TELLING TALES WITH TELEMANN
TELEMANN Der Harmonische Gottesdienst: Second day of Easter ‘Triumphierendere Versöhner' AESOP The Old Man and the Three Young Men TELEMANN Sonata for Gamba in E minor TELEMANN Trio Sonata in D Major Recorded at St Giles Cripplegate
Viola da Gamba/Cello
Organ/Harpsichord Steven Devine Baritone
Technical Director and Post Production Zen Grisdale Camera Operators Sophie Adams Ed Ault Vision Mix Crispin Woodhead Audio Engineer Ben Connellan Music Producer Martin Kelly Grip Adrian Bending Young Producers Tom Cohen Sidney Crossing Matas Juskeiccas Jessica Sexton-Smith Riley Silver Rafi Thornton Sophia Vainshtok
PROGRAMME NOTES DER HARMONISCHE GOTTESDIENST: Second day of Easter ‘Triumphierendere Versöhner' Georg Philipp Telemann (1681-1767)
Aria Recitative Aria
12 cycles [of cantatas]; many long works with trumpets and timpani for high feast days, approximately 700 arias; 19 passions…6 for the mayors’ funerals; 12 for pastors’ initiations, 3 for jubilees... And the list continues – even just reading the catalogue of his church music that Georg Philipp Telemann incorporated in his autobiography is sufficient to make the point. The life of a kantor (or music director) of a church in baroque Germany was a busy one: rehearsing, performing (and when necessary, composing) a continual supply of fresh, appropriate music for each Sunday and feast-day of the liturgical year. Telemann realised that if he composed and published a year’s worth of short cantatas, he’d find an enthusiastic market among kantors desperate for new music. Der Harmonische Gottersdienst was published in 1726, and each of its 72 cantatas used just one singer, a solo instrumentalist and continuo. This is the cantata for Easter Monday: Christ has risen, and the mood is one of triumph and celebration.
That would call for trumpets in a major church, but good trumpeters were in short supply and Telemann was mindful of his customers’ needs. So he pairs his singer instead with a solo violin which, from first note to last, seems to dance for joy.
SONATA FOR VIOLA DA GAMBA IN E MINOR, TWV 41:E5
TRIO SONATA IN D MAJOR, TWV 42:D9
Cantabile Allegro Recitativo – Arioso Vivace
Dolce Presto Pastorale Vivace
Telemann was a composer with a lively mind; and when he was not working as a composer, publisher and performer in Hamburg he enjoyed gardening – cultivating the rare plants that his friend Handel sent him from London. There’s something of the gardener in the way that, in 1740, he took a fading instrument – the viola da gamba – and nurtured it, trained it and drew it out into an exuberant (if autumnal) flowering in this sonata for gamba from the collection that he called Essercizii Musici.
Telemann’s home city of Hamburg was filled with prosperous musical amateurs, and Telemann saw himself as craftsman, merchant, entertainer and tutor – producing numerous collections of chamber music with which amateur players could hone their skills. His Essercizii Musici (1740) was aimed squarely at that market: it contained two solo sonatas and two Trio Sonatas apiece for each of six different instruments – so whatever the instruments available when you gathered friends for a soirée, you’d find something suitable to play together. Result: pleasure (and for Telemann, profit).
By this time, of course Telemann was well acquainted with Hamburg;s tastes, and knew from the inside what made enjoyable, playable music for a whole range of instruments. That was the whole point of the Essercizii Musici. It contained two solo sonatas and two Trio Sonatas apiece for each of six different instruments – so whatever the instruments available when you gathered friends for a soirée, you’d find something enjoyable to play. And something fashionable too: this was an age of Sensibility, and Telemann makes sure the gamba isn’t left behind, in a sonata that lets this gentle instrument open with a yearning cantabile, before stepping forward, in the third movement’s Recitativo and Arioso, as an operatic diva in its own right.
