aam - south american connections

South American connectionsMusic from the New World and influences from the Old

Juanita Lascarro sopranoRodolfo Richter director & violin

24 November West Road Concert Hall, Cambridge25 November Wigmore Hall, London

Welcome! In a year when the AAM’s music- making centres on the work of the Bach family,tonight’s concert promises something rather different.

In curating this programme, Rodolfo Richterreturns to his South American roots. All of themusic you will hear is centred around SouthAmerica — whether written by South Americancomposers (Lobo de Mesquita), European- borncomposers who worked in South America (Zipoliand Torrejón y Velasco) or the Europeans whoinfluenced them (Hasse, Alessandro Scarlatti,Corrette and Handel).

Some of the works are well known; others arebeing heard for perhaps the first time incenturies. Rodolfo has persuaded a secretivecollector to allow him to play Lobo de Mesquita’sAdagio and Fugue in G minor; he hasreconstructed the anonymous Sonata ChiquitanaXVIII from manuscripts found in Brazil and Bolivia;and the Cachua, a late 17th- century Peruvian folkmelody, forms the core — as it would in the past— of a semi- improvised ‘jamming session’.

We are delighted to be joined for the first time bysoprano Juanita Lascarro. South Americanbaroque music has been neglected; tonight’sprogramme shows just how undeserved this is.

A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 1

Special offer: free CD with Wigmore Hall tickets

Buy a pair of tickets for any of the AAM’s Wigmore Hall concerts up to March 2011, and you’ll getthe AAM’s Wigmore Hall Live CD for free.

The CD features music by Handel, Bach and Vivaldi, and was described by Gramophone as “an electrifying survey of baroque concertos... unflaggingly alert, playful and dramatic”.

To take advantage of this offer, simply call the Wigmore Hall box office on 020 7935 2141, or visitwww. wigmore- hall.org.uk.

Programme Nov10_AAM programme Sept 2010 17/11/2010 14:12

JOHANN ADOLF HASSE (c.1699-1783)Overture to Cleofide

Allegro assaiAndanteMinuetto — Presto

JOSÉ JOAQUIM EMERICO LOBO DE MESQUITA (1746-1805)Adagio and Fugue in G minor

DOMENICO ZIPOLI (1688-1726)‘Dell’offese a vendicarmi’ from Dell’offese a vendicarmi

ALESSANDRO SCARLATTI (1660-1725)Concerto Grosso No.1 in F minor from VI Concertos in Seven Parts

GraveAllegroLargoAllemande (Allegro)

MICHEL CORRETTE (1707-1795)‘Les Sauvages’ from Concerto Comique No.25 in G minor

TOMÁS DE TORREJÓN Y VELASCO (1644-1728)Desvelado dueño mio

ANONYMOUS (18th- century)Cachua

Interval of 20 minutesPlease check that your mobile phone is switched off, especially if you used it during the interval.

ANONYMOUS (18th- century)Sonata Chiquitana XVIII

AllegroAndanteMenuetto

GEORGE FRIDERIC HANDEL (1685-1759)Il Delirio Amoroso HWV90

Programme

2 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N

Would patrons please ensure that mobile phones are switched off. Please stifle coughing as muchas possible and ensure that watch alarms and any other electronic devices which may becomeaudible are switched off.


From the first encounters between Europeansand the indigenous peoples of America, musicplayed a vital role in defining identities andfacilitating communication. The early Europeanexplorers took musicians such as trumpeters, wind- players and drummers on their ships.Christopher Columbus attempted tocommunicate with the natives of Trinidad bygetting his ship’s musicians to play at them.These European colonisers also noted themusical sounds and instruments of theAmerican peoples. A member of HernandoCortés’s army in Mexico commented on the“small tambourines and shell trumpets, hornsand whistles” of their Aztec adversaries. AnotherEuropean account noted the instruments usedin Chiribichi (present- day Venezuala), such assea shells with strings stretched across themand wind instruments made from animal bonesor river rushes.

In the European colonization of Latin and SouthAmerica, music was extensively disseminatedby missionaries. Jesuit missionaries favouredpolyphonic music, partly as a way to convey themystery and majesty of their Christian worship,and partly because it was extremely popularwith indigenous peoples. A 1615 report by theFranciscan missionary Juan de Torquemadaclaimed that the Indians had mastered everychurch instrument used in churches in Mexico.He went on to note that: “Every town with apopulation of at least one hundred containssingers who are proficient in polyphonic music.The same towns all have their supply ofinstruments, and even the smallest hamlets, nomatter how insignificant, have three or fourIndians at least who sing every day in church.”

This concert explores the web of musicalconnections that existed between SouthAmerica and Europe in the early eighteenthcentury. Musicians, manuscripts andinstruments were all exchanged withastonishing rapidity between Old and NewWorlds, such that performers in Cuzco or Lima

were often familiar with the latest musicalfashions from Spain and Italy. Tonight’sprogramme includes pieces by indigenousSouth American musicians and by Europeancolonisers, as well as a French evocation of themusic of American aborigines. Central totonight’s concert, however, is music written inItaly or in Italian styles by Alessandro Scarlatti,Johann Adolf Hasse and George Frideric Handel.Italy was the training and recruiting ground forso many musicians in the period, and henceformed the centre from which almost allmusical connections radiated outwards.

The concert starts with the Overture toCleofide by Johann Adolf Hasse(c.1699–1783). Hasse gained his musicaleducation in Hamburg, but in 1722 he travelledto Naples where he studied with AlessandroScarlatti and wrote many successful operas.Cleofide was premiered at Dresden on 13September 1731, after Hasse’s return from hisprolonged period in Italy. He never travelledbeyond Europe, although his music can befound in manuscripts in the Americas (such asat the cathedral of Puebla, Mexico); but theopera Cleofide is itself on the theme of colonialencounters (between Alexander the Great andthe Indian forces, led by Porus and Cleofide).The overture is in three movements, startingwith an Allegro that summons the audience’sattention via the violins’ repeated- notesemiquavers. The middle movement is anAndante where the two flutes take the lead,with melodic ornamentation including ScotchSnap (short- long) rhythms in the so- calledgalant style. The finale alternates a minuet witha hectic duple- time trio.

