Bach: Toutes Suites concert programme

Life, Liberty and the Pursuit of Happiness

Bach: Toutes Suites

Tuesday 14 May 2019 Queen Elizabeth Hall 7pm

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“We hold these truths to be self-evident: that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the Pursuit of Happiness”.

The American Declaration of Independence

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Thomas Jefferson’s immortal words were inspired by the brilliant energy of the Enlightenment in 18th century Europe. Even now they cast an optimistic beam over humanity and the challenges it faces.

Questions about the state and the individual beat in the hearts of many in the 17th and 18th centuries.

Their answers still define our lives and what freedoms, if any, we might enjoy.

Some of the music in this Life, Liberty and the Pursuit of Happiness season is overtly about the grand question of human freedom. Some works have a historical context, and we can pinpoint them as reactions to particular flashpoints, such as the failed revolutions in Germany in 1848. Many pieces relate the conflict between external forces and individual identity, and sing with a voice of undaunted independence.

All relate to a notion of intrinsic freedom set out

by Jean-Jacques Rousseau in the decade before Jefferson and his committee sat down to draft the Declaration of Independence. “L'homme est né libre, et partout il est dans les fers,” he wrote in Du contrat social (1762): “Man is born free and everywhere he is in chains”.

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States of Independence Friday 31 May 2019 7pm Southbank Centre’s Royal Festival Hall

Elgar Serenade for Strings Strauss Violin Concerto Sibelius Symphony No.2 Vladimir Jurowski conductor Alina Ibragimova violin

Contents Welcome 03 Soloists and concert information 06 Tonight's orchestra 08 Programme notes 10 I've heard that before!

Bach in Popular Culture 16 Support us 18 Biographies 21 OAE Education 26 OAE team 29 Supporters 30 Introducing our 19/20 Southbank Centre season 32

Front cover, left to right: Ursula Paludan Monberg - horn David Blackadder - principal trumpet Annette Isserlis - viola Back cover: Max Mandel - principal viola James Newby - baritone, Rising Star of the Enlightenment Camilla Morse-Glover - cello, Ann and Peter Law OAE Experience Scheme

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Toutes Suites

Repertoire and soloists

Tuesday 14 May 2019 Queen Elizabeth Hall 7pm

J.S.Bach Orchestral Suite No.3 in D Orchestral Suite No.1 in C

This concert will finish at approximately 9.15pm, with one 20 minute interval.

INTERVAL

Margaret Faultless director

J.S.Bach Orchestral Suite No.2 in B minor Orchestral Suite No.4 in D

Lisa Beznosiuk flute

Pre-concert talk 6pm, Queen Elizabeth Hall Foyer

Concert supported by Haakon and Imogen Overli

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Life, Liberty and the Pursuit of Happiness

David Blackadder principal trumpet

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Orchestra

Violin 1 Margaret Faultless Sophie Barber Henry Tong Andrew Roberts Violin 2 Rodolfo Richter Daniel Edgar Claire Holden Stephen Rouse Isabel Soteras* Viola Max Mandel Nicholas Logie Marina Ascherson Jam Orrell* Cello Luise Buchberger Andrew Skidmore Hugh Mackay*

Lisa Beznosiuk Oboe Katharina Spreckelsen Alexandra Bellamy Geoff Coates Bassoon Sally Jackson Trumpets David Blackadder Phillip Bainbridge Matthew Wells Timpani Adrian Bending Harpsichord Steven Devine

Bass Cecelia Bruggemeyer Jesse Solway*

*Participants in the Ann and Peter Law OAE Experience Scheme.

Flute

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Toutes Suites

Programme Notes

J.S.Bach (1685-1750)

J.S.Bach

In so many ways, Johann Sebastian Bach’s four Orchestral Suites have challenged, altered and reshaped what we understand about the composer. First and foremost because we don’t often associate Bach – the sober Lutheran organist – with dance music of exuberance and joy. But also because, for many years, we had the facts surrounding the pieces wrong.

Unlike Bach’s Brandenburg Concertos, the four Suites were almost certainly not conceived as a set and are strikingly different. We still can’t say for sure whether we have the facts right. But it is now generally agreed by musicologists that the works originated not during Bach’s years in Cöthen, where he worked from 1717, but from the time of his final and most prestigious appointment, as Cantor at St Thomas’s School and Music Director in Leipzig, a post he took up in 1723.

