Vivaldi and Pergolesi: Sacred Baroque

Brahms: A German Requiem Vivaldi and Pergolesi: Sacred Baroque Monday 11 November 2019 Southbank Centre’s Queen Elizabeth Hall

Julia Kuhn violin

Six Chapters of the Enlightenment - Part 3

Salvation and Damnation is the third of our Six Chapters of Enlightenment, six seasons of music exploring the golden age of science of philosophy that gave our Orchestra its name.

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The Enlightenment may have been the shining age of Isaac Newton and the development of vaccinations, but in the 18th century you could still be broken on the wheel for heresy. The question of Salvation and Damnation is therefore not only about what you believe about life and the thereafter. It is also about how we reconcile what we do know with what we don’t, and how we cope with the limits of what we can bring to rational order. It is the final challenge to the fashionable eighteenth century delusion that we can figure everything out and there will always be a reasonable explanation when we find it.

The focal point of our season is Faust: The Life of a Composer (Wednesday 25 March 2020). Ever since his appearance in medieval English stories, Faust has been sent to hell for his unfortunate dealings with the Devil. Thomas Mann reimagined him as a composer in his 1947 novel Doctor Faustus, and we play music by Schoenberg, Wagner and others either referred or alluded to in the book.

Elsewhere, we explore those whose star dims on death.

Michael Haydn, once vaunted younger brother of Joseph, drowned his talents in booze and was quickly overshadowed and forgotten. It falls to us to continue his resurrection to the canon with the performance and recording of his violin concerti with Alina Ibragimova (Tuesday 19 May 2020).

Then there’s the question of posterity. Is celebrity the real afterlife? What do we think when we hear Beethoven’s Eroica, written about Napoleon? (Tuesday 28 January 2020). Or are we transported by the guru feats of the virtuoso (in our case Stephen Hough) in performances of Liszt’s piano concerti (Friday 26 June 2020)?

But tonight we have two contrasting pieces of early music that explore the sacred side of salvation and damnation. We open the concert with Pergolesi’s beautiful and melancholic Stabat Mater written by the 26-year-old composer as he lay dying of tuberculosis, followed by Vivaldi’s triumphant Gloria.

All souls welcome!

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Contents

Welcome 03 Concert repertoire and soloists 06 Orchestra and choir 08 Programme notes Lindsay Kemp 10 The Female Presence Anna Bennett 16 Pergolesi Stabat Mater: Text 18 Vivaldi Gloria: Text 20 Support us 22 Biographies 25 OAE team 28 Supporters 30 OAE Education 32 Upcoming concerts 34

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Vivaldi and Pergolesi: Sacred Baroque

Repertoire and soloists

Monday 11 November Southbank Centre's Queen Elizabeth Hall 7pm

Steven Devine director

The performance will run for approximately one hour and 50 minutes with one 20 minute interval Pre-concert talk with OAE Chief Executive Crispin Woodhead Queen Elizabeth Hall foyer 6pm

Katherine Watson soprano Rowan Pierce soprano Iestyn Davies countertenor Katharina Spreckelsen oboe Choir of the Age of Enlightenment Pergolesi Stabat Mater Albinoni Oboe Concerto in D minor, op.9 no.2 Vivaldi Gloria, RV589

Concert supported by Imogen and Haakon Overli and Marquee TV.

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Philip Dale trombone

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Orchestra and choir Orchestra Violin 1 Kati Debretzeni Julia Kuhn Alice Evans Abel Balazs* Kinga Ujszaszi Violin 2 Rodolfo Richter Claire Holden Debbie Diamond Hatty Haynes*

Choir Bass Cecelia Bruggemeyer Oboe Katharina Spreckelsen Trumpet David Blackadder

Viola John Crockatt Kate Heller Muriel Razavi* Cello Jonathan Manson Andrew Skidmore

Soprano Zoe Brookshaw Emily Dickens Eloise Irving Daisy Walford Countertenor David Clegg Tristram Cooke Christopher Field Tim Morgan

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

Help the next generation of gifted period instrument players. To find out more visit oae.co.uk/support or contact: Marina Abel Smith, Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

Tenor Matthew Beale John Bowen Tom Castle Christopher Fitzgerald-Lombard Bass Malachy Frame Brian McAlea Ben Rowarth Philip Tebb

As you take your seats for tonight’s performance, I am honoured to have this opportunity to introduce a new name in the performing arts - Marquee TV. Launched last year and growing rapidly around the world, Marquee TV is the global streaming service for performing arts. The Financial Times calls us ‘Netflix for the arts’, the New York Times hails ‘a cornucopia of dance, music and theatre performances’. Marquee TV’s vision is simple - to give the world’s finest performers the global on demand platform they deserve. Although nothing can replace the magic we feel tonight of the live connection between musicians and audience, Marquee TV’s technology now extends the life and reach of these performances, so partners like the OAE can connect in new ways and engage with new audiences at global scale.

Marquee TV is proud to support the OAE, and thrilled to provide arts lovers a service as radically innovative as tonight’s music was when it was first performed. We hope you’ll take a moment to download the app or try us at marquee.tv, but most importantly we hope you enjoy the music.