Alessandro Scarlatti (1660–1725) connectsseveral of the composers in tonight’sprogramme: he taught Hasse and DomenicoZipoli, and his music undoubtedly made a markon the young Handel. Scarlatti was best knownfor his operas, but in tonight’s programme he isrepresented by the Concerto Grosso No.1 in F

Stephen Rose describes the connections in tonight’s programme




Spaniards being welcomed by an Indian king, from Girolamo Benzoni's account of the conquest ofPeru in ‘Newe Welt und Americanische Historien’ by Johann Ludwig Gottfried, published by MattaeusMerian in Frankfurt, 1631. Engraving by Theodore de Bry (1528–98).

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minor (from the collection VI Concertos in SevenParts, published in England in the 1740s).Scarlatti’s concerto follows the scoring ofArcangelo Corelli’s Op.5 concerti grossi, withtwo violins and cello singled out as soloists; anda Corellian touch is also evident in the finely- wrought orchestral fugue.

Also active in Italy during the 1700s was theyoung George Frideric Handel (1685–1759),whose output from the period included hiscantata Il Deliro Amoroso. Written to a text byCardinal Pamphili (who had earlier acted as apatron to Alessandro Scarlatti), the cantatarecounts Chloris’s dream that she has enteredthe underworld to reclaim her lover Thyrsis. Aninitial anticipation of this dark journey can beheard in the slow chromatic chords thatinterrupt the jaunty, gigue- like Sinfonia. The firstaria, ‘Un pensiero voli in ciel’ (‘Let a thought soarinto the sky’), uses long solo passages for violinand voice to evoke its flighty mood. A moresombre mood pervades ‘Per te lascia la luce’(‘For you I left the daylight’), with its hymn- likedeclamation and echoes sung down an octave.Subsequently, ‘Lascia omai le brune vele’ (‘Leavenow the dark brown sails’) seeks to bring a rayof light into Hades, with its flute obbligato andchirpy 3-8 metre; then, after the overture- likeEntrée, ‘In queste amene piaggie serene’ (‘Onthese pleasant, serene shores’) combines thecheerful metre of a minuet with the wistfulnessof E minor.

At the same time that Handel was working inRome, Domenico Zipoli (1688–1726) wasreceiving his musical training in Florence, Romeand briefly with Alessandro Scarlatti in Naples.In 1715 he became organist at the JesuitChurch in Rome. A year later, however, he hadjoined the Society of Jesus and in 1717 he wassent to the district of Paraguay where hestudied theology and philosophy at Cordoba,with the eventual aim of becoming a priest. ButZipoli’s South American sojourn was bedevilledby bad luck: his voyage there was interrupted

by a storm, and in 1725 he died of tuberculosisbefore he could be ordained. Zipoli’s music wasextremely popular in South America, beingdisseminated by Spanish administrators andclerics, and also within Indian communitiesfrom which Europeans were excluded. Tonight’sconcert includes an aria for voice and continuofrom the cantata Dell’offese a vendicarmichiamo all’armi, which Zipoli wrote beforeleaving for Paraguay.

Another European who travelled to the NewWorld was Tomás de Torrejón y Velasco(1644–1728). As a teenager he served as a pagein the household of the Count of Lemos, who in1667 was appointed as viceroy of Peru. Torrejóny Velasco travelled to Peru in the Count’sentourage and subsequently becamesuperintendent of the armoury at Lima, thenchief justice of the province of Chachapoyas. In1676 he became maestro de capella at Limacathedral, a post he held for the rest of his life.He wrote the earliest surviving opera from theNew World, La púrpura de la rosa, premiered in1701 to mark the first year of the reign of KingPhilip V of Spain. A more conservative musicalstyle is evident in his Desvelado dueño mio, an eight- voice piece for double choir thatnonetheless incorporates the dance- rhythms ofthe chaconne. It was presumably intended forLima cathedral, although tonight it is performedin an arrangement by Rodolfo Richter for stringsand wind instruments.

As the European colonization of South Americaadvanced, second- and third- generationimmigrants also began to gain musicalreputations for themselves. José JoaquimEmerico Lobo de Mesquita (1746–1805) wasthe mixed- race son of the Portuguese JoséLobo de Mesquita and his slave JoaquinaEmerenciana. He worked as organist at variouschurches in the province of Minas Gerais, and in1801 moved to Rio de Janeiro to becomeorganist at the church of Nossa Senhora deCarmo. He is mainly known for his sacred music,



including numerous settings of the Mass; theseuse the balanced phrases also found in themusic of Viennese classicism. Tonight’s concertincludes a rare example of Lobo de Mesquita’sinstrumental music, the Adagio and Fugue inG minor. The first movement combines twointricate themes— a descending chromatic line,and also a series of falling triads. The followingfugue was left unfinished by Mesquita, but usesa theme (that descends chromatically through afull octave) also found in works by Hasse andthe Strasbourg musician Franz Xaver Richter(1709–1789).

The music archives in such South Americantowns as Cuzco include numerous anonymouspieces, indicating the richness of musicalactivity there in the eighteenth century. Onesuch piece is the Sonata Chiquitana XVIII,which uses a similar three- movement form tothe Hasse overture heard at the start oftonight’s concert. The vigorous triadicharmonies of the outer movements act as a foilto the gentle minor- key melody of the innerslow movement. Another piece of indigenousSouth American music is the Cachua, a late seventeenth- century transcription of a Peruvian dance.

Even for those European musicians who did notvisit the New World, it still held a considerablehold on their imaginations, as is indicated bythe French tune ‘Les Sauvages’, here heard in aversion from Michel Corrette’s Concertocomique No.25 in G minor. This energetic minor- key tune, alternating held- notes withsudden quaver outbursts and flurries ofrepeated notes, was originally written byRameau either for or shortly after the display of

two North American Indians at the Saint- Germain fair in 1725. The event was describedthus in the Mercure de France of September 1725:

“Two large and well- built savages, about 25years old and only recently arrived fromLouisiana, danced three kinds of dances in astyle that left no room for doubt that the stepsand leaps they executed were learnt a long wayaway from Paris. [After the dance of peace,] nextcame a war- dance, depicting a gathering ofsavages resolved on waging war with such andsuch a tribe. One of their number acts out allthe horror of so doing, while those inagreement with him signify their approval byjoining in the dance. In the third dance thewarrior, armed with a bow and quiverful ofarrows, first tracks down an enemy while theother savage sits on the ground and beats adrum.”