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There are all sorts of reasons why that difference in chronology, revealed by new evidence and expert opinion, is vital for our understanding of the Suites. Firstly, it suggests orchestral music wasn’t just an activity Bach was involved in at Cöthen, where he had few responsibilities for church music.

Rather, it was a strand of work that he actively sought to foster and develop from that point onwards, even up to the time of his death. That, in turn, reinforces the idea that these are works of considerable maturity and sophistication that deserve to take their place alongside the great scores of Bach’s last decades.

St Thomas's Church, Leipzig

By the time he took the job in Leipzig, the first really prestigious appointment of his career, Bach appears to have become the ‘workaholic’ of common repute.

Not only was he responsible for the music at Leipzig’s churches and for the day-to-day activities at the conservatoire-style St Thomas’s School, he also took on the directorship of a concert society founded by his senior Georg Philipp Telemann.

Telemann’s erstwhile society, the Collegium Musicum Leipzig, consisted of a group of professional musicians, student musicians and talented amateurs who would meet at 8pm every Friday to play and hear music at Gottfried Zimmermann’s coffeehouse, just around the corner from Leipzig’s main marketplace.

Bach took over the directorship of the society in 1729. During his time in charge he purchased and programmed a wealth of vocal and instrumental music for the ensemble, including works by Telemann, Porpora, Handel, Scarlatti, Locatelli and his own cousin Johann Bernhard, among countless others.

But the Collegium, for all its coffeehouse informality, had serious objectives. The organisation sought to explore new musical styles and discuss notions of musical modernity at its meetings. While those objectives induced Bach’s innovative concertos for one, two and three harpsichords, they also lay behind his Suites, which are about far more than knocking-out pastiches of French dances.

For starters, Bach began his suites with grand overtures that might be decidedly French in style but are alive with detail and innovation. These overtures prove, for Harvard Bach scholar Chrisoph Wolff, ‘among the most impressive and exciting of all Bach’s orchestral works’. But Bach also filled the dances that followed with advanced takes on the established ‘gallant’ and rustic styles, sharpening his sense of articulation and expression in the process.

Andrew Mellor Gottfried Zimmermann's coffeehouse

It seems likely that Bach also wrote his own four Orchestral Suites for the Collegium Musicum, even if some of the material was recycled from earlier sources. At the time, suites of movements in the popular French dance styles were widespread in Germany. They often included an Overture in the French style (and French spelling, ‘Ouverture’), followed by a string of dances, as do Bach’s.

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Orchestral Suite No.3 in D 1. Ouverture 2. Air 3. Gavotte I & II 4. Bourrée 5. Gigue Bach was not instinctively drawn towards music on the lighter side of the creative spectrum, although on the evidence of his third Orchestral Suite he could do so when required.

Composed during his extended final period based in Leipzig when sacred vocal music formed the core of his musical output, the Suite was almost certainly composed for the Collegium Musicum Leipzig, an ensemble of gifted local players of which he had been appointed Director in 1729. The group played regularly on a Friday evening at the Zimmermann Coffee House in Leipzig’s Cather Strasse and it is here that the Suite would have almost certainly received its first performance sometime during 1731.

There follows one of Bach’s most famous movements, a timeless Air whose supreme poise inspired the virtuoso violinist August Wilhelmj to make a famous transcription known the world over as the Air on the G String. The suite is rounded out in style by outstanding examples of three popular dance forms: two duple-time Gavottes of French folk origin, a closely related though swifter Bourrée and a lively Gigue, with its characteristic swaying rhythms.

Julian Haylock

August Wilhelmj

The Third Suite is scored for two oboes, three trumpets, drums, strings and basso continuo, opening with a regal Ouverture, whose spectacular impact is due in no small measure to the militaristic presence of trumpets and drums.

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Orchestral Suite No. 1 in C 1.

2.

3.

4.

5.

6.

7.

Ouverture Courante Gavotte I & II Forlane Menuet I & II Bourrée I & II Passepied I & II

Composed either in Cöthen or shortly after Bach’s move to Leipzig in 1723, the C major Suite is scored for the popular combination of two oboes, bassoon, strings and continuo. In the overture’s majestic slow introduction the wind double the strings; but in the fast section they are quick to assert their independence as a solo trio, contrasting with the tutti in the manner of a concerto grosso. In the dances that follow, Bach’s melodic inspiration is at its most alluring; and as the Courante, in 3/2 metre, immediately reveals, Gallic charm does not preclude intricacies of texture and motivic development.