Simon Walker Co-Founder & CEO of Marquee TV

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Vivaldi and Pergolesi: Sacred Baroque

Programme Notes Lindsay Kemp

Giovanni Battista Pergolesi (1710-36) Stabat Mater Pergolesi was a phenomenon in eighteenth-century music. Though he lived only twenty-six years, within a decade of his death he was being lauded as the master of a new style of music, one which spoke directly, sweetly and without artifice. ‘Pergolesi was born’, said the French composer Grétry, ‘and truth was known!’ Rumours arose about his life and death, and publishers rushed to convert his fame to profit. The inconvenient fact that there was relatively little music by him to be had was circumvented by taking other composers’ works and attaching Pergolesi’s name to them. The consequent mess of misattributions lasted well into the twentieth century, so that when the first collected edition appeared in the early 1940s, well over half the works it contained (including those borrowed by Stravinsky for his neo-classical ballet score Pulcinella) were ones now known or believed to be by someone else.

Giovanni Battista Pergolesi

Pergolesi would probably have been surprised by his posthumous reputation.

Born in central Italy in 1710, he trained as a teenager in Naples – where the city’s famous conservatory system had 010

produced a whole school of influential operatic and church composers – and enjoyed moderate success there before tuberculosis carried him off in 1736. His operas continued to be performed after his death, but it was when his comic intermezzo La Serva Padrona reached Paris in 1752 that he really shot to fame.

Influential writers and philosophers of the calibre of Rousseau and Diderot championed his music as the perfect example of naturalness and sincerity of expression, thus precipitating the so-called ‘Querelle de bouffons’ dispute between supporters of ‘old-fashioned’ French lyric tragedy and the lighter, more ‘modern’ Italian opera buffa. Somehow, despite the fact that Naples was home to many composers, none of whom would have been likely to consider him their leading light, Pergolesi had for much of Europe become a chief representative of the Neapolitan school.

The interest aroused by Pergolesi’s operas soon spread to his other music.

Even before the Querelle, a London publisher in 1749 issued a Stabat Mater that went on to become the eighteenth century’s most frequently printed piece.

Perhaps the popularity of this piece is the romantic allure that it might be the last piece he wrote as he lay dying of tuberculosis. Yet far from being driven by an inner compulsion, the setting of the 13th century Latin poem depicting Mary’s vigil at the foot of the Cross had been commissioned by a Neapolitan lay brotherhood specifically to replace a twenty-year-old version they already had from Alessandro Scarlatti. But for all that Pergolesi’s Stabat Mater is very much in the mould of sacred compositions by other Neapolitan composers such as his teacher Francesco Durante. The lean, up-to-date melodic style combined with more than a whiff of operatic gesture and a sprinkling of self-consciously ‘old-style’ (or stile antico) counterpoint is a work with plenty of its own to commend it.

Pergolesi’s writing for soprano, alto and

strings mixes elegance with piety and true pathos and Rousseau's opinion was that it was ‘the most perfect and touching duet ever created’.

Francesco Durante

The opening section of Stabat Mater establishes the mood with the voices vying to express their sorrow in agonised rising and interlocking dissonances. There are equally dramatic treatments of the verses ‘Quis est homo’, ‘Vidit suum’ and ‘Quando corpus’. Even in less obviously emotive movements such as ‘Cujus animam gementem’, ‘O quam tristis’ and ‘Eja mater’ a sense of grief or pain is never far away. By contrast, movements such as ‘Quae moerebat’, ‘Sancta mater’ and ‘Inflammatus et accensus’ introduce a distinctly worldly element, a feature which disturbed the more conservative eighteenth-century listeners; no doubt they would have been happier with the more contrapuntal orientation of ‘Fac ut ardeat’ and ‘Amen’.

The popularity of this utterly Italian, utterly Catholic piece extended all over eighteenth-century Europe, winning admirers on its musical merits alone if we are to judge from the range of new texts it was made to carry. In England, for instance, it was fitted to words by Alexander Pope (‘The Dying Christian to his Soul’), while in Germany the composer Johann Adam Hiller adapted it to a poem

by Klopstock. Perhaps most surprising, however, was that it should have caught the interest of Bach, who towards the end of his life reckoned it suitable for conversion into a setting of a German

paraphrase of the penitential Psalm 51 (‘Have mercy on me, Lord’).

Tomaso Giovanni Albinoni (1671-1751) Oboe Concerto in D minor, Op. 9 No. 2 1 Allegro e non presto 2 Adagio 3 Allegro Albinoni was a dilletante in the sense that he did not have to rely on music for a living. The son of a wealthy paper merchant, he styled himself musico de violino, presumably to signal his lack of professional dependence, and his personal associations seem to have been more with members of the nobility than other musicians. All this did not stop him from composing prolifically; he wrote over 80 operas (though few survive), more than 40 chamber cantatas, and a large and important body of instrumental music including around 80 sonatas and 60 concertos that in his day ranked in popularity with those of Corelli and Vivaldi. The piece by which he is best known today is the ‘Adagio for organ and strings’ but it sounds very different from his usual style.

Albinoni’s concertos played an important part alongside Vivaldi’s in the development of the solo concerto. In faraway Weimar, Bach copied out and adapted some of Albinoni's concertos to the organ as preparation for writing concertos of his own. His musical style showed a pleasing individuality and the natural gift for melody that contributed to his success as an opera composer. This is nowhere better shown than in the concertos for oboe, an instrument which he was among the first composers to write for. The Op. 9 set of twelve mixed concertos, published in 1722, includes four for two oboes, and four for one.

Concerto No. 2 is the best of them, and follows the customary Venetian pattern of three movements, the first one is elegant and poised, the second is a 011

Vivaldi and Pergolesi: Sacred Baroque

Programme notes

ravishing exercise in sustained instrumental bel canto, and the third is laced with scurrying counterpoint.

