the bach dynasty: js bach’s brandenburg concertos documents/js bach's brandenburg... ·...

The Bach Dynasty: JS Bach’s Brandenburg ConcertosRichard Egarr director & harpsichord

19 October Cadogan Hall, London20 October Assembly Rooms, Bath23 October City Halls, Glasgow24 October Turner Sims Concert Hall, Southampton (BBC Radio 3 recording)26 October Town Hall, Birmingham

Welcome to tonight’s concert, in which we performwhat Richard Egarr describes as “one of the gloriesof the instrumental repertoire — and arguablysome of the best chamber music ever written”.

Over the next week we’ll perform the BrandenburgConcertos in cities around the UK, and in 2011 theBBC will broadcast our performance from TurnerSims Concert Hall in Southampton as part of theirDiscovering Music series.

In February 2011 we take these concertos furtherafield, to Shanghai Concert Hall and Perth,Australia. In Australia we also team up with the St George's Cathedral Consort Choir for aperformance of Haydn's The Creation, and travel to Albany to perform Handel’s Trio Sonatas.

Tonight’s performance is part of The Bach Dynasty,our year- long series exploring the works of JohannSebastian and his family. There are two further

concerts at Cadogan Hall as part of the series: a Christmas celebration including JS Bach’sMagnificat on 23 December, and the St JohnPassion with the Choir of King’s College,Cambridge in April 2011. Turn to page 20 to find out about an exclusive ticket offer for these unmissable concerts.

Meanwhile, we’re proud to announce that ourrecording of Handel’s Opp.2 & 5 Trio Sonatas has been shortlisted for the 2010 GramophoneAward for Baroque Instrumental Music, and wasultimately just two votes short of winning thisprestigious prize.

Richard Egarr’s appearance in tonight’sperformance has been supported by Mrs SheilaMitchell, for whose generosity we are extremelygrateful. We also extend our sincere thanks to Lady Sainsbury of Turville, who has supported theorchestra at a particularly significant level this year.

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

AAM onlineAs we tour around the UK and the world performing the Brandenburg Concertos, members ofthe orchestra will be giving behind- the- scenes accounts in the AAM tour blog. Visithttp://academyofancientmusic.wordpress.com to read about life on the road and in the greenroom, as well as the players’ thoughts about the music.

And did you know that you can write your own review of tonight’s concert? Post it on ourFacebook wall, or email it to [email protected].

Programme OCT10_AAM programme Sept 2010 12/10/2010 14:09

JOHANN SEBASTIAN BACH (1685-1750)

Brandenburg Concerto No.1 in F major BWV1046 [Allegro]AdagioAllegroMenuet— Trio— Menuet— Poloinesse— Menuet— Trio— Menuet

Brandenburg Concerto No.6 in B flat major BWV1051 [Allegro]Adagio ma non tantoAllegro

Brandenburg Concerto No.2 in F major BWV1047 [Allegro]AndanteAllegro assai

Interval of 20 minutes

Brandenburg Concerto No.5 in D major BWV1050 AllegroAffetuosoAllegro

Brandenburg Concerto No.3 in G major BWV1048 [Allegro] — AdagioAllegro

Brandenburg Concerto No.4 in G major BWV1049 AllegroAndantePresto

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

Every year, the Academy of Ancient Musicenriches the lives of tens of thousands ofmusic lovers. Its performances are a sourceof inspiration and joy: the world would be aduller place without them.

But the AAM will only continue to thriveand develop if those who are in a positionto support it do so generously. Incomefrom ticket sales will fall short of the full costof running the orchestra by around£400,000 this year, and the AAM receives noregular government funding.

Members of the AAM Society sustain theorchestra’s work magnificently for thebenefit of us all — but the AAM has anambitious vision for the future, and theneed for support is greater than it has everbeen before. The future of ancient music isin your hands: turn to page 16 to find outhow you can help.

The future of ancient musicis in your hands


Johann Sebastian Bach’s BrandenburgConcertos are a celebration of the variety andachievement of instrumental playing in centralGermany at the start of the eighteenth century.This set of six concertos is scored ‘for multipleinstruments’ (avec plusiers instruments), to quotethe title of the elegant manuscript that Bachpresented to the Margrave of Brandenburg.Bach uses an extraordinary range of soloists,ranging from those found frequently in baroqueconcertos (oboe, violin and flute) to those thatappear only rarely as concerto soloists (trumpet,viola da gamba and harpsichord). No previouscomposer had ever written a set of sixconcertos with such variety of scoring. Whenmusicians such as Tommaso Albinoni orAntonio Vivaldi prepared a set of six concertos,they normally chose the same scoringthroughout for reasons of practicality.

In choosing such a diversity of soloists for hisconcertos, Bach was partly paying homage tothe versatility of town instrumentalists in centralGermany. Many previous generations of Bachshad worked as Stadtpfeifer (town- pipers),including Sebastian’s father Johann Ambrosiusin the central German town as Eisenach. Town- pipers were expected to master a wide range ofwind, brass and stringed instruments. Forinstance, Johann Joachim Quantz wasapprenticed to the Merseburg town- piper inthe early 1710s, learning the violin, oboe,trumpet, cornett, trombone, horn, recorder,bassoon, German bass violin, cello and viola dagamba, “all of which a proper town- piper mustbe able to play”. With the exception of thetrombone and the cornett, Quantz’s list couldalmost read as a catalogue of the instrumentsrequired in the Brandenburg Concertos.