Of the other dances, all but the Forlane – a lively, jig-like piece, perhaps of Slav origin – are marked to be played ‘alternativement’ – i.e. as a pair, with the first repeated after the second. In each case the second dance is more subdued and brings a change of scoring. The veiled second Menuet is for strings and continuo only, the second Bourrée (the only number in the minor key) for the wind trio, while in the second Passepied the melody of the first is repeated an octave lower by violins and violas against a sinuous countermelody on the oboes. But the most original section is the second Gavotte, where the wind textures are invaded by imitation trumpet fanfares on the strings, with amusingly incongruous effect.

INTERVAL Orchestral Suite No. 2 in B minor 1.

2.

3.

4.

5.

6.

7.

Ouverture Rondeau Sarabande Bourrée I & II Polonaise (Lentement) – Double Menuet Badinerie

Suite No.2 was written some time in 1738-39, probably for the Collegium.

It is almost certainly Bach’s last orchestral work. In accordance with the scoring mentioned, it has a chamber music feel but elements of a concerto too. Musically, it certainly sounds like late Bach; Sir Nicholas Kenyon has drawn a comparison with the ‘modishly unequal rhythms’ of the ‘Domine Deus’ movement of Bach’s B minor Mass (which, like this piece, makes use of a flute solo).

The Ouverture is in the style laid down by the French composer Lully. It opens with stern grandeur in dotted rhythms, music that returns after the brisk fugue in the middle, in which a sequential melody is introduced staggered intervals by different instruments starting with the violins, leading to a complex multi-voiced musical conversation.

Richard Wigmore 013

The dances follow, and there are some interesting twists. Most of all, perhaps, in the Sarabande. This was originally a fast Spanish dance, but is given French accent in Bach’s slower, more louche realisation. Bach’s sense of boldness, intelligence and uncompromising technique is most manifest in his use of canons – instruments imitating one another at staggered intervals – in the movement’s outer voices.

Andrew Mellor Orchestral Suite No.4 in D 1. Ouverture 2. Bourrée I & II 3. Gavotte 4. Menuet I & II 5. Réjouissance Bach’s fourth Orchestral Suite began life scored modestly for two contrasted groups (oboes & bassoons and strings), yet such was the impact of its magisterial overture that he promptly adapted it as the opening movement of his Christmas cantata of 1725: No.110, Unser Mund sei voll Lachens (‘Then was our mouth filled with laughter’ ). In keeping with the cantata’s festive spirit, Bach added parts for trumpets and drums, and it was this new, more rousing orchestration which formed the basis of the 1730 revision we hear played tonight, scored for three oboes, bassoon, three trumpets, drums, strings and basso continuo.

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The remaining four dance movements form an object lesson in how to obtain the maximum contrast from the minimum number of instruments.

Trumpets and drums are reserved for Bourrée I, the Gavotte and Réjouissance, while the woodwind come in to their own in Bourrée II and the Gavotte and the strings in Menuet II. All come together in the finale, a Réjouissance which fully lives up to its title of general rejoicing.

Julian Haylock

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Toutes Suites

I've heard that before!

It appears as though Bach’s Orchestral Suites aren’t only popular in the concert hall. The Suites, and Bach’s music more generally, have infiltrated various aspects of popular culture, proving that they are truly timeless classics. Keep your ears peeled when listening to these Bach ‘variations’.

1 As has already been mentioned in this programme, the famous Air on the G String was derived from Bach’s Orchestral Suite No.3. Made widely famous by August Wilhelmj’s transcription for solo violin and piano, the Air has been widely used in pop culture: - If you have listened to the progressive rock band Procol Harum’s famous song A Whiter Shade of Pale, you might have had the feeling that you’ve heard this music somewhere before. And you would be right! Lead singer/songwriter Gary Brooker confirmed that he drew inspiration from the Air, namely in the song’s first few bars which bear a striking and unmissable resemblance to Bach’s iconic bassline.

How Bach might look today...