Vivaldi was temporarily in charge of vocal music at the Ospedale della Pietà, the Venetian orphanage famed for its all-female choir and orchestra which employed him intermittently for most of his life as a violin teacher and maestro de’ concerti. The official choirmaster, Francesco Gasparini, had gone on sick leave in 1713 without bothering to return.

The Pietà authorities turned to Vivaldi as a stop-gap, an additional function which he evidently carried out with enthusiasm, since by 1715 he was receiving a one-off extra payment ‘in token of gratitude’.

Tomaso Giovanni Albinoni

Antonio Vivaldi (1678-1741) Gloria in D major, RV589 We think of Vivaldi first and foremost as a composer of instrumental music, more specifically of over 200 violin concertos.

This would probably be so even without the disproportionate fame of The Four Seasons. However, Vivaldi was equally active as a composer of vocal music both sacred and secular. If it has taken longer to rescue this area of his output from the obscurity into which all his music fell after his death, this is perhaps because the scholars who first unearthed it towards the end of the 19th century did not think it held the same excitement as a body of concertos with demonstrable influence on the great Bach. In recent years, Vivaldi’s vocal music has become increasingly popular, and for quality, vitality and sheer attractiveness it has not been found wanting. Proudly at the head of it all stands the Gloria, among the first of Vivaldi’s sacred works to be revived in the 1930s, and still the most widely performed. It probably dates from the period between 1713 and 1719 when 012

Antonio Vivaldi

Church music in Venice in the eighteenth century was unashamedly designed to please the congregation as much as God. With the Republic’s greatest days over, even then it was beginning to rely on tourism as a major source of income, and lavish church services with colourful and attractive music for soloists, choir and orchestra were a good way to draw a wealthy and generously donating audience. In the case of the Pietà, having a musical ensemble performing in its chapel made up entirely of ‘pretty young nuns’ (as one over-stimulated foreign observer described them) was undoubtedly a strong extra attraction.

Strangely, Vivaldi set his choruses

out in the normal four-part scoring for sopranos, alto, tenors and basses, which leaves us to ponder how the lower parts could have been sung by an all-female choir. Assuming that he is unlikely to have brought in male singers, the most plausible solution seems to be that the tenor line was sung by low-voiced women, and that so too was the bass-line, an octave higher than written (though female basses, while rare, are not unheard-of). Perhaps Vivaldi was intentionally leaving open the possibility of performance by a mixed choir – the way, indeed, in which it is usually presented today.

sanctus’, an adroitly condensed version of the opening chorus. The work closes, perhaps unexpectedly for Vivaldi, with a fugue. In fact, though Vivaldi showed himself on a number of occasions well able to write fugues (if only short ones), he was happy here to ‘borrow’ one from a Gloria by his fellow Venetian Giovanni Maria Ruggieri. Whether from laziness or simply acknowledgement of his own limitations, he certainly chose well.

Vivaldi's Gloria is in twelve sections, beginning with what has become one of the most familiar of all passages of baroque choral music: stamping orchestral octaves and ‘Gloria in excelsis Deo’ joyfully declaimed by the choir. It is followed by a suitably contrasted, gently throbbing but harmonically searching and teased-out ‘Et in terra pax’. The first solo number is a charming and light-footed duet for two sopranos, and the choir returns for a brief but portentous ‘Gratias agimus tibi’ and fleetingly fugal ‘Propter magnam gloriam tuam’. A sweetly lilting soprano-and-oboe duet follows for ‘Domine Deus, rex coelestis’, a fine example of Vivaldi’s deceptively artless elegance, whose mood is broken only by the prancing choral entries of ‘Domine Fili unigenite’. The next movement, ‘Domine Deus, agnus Dei’, is a moving slow aria for mezzo-soprano dialoguing with a solo cello and the chorus, whose chant-like interjections lead naturally into the ‘Qui tollis peccata mundi’. The mezzo-soprano then has a second, quicker aria at ‘Qui sedes’, before the choir returns for ‘Quoniam tu solus

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Vivaldi and Pergolesi: Sacred Baroque

The Female Presence Anna Bennett

Pergolesi’s Stabat Mater and Vivaldi’s Gloria are two highly regarded baroque works that have strongly kept their place in the choral canon. Behind the music you hear tonight there lies an interesting connection to female influence that have both inspired and affected the legacies of these compositions.

The Virgin Mary at the cross (Bartolome Esteban Murillo, c.1670)

The Stabat Mater by Pergolesi is one of the most famous settings of the medieval poem about the Virgin Mary’s outpouring of grief while standing at the cross. This characterisation of the Virgin Mary is often cited as one of the most powerful examples of emotional expression in music. The text focuses on the manifestation of her overwhelming sorrow and Pergolesi expertly manipulates his harmonies to not only express this grief, but to heighten the agony that the listener also feels through techniques such as prolonged cadences and delayed resolutions. You as the listener are not meant to feel sorry for the mother figure; you are meant to feel her pain.

It is through the raw emotion of Pergolesi’s musical setting that 016

another example of female presence can also be found. This presence has arisen through the 18th century male chauvinism that is evident in criticism of the time. On the one hand, Pergolesi was praised for his portrayal of female emotion and the way it had the power to affect those who listened to the point that it caused people to weep when they heard the music. Some critics, however, managed to convince themselves that the potent expression would encourage outcries of feeling in the more ‘effeminate male hearts’ and that Pergolesi’s ability to stir emotion was also a sign of his own femininity.

