Windy Barn: Music from Willards Barn

WINDY BARN MUSIC FROM WILLARDS BARN This series is made up of three films which you can buy as a package, or as individual films.

THE OBOE BAND IN GERMANY Krieger Lustige Feldmusik Overture Grave Overture Presto Overture Largo Marche Menuet Air Fantasie Menuet Chaconne

THE OBOE BAND IN FRANCE Lully Le bourgeois gentilhomme Ouverture Air - Sarabande - Bouree - Gaillarde - Canarie Deuxieme air (end of act 2) Minuet pour les hautbois en Poitevins Deuxieme air Troisieme air Marche pour la ceremonie des Turcs

THE OBOE BAND IN ENGLAND Croft music for Steele’s play ‘The funeral' or 'Grief-a-la-mode’ Overture Scotch Air Jig Slow Air Air Chaconne

Oboe Katharina Spreckelsen Daniel Bates Leo Duarte Sarah Humphrys Geoffrey Coates Richard Earle Bassoon Philip Turbett Sally Jackson Contrabassoon David Chatterton Percussion Adrian Bending

We are grateful for the support of Jenny and Tim Morrison and Imogen and Haakon Overli

PROGRAMME NOTES

by Richard Bratby

THE OBOE BAND IN GERMANY Johann Philipp Krieger (1651 - 1735) Lustige Feldmusik, "to be played while marching at the front of companies of soldiers, or else while serving their officers" The wind band emerged out of the Renaissance tradition of instruments from the same family being played together in consort. There were many reasons for its popularity, but one was that it sounded gentler when played outdoors than indoors and that the sound produced carried surprisingly far.

Not everyone was a fan. The German composer and theorist Johann Mattheson (1681-1784), who was a good friend of Haydn, wrote "if however, the hautbois (french term for oboe) is not played in the most delicate way as for instance in the field or the drinking party where it is not always taken to punctiliously then I would rather hear a good Jews harp or musical comb instead and would, I think, be better entertained?".

During the 17th and 18th centuries, the lowest-paid oboe bands played in the military and were not known for being talented musicians. Bruce Haynes (1942-2011), the great North American oboist and musicologist said "with few exceptions, wind bands are made up of players of the least accomplishments, either beginners or failures".

THE OBOE BAND IN FRANCE Jean-Baptiste Lully 1632-1687) Le bourgeois gentilhomme, or 'The Bourgeois Gentleman' is a play written

by Jean-Baptiste Molière, with music composed by Jean-Baptiste Lully, completed in 1670. It was the last of eleven plays that the pair created together.

The comic central character of Le bourgeois gentilhomme is Monsieur Jourdain, a middle-class man blinded by the folly of social climbing. In the overture we hear a refined, sensible marching pace, and underneath it we hear the sound of Monsieur Jourdain's giddy aspirations. He would be a fool for all seasons were it not for the unmistakable thread of common sense that’s in there somewhere.

It is possible that Lully empathised with Monsieur Jourdain as there are some elements of the character's tale that are reminiscent of his own climb up the social ladder. Lully was born in Florence to a family of millers. Aged 14, he caught the attention of the son of the Duke of Guise by playing the violin dressed as a Harlequin during a Mardi Gras celebration. Guise took the boy to Paris, where he served as a chamber boy for nobility. The teenager's talents as a guitarist, violinist, and dancer made him popular and he soon found himself dancing with the young Louis XIV, in the Ballet royal de la nuit. By March 16, 1653, Lully had been made royal composer for instrumental music.

THE OBOE BAND IN ENGLAND William Croft (1678 -1727) ‘The funeral or Grief-a-la-mode’ is a comedy play published by the Irish writer and politician Richard Steele in 1710, with music composed by William Croft.

Between pieces of Croft's cheery music you will hear our ever-enthusiastic musicians of the OAE summarise the plot of the play, and inject some distinctly OAE mischief into the tale of a wicked step mother and a presumed dead Earl.

It is ironic that Croft wrote music for the comedy play 'The Funeral' because he is now most commonly remembered for his solemn suite of Funeral Services which were sung at George Frederic Handel's funeral in 1759 and have been included in every British state funeral since, including the funeral of Diana, Princess of Wales in 1997, Queen Elizabeth The Queen Mother in 2002 and former Prime Minister, Baroness Thatcher in 2012.

ABOUT THE INSTRUMENTS IN THIS FILM SERIES

ABOUT THE OBOE

ABOUT THE CONTRABASSOON We have a free YouTube channel where you can learn moare about our period instruments.

BEHIND THE SCENES Katharina Spreckelsen, OAE Principal Oboe "If you love the oboe like I do, it is like a dream come true to be allowed to work on repertoire played on a whole band of oboes. Big and small. I was interested in how the music for oboe band differed depending on whether it was intended for field music, for the theatre or even for an opera. I divided the material into three videos, highlighting the three different nationalities of the chosen composers, and then embedding the music in texts from the area or stories relating to the time of composition. The project was a fun collaboration of close colleagues and we truly loved every minute of it."