Telemann considered himself a particular master of the Trio Sonata, in which two musical voices converse to the accompaniment of a third, the continuo (which could comprise several instruments). Telemann played both the violin and the harpsichord himself, and this trio in the sunny key of D major gives both instruments full scope to sing, dance, converse, and (in the lilting third movement) to paint a gentle pastoral scene. Music this imaginative spoke for itself, and as Telemann himself once put it: I have nothing further to present other than to solicit from amateurs of music an opinion well-disposed toward me, as much with this as my other work, that I may remain, your most humble and obedient Telemann. Richard Bratby
AESOP'S FABLE The Old Man and the Three Young Men As an Old Man was planting a tree, Three Young Men came along and began to make sport of him, saying: "It shows your foolishness to be planting a tree at your age. The tree cannot bear fruit for many years, while you must very soon die. What is the use of your wasting your time in providing pleasure to others to share long after you are dead?" The Old Man stopped in his labor and replied: "Others before me provided for my happiness, and it is my duty to provide for those who shall come after me. As for life, who is sure of it for a day? You may all die before me." The Old Man's words came true; one of the Young Men went on a voyage at sea and was drowned, another went to war and was shot, and the third fell from a tree and broke his neck.
BEETHOVEN OCTET IN E FLAT
BACH ST JOHN PASSION
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Second day of Easter Triumphierendere Versöhner
Yes yes, you have already risen,
1. Arie Triumphierender Versöhner, tritt aus einer Kluft hervor Conquering mediator, step forth from a tomb. Triumphierender Versöhner, tritt aus deiner Kluft hervor. Conquering mediator, step forth from your tomb. Hebe nun mit Sieg und Prangen, Lift up now, in victory and resplendence da die zweite Nacht vergangen, since the second night is passed dein gesenktes Haupt empor, your sunken head.
Ja, ja, du bist schon auferstanden,
nichts hält dich mehr in Banden, nothing holds you any longer in bonds, du, dessen Kraft so manchem schon das Leben, you, whose strength has already given life to so many, bevor du selber starbst, gegeben, before you yourself died, zerbrichst a-nitz des eignen Todes Ketten! now breaks the bonds of death itself. Ihr Feinde, spottet nun: Ye foes, now you may jeer: 3. Aria Er hat auf Gott vertraut der mag ihn itzt erretten, He trusted in God, let him deliver him, im Fall er Lust zu seinem Sohne trägt! since he delights in him!
4. Recitativ Kommt her und schaut die Stätte, Come and see the place, wohin man ihn gelegt: where they laid him: Was findet ihr? O weh! What do you find? Oh no! Nichts als sein Leichgeräte;
ist siegreich aufgewacht is victoriously risen, und schmeckt zu keiner Zeit hinfort des Todes Bitterkeit. and will never again taste the bitterness of death. O Herr, wie sollte sich dein Volk nicht darüber freuen? O Lord, how can your people not delight in this?
Nothing but his death garments;
Es jauchzet, ich jauchze mit
die Glut, die ihr als ausgelöscht verlacht;
und will mit frohen Weisen
the fire, that you mocked as extinguished; entzündet sich von neuem is rekindled und wird mit ihrem Schein hinfüro unauslöschlich sein;
I rejoice with the rejoicing,
and with happy tunes
nach deinem Siege dich im heil’gen Schmucke preisen! want to praise you in holy apparel after your victory!
and will henceforth be inextinguishable in its glory;
Denn wie dein Arm vorhin für uns gekrieget, so hat er itzo auch für uns gesieget.
der Held, den ihr auf ewig totgedacht,
Then as your arm fought for us before, so it has now triumphed for us.
the hero, that you thought dead for ever,
TRANSLATION CONTINUED 5. Aria Du starbst; wozu? You are dying; why?
Mein Heil, zu unserm Leben. My saviour, for our life. Du lebst; wozu? Zu unsrer Seligkeit. You live; why? For our blessing. So preisen wir dich für dein Schlafengehen; So we praise you for your falling asleep; so loben wir dich für dein Auferstehen, so we extol you for your resurrection, weil beides uns zur Wohlfahrt angedeiht. because both grant us salvation.
Translation by Crispin Woodhead
British baritone Dominic Sedgwick was a member of the Royal Opera’s Jette Parker Young Artists Programme 2017-2019 where his roles included Kuligin in a new production of Káťa Kabanová, Novice’s Friend in a new production of Billy Budd, Moralès in a new production of Carmen and Third Ghost Child in the world premiere of Mark-Anthony Turnage’s Coraline. Recent roles include Melot in a new production of Tristan und Isolde for the Festival d’Aix-en-Provence and English Clerk in David McVicar’s new production of Death in Venice for the Royal Opera. His 2021/22 season sees a return to the Royal Opera as Marullo in a new production of Rigoletto, his debut at Teatro dell’Opera di Roma as Anthony in the world premiere of Giorgio Battistelli’s Julius Caesar and his debut for the Opéra National de Bordeaux as Belcore in L’elisir d’amore. Upcoming engagements include further roles for the Royal Opera and debuts for Théâtre Luxembourg and Grange Park Opera.