Words such as ‘weak’ and ‘pathetic’ cropped up in 18th century reviews of Pergolesi’s writing and insinuated that the composer pandered to the turbulence of female sensibility over the rationality and strength of what was perceived to be masculine. We could sit and speculate about the fragility of these critics’ masculinity, but their comments seem redundant when we consider the popularity of Pergolesi’s work. The female presence, through both the Virgin Mary’s depiction and the so-called ‘femininity’ of the music, has withstood the test of time and the Stabat Mater continues to be praised for its power.

Vivaldi’s Gloria is also immersed in female inspiration. The composer was employed at the Ospedale della Pietà, a girls' orphanage in Venice, for nearly forty years. The orphanage received a great deal of funding, perhaps because the girls who lived at the Ospedale were often the illegitimate daughters of the wealthy noblemen of the city who had engaged in illicit affairs. The generous

endowments and donations meant the girls of the Ospedale could participate in activities such as musical training.

The governing board of the Ospedale saw musical participation as a healthy way to promote morality and instil modesty in the girls and therefore a significant amount of time and money was poured into these programmes to help the music at the Ospedale flourish.

Over time, girls were admitted into the orphanage with a bias towards those who displayed musical flair, and the ensembles and the choir at the Ospedale slowly but surely built up a well-earned reputation.

Ospedale della Pietà

Beginning with his appointment as a violin teacher in 1703, Vivaldi enjoyed a long musical relationship with the Ospedale which gave him the opportunity to compose a significant number of works for both the ensembles and the choir. Vivaldi’s involvement with the choir came at an interesting point in his life: the composer was gaining status as a reputable operatic composer and was supplying regular works for Venetian theatres from 1713. Vivaldi’s interest in operatic writing coincided with his writing of the Gloria, which is thought to have been written for the choir

at the Ospedale in 1715. As the choir gained its reputation as an ensemble that could rival even the opera houses, tourists and visitors flocked to the Ospedale to hear the girls perform.

However, as the governors of the Ospedale were keen to keep the girls safe from the corruption of the outside world and wanted to maintain their modesty, it was decided that the girls should be obstructed from the view of these audiences, with iron gratings surrounding them in the balconies of the Ospedale where they performed. The girls were shrouded in mystery, which was an incredible selling point as people (men especially) were enchanted by their angelic voices and longed to see the figures behind the gratings. The nature of the performance was therefore extremely theatrical, and Vivaldi may have been drawn in by the dramatic opportunities of writing compositions (such as the Gloria) for this choir. Furthermore, although there was indeed a fascination on the girls’ appearances, or lack thereof, audiences were forced to focus on listening to the music that surrounded them rather than being distracted by what they saw. This would have certainly be an appealing concept for composers who wrote for the choir.

The role that women play in classical music is sometimes overlooked or underplayed. Nevertheless, both Pergolesi and Vivaldi exploited and took advantage of the opportunity for female presence in their works and we think the result is something pretty spectacular.

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Vivaldi and Pergolesi: Sacred Baroque

Texts

Pergolesi, Stabat Mater 1 Stabat mater dolorosa Iuxta crucem lacrimosa Dum pendebat Filius

1 The grieving mother stood tearfully beside the cross where her Son was hanging

2 Cuius animam gementem Contristatam et dolentem Pertransivit gladius

2 Her son, whose sighing soul, moaning, sad and saddening was pierced by the sword

3 O quam tristis et afflicta Fuit illa benedicta Mater Unigeniti

3 O how mournful and suffering was that blessed mother of the only-begotten!

4 Quae moerebat et dolebat Et tremebat cum videbat Nati poenas incliti

4 She was grieving and aching and trembling as she saw the torments of her renowned son.

5 Quis est homo qui non fleret Matri Christi si videret In tanto supplicio?

5 What human being would not weep upon seeing the mother of Christ in such torment?

Quis non posset contristari Matrem Christi contemplari Dolentum cum filio?

Who would fail to be able to be saddened when observing the faithful mother sorrowing along with her son?

Pro peccatis suae gentis Vidit Iesum in tormentis Et flagellis subditum.

For the sins of his people she saw Jesus in torment and subjected to whips.

6 Vidit suum dulcem natum Moriendo desolatum Dum emisit spiritum

6 She saw her sweet son dying in desolation while he gave up the ghost

7 Eia mater, fons amoris, Me sentire vim doloris Fac ut tecum lugeam

7 O mother, source of love, make me feel the force of the pain, so I may mourn with you

8 Fac ut ardeat cor meum In amando Christum Deum Ut sibi complaceam

8 Make my heart blaze with love for Christ the Lord, that I may please him

9 Sancta mater, istud agas, Crucifixi fige plagas Cordi meo valide

9 Holy mother, do this: with the wounds of the crucified one, strongly transfix my heart.

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Tui nati vulnerati Tam dignati pro me pati Poenas mecum divide

Of your wounded son, who has now deigned to suffer for me, divide with me the torments.

Fac me vere tecum flere Crucifixo condolere Donec ego vixero

Make me truly weep with you and suffer along with the crucified one as long as I live.

Iuxta crucem tecum stare Te libenter sociare In planctu desidero

I desire to stand with you beside the cross: to join with you willingly in weeping.

Virgo virginum praeclara Mihi iam non sis amara Fac me tecum plangere

Virgin, famous among virgins, do not be bitter to me now, make me cry along with you.

10 Fac ut portem Christi mortem Passionis eius sortem Et plagas recolere

10 Make me bear the death of Christ, Make me a sharer in his passion, meditating upon his wounds

Fac me plagis vulnerari Cruce hac inebriari Ob amorem filii

Make me be afflicted with those wounds and intoxicated with this cross for love of your son.