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- Classical music is often used in films either to complement the drama or to add an element of irony for the viewer. David Fincher’s crime thriller Se7en uses the Air in one famous scene from the film. As the detective carries out library research on the brutal murders that are being committed, the security guards put on Bach’s music, creating a rather incongruous relationship between image and audio. Perhaps it is being suggested that Bach is the perfect counterpart to doing intense research. Or, just maybe, Fincher is insinuating that there is a darker side to Bach; one that somehow makes his music unsettlingly suitable for savagery and wickedness.

2 For those of you who were lucky enough to have been around during the blossoming of the Nokia ringtones, it would have been extremely difficult to miss the digitalised rendition of Bach’s Badinerie from his Orchestral Suite No.2. The catchy and surprisingly singable (if you’re feeling brave enough to do the fast bits!) tune quickly became one of Nokia’s distinguishing features that can still be downloaded today! However, as much as we love Nokia’s nod to Bach, you might want to make sure your phone is switched off for the concert to make sure it’s not competing against our flute player…

3 Occasionally, it takes a bit of ‘intelligent listening’ to hear the ways in which Bach’s music has been utilised. A great example of this can be heard in the theme tune to the BBC programme Ski Sunday. The theme uses Sam Fonteyn’s Pop Looks Bach which has now become a staple feature of the show’s branding.

Fonteyn’s melody line has definite parallels with Bach’s Fugue in D minor (BWV 565), although Bach’s disquieting minor key has been replaced with a far lighter and cheerier major alternative. Not quite an exact copy, admittedly, but the piece is definitely a not-so-distant relative of our Pop Culture icon’s original.

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Left to right: Max Mandel – principal viola Camilla Morse-Glover – cello, OAE Experience Scheme Ursula Paludan Monberg – horn

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Toutes Suites

Biographies

Margaret Faultless - director Margaret Faultless performs music from Monteverdi to the present day, but is best known as a specialist in historical performance practice. She is co-leader of The Orchestra of the Age of Enlightenment, and has led the orchestra at Glyndebourne, the Salzburg Festival and in many performances at the Southbank Centre, with conductors and directors such as Gustav Leonhardt, Frans Bruggen, Sir Simon Rattle, Sir Mark Elder, Sir Roger Norrington, Vladimir Jurowski, Ivan Fischer and Semyon Bychkov. She also plays a significant role in their education programme for young professionals. With a reputation as a distinguished leader and director of both period instrument and modern orchestras, She has appeared all over the world, as concert-master of the LPO (London) the Handel and Haydn Society (Boston) to the Russian National Orchestra. For twelve years, Margaret led the Amsterdam Baroque Orchestra, as concert-master and soloist in their ten-year project to perform and record J.S Bach’s Cantatas. She has been a regular director of the European Union Baroque Orchestra (for whom she is Director of Studies) and since 1996 the founder and Artistic director of the ensemble Music for Awhile.

For ten years Margaret was a member of The London Haydn Quartet, whose CD of Haydn string quartets Opus 9 on the Hyperion label has been hailed as “one of the great Haydn quartet recordings.”

The Opus 17 discs were released in 2009. She also appears as a duo with pianist Adrian Partington, focusing on the sonatas of Beethoven and Brahms.

She is a frequent broadcaster on the BBC and other international media as an expert in historical performance and sources, for Today, The World Tonight, Front Row, Tales from the Stave, and a major documentary about 18th Century female violinist Maddalena Lombardini for International Women's Day. Margaret also researches and lectures on performance practice; her interests include leadership and social interactions in ensembles without a conductor and Bach's information for performers. A graduate of Clare College, Cambridge, she is Director of Performance at the Faculty of Music at the University of Cambridge. She is an Honorary Fellow of Birmingham Conservatoire, Head of Historical Performance at The Royal Academy of Music and has been awarded the prestigious Honorary Membership of the Academy and is now a Professor of the University of London.

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Lisa Beznosiuk - flute

Born in England of Ukrainian/ Irish descent, Lisa Beznosiuk is one of the world’s leading performers on early flutes.

As solo flautist and orchestral principal she has performed and recorded a wide range of 18th and 19th century repertoire on a variety of historical flutes, both copies and originals, from her own collection.

Lisa has received many enthusiastic reviews for her live and recorded performances. Her solo recordings include the complete sonatas of Bach and Handel, concertos by Vivaldi, and quartets and concertos

by Mozart.