Rameau then used the tune in his keyboardmusic and his opera Les Indes Galants (1735). Itwas subsequently used by a succession ofcomposers up to the French revolution. Amongthese was Michel Corrette (1707–1795), whoheld numerous organist posts in Paris (includingat the Jesuit College). His version of LesSauvages is found in the last of his Concertoscomiques, a set of pieces written between 1733and 1760 which all quote popular tunes of theday. Evidently Paris was fascinated by thismusical representation of the exotic dances ofthe American Indians.

Stephen Rose © 2010Dr Stephen Rose is Lecturer in Music at RoyalHolloway, University of London



Johann Adolf Hasse (c.1699–1783) Born near Hamburg, Hassewas an important figure inthe development of operaseria (‘serious’ opera,usually Italian). After hisdeath, though, his hugeoperatic output (around 70

works survive) was wholly neglected, only to berevived in the late 20th century.

José Joaquim Emerico Lobo deMesquita (1746–1805)Born in Brazil and given an extensive musicaleducation, Lobo de Mesquita spent much of hislife in Diamantina where he founded a musicschool and was cathedral organist, renownedfor his virtuosic playing and improvisation. Hemoved to Rio de Janeiro after quarrelling withthe mayor, and remained there until his death.

Domenico Zipoli (1688–1726)Born in Italy, Zipoli was rapidly becoming one ofthe finest musicians of his day (studying with,among others, Alessandro Scarlatti) when hemoved to Seville and became a Jesuitmissionary. In Cordoba (Argentina) the absenceof a bishop meant he was never ordained, buthis fame as Kapellmeister spread as far asParaguay and Peru.

Alessandro Scarlatti (1660–1725) Born in Palermo, Scarlattiwas active throughoutItaly: he composed inNaples, Florence, Veniceand Urbino. His finestmusic, though, was writtenin Rome — including

several operas and a number of works for thechurch. His sons, Domenico and Pietro Filippo,were also composers.

Michel Corrette (1707–1795) A prolific composer ofballets, concertos, sonatas,songs, cantatas andchamber music, the Normandy- born Correttewas also a teacher,producing several method-

books (including L’Art de se perfectionner sur leviolon). For more than 40 years he was organistat the Jesuit College in Paris, where he taughtmissionaries who subsequently left for Paraguayand Bolivia.

Tomás de Torrejón y Velasco(1644–1728)Born in Madrid, Torrejón y Velasco entered theservice of the Count of Lemos — whosubsequently became viceroy of Peru, taking a113-strong retinue (including Velasco) to theNew World. But Velasco’s musical abilitiesmarked him out, and he became maestro dacapella at the cathedral. In 1707 he returned toEurope to collect together the latest Europeanmusic — including, quite possibly, that of Handel.

George Frideric Handel (1685–1759)German- born, Handelstudied in Italy beforebecoming a British subject.Whilst in Italy hecomposed Il DelirioAmoroso, which hededicated to his patron

Cardinal Pamphili — with whom Zipoli was incontact, and who wrote libretti for AlessandroScarlatti’s operas. Appropriately, Pamphili’spalace is now the Brazilian embassy in Rome.

Tonight’s composers



Texts and translations

Zipoli‘Dell’offese a vendicarmi’

Dell’offese a vendicarmi chiamo all’armivoi tiranni miei pensieri.Esser miei più non potete se non siete di giust’ira armati arcieri.

I call you to arms, my tyrannous thoughts,to avenge myself from these wrongdoings.You can be my thoughts no longer unless you are archers armed with rightful anger.

© GEORGE CORBETT

HandelIl Delirio Amoroso

RecitativoDa quel giorno fatale,che tolse morte il crudo Tirsi a Clori,ella per duolo immenso, sciolto il crin, torvo il guardo,incerto il piede, par, ch’abbiain sè due volontà, due cori:e del chiarro intelletto,per gran fiamma d’amor, turbato il raggio, ora s’adorna, ora del crin negletto fa dispettoso oltraggio;e varia nel pensier, ma sempre bella,agitata così, seco favella.

AriaUn pensiero voli in ciel,se in cielo è quella alma bella,che la pace m’involò.Se in averno è condannato,per avermi disprezzato,io dal regno delle peneil mio bene rapirò.

RecitativoMa fermati pensier, pur toppo è vero che fral’ombre d’averno è condannato per giusta pena, e per crudel mio fato.Sì, sì, rapida io scendoa rapir il mio bene delll’arso Dite alle in focate arene. Ma che veggio?

From that fatal day when Death took cruel Thyrsis from Chloris, she, in deepest grief,her hair flying loose, grim- faced, unsteady on her feet, seems to havetwo wills, two hearts within her; and with the ray of clear thinking dimmed by the great flame of love, she first decks herself, then makes a dire tangle of her dishevelled hair,and wanders in her mind, but ever fair so agitatedly speaks to herself.

Let a thought soar into the sky,if in Heaven is that fair soul which robbed me of my peace. But if he is condemned to Hell because he scorned me, I from the realm of punishment my beloved shall rescue.

But stay, my thoughts, alas, it is true that he is condemned to darkest Hellas a just punishment for my cruel fate. Yes, yes, I'll rapidly descend to save my beloved from the red- hot sands of Pluto, god of burning Hell. But what do I see?



Rimira il mio sembiantedispettosa poi fugge un’ombra errante.Tirsi, o Tirsi, ah! crudele!

AriaPerte lasciai la luce,ed or che mi conduce amor per riverderti, tu vuoi partir da me.Deh! ferma i passi incerti, o pur se vuoi fuggir, dimmi perché?

RecitativoNon ti bastava, ingrato,d’avermi in vita lacerato il core?Dopo l’ultimo fato siegui ad esser per me furia d’amore; anzi, ti prendi a scherno, ch’io venga teco ad abitar l’inferno.Ma pietà per rigore ti renderò.Su vieni al dolce oblio di Lete;indi daranno pace gli Elisi,al già sofferto affanno.

