MUSIC HOLIDAYS FOR DISCERNING TRAVELLERS Kirker Holidays offers an extensive range of holidays for music lovers. These include our own exclusive opera and chamber music festivals on land and at sea and tours to leading festivals in Europe.
HELSINKI & THE 18TH SIBELIUS FESTIVAL IN LAHTI A SIX NIGHT HOLIDAY | 28 AUGUST 2017
Marking the centenary year of Finnish independence, this year the Sibelius Festival in Lahti will include a guest performance by the Gothenburg Symphony Orchestra along with its new principal conductor, Santtu-Matias Rouvali who comes from Lahti. We stay at the Hotel Kamp (5* Deluxe) in the heart of Helsinki for the first two nights, before travelling to Lahti where we will attend four concerts at the striking modern Sibelius Hall, which overlooks the lake. We will also make excursions to important sites associated with the composer, including his birthplace and the simple house where he lived for his final years, and take a boat trip on Lake Vesijarvi. Price from £2,749 per person for six nights including return flights, accommodation with breakfast, three lunches, five dinners, tickets for four concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.
Speak to an expert or request a brochure:
020 7593 2284 quote code GCN www.kirkerholidays.com
ACADEMY OF ANCIENT MUSIC london concert season 2016-17 Purcell the fairy queen Monday 10 October 2016, Barbican Hall
James Gilchrist Directs Thursday 20 October 2016, Milton Court Concert Hall
the Glory of Venice Wednesday 7 December 2016, Milton Court Concert Hall
bach anD the italian concerto Wednesday 15 February 2017, Milton Court Concert Hall
JorDi saVall Directs Saturday 11 March 2017, Barbican Hall
bach reconstructeD Friday 7 April 2017, Milton Court Concert Hall
richarD eGarr Directs Friday 5 May 2017, Milton Court Concert Hall
monteVerDi VeSPerS Friday 23 June 2017, Barbican Hall
tickets £10-50 plus booking fee* £5 for aamplify members | £70 premium seats available
Book at barbican.org.uk or call 020 7638 8891 aam.co.uk/london * £3 online, £4 by telephone, no fee when booked in person
2016-17 London Listings167x239.indd 1
orchestraoftheageofenlightenment oae_photos theoae