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She also features on numerous recordings of orchestral music from Bach to Brahms and beyond with many of Europe’s best-known period instrument ensembles.

Lisa is a founder member of the Orchestra of the Age of Enlightenment and, as a season curator, has been deeply involved in the programme planning and artistic future of the orchestra.

Lisa is also a passionate and dedicated teacher and is Professor of Early Flutes at the Royal Academy of Music.

She holds an international reputation as a flute teacher and ensemble coach and many of her former students are now successful and well-known flautists.

Orchestra of the Age of Enlightenment

In 1986, a group of inquisitive That creative thirst remains London musicians took a long hard unquenched. The Night Shift series look at that curious institution we of informal performances are call the Orchestra, and decided redefining concert formats. Its to start again from scratch. They base at London’s Kings Place has began by throwing out the rulebook. fostered further creativity, such as Put a single conductor in charge?

Bach, the Universe and Everything, No way. Specialise in repertoire of a trailblazing Sunday morning series a particular era? Too restricting. with contributions from esteemed Perfect a work and then move on? scientists. And from 2017, it started Too lazy. The Orchestra of the Age Six Chapters of Enlightenment, six of Enlightenment was born. extraordinary seasons exploring And as this distinctive ensemble the music, science and philosophy playing on period-specific of the golden age from which the instruments began to get a foothold, Orchestra takes its name. it made a promise to itself. It vowed to keep questioning and inventing Now more than thirty years old, as long as it lived. Residencies at the OAE is part of our musical the Southbank Centre and the furniture. It has even graced the Glyndebourne Festival didn’t numb outstanding conducting talents of its experimentalist bent. A major Elder, Rattle, Jurowski, Iván Fischer, record deal didn’t iron out its quirks. John Butt and Sir András Schiff’s Instead, the OAE examined musical with a joint title of Principal Artist. notes with ever more freedom and But don’t ever think the ensemble resolve. has lost sight of its founding vow.

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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 We are particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust.

Thirty Circle Patrons Bob and Laura Cory Sir Martin Smith and Lady Smith OBE Thirty Circle Members Victoria and Edward Bonham Carter Nigel Jones and Françoise Valat-Jones Selina and David Marks Julian and Camilla Mash Mark and Rosamund Williams Our Supporters Ann and Peter Law OAE Experience scheme Ann and Peter Law Principal Sponsor

Corporate Partners E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Parabola Land Stephen Levinson at Keystone Law Swan Turton Corporate Associates Aston Lark Bannenburg and Rowell Belgravia Gallery Kirker Holidays Zaeem Jamal Event Sponsors Ambriel Sparkling Wine Markson Pianos 030

Season Patrons Julian and Annette Armstrong Adrian Frost Bruce Harris John Armitage Charitable Trust Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin Smith and Lady Smith OBE Mark and Rosamund Williams Project Patrons Julian and Camilla Mash Philip and Rosalyn Wilkinson Aria Patrons Denys and Vicki Firth Madeleine Hodgkin Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Maarten and Taina Slendebroek Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage – Education Director Hugh and Michelle Arthur – Viola Victoria and Edward Bonham Carter – Principal Trumpet Anthony and Celia Edwards – Principal Oboe Sir Vernon and Lady Ellis – Co-Principal Viola Ian S Ferguson and Dr Susan Tranter Double Bass James Flynn QC – Co-Principal Lute/Theorbo Paul Forman – Co-Principal Cello, Co-Principal Violin and Co-Principal Horn Jenny and Tim Morrison – Second Violin Caroline Noblet – Oboe Andrew Nurnberg – Co-Principal Oboe

Jonathan Parker Charitable Trust – Co-Principal Cello Professor Richard Portes CBE FBA – Co-Principal Bassoon Olivia Roberts – Violin John and Rosemary Shannon – Principal Horn Roger and Pam Stubbs – Sub-Principal Clarinet Crispin Woodhead and Christine Rice – Principal Timpani Education Patrons John and Sue Edwards – Principal Education Patrons Mrs Nicola Armitage Patricia and Stephen Crew Rory and Louise Landman Andrew & Cindy Peck Professor Richard Portes CBE FBA Rising Stars Supporters Annette and Julian Armstrong Mrs Rosamund Bernays Denys and Vicki Firth Mr Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Mr Peter Lofthouse Mark and Liza Loveday Mr Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli The Reed Foundation Associate Patrons Julia and Charles Abel Smith Nick Allan Noël and Caroline Annesley Mrs A Boettcher Catherine and Barney Burgess David and Marilyn Clark David Emmerson Jonathan and Tessa Gaisman Peter and Sally Hilliar Noel De Keyzer Madame M Lege-Germain Sir Timothy and Lady Lloyd