AriaLascia omai le brune vele,negro pin di Flegetonte.Io farò che un zeffiretto, per diletto, spiri intorno a te fedele;e che mova i bianchi lini, pellegrini, in Acheronte.

RecitativoMa siamo giunti in Lete.Odi il suono soave degli Elisi beati.

MinuetIn queste amene piaggie serene,da sè ridente nasce ogni fior.Tra suoni e canti, sempre clemente,spiran gli amanti, aura d’amor.

RecitativoSi, disse Clori, e se d’un sole estintopiù non vide il bel lume,lo vide almen per fantasia dipinto.

A wandering spirit angrily sees my face again and then escapes me. Thyrsis, Thyrsis, oh, you cruel one!

For you I left the daylight,and now that love leads meto see you again, you want to leave me. Oh, stop your uncertain steps,Or if you want to go, tell me why. Why?

Wasn't it enough for you, ungrateful one, to break my heart while you lived? After your death, you still inflict a frenzy of love on me; rather, you treat with scorn the fact that I've come to live with you in Hell. But I'll reward your cruelty with compassion. Come now to the sweet forgetfulness of Lethe, then the Elysian fields will give respite to our past suffering.

Leave now the dark brown sails, black boat of the fiery river of Hades, Phlegethon.I will see that a light breeze, for your delight, breathes constantly around you; and that it moves the white canvas, on its way, along the river Acheron.

But we have reached the river Lethe. Hear the sweet sound of the blessed in Elysium.

On these pleasant, serene shores, laughing to itself each flower springs up. Amid music and song, always mild, lovers breathe an air of love.

Yes, said Chloris, and if the bright light of an eclipsed sun was not seen, at least it was seen in the fancy.

©THE SIXTEEN PRODUCTIONS



Brazilian- born Rodolfo Richter was trained as amodern violinist with Klaus Wusthoff andPinchas Zukerman, and has studiedcomposition with Hans Joachim Koellreutterand Pierre Boulez. He studied baroque violinwith Monica Huggett at the Royal Academy ofMusic and has performed with most of Britain’sleading period ensembles. Also in demand as achamber musician, he has regularlycollaborated in concerts and recordings withthe Bach Players, Sonnerie, and Hausmusik.

Rodolfo was a prize- winner at the prestigiousInternational Early Music Competition forEnsembles in Bruges (2000), and won first prizeat the Antonio Vivaldi International ViolinCompetition (2001). Since then, he has oftenbeen invited as a soloist and director oforchestras throughout the world, includingAcademia Montis Regalis (Italy), Barokkanerne

(Norway), B'Rock (Belgium), Die KölnerAkademie (Germany), Harmonia Universalis(Brazil), St. James Baroque, the Orchestra of theAge of Enlightenment, the Hanover Band andThe English Concert. He combines this workwith his role as co- leader of the Academy ofAncient Music.

His recorded output is extensive, and includesJS Bach’s Brandenburg Concertos and TripleConcerto and Handel’s Trio Sonatas Opp.2 & 5with the AAM. Solo recordings include analbum of sonatas by Tartini and Veracini and thefirst recording of Erlebach’s complete sonatas, aswell as Vivaldi’s solo concertos. Future plansinclude music by Vivaldi and John Cage withB'Rock and an album of JS Bach's Trio Sonatas.

As a soloist and chamber musician Rodolfo hasperformed throughout the UK and touredextensively. He has appeared in such venues asthe Concertgebouw in Amsterdam,Konzerthaus Wien, Sydney’s City Hall, Chicago’sOrchestra Hall, and the Alice Tully Hall andCarnegie Hall in New York.

Rodolfo teaches baroque violin at the RoyalCollege of Music in London.

Rodolfo Richter violin

“Rodolfo Richter (and his bright, bold- voiced 1674 Guarneri) is more thancapable of generating the necessarysparks, delicate turns and swift runs...” C L A S S I C S T O D A Y



Colombian- born Juanita Lascarro began herstudies in biology in Bogotá, before moving toCologne to pursue her singing career at theMusikhochschule Köln and the Opera Studio ofOper Köln.

Notable operatic appearances have includedthe title role of Monteverdi’s L'incoronazione diPoppea at Opernhaus Zürich; Manon in Henze’sBoulevard Solitude at the Gran Teatre del Liceu inBarcelona; and debuts at the Wiener Staatsoperand Bayerische Staatsoper as Juliette in Romeoet Juliette, and in Martinů’s The Greek Passion atthe Royal Opera House, Covent Garden. She hasbecome one of Oper Frankfurt’s most significantensemble members, earning critical acclaim forher performances in works from Janáček’s TheAdventures of Mr Brouček to Puccini’s La Boheme.

The title- role of Richard Strauss’ Daphne has

been particularly significant in Juanita’s operaticcareer. After making her British debut in theBritish stage- premiere of the opera forGarsington Opera, she has sung the part forDeutsche Oper Berlin under ChristianThielemann, for De Nederlandse Oper underIngo Metzmacher, and in concert under Edo deWaart at the Concertgebouw.

In concert her performances includeappearances with the Leipzig Gewandhausunder Lothar Zagrosek; with the Deutsches Symphonie- Orchester under VladimirAshkenazy; the Israel Philharmonic Orchestraunder Antonio Pappano; and the GürzenichOrchestra under James Conlon. Herperformances at the BBC Proms include VillaLobos’ Bachiana Brasileira No. 5 with the 12Cellists of the Berliner Philharmoniker.

In recital Juanita has made appearances at theBath International Festival, the StensgårdFestival, the Cork Chamber Music Festival andLondon’s Wigmore Hall. Her discographyincludes Les contes d’Hoffmann and Alcina forErato; Der Silbersee for BMG; Die Verlobung imTraum for Decca; Der Zwerg for EMI; La SennaFesteggiante for Opus 111; Arcadian Duets fromHandel for Virgin; a selection of Spanish songsfor Ópera Tres; and, with the Katona Brothers, aselection of works by De Falla for Channel Music.

In 2010 she made her debut under Sir SimonRattle as Princess Laoula in a rare staging ofChabrier’s L’étoile, and in 2011 her roles includeCountess in Le nozze di Figaro, Pamina in DieZauberflöte, the title role in Daphne and Antoniain Les Contes d’Hoffmann.