Concert engagements include Messiah with the OAE, the RLPO and Canada’s National Arts Centre Orchestra, Pilate in Bach’s Matthäus-Passion at the BBC Proms with Arcangelo and Jonathan Cohen as well as a number of concerts with the OAE featuring Bach Cantatas as part of their Bach, the Universe and Everything series at Kings Place. He studied at Clare College, Cambridge and is a graduate of the Guildhall School of Music and Drama’s Opera School. He was awarded the Audience Prize in the inaugural 2017 Grange Festival International Singing Competition.
ABOUT THE OAE Over 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 so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its association 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.
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.
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 OAE to live, work and play amongst the students of the school.
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.
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 Finance and Governance Director Pascale Nicholls Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Communications Director Doug Buist General Manager Edward Shaw Education Officer Andrew Thomson Projects Manager (Maternity) Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett Box Office and Data Manager Paola Rossi Development Manager Kiki Betts-Dean Development Officer Luka Lah Projects Officer Ed Ault
Operations Assistants Henry Ashmall Nathanael Jordine Orchestra Consultant Philippa Brownsword Choir Manager David Clegg Librarian Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Adrian Bending Steven Devine Max Mandel 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
Life President Sir Martin Smith Board of Directors Imogen Overli [Chairman] Daniel Alexander Steven Devine Denys Firth Adrian Frost Max Mandel David Marks Rebecca Miller Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead OAE Trust Adrian Frost [Chairman] Mark Allen Paul Forman Steven Larcombe Alison McFadyen Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Nigel Jones Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams
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APPEAL DONORS We have been overwhelmed by the support of our audiences since the beginning of the pandemic. Many of you have generously helped us tackle this challenging time by donating to our Regeneration Appeal. We gratefully acknowledge those donors below Charles and Julia Abel Smith Mark and Sue Allen Deborah Anthony Julian and Annette Armstrong Hugh and Michelle Arthur John Birks Sir Victor Blank Bob and Elisabeth Boas A & FDW Boettcher William Bordass Mr Roger Bowerman Ms Susan Bracken Neil Brock Sir Anthony Cleaver
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WE MOVED INTO A SCHOOL In September 2020, we took up permanent residence at 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. The school isn't just our landlord or physical home. Instead, it allows us 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. Our move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible. What do backflips, smoke machines and baroque drums all have in common? Answer: our first video collaboration with Acland Burghley students. We teamed up with year 10 students who performed an original dance that they choreographed for their GCSE exam, accompanied by us performing Rameau’s ‘Danse des Sauvages’ from Les Indes Galantes. The pupils were given their own agency in carving out the framework of the project. After taking inspiration from baroque dances on YouTube and being drawn to the distinctive rhythmic pulse in the Rameau, the pupils sparked enthusiastic discussion with our players to allow the choreograph and music to evolve hand in hand. They also had their say in the direction and recording of the music video, which you can watch on our YouTube channel. We brought The Moon Hares, an opera for young families which we commissioned in 2019, into the school hall and performed it alongside pupils from ABS as well as Gospel Oak and Kentish Town primary schools. The electrifying performance included music both old and new, with sections from Purcell’s 17th century opera Dioclesian mixed with modern music by James Redwood. There’s also been a bustle of activity away from the camera in our ongoing private classroom education. We’ve delivered numerous interactive workshops for all students in years 7, 8 and 9, including an exploration of the orchestra’s instruments, illustrated sessions on blues and jazz compositional techniques as part of curriculum studies and a study a day for all GCSE music students on Bach’s Brandenburg Concerto No.4. The move has been made possible with a leadership grant from The Linbury Trust, one of the Sainsbury Family Charitable Trusts.
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 Emily Stubbs, Development Director email@example.com
We are grateful to Jenny and Tim and our friends at St Jude’s Churc
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