11 Inflammatus et accensus, Per te, Virgo, sim defensus In die iudicii

11 In my ardor and seal let me be defended by you, virgin, on Judgment Day.

Fac me cruce custodiri Morte Christi praemuniri Confoveri gratia

Make me be guarded by the cross, fortified by the death of Christ and fostered by grace.

12 Quando corpus morietur Fac ut animae donetur Paradisi gloria. Amen.

12 When my body dies, make my soul be given the glory of paradise. Amen.

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Vivaldi and Pergolesi: Sacred Baroque

Texts

Vivaldi, Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

Laudamus te. Benedicimus te.

Adoramus te. Glorificamus te.

Gratias agimus tibi.

Propter magnam gloriam tuam.

Domine Deus, rex coelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe Domine Deus, agnus Dei, Filius Patris.

Qui tollis peccata mundi, Miserere nobis; Qui tollis peccata mundi, Suscipe deprecationem nostram.

Qui sedes ad dexteram Patris, Miserere nobis.

Quoniam tu solus sanctus; tu solus-Dominus.

Tu solus altissimus, Jesu Christe.

Cum Sancto Spiritu, in gloria Dei Patris.

Amen.

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Glory be to God on high.

And on earth peace, goodwill toward men.

We praise thee. We bless thee.

We worship thee. We glorify thee.

We give thanks to thee.

For thy great glory.

O Lord God, heavenly king, God the Father almighty.

O Lord, the only-begotten Son, Jesus Christ O Lord God, lamb of God, Son of the Father.

Thou that takest away the sins of the world, have mercy on us; thou that takest away the sins of the world, receive our prayer.

Thou that sittest at the right hand of the Father, have mercy on us.

For thou only art holy; thou only art the Lord.

Thou only art most high, Jesus Christ.

With the Holy Ghost, in glory of God the Father.

Amen.

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Supporting our projects Every year, the OAE curates a season full of inspiring and unique projects. We are always looking for enlightened individuals who are interested in supporting this aspect of our work. Project supporters enjoy the chance to meet players and soloists and be involved in the creative process from the early stages right up to the performance.

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Join the OAE Friends at oae.co.uk/support or contact: Helena Wynn Development Officer helena.wynn@oae.co.uk Telephone 020 7239 9386 OAE Corporate supporters OAE Corporate supporters recognise the need for corporate sponsorship of the arts and relish the experiences such sponsorship affords. A wide variety of options await companies looking to offer their staff or clients unique opportunities. From private recitals in exclusive clubs to Gala dinners with internationally-acclaimed stars and the unparalleled delights of Glyndebourne Festival Opera, our OAE Corporate supporters benefit from unforgettable events.

To find out more visit oae.co.uk/support or contact: Catherine Kinsler Development Manager catherine.kinsler@oae.co.uk Telephone 020 7239 9370

Patrons OAE Patrons [from £1,000] enjoy unrivalled access to our artistic activity, with opportunities for involvement including invitations to Glyndebourne dress rehearsals, dinner with OAE players and guest artists, Patron trips, and the chance to select a concert in our Southbank Centre season, gaining special insight into the artistic process through backstage and rehearsal access.

To become an OAE Patron, contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380 Young Patrons Keen to sponsor an orchestra with a difference?

Young Patrons enjoy benefits like the opportunity to attend evening and weekend rehearsals, 2 for 1 tickets to our late-night gig series The Night Shift, exclusive networking events, a credit in programmes and much more.

Become a Young Patron at oae.co.uk/support or contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380 Leaving a legacy to the OAE Legacies are crucial to our fundraising and help to sustain and increase the scope of our work. By leaving a legacy in your will to the OAE you will be helping to shape the Orchestra’s future, ensuring we can continue to inspire, enthuse and challenge audiences for years to come.

To find out more visit oae.co.uk/support or contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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Lubbock Fine is proud to support the Orchestra of the Age of Enlightenment We are a full service, contemporary firm of chartered accountants based in the city of London, and we’d like to meet you.

Along with proudly supporting the arts, our professional team provides specialist accounting, audit and tax advice to a wide range of clients across the full commercial and personal spectrum.

Our many clients rely on us to act as a “trusted advisor” across both their commercial and personal matters.

Why not give us a call to arrange a free, initial meeting or chat?

Please contact partner Russell Rich russellrich@lubbockfine.co.uk or feel free to call him on 020 7490 7766.

Paternoster House, 65 St Paul’s Churchyard, London EC4M 8AB

T 020 7490 7766

www.lubbockfine.co.uk

Member of Russell Bedford International

024 Registered to carry on audit work and regulated for a range of investment business activities by the Institute of Chartered Accountants in England and Wales.

Vivaldi and Pergolesi: Sacred Baroque

Biographies

Steven Devine - director Steven Devine enjoys a busy career as a music director and keyboard player working with some of the finest musicians all over the world.

Steven is co-principal keyboard player with the Orchestra of the Age of Enlightenment. He is also the principal keyboard player for The Gonzaga Band, The Classical Opera Company and performs regularly with many other groups around Europe. He has recorded over thirty discs with other artists and ensembles and made many solo recordings. His recording of Bach’s Goldberg Variations has been described as “among the best” by Gramophone. The complete harpsichord works of Rameau (3 Cds) was released at the end

of 2018.

Katherine Watson - soprano Praised for her “lyricism and sublimity” (Gramophone Magazine), British soprano Katherine Watson started her career as a young artist in Le Jardin des Voix with William Christie and has since worked internationally with many leading conductors and ensembles.