Juanita Lascarro soprano

“Juanita Lascarro brings ease of line,perfect intonation and tremendouscharm” F I N A N C I A L T I M E S



Academy of Ancient Music

Back in 1973, most orchestras played old music ina modern style. Centuries of change had erodedthe sound-worlds known to Bach, Handel, Haydnand Mozart: the instruments were different; thepitch was different; the number of players wasdifferent; the very essence and spirit ofperformances was different.

But change was in the air. Wouldn’t it bewonderful, people asked, if we could turn theclock back; if we could find out more aboutcomposers’ original intentions and get closer tothe style in which music was originallyperformed? This was the spirit in whichChristopher Hogwood founded the AAM. It wasrevolutionary. Centuries of convention were cutaway and baroque and classical masterworkswere heard anew.

The stringed instruments in Hogwood’s neworchestra had strings made of animal gut, notsteel. The trumpets had no valves. The violinsand violas didn’t have chin-rests, and the cellistsgripped their instruments between their legsrather than resting them on the floor. It wasn’tjust the instruments or the sound of the musicwhich changed, though; it was how it felt. AAMperformances were full of energy and passionand joy.

From these beginnings, one of the world’s greatorchestras was born. Over the next threedecades the AAM’s fame spread to every cornerof the globe as it built up a celebrateddiscography of well over 250 CDs — Brit- andGrammy-award-winning recordings of the greatbaroque masterworks; opera releases starringCecilia Bartoli, Dame Emma Kirkby and DameJoan Sutherland; pioneering cycles of the Mozartand Beethoven symphonies. It performed live onevery continent except Antarctica, inspiring musiclovers worldwide with the passion and the powerof its music-making.

Richard Egarr — a leading light in the nextgeneration of early music specialists —

succeeded Hogwood in 2006. In his first four yearsas Music Director his recordings with the orchestrahave won the Edison, Gramophone and MIDEMAwards; and he has directed hundreds ofperformances across four continents. Theorchestra continues to work with a roster of guestdirectors including Pavlo Beznosiuk, GiulianoCarmignola, Paul Goodwin, Stephen Layton andMasaaki Suzuki, ensuring that new ideas andapproaches continually inspire the group. In 2009the AAM made history with the world’s first-everlive choral “cinecast”: its performance of Handel’sMessiah was beamed in real time from the King’sCollege Chapel, Cambridge to tens of thousands ofpeople in over 250 cities around the globe.

Today, the AAM’s concert series in London andCambridge lies at the heart of its work. Thisseason’s programme is based around The BachDynasty — a major new concert series exploringthe music of JS Bach and his many composer-relatives. Other highlights include Mozart’s earlyopera La Finta Giardiniera at the Barbican, andtonight’s intriguing programme showcasing thelittle-known baroque and classical music of SouthAmerica. The orchestra will collaborate with thelikes of Bernard Labadie, acclaimed director of LesViolons du Roy, singers James Gilchrist, RosemaryJoshua, Andrew Kennedy and Elizabeth Watts,cellist Steven Isserlis, and the Choir of King’sCollege, Cambridge.

The AAM’s international touring schedule in 2010-11is as wide-ranging as it has ever been. Among thisyear’s highlights are performances of JS Bach’sBrandenburg Concertos and Haydn’s The Creation atthe Shanghai Concert Hall and in Perth, Australia;concerts with the star Korean soprano Sumi Jo atthe National Centre for the Performing Arts in Beijingand around Singapore, South Korea and Taiwan; andperformances in leading European venues includingthe Concertgebouw in Amsterdam and the Théatredes Champs-Elysées in Paris.

“The ultimate raspberry to anyone whosays baroque music is predictable” T H E I N D E P E N D E N T , 2009



Board of DirectorsAdam BroadbentKay Brock LVO DLJohn EverettMatthew FerreyJohn GrievesChristopher Hogwood

CBEHeather JarmanChristopher Purvis CBE

(Chairman)Dr Christopher TadgellSarah Miles Williams

Development BoardAdam BroadbentKay Brock LVO DLDelia BrokeJohn EverettMatthew FerreyJohn GrievesMadelaine GundersElizabeth Hartley- BrewerAnnie NortonChristopher Purvis CBEChris Rocker Dr Christopher TadgellMadeleine TattersallSarah Miles WilliamsAlison Wisbeach

Music Director Richard Egarr

Emeritus DirectorChristopher Hogwood

CBE

Chief ExecutiveMichael Garvey

Orchestra ManagerAndrew Moore

Head of External Relations

Simon Fairclough

External Relations Manager

Toby Chadd

Administration ManagerSamantha Fryer

Finance ManagerElaine Hendrie

Arts Management Trainee

Sarah Reid

Music has always been a big part of my life. Particularly memorable arethe annual trips to Midnight Mass in our Renault 4 with my parents, threesiblings and various cellos, violas, recorders and oboes, to play thechorales from the Christmas Oratorio.

I was determined not to turn my hobby into my profession, and sostarted to study Medicine. But I soon realized that I was unable toconcentrate on the human body whilst listening to music... Had I knownabout the benefits of having music in the operating theatre I wouldpossibly have stuck to this career, but I switched to music and studied

with two inspirational teachers, the late Michel Piguet and Paul Goodwin.Now I enjoy life with my husband and my two sons and in whatever time is left I play the

oboe and teach.