For more information on supporting the OAE please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381 Michael and Harriet Maunsell MM Design - France Peter Rosenthal Roger Mears and Joanie Speers David Mildon in memory of Lesley Mildon John Nickson & Simon Rew Andrew and Cindy Peck Emily Stubbs and Stephen McCrum Shelley von Strunckel Ivor Samuels and Gerry Wakelin Rev’d John Wates OBE and Carol Wates Mr J Westwood Young Ambassador Patrons Rebecca Miller William Norris Young Patrons Joseph Cooke and Rowan Roberts David Gillbe Nina Hamilton Marianne and William Cartwright-Hignett Sam Hucklebridge Alex Madgwick Gold Friends Michael Brecknell Mr and Mrs C Cochin de Billy Geoffrey Collens Chris Gould Silver Friends Dennis Baldry Haylee and Michael Bowsher Penny and Robin Broadhurst Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper Anthony and Jo Diamond Dr Elizabeth Glyn Malcolm Herring Patricia Herrmann Val Hudson Rupert and Alice King Cynthia and Neil McClennan Stephen and Roberta Rosefield David and Ruth Samuels Susannah Simons Her Honour Suzanne Stewart

Bronze Friends Tony Baines Keith Barton Mr Graham Buckland Dan Burt Mrs SM Edge Mrs Mary Fysh Ray and Liz Harsant The Lady Heseltine Auriel Hill Stephen Larcombe Julian Markson Stuart Martin Sir Nicholas Montagu Stephen and Penny Pickles John Ransom Paul Rivlin Anthony and Carol Rentoul Alan Sainer Mr Anthony Thompson Gillian Threlfall Mr and Mrs Tony Timms Mrs Joy Whitby David Wilson Trusts and foundations Angus Allnatt Charitable Foundation Apax Foundation Arts Council England Catalyst Fund Arts Council England Ashley Family Foundation Arts Council England Barbour Foundation Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement Catherine Cookson Charitable Trust The Charles Peel Charitable Trust Chapman Charitable Trust Chivers Trust Cockayne – Grant for the Arts London Community Foundation John S Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Esmee Fairbairn Foundation Fenton Arts Trust Fidelio Charitable Trust Foyle Foundation GarfieldWeston Foundation Geoffrey Watling Charity

The Garrick Club Charitable Trust The Golden Bottle Trust Goldsmiths’ Company Charity Idlewild Trust Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity Lord and Lady Lurgan Trust The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Old Possum’s Practical Trust Orchestras Live Palazzetto Bru-Zane Paul Bassham Charitable Trust The Patrick Rowland Foundation PF Charitable Trust Pitt-Rivers Charitable Trust PRS Foundation Pye Charitable Settlement RK Charitable Trust RVW Trust Schroder Charity Trust Sir James Knott Trust Small Capital Grants Stanley Picker Trust Strategic Touring Fund The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Sobell Foundation Valentine Charitable Trust Violet Mauray Charitable Trust The 29th May 1961 Charitable Trust

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

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Introducing our 19/20 Resident Orchestra season at Southbank Centre Welcome to Salvation and Damnation, the third part of our Six Chapters of Enlightenment.

These Chapters are the six special seasons we’re staging to explore through music the golden age of science and philosophy that gave our orchestra its name.

This time we’re asking the tough questions – questions that taxed the composers and thinkers of the Enlightenment. How will I be judged? What will people think of me when I’m gone?

These concerts feature music that is often uplifting, occasionally challenging, and always compelling.

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To unlock these questions we’re joined by a host of great artists, including singers Ian Bostridge and Iestyn Davies, violinist Alina Ibragimova and pianist Stephen Hough.