“Not all orchestras are the same” Three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge?

No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity.

Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots.

At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It began to make benchmark recordings and attract the finest conductors. It became the toast of the European touring circuit. It bagged distinguished residencies at Southbank Centre and Glyndebourne Festival Opera. It began, before long, to thrive. And then came the real challenge.

The ensemble’s musicians were branded eccentric idealists. And that they were determined to remain.

In the face of the music industry’s big guns, the OAE kept its head. It got organised but remained experimentalist. It sustained its founding drive but welcomed new talent. It kept on exploring performance formats, rehearsal approaches and musical techniques. It searched for the right repertoire, instruments and approaches with even greater resolve. It kept true to its founding vow.

In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America.

And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its home at Acland Burghley School, 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.

Remarkable people are behind it. Simon Rattle, the young conductor in whom the OAE placed so much of its initial trust, still cleaves to the ensemble.

Iván Fischer, the visionary who punted some of his most individual musical ideas on the young orchestra, continues to challenge it. Mark Elder still mines it for luminosity, shade and line. Vladimir Jurowski, the podium technician with an insatiable appetite for creative renewal, has drawn from it some of the most revelatory noises of recent years. And, most recently, it’s been a laboratory for John Butt’s most exciting Bach experiments. All five of them share the title Principal Artist.

Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor

OAE TEAM

Orchestra Consultant Philippa Brownsword

Life President Sir Martin Smith

Chief Executive Crispin Woodhead

Choir Manager David Clegg

Finance and Governance Director Pascale Nicholls

Librarian Colin Kitching

Board of Directors Imogen Overli [Chairman] Steven Devine Denys Firth Adrian Frost Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead

Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Communications Director Elle Docx General Manager Edward Shaw Education Officer Andrew Thomson Projects Officer Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale

Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Steven Devine Max Mandel Roger Montgomery Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington

Marketing and Press Officer Anna Bennett Box Office and Data Manager Carly Mills Head of Individual Giving and Digital Development Marina Abel Smith Development Operations Officer Kiki Betts-Dean

Life President

OAE Trust Adrian Frost [Chairman] Paul Forman Steven Larcombe Alison McFadyen Caroline Noblet Imogen Overli 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 Susan Palmer OBE Jan Schlapp Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams

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.

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

OAE Experience scheme

- Principal Keyboard

Ann and Peter Law

Jenny and Tim Morrison

Corporate Partners

Caroline Noblet

Lubbock Fine Chartered Accountants

Andrew Nurnberg

Swan Turton

Professor Richard Portes

Corporate Associates

Olivia Roberts

Bannenberg and Rowell

John and Rosemary Shannon

Champagne Deutz Mark Allen Group

Aston Lark Gelato

Season Patrons

John Armitage Charitable Trust Julian and Annette Armstrong Adrian Frost

Nigel Jones and Françoise Valat-Jones

Selina and David Marks

Imogen and Haakon Overli

Sir Martin Smith and Lady Smith OBE Philip and Rosalyn Wilkinson

Mark and Rosamund Williams

One Anonymous Donor Project Patrons

Anthony and Celia Edwards Bruce Harris

One Anonymous Donor Aria Patrons

Mrs A Boettcher

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

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

- Second Violin - Oboe

- Principal Oboe

- Principal Bassoon - Violin

- Principal Horn

Roger and Pam Stubbs - Clarinet

Crispin Woodhead and Christine Rice - Principal Timpani

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 Rising Stars Supporters

Annette and Julian Armstrong Mrs Rosamund Bernays Denys and Vicki Firth Bruce Harris

Ms Madeleine Hodgkin Mrs Sarah Holford

Nigel Jones and Francoise Valat-Jones Peter & Veronica 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