In profile: Katharina Spreckelsen oboe

Academy of Ancient Music

ViolinRodolfo RichterBojan Čičić Pierre JoubertRebecca LivermoreLiz MacCarthyWilliam Thorp

ViolaJane Rogers

CelloAndrew Skidmore

Double bassJudith Evans

FluteRachel Brown

OboeKatharina SpreckelsenLars Henriksson

HornGavin EdwardsDavid Bentley

TheorboWilliam Carter

HarpsichordAlastair Ross

*Sponsored chairs

Leader Mr and Mrs George Magan

Principal cello Dr Christopher and Lady Juliet Tadgell

Principal fluteChristopher and Phillida Purvis

Sub- principal violaSir Nicholas and Lady Goodison

Sub- principal celloNewby Trust Ltd



Handel Opp.1–7 recording cycle

Solo Sonatas Op.1“The AAM’s delightful playing is warmly recommended” GRAMOPHONE AWARDS ISSUE 2009

“The soloists slide easily from austerity to opulence, and Brown’s dewy- toned recorder is enchanting” INDEPENDENT ON SUNDAY, JUNE 2009

Trio Sonatas Opp.2 & 5SHOR TLISTED FOR 2010 GRAMOPHONE AWARD FOR BAROQUE INSTRUMENTAL MUSIC

“the subtleties and nuances of the playing, coupled with the sheer varietyof Handel’s fertile imagination, never pales over two hours of continuouslistening... These are outstanding accounts”BBC MUSIC MAGAZINE, DECEMBER 2009

Concerti Grossi Op.3; Sonata à 5WINNER OF 2007 GRAMOPHONE AWARD FOR BAROQUE INSTRUMENTAL MUSIC

“The Academy of Ancient Music is in world- beating form” GRAMOPHONE, APRIL 2007

Organ Concertos Op.4WINNER OF 2009 EDISON AWARD

WINNER OF 2009 MIDEM AWARD

SHOR TLISTED FOR 2008 GRAMOPHONE AWARD FOR INSTRUMENTAL MUSIC

Concerti Grossi Op.6“The AAM are on sparkling form...an issue of joyous vitality” GRAMOPHONE AWARDS ISSUE 1998

“It is impossible not to admire the precision of these spit- and- polish performances”EARLY MUSIC AMERICA, 1998- 9

Organ Concertos Op.7“a valuable addition to the Handel discography” GRAMOPHONE, OC TOBER 2009

“an outstanding achievement”ANDREW MCGREGOR, BBC RADIO 3 , AUGUST 2009


Johann Sebastian Bach wrote music especially tailored for thegreat feasts of the year. He responded to the year’s liturgicalevents with remarkable lucidity; he also knew how to celebrateand enter into the festive spirit. Be sure to join us as we markChristmas and Passiontide with the masterworks of JS Bach.

Thursday 23 December 2010

JS Bach at ChristmasChoral and instrumental music, including the Magnificat

To celebrate Christmas we present a selection ofJS Bach’s finest festive work. At the centre of theprogramme stands the Magnificat, renowned forits sheer exuberance and vitality. But Christmasmusic wasn’t all for the church, and Bach wascalled on to entertain the crowds visiting the trade- fairs. The festive mood comes acrossstrongly in the Concerto in C minor for violinand oboe, with its playful dialogue and rhythmicbuoyancy; whilst the Concerto in D minor forharpsichord, designed as a showpiece for a newinstrument, provides a virtuosic flourish.

Following sold out Christmas performances ofMessiah in 2009 and the Christmas Oratorio in2008, the Choir of the AAM returns to CadoganHall for what is sure to be another unmissablefestive celebration.

Wednesday 20 April 2011

JS Bach’s St John Passionwith the Choir of King’s College, Cambridge

The St John Passion is one of the great works ofwestern music. When it was first performed onGood Friday 1724, Bach’s congregation wouldnever have heard anything like it; and nearly threehundred years later it still reaches to the heart ofthe Passion story with startling clarity and emotionthrough its intimate scale and moving lyricism.

The AAM’s acclaimed annual Passion performancewith the Choir of King’s College, Cambridge isbrought to London for the first time. AndrewKennedy, described as “outstanding” by theGuardian for his performance in this year’s BBCProms, takes the role of the Evangelist.

AAM celebrates Christmas and Passiontide at Cadogan Hall

“I would happily sit in King’s College Chapellistening to this choir sing for the rest of my days” THE T IMES

Ticket offerSave 10% if you book apair of tickets for both

JS Bach at Christmas and the St John Passion at the same time.

Phone 020 7730 4500 or visitwww.cadoganhall.com,

and quote AAM1003when booking.

Choir of the AAM Choir of King’s College, Cambridge


Visit http://www.youtube.com/acadofancientmusic for exclusive preview videos,featuring rehearsal footage and interviews with the players.



Supporting the Academy of Ancient Music

We live in a world of worthy causes. Whysupport an orchestra like the AAM?

For centuries, people have understood theimportance of culture. The arts enrich society andchange lives. They help to make life worth living.

For centuries, people have also understood thatculture is costly, and that it can only thrive ifthose who are in a position to sustain it do sogenerously. The music which the AAM performsonly ever came into being because of a cultureof patronage: Monteverdi was supported formuch of his career by the Duke of Mantua; JSBach composed many of his instrumentalmasterpieces while employed at the courts ofWeimar and Köthen; and Haydn’s 104symphonies may never have been written hadhe not enjoyed the backing of the Esterházyfamily. The music of these great composers —and of many others besides — stands astestament not only to individual genius, but also

to support from generous individuals whichenabled them to realise their potential.

Over the centuries, successive generations ofphilanthropists created and sustained theorchestras and choirs which kept this music alive.It is their legacy which we inherit today.

For a time, it seemed that the future of the arts inBritain would be taken care of by the state; thatthe need for support from generous individualswas a thing of the past. For better or worse,those days are long gone. The Academy ofAncient Music does not receive any regularpublic funding, and income from ticket saleswill fall short of covering the full cost ofsustaining the orchestra by at least £400,000this year.

The future of ancient music lies in the hands of anew generation of philanthropists.

The AAM Society

The AAM Society is the orchestra’s closest groupof regular supporters. Membership ranges from£250–£20,000+ per annum — or from £100 perannum for Young Supporters — given either as alump sum or by regular donation. Members’contributions provide the vital core fundingrequired if the orchestra is to continue to perform.

Society members enjoy a very close involvementwith the life of the AAM. After performances inLondon, members dine with the director, soloistsand AAM musicians. They have a chance tobecome a part of orchestral life behind thescenes by sitting in on rehearsals for concerts andrecordings. At least once each year they have theopportunity to accompany the orchestra on aninternational tour — earlier this month, forexample, a large group travelled with the AAMand Choir of King’s College, Cambridge on atour of the Netherlands.

Those giving over £1,000 per year receiveinvitations to regular recitals and other specialevents held at the homes of fellow members.Those giving over £5,000 per year have theopportunity to sponsor a specific position in theorchestra, and are invited to join the Council ofBenefactors, a forum which will meet annually toreceive an update on the orchestra’s performancefrom the Chief Executive and Chairman.