Her opera highlights include Iphis Jephtha with Opéra National de Paris, Theodora at Théâtre des Champs-Elysées, Armelite Zoroastre at Komische Oper, and Diane Hippolyte et Aricie at Glyndebourne, while her concerts have taken her across the world from the BBC Proms to the

Carnegie Hall.

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Recent and future projects include a revival of Miranda with Opéra Comique, Handel’s Saul with the Festival de Beaune et Namur, a tour of Korea and Japan with Les Arts Florissants, a tour of Messiah with the Freiburger Barockorchester under Trevor Pinnock, an appearance at the Prague Festival of Early Music, and the release of her first solo recording L’Opéra du Roi Soleil with Les Ambassadeurs and Alexis Kossenko.

Rowan Pierce - soprano Yorkshire born Rowan Pierce is a Samling Artist who has performed at the BBC Proms, Wigmore Hall, Sage Gateshead, Cheltenham, Ludlow, Bath and Ryedale Festivals with ensembles including the Orchestra of the Age of Enlightenment, Academy of Ancient Music, Florilegium, Scottish Chamber, City of Birmingham Symphony and BBC Scottish Symphony Orchestras. Opera roles include Galatea / Acis & Galatea with the Academy of Ancient Music, Susanna / The Marriage of Figaro, Miss Wordsworth / Albert Herring. Recent and future performances include The Fairy Queen with both the Academy of Ancient Music and the Gabrieli Consort, Belinda/ Dido and Aeneas with AAM, Bach B minor mass with the City of London Sinfonia, Strauss songs with the BBC Scottish Symphony, Indian Queen with Opéra de Lille under Emmanuelle Haim, Barbarina for Nevill Holt Opera and Grange Festival and Tiny / Paul Bunyan, Papagena / The Magic Flute and Barbarina for English National Opera where she is a Harewood Artist.

Prizes include the Van Someren Godfery Prize, Schubert Society Singer Prize and the President’s Award at the Royal College of Music as well as winning both the song and main prizes at the Grange Festival’s inaugural singing competition.

She was generously supported by the Countess of Munster Award and Midori Nishiura at the RCM.

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Iestyn Davies - countertenor In 2017 Iestyn was awarded an MBE by the Queen for his services to Music. A former Cambridge choral scholar, he went on to study singing at the Royal Academy of Music. An esteemed Handelian, he has astounded audiences globally with his vocal agility in roles such as Orlando, Rinaldo, Giulio Cesare, Ottone/Agrippina, David/Saul. His intelligent and considered interpretations have led to fruitful collaborations with Thomas Adès, George Benjamin and Nico Muhly. Iestyn recently made his Broadway debut in a revival of his west-end theatre project, Farinelli and the King, with Mark Rylance and received an Olivier Award nomination.

A celebrated recitalist, with repertoire ranging from Dowland to Clapton, he has twice been awarded the Gramophone Recital Award, and in 2017 won the Gramophone Baroque Vocal Award.

Katharina Spreckelsen - oboe Katharina Spreckelsen is one of the leading baroque oboists of her generation. She was born in Germany and after studying with the late Michel Piguet in Basle, Katharina moved to London for further studies with Paul Goodwin at the Royal College of Music.

She soon became a sought after player with many European Ensembles. Katharina was principal oboist with the Amsterdam Baroque Orchestra, the Gabrieli Players and Florilegium and she now divides her time between The English Concert, the Orchestra of the Age of Enlightenment and Christian Curnyn’s Early Opera Company.

Katharina often performs and records with singers such as Mark Padmore, Thomas Quasthof, Ian Bostridge, Andreas Scholl, David Daniels and Rolando Villazon. Her performances as an obligato soloist are frequently paired with solo concerto performances.

Katharina has recorded extensively. She can be heard on many of Ton Kopman’s Bach Cantata recordings. With the Gabrieli Consort and Players she has recorded Oratorios by Handel, sacred works

by JS Bach and Haydn’s Creation. With The English Concert she appears notably on discs with David Daniels, Elizabeth Watts, Danielle De Niese and Lucy Crowe.

Katharina is professor of baroque and classical oboe at the Royal Academy of Music. Over the past 20 years she has fostered a new generation of baroque oboists, many of whom are now her colleagues.

Choir of the Age of Enlightenment The Choir of the Age of Enlightenment is a group of professional singers, many of whom are soloists in their own right. Originally the choir had appeared exclusively with the Orchestra of the Age of Enlightenment – at British and European festivals, as well as regularly as part of their concert series at London’s Southbank Centre. However, 2016 saw the choir performing their first unaccompanied concerts, without the OAE by their side.

The Choir has taken part in many of the OAE’s recordings over the years, including Monteverdi’s Vespers of 1610, Purcell’s Dido and Aeneas, Bach Cantatas with Gustav Leonhardt, and Mozart’s Così fan tutte with Sir Simon Rattle. It has also appeared frequently on radio and television with the Orchestra, perhaps most memorably in July 2000 when the Choir and Orchestra performed Bach’s B Minor Mass at the BBC Proms on the 250th anniversary of his death.

During recent seasons the Choir of the Age of Enlightenment has performed with the Orchestra in the UK and further afield, working on a wide range of repertoire with conductors such as Richard Egarr, Emmanuelle Haim, John Butt, Sir Roger Norrington and Sir Mark Elder. In 2013 the Choir performed the Brahms Requiem at the BBC Proms with Marin Alsop and the OAE. One review praised ‘the most homogenous sound I think I’ve ever heard from a

choir….they rightly received the loudest ovation of the night’.

Orchestra of the Age of Enlightenment In 1986, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch.

They began by throwing out the rulebook.

Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting.

Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning and inventing as long as it lived. Residencies at Southbank Centre and the Glyndebourne Festival didn’t numb its experimentalist bent. A major record deal didn’t iron out its quirks. Instead, the OAE examined musical notes with ever more freedom and resolve.

That creative thirst remains unquenched. The Night Shift series of informal performances are redefining concert formats. Its base at London’s Kings Place has fostered further creativity, such as Bach, the Universe and Everything, a trailblazing Sunday morning series with contributions from esteemed scientists. And from 2017, it started Six Chapters of Enlightenment, six extraordinary seasons exploring the music, science and philosophy of the golden age from which the Orchestra takes its name.

Now more than thirty years old, the OAE is part of our musical furniture. It has even graced the outstanding conducting talents of Elder, Rattle, Jurowski, Iván Fischer, John Butt and Sir András Schiff’s with a joint title of Principal Artist. But don’t ever think the ensemble has lost sight of its founding vow. Not all orchestras are the same. And there’s nothing quite like this one.

Andrew Mellor

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OAE team

The OAE is a registered charity number 295329 and a registered company number 2040312. Registered office: Kings Place, 90 York Way, London N1 9AG Telephone 020 7239 9370 info@oae.co.uk Design and art direction –LucienneRoberts+ Photography – Alex Grace

Chief Executive Crispin Woodhead

Box Office and Data Manager Carly Mills

Life President Sir Martin Smith

Director of Finance and Operations Ivan Rockey

Head of Individual Giving Marina Abel Smith

Board of Directors Imogen Overli [Chairman] Steven Devine Denys Firth Adrian Frost Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Andrew Roberts Olivia Roberts Katharina Spreckelsen Mark Williams Crispin Woodhead

Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Director of Marketing and Audience Development Elle Docx Director of Press Katy Bell General Manager Edward Shaw Orchestra Manager Philippa Brownsword Choir Manager David Clegg Librarian Colin Kitching Education Officer Andrew Thomson Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett

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Development Officer Helena Wynn Development Events Coordinator Kiki Betts-Dean Development Manager Catherine Kinsler Trusts and Foundation Manager Andrew Mackenzie Programme Editor Anna Bennett Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Steven Devine Max Mandel Roger Montgomery Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington

OAE Trust Imogen Overli [Chairman] Paul Forman Julian Mash Caroline Noblet Rupert Sebag-Montefiore Diane Segalen Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Sue Palmer Jan Schlapp Susannah Simons Lady Smith OBE Rosalyn Wilkinson

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, including tours to leading festivals in Europe as well as our own exclusive music festivals.

Each of our Kirker Music Festivals is carefully designed to combine world-class musicians with exceptional locations and a programme of fascinating excursions.

THE KIRKER MUSIC FESTIVAL IN TENERIFE A SEVEN NIGHT HOLIDAY | 19 JANUARY 2020 For our fifth exclusive music festival on the north coast of Tenerife, we will present concerts featuring the Castalian String Quartet, Daniel Lebhardt, pianist and Christopher Monckton, tenor, pianist and organist.

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 and a cable car journey to the peak of Mount Teide. We will also visit historic and picturesque villages along the spectacular north coast, including Garachico with its 17th century convent, and La Orotava, the most historic and picturesque town on the island.

Price from £2,885 (single supp. £398) for seven nights including flights, transfers, accommodation with breakfast, six dinners, six concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.

THE KIRKER SPRING MUSIC FESTIVAL AT THE HOTEL TRESANTON, ST. MAWES A THREE NIGHT HOLIDAY | 9 MARCH 2020 Our annual visit to Olga Polizzi’s fabled Hotel Tresanton in St Mawes combines a relaxing spring escape in Cornwall, with a series of world-class chamber music recitals.

Performances in 2020 will be given by the Piatti String Quartet and violist Simon Rowland-Jones in the Old Methodist Hall, and include works

by Beethoven, Brahms and Mendelssohn. There will also be a series of musical talks and a visit to the private garden at Lamorran, inspired by Lady Walton’s garden on the island of Ischia. Dinner is included each evening at the excellent Tresanton restaurant which overlooks the sea and is lit by candles in the evening.

Price from £1,268 (single supp. £280) for three nights including accommodation with breakfast, three dinners, three concerts, two talks, a visit to Lamorran 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

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Supporters

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.

Our Supporters Ann and Peter Law OAE Experience scheme Ann and Peter Law Principal Sponsor

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

Corporate Partners Champagne Deutz E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Marquee.TV Parabola Land Swan Turton Corporate Associates Aston Lark Bannenberg and Rowell Belgravia Gallery Gelato Incipio Group Kirker Holidays Zaeem Jamal

The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to our sponsors and Patrons and hope you will consider joining them. We offer a close involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.