Catherine and Barney Burgess Katharine Campbell

David and Marilyn Clark David Emmerson

Peter and Sally Hilliar

Steven Larcombe

Moira and Robert Latham

Sir Timothy and Lady Lloyd

Alison McFadyen

Roger Mears and Joanie Speers

David Mildon in memory of Lesley Mildon

Julian Markson

John Nickson and Simon Rew

Cynthia and Neil McClennan

Andrew and Cindy Peck

John Ransom

Ivor Samuels and Gerry Wakelin

Alan Sainer

Emily Stubbs and Stephen McCrum

Mr and Mrs Tony Timms

The Patrick Rowland Foundation

David Wilson

Peter Stebbings Memorial Charity

MM Design - France

Jonathan Parker Charitable Trust Peter Rosenthal

Sue Sheridan OBE

Shelley von Strunckel Mr J Westwood

Robert Wilkinson

Two Anonymous Donors Gold Friends

Michael Brecknell

Gerard Cleary

Mr and Mrs C Cochin de Billy

Stuart Martin

Paul Rivlin

Palazzetto Bru-Zane

Matthew & Sarah Shorter Mrs Joy Whitby

Six Anonymous Donors Young Patron Ed Abel Smith

Marianne and William Cartwright-Hignett Elizabeth George David Gillbe

David and Ruth Samuels

Peter Yardley-Jones

Mr Anthony Thompson

Silver Friends

Dennis and Sheila Baldry

Haylee and Michael Bowsher

Tony Burt

Henry Mason

Young Ambassador Patron

Jessica Kemp

Breandán Knowlton Rebecca Miller

Apax Foundation

Anthony and Jo Diamond

Ashley Family Foundation

Malcolm Herring

Boshier-Hinton Foundation

Rupert and Alice King

Catherine Cookson Charitable Trust

Mr and Mrs Michael Cooper

Arts Council England

Rachel & Charles Henderson

Barbour Foundation

Brian Mitchell Charitable Settlement

Alison and Ian Lowdon

The Charles Peel Charitable Trust

Her Honour Suzanne Stewart

Chivers Trust

Susannah Simons

Chapman Charitable Trust

Two Anonymous Donors

Derek Hill Foundation

Bronze Friends

Dyers Company

Tony Baines

Robin Broadhurst

Graham and Claire Buckland Dan Burt

D’Oyly Carte Charitable Trust Ernest Cook Trust

Esmee Fairbairn Foundation Fidelio Charitable Trust Foyle Foundation

Sir Anthony & Lady Cleaver

Garfield Weston Foundation

Roger Easy

Geoffrey Watling Charity

Michael A Conlon Mrs SM Edge

Mrs Mary Fysh

Stephen & Cristina Goldring Martin and Helen Haddon

Garrick Charitable Trust Henocq Law Trust

JMCMRJ Sorrell Foundation J Paul Getty Jnr

General Charitable Trust

Ray and Liz Harsant

John Lyon’s Charity

Mrs Auriel Hill

Lord and Lady Lurgan Trust

The Lady Heseltine

Orchestras Live

Parabola Foundation

Paul Bassham Charitable Trust Peter Cundill Foundation PF Charitable Trust

Pitt-Rivers Charitable Trust Radcliffe Trust

Rainbow Dickinson Trust RK Charitable Trust

Schroder Charity Trust Sir James Knott Trust Sobell Foundation

Stanley Picker Trust

The 29th May 1961 Charitable Trust The Loveday Charitable Trust

The R&I Pilkington Charitable Trust The Shears Foundation

The Vernon Ellis Foundation

Trusts & Foundations

Christopher Campbell

Patricia Herrmann

National Foundation for Youth Music

Old Possum’s Practical Trust

Sam Hucklebridge

Two Anonymous Donors

Michael Marks Charitable Trust

Stephen and Penny Pickles

Chris Gould

Anthony and Carol Rentoul

Metropolitan Masonic Charity

Linbury Trust

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

0208 159 9318

WE MOVED INTO A SCHOOL We are thrilled to announce that we are now the resident orchestra of Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school.

Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project, so for the first time, we will all be in the same place: players, staff and library!

Crispin Woodhead, our chief executive who came up with the idea of a new partnership, says: “Our accommodation at Kings Place was coming to an agreed end and we needed to find a new home. I felt that we should not settle for a conventional office space solution. We already had a strong relationship with many schools in Camden through our education programme and our appeal hit the desk of Kat Miller, director of operations at Acland Burghley School. She was working on ways to expand the school’s revenue from its resources and recognised that their excellent school hall might be somewhere we could rehearse.

It felt like a thunderbolt and meant we wanted to find a way for this place to be our home, and embark on this new adventure to challenge and transform the way we engage with young adults.”

The school isn't just our landlord or physical home. Instead, it will offer the opportunity to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. This new move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible.

A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing.

Margaret Faultless, OAE leader and violinist, said: “As classical musicians, it can often feel as though we exist in a bubble. I think I can speak for the whole Orchestra when I say that we’re all looking forward to this new adventure. We are all used to meeting with people from outside the classical music world of course, but the value of our new project lies in the long-term work we’ll be doing at the school and the relationship that will hopefully develop between the students, their parents and teachers and the orchestra.”

“The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” continues Margaret. “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.”

The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts. Their support is facilitating the move to the school and underwriting the first three years of education work.

OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live.

The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players.

This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.

SUPPORT OUR EDUCATION PROGRAMME The work we do could not happen without the support of our generous donors.

If you would like to support our education programme please contact Marina Abel Smith, Head of Individual Giving and Digital Development marina.abelsmith@oae.co.uk 0208 159 9319

OAE TOTS at Saffron Hall

oae.co.uk orchestraoftheageofenlightenment theoae oae_photos

The OAE is a registered charity number 295329 Registered company number 2040312.

Acland Burghley School, 93 Burghley Road, London NW5 1UH 0208 159 9310 | info@oae.co.uk Photography | Zen Grisdale