Tax efficient givingBecause the AAM is a charity, gifts from UKtaxpayers can be made in a tax efficient mannerunder the Gift Aid scheme.The cost of a gift tothe donor can be as little as half of its valueto the AAM. The orchestra can claim back fromthe HMRC the basic rate tax already paid by thedonor, and higher and additional rate taxpayerscan claim tax relief on the difference between thebasic rate and the applicable rate of income tax:



Gifts of sharesDonors are encouraged to consider coveringthe cost of their AAM Society membership bymaking gifts of shares. Generous tax incentivesare available to individuals who supportcharities in this manner. Donors are able toclaim income tax relief on the value of sharesand securities donated, and are also exemptfrom any tax on capital gains that would havearisen if the shares had been sold. In some

circumstances the cost of the gift could beunder 50% of the eventual value to the AAM.More information is available from the Head ofExternal Relations, Simon Fairclough, on 01223301509 or [email protected].

How to joinTo join the AAM Society, please complete andreturn the form on page 19 of this booklet.

Young Supporter £100 £125 £62.50 £75 £8.33(under 40 only)Donor £250 £312.50 £156.25 £187.50 £20.83Benefactor £500 £625 £312.50 £375 £41.67Principal Benefactor £1,000 £1,250 £625 £750 £83.33Patron £2,500 £3,125 £1,562.50 £1,875 £208.33Principal Patron £5,000 £6,250 £3,125 £3,750 £416.67The Hogwood Circle £10,000 £12,500 £6,250 £7,500 £833.33The Chairman’s Circle £20,000 £25,000 £12,500 £15,000 £1,666.67

Membershiplevel

Minimumdonation

Value of donationto AAM after Gift Aid

Final cost toadditional rate (50%) taxpayerafter tax relief

Final cost tohigher rate (40%)taxpayer after tax relief

Equivalent monthly donation

Leaving a legacy

Over the last four decades the Academy ofAncient Music has brought joy and inspirationto millions of people. Our aim over the next isto begin to build up an endowment fundwhich will enable the orchestra to do so in perpetuity.

Leaving a legacy is one of the most importantand enduring ways in which you can supportthe AAM. Whether you give £5,000 or £5 million, your bequest will have a realimpact in enabling the AAM to keep themusic of the baroque and classical periodsalive, and to enrich the lives of music loversfor generations to come.

Legacies are highly tax efficient: the AAM’scharitable status means that gifts are exemptfrom Inheritance Tax, and any legacy you

bequeath may also reduce the overall taxliability due on your estate.

Should you find yourself a beneficiary under awill, you may also wish to considertransferring part of your inheritance to theAAM using a Deed of Variation. Amountstransferred in this manner become freed ofany Inheritance Tax otherwise due, affordingthe opportunity for the AAM to benefit fromyour generosity during your lifetime.

The Head of External Relations, SimonFairclough, is always happy to talk informallyand in confidence with anyone consideringmaking provision for the AAM in their will. Hecan be contacted on 01223 301509 or [email protected].



The AAM is indebted to the following trusts, companies, publicbodies and individuals for their support of the orchestra’s work:

AAM Funders & Supporters

Special giftsThe Academy of Ancient Music extends itsgrateful thanks to Lady Sainsbury of Turville,who has supported the orchestra’s work at aparticularly significant level this year.

The Chairman’s Circle(Donations £20,000–£49,999 per annum)CHK Charities LtdDunard Fund

The Hogwood Circle(Donations £10,000 - £19,999 per annum)Matthew FerreyMr and Mrs George MaganChristopher and Phillida Purvis *Mrs Julia RosierDr Christopher and Lady Juliet Tadgell

Principal Patrons (Donations £5,000 – £9,999 per annum)Lady Alexander of WeedonSir Nicholas and Lady Goodison *Richard and Elena BridgesChristopher Hogwood CBE *Mrs Sheila MitchellNewby Trust Ltd *Chris Rocker and Alison Wisbeachand other anonymous Principal Patrons

Patrons (Donations £2,500 – £4,999 per annum)Adam and Sara BroadbentMr and Mrs Graham BrownMr and Mrs JE EverettJohn and Ann GrievesMark and Liza LovedayJohn and Joyce ReeveMark WestSarah and Andrew Williamsand other anonymous Patrons

Principal Benefactors (Donations £1,000 – £2,499 per annum)George and Kay BrockMrs D BrokeClive and Helena ButlerJo and Keren ButlerSir Charles Chadwyck- Healey BtKate DonaghyThe Hon Simon EcclesElizabeth Hartley- Brewer

Elma Hawkins and Charles RichterLord HindlipJohn McFadden and Lisa Kabnick *Mr and Mrs C NortonLionel and Lynn PerseyNigel and Hilary Pye *Mr and Mrs Charles RawlinsonSir Konrad and Lady Schiemann *JG StanfordJohn and Madeleine TattersallMarcellus and Katharine Taylor- JonesStephen ThomasMrs R Wilson StephensCharles Woodwardand other anonymous Principal Benefactors

Benefactors (Donations £500 – £999)Maureen Acland OBE *Dr Aileen Adams CBEBill and Sue BlythElisabeth and Bob Boas *Claire Brisby and John Brisby QC *Mr and Mrs Edward Davies- GilbertCharles DumasMr and Mrs Jean- Marie EveillardSimon FaircloughMarshall FieldAndrew and Wendy GairdnerWilliam GibsonThe Hon Mr and Mrs Philip HaversProfessor Sean HiltonDr and Mrs G and W HoffmanHeather Jarman *David and Linda LakhdhirSusan LathamTessa MayhewMr and Mrs Hideto NakaharaRodney and Kusum Nelson- JonesNick and Margaret ParkerTimothy and Maren RobinsonBruno Schroder and FamilyPeter ThomsonPeter and Margaret WynnJulia Yorkeand other anonymous Benefactors

Donors (Donations £250 – £499)Angela and Roderick Ashby- JohnsonMrs Nicky BrownDr and Mrs S Challah