For more information on supporting the OAE please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381

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Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Adrian Frost 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 Bruce Harris Julian and Camilla Mash Philip and Rosalyn Wilkinson One Anonymous Donor

Aria Patrons 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 – Double Bass Victoria and Edward Bonham Carter – Principal Trumpet Anthony and Celia Edwards Principal Oboe Ian S Ferguson and Dr Susan Tranter - Double Bass James Flynn QC - Principal Lute/ Theorbo Paul Forman – Principal Cello, Principal Horn, Violin Jonathan and Tessa Gaisman - Viola Michael and Harriet Maunsell Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Andrew Nurnberg - Principal Oboe Professor Richard Portes - Principal Bassoon Olivia Roberts - Violin John and Rosemary Shannon Principal Horn Roger and Pam Stubbs - 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 Sir Timothy and Lady Lloyd Andrew & Cindy Peck Professor Richard Portes CBE FBA

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

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 Charles and Julia Abel Smith Noël and Caroline Annesley Sir Richard Arnold and Mary Elford Mrs A Boettcher Catherine and Barney Burgess David and Marilyn Clark David Emmerson Peter and Sally Hilliar Steven Larcombe Moira and Robert Latham Sir Timothy and Lady Lloyd Roger Mears and Joanie Speers David Mildon in memory of Lesley Mildon MM Design - France John Nickson and Simon Rew Jonathan Parker Charitable Trust Andrew and Cindy Peck Peter Rosenthal Ivor Samuels and Gerry Wakelin Emily Stubbs and Stephen McCrum Shelley von Strunckel Mr J Westwood Young Ambassador Patrons Rebecca Miller William Norris Nkeiru Scotcher Young Patrons David Gillbe Marianne and William Cartwright-Hignett

Sam Hucklebridge Alex Madgwick Henry Mason Gold Friends Michael Brecknell Mr and Mrs C Cochin de Billy Gerard Cleary Chris Gould Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher 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 Graham and Claire Buckland Dan Burt Mrs SM Edge Mrs Mary Fysh Martin and Helen Haddon Ray and Liz Harsant The Lady Heseltine Mrs Auriel Hill Julian Markson Stuart Martin Sir Nicholas Montagu Stephen and Penny Pickles John Ransom Anthony and Carol Rentoul Paul Rivlin Alan Sainer Mr Anthony Thompson Mr and Mrs Tony Timms Mrs Joy Whitby

David Wilson And three anonymous donors Trusts and Foundations Angus Allnatt Charitable Foundation Apax Foundation Arts Council England (ACE) Ashley Family Foundation Brian Mitchell Charitable Settlement Charles Peel Charitable Trust Derek Hill Foundation Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust Henocq Law Trust for Ann and Peter Law John Lyon’s Charity Metropolitan Masonic Charity 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

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OAE Education

OAE TOTS at Saffron Hall

A programme to involve, empower and inspire Over the past twenty years OAE Education has grown in stature and reach to involve thousands of Support our people nationwide in creative music projects. Our education programme participants come from a wide range of backgrounds The work we do could not happen without and we pride ourselves in working flexibly, adapting the support of our generous donors. to the needs of local people and the places they live. If you would like to support our Education programme please contact:

Last season we undertook

366 workshops 58 concerts in 17 towns, cities and villages

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Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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.

Students from Cricket Green School performing with our musicians and 1500 singers at the #RAHMerton concert.

2020 Programme As the OAE embarks on its season of Salvation and Damnation, the third part of our Six Chapters of Enlightenment, in OAE Education we will also take inspiration from the golden age of science and philosophy that gave us our name.

Our FLAGSHIP project for2019-20 will see the first performances of our community opera The Moon Hares featuring music from Dioclesian by Henry Purcell, alongside new work

by James Redwood and a libretto by Hazel Gould.

Our TOTS programme will be inspired by Mozart, Telemann and Beethoven with a lively set of workshops and concerts entitled Animal Adventures

Our SCHOOLS programme will include a new concert telling the story of Don Quichotte for KS1 pupils and an invitation to our KS2 pupils to join us at Southbank Centre's Queen Elizabeth Hall for The Moon Hares.

Our SPECIAL NEEDS programme will see performances of Fairy Queen: Three Wishes in Suffolk and Brighton and students involved in Our Band will join us for our community operas in County

Durham, Norfolk and London.

Musicians on Call will be expanded to enable more people who are unable to come to the concert hall to experience world class music in informal settings

Our NURTURING TALENT programme will include our Peter and Ann Law Experience scheme, coaching projects with young musicians with the aim of inspiring the next generation of musicians.

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Upcoming concerts Bach, the Universe and Everything

Salvation and Damnation

The Creativity Code Sunday 1 December 2019

Beethoven's Major Heroes Tuesday 28 January 2020

Kings Place 11.30am

Southbank Centre's Queen Elizabeth Hall 7pm

Mathematical Institute, University of Oxford 5:30pm

This concert sees Beethoven at his most buoyant and sunny – or does it?

Bach, the Universe and Everything is our very own Sunday service for inquiring and curious minds; a place to bond with music lovers and revel in the wonders of science.

Beethoven's second and third symphonies in major keys are, on the surface, distinctly positive compositions. However, each symphony has a darker side.

THE SCIENCE Could computers put composers out of job?

Professor Marcus du Sautoy’s latest book, The Creativity Code: How AI is Learning to Write, Paint and Think, explores creativity, algorithms, and whether artificial intelligence will ever be able to write a cantata quite like Bach.

Sir Roger Norrington brings his usual energy and enthusiasm to some of Beethoven’s most popular music.

THE MUSIC To mark the start of Advent, the Orchestra plays one of Bach’s Christmas cantatas, full of anticipation for the big day. It’s an unusual cantata, bringing in element of secular French opera, such as an Overture, into church music.

Bach Nun komm, der Heiden Heiland (Now come, Saviour of the gentiles) BWV61

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Beethoven Symphony No.2 Beethoven Symphony No.3, Eroica Sir Roger Norrington conductor Visit oae.co.uk for more details on all upcoming concerts.

Perfectly tuned insurance

“We are the music makers, and we are the dreamers of dreams” - Arthur O’Shaughnessy Our music policy has been carefully designed to allow you to make music and dream your dreams with complete peace of mind. Lark Music is focused on protecting your possessions and supporting the musical arts.

T: 0207 543 2800 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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