We’ll be playing music by composers you’re used to hearing us perform, such as Vivaldi, Mozart and Beethoven, and some that you’re not, including Wagner, Liszt and Schoenberg. southbankcentre.co.uk/oae Pictured opposite - Left to right - Alina Ibragimova (Saving Michael Haydn), Masaaki Suzuki (Mendelssohn's Elijah), Ian Bostridge (If Music be the Food of Love, Curse Me), Iván Fischer (Mozart's Final Flourish), Sir Roger Norrington (Beethoven's Major Heroes), Thomas Mann (Faust: The Life of a Composer), Stephen Hough (Lizst and Wagner: Mad, Bad and Dangerous to Know), Katherine Watson (Vivaldi and Pergolesi: Sacred Baroque)

Heaven or Hell?

Hero or villain?

Vivaldi and Pergolesi: Sacred Baroque

Beethoven’s Major Heroes

Monday 11 November 2019 Queen Elizabeth Hall

Tuesday 28 January 2020 Queen Elizabeth Hall

Faust: The Life of a Composer

Liszt and Wagner: Mad, Bad and Dangerous to Know

Wednesday 25 March 2020 Queen Elizabeth Hall

Friday 26 June 2020 Royal Festival Hall

Remembered or forgotten?

Blessed or cursed?

Mozart’s Final Flourish

Mendelssohn’s Elijah

Friday 7 February 2020 Royal Festival Hall

Thursday 3 October 2019 Royal Festival Hall

Saving Michael Haydn

If Music be the Food of Love, Curse Me

Tuesday 19 May 2020 Queen Elizabeth Hall

Sunday 26 April 2020 Queen Elizabeth Hall 033

KIRKER MUSIC FESTIVALS F O R

D I S C E R N I N G

T R A V E L L E R S

Kirker Holidays offers an extensive range of independent and escorted music holidays.

These include tours to leading festivals in Europe such as the Puccini Festival in Torre del Lago and the Verdi Festival in Parma, as well as Glyndebourne, Buxton and opera weekends in Vienna, Milan and Venice.

We also host our own exclusive music festivals on land and at featuring internationally acclaimed musicians. For those who prefer to travel independently we arrange short breaks with opera, ballet or concert tickets, to all the great classical cities in Europe.

THE KIRKER MUSIC FESTIVAL IN TENERIFE A SEVEN NIGHT HOLIDAY | 12 JANUARY 2019 For our fourth exclusive music festival on the island of Tenerife, we will present a series of six concerts featuring the Gould Piano Trio, pianist Benjamin Frith, soprano Ilona Domnich and violist Simon Rowland-Jones.

Staying at the 5* Hotel Botanico, surrounded by lush tropical gardens, we shall also enjoy a programme of fascinating excursions. Highlights include the Sitio Litro Orchid Garden, a cable car journey to the peak of Mount Teide and a visit to the primeval cloud forest of the Anaga Mountains. We will also visit historic and picturesque villages along the spectacular north coast, including Garachico with its 17th century convent.

Price from £2,698 per person (single supp. £375) for seven nights including flights, transfers, accommodation with breakfast, six dinners, six private concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.

THE KIRKER MUSIC FESTIVAL IN MALLORCA A SIX NIGHT HOLIDAY | 29 MAY 2019 The works of Frédéric Chopin are central to our Festival in Mallorca and for our seventh visit we will be joined by the Phoenix Piano Trio, Marta Fontanals-Simmons, soprano and Lorena Paz Nieto, mezzo-soprano.

Based in the village of Banyalbufar, we will discover the gloriously unspoilt north coast of Mallorca. There will be visits to the picturesque artists’ village of Deia, the capital Palma and the villa of San Marroig. Our series of private concerts includes a recital in the monastery at Valldemossa where Chopin spent three months with his lover the aristocratic Baroness Dudevant, better known as the writer George Sand.

Price from £2,290 per person (single supp. £189) for six nights including flights, accommodation with breakfast, two lunches, six dinners, five concerts, all sightseeing and gratuities and the services of the Kirker Tour Leader.

Speak to an expert or request a brochure:

020 7593 2284 quote code GOG www.kirkerholidays.com

Perfectly tuned insurance

Because helping even the youngest musician strikes a chord with us Our Music policy has been carefully designed to allow you to enjoy playing your instrument with complete peace of mind, whatever your age. Lark Music is focused on protecting your possessions and supporting the musical arts.

www.larkmusic.com Lark Music is a trading name of Aston Lark Limited Registered in England and Wales No: 02831010.

Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY Aston Lark Limited is authorised and regulated by the Financial Conduct Authority.

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