David and Elizabeth ChallenThe Cottisford TrustDerek and Mary DraperBeatrice and Charles GoldieSteven and Madelaine GundersGemma and Lewis Morris HallMrs Helen HiggsLord and Lady Jenkin of RodingRichard LockwoodYvonne de la PraudièreRobin and Jane RawAnnabel and Martin RandallArthur L Rebell and Susan B CohenMichael and Giustina RyanMiss E M SchlossmannTom Siebens and Mimi ParsonsRt Hon Sir Murray Stuart- Smith *Robin VousdenPippa WicksPaul F. Wilkinson and Associates Inc.and other anonymous Donors* denotes founder member

Members of the AAM Bach PatronsLady Alexander of WeedonRichard and Elena BridgesMr and Mrs Graham BrownJo and Keren ButlerCHK Charities LtdMatthew FerreyDunard FundElizabeth Hartley-Brewer The Hon Simon EcclesProfessor Sean HiltonGraham and Amanda HuttonMark and Lisa LovedayMrs Sheila MitchellMr and Mrs Charles RawlinsonJohn and Joyce ReeveDr Christopher and Lady Juliet TadgellJohn and Madeleine TattersallStephen ThomasMark WestCharles WoodwardCambridge Bach SupportersCambridge Bach Friendsand other anonymous AAM Bach Patrons

The AAM Society

AAM Business ClubCambridge University PressKleinwort Benson

Amberstone TrustCHK Charities LtdDunard FundJohn Ellerman FoundationEsmée Fairbairn FoundationFidelity UK FoundationGoldsmiths’ Company CharityThe Idlewild Trust

The Michael Marks Charitable TrustAnthony Travis Charitable Trust

Arts Council England through the Sustain programme

Orchestras LiveCambridge City Council



Join the AAM SocietyI would like to join the AAM SocietyI would like to give membership of the AAM Society tosomeone else as a gift

Your details

Name: ........................................................................................................................................

Address: ....................................................................................................................................

........................................................................................................................................................

Telephone: ..............................................................................................................................

Email: ..........................................................................................................................................

Gift membership — member’s detailsPlease complete this section only if you are giving Societymembership to someone else as a gift.

Member’s name: ................................................................................................................

Member’s address: ............................................................................................................

........................................................................................................................................................

Member’s telephone: ......................................................................................................

Member’s email: .................................................................................................................

Membership levelThe Chairman’s Circle £20,000+The Hogwood Circle £10,000–£19,999Principal Patron £5,000–£9,999Patron £2,500–£4,999Principal Benefactor £1,000–£2,499Benefactor £500–£999Donor £250–£499Young Supporter (under 40 only) £100–£249

Date of birth: ..................................................................................................................

AcknowledgementPlease acknowledge my gift using the following form ofwording

.......................................................................................................................................................

I would prefer to remain anonymous

Payment detailsI would like to make my donation by

I enclose a cheque for £................................(please make payable to ‘AAM’)

I enclose a CAF cheque for £................................(please make payable to ‘AAM’)

I would like to pay by standing order (please complete the standing order section below)

I would like to make a gift of shares (please contact the AAM)

Three-year pledgeBy pledging to support the AAM over a three-year period, you canhelp the orchestra to plan for the future with confidence.

Please tick here if you are able to pledge to support theorchestra at this level for three years.

Leaving a legacyPlease tick here if you would be willing to receive informationabout remembering the AAM in your will.

Matched givingMy firm operates a matched giving policy. Please contact meto discuss this further.

Gift Aid declarationPlease complete this section if you pay UK income tax and/orcapital gains tax at least equal to the tax which the AAM willreclaim on your donations in the appropriate tax year.

Please treat this donation and all donations that I make from thedate of this declaration until I notify you otherwise as Gift Aiddonations.

Signed: .....................................................................................................................................

Date: ...........................................................................................................................................

Donations made by standing orderPlease complete this section if you would like to make yourdonation to the AAM by standing order.

Name of bank: .....................................................................................................................

Bank address: ........................................................................................................................

........................................................................................................................................................

Account number: ...............................................................................................................

Sort code: ................................................................................................................................

Please pay Academy of Ancient Music, Lloyds TSB, Gonville PlaceBranch, Cambridge, sort code 30-13-55, Account number02768172 the sum of

£......................................................................................................................................................

per monthquarteryear

starting on: .............................................................................................................................

Signed: ......................................................................................................................................

Date: ...........................................................................................................................................

Full name: ...............................................................................................................................

Please return your completed form to:Simon FaircloughHead of External RelationsAcademy of Ancient Music32 Newnham RoadCambridge CB3 9EY



Wigmore Hall

36 Wigmore StreetLondon W1U 2BPDirector: John GilhoolyThe Wigmore Hall TrustRegistered Charity No.1024838

Wigmore Hall is a no-smoking venue.

No recording or photographic equipment may be taken into theauditorium, nor used in any other part of the Hall without theprior written permission of the Hall Management.

Wigmore Hall is equipped with a ’Loop’ to help hearing aid usersreceive clear sound without background noise. Patrons can usethe facility by switching their hearing aids over to ’T’.

In accordance with the requirements of City of Westminster,persons shall not be permitted to stand or sit in any of thegangways intersecting the seating, or to sit in any of the othergangways. If standing is permitted in the gangways at the sidesand rear of the seating, it shall be limited to the numbersindicated in the notices exhibited in those positions.

Facilities for Disabled People:

Please contact House Management for full details.

Pre- concert talks with Bernard Labadie at 6.30pm See inside back cover for details of how to book.

Canadian duo Karina Gauvin andBernard Labadie join us for a

programme showcasing Handel’s mostmoving writing for the stage. Arias from

six operas — including Alcina’s lamentfor her lost magical powers and the

achingly beautiful ‘Lascia ch’iopianga’ from Rinaldo — are setagainst the elegant danceinterludes from Ariodante

and Alcina.

Handel’s tragic museAcademy ofAncient Music

Karina Gauvin soprano

Bernard Labadie conductor

16 March 2011 Wigmore Hall, London18 March 2011 West Road Concert Hall, Cambridge

“Her glinting soprano, bright- edged yet deliciously rounded and sensual, is used with rare understanding for character” S U N D A Y T I M E S


aam - south american connections

Documents

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