Yet town- pipers rarely showed virtuoso skill ontheir many instruments. As Quantz admitted: “Itis true that because of the great variety ofinstruments that comes into your hands, you

remain a bungler on each one.” The town- piperstypically played ensemble pieces, rather thandisplaying their abilities as soloists. Nor were the town- pipers particularly familiar with the styleof concertos emerging from Italy in the firstdecades of the eighteenth century; instead,they mostly preferred to play dances andarrangements of hymns.

It was the court musicians of central Germanywho supplied the sheer musical virtuosity andthe acquaintance with the concerto style thatwere further pre- requisites for the BrandenburgConcertos. Johann Sebastian Bach was one ofthe few members of his family who had madethe social step forward to working at courtsrather than towns. During his time at theCöthen court (1717–23), Bach encounteredsome of the finest virtuosos of the day,including the viola da gamba player ChristianFriedrich Abel and the violinist Joseph Spieß.The Cöthen court also boasted a renownedkeyboard virtuoso in the form of Bach himself.Echoes of these musicians’ accomplishmentsmay perhaps be detected in the BrandenburgConcertos. Spieß may have played thedomineering violin solo in BrandenburgConcerto No.4, and Abel may have played oneof the gamba or viola parts in BrandenburgConcerto No.6; and Bach surely intended theharpsichord solo in Brandenburg Concerto No.5for himself to play.

Earlier in Bach’s career, during his time at theWeimar court (1708–17), he encountered theconcertos of Vivaldi and other Italians. Printed ormanuscript copies of this fashionable Italianrepertory were brought back to Weimar byPrince Johann Ernst on his return from theGrand Tour of Europe. Bach’s close study ofVivaldi’s concertos can be detected in severalaspects of the Brandenburg Concertos, notablythe use of a three- movement form (fast— slow— fast) and the use of a ritornello to

Dr Stephen Rose describes the extraordinary diversity of the Brandenburg Concertos




Christian Ludwig, Margrave of Brandenburg- Schwedt (1677–1734), to whom Bach presented theBrandenburg Concertos. Painting by Antoine Pesne (1683–1757), a French- born court painter active in Prussia.

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structure individual movements. In Vivaldi’sconception, the ritornello (‘little theme thatreturns’) is usually played by the tutti orchestra,interspersed by episodes of solo figuration thatmove to different keys. By contrast, Bachinvariably lets themes from the ritornello leakout into the solo parts. It is almost as if hecannot bear the soloists to play something asinsignificant as stock figuration. The result is thatvirtually every bar of his BrandenburgConcertos has something new but alsosomething familiar, creating a delightful play ofsimilarity and difference.

Brandenburg Concerto No.1 (BWV 1046) isscored for two horns, three oboes, bassoon,violino piccolo, strings and continuo. A similarcombination of horns, oboes and strings isfound in several concertos that Vivaldi wrote forthe Dresden court; the scoring exploited theskills in wind and brass playing for whichGermans were renowned. Yet horns werenormally used outdoors for hunting calls, ratherthan indoors for chamber music. In the firstmovement Bach stresses the incongruity ofhorns within a concerto, giving them raucousfanfares in a completely different rhythm fromthe other instruments. Such prominent huntingcalls have led some scholars to suggest that thismovement originated as a sinfonia to theHunting Cantata that Bach wrote for theWeissenfels court in 1713.

In the second and third movement, the violinopiccolo (tuned a minor third higher than anormal violin) comes to the fore. In the Adagioit alternates graceful cantilenas with the firstoboe and then even the bassoon. In theensuing Allegro the violino piccolo has longpassages of exposed figuration, and the hornsand oboes are much less prominent. Theconcerto ends with a series of French courtlydances, notably a Menuet that opens as ifalready halfway through a bow and curtsey.There are two trios, one for the quintessentiallyFrench texture of two oboes and bassoon and

one for the hunting- horns combined withunison strings; and a central European touch isintroduced by a Polonaise.

Brandenburg Concerto No.6 (BWV 1051) isscored for the low- sounding and apparentlyarchaic combination of two viola da gambas,two violas, cello, double bass and harpsichord.Although the viola da gamba was no longerused in the regular orchestras of Bach’s day, itwas still prized as a solo instrument and itsdistinctive timbre was used as a special effect invocal music such as Bach’s Passions. If the piecewas performed at the Cöthen court, it is likelythat one of the viola or viola da gamba partswas played by Bach’s colleague Abel; but theirpatron Prince Leopold also played the viola dagamba, and may have also featured as a soloist.In the outer movements the violas take thelimelight, with undemanding lines for thegambas, and the gambas do not even appear inthe central movement. There was thus nothingin this concerto that might embarrass a princelyamateur on the gamba. The violas, by contrast,have intricate parts in the opening movement,following each other as in a canon; and later, inthe concluding gigue, they play numerous cross- rhythms to give a lilting charm.

Brandenburg Concerto No.2 (BWV 1047) hassolo parts for trumpet, recorder, oboe andviolin, accompanied by ripieno strings. Thesefour solo instruments were among those thatthe town- pipers in every German city wereexpected to play, as shown by Quantz’s remarksquoted above; Bach’s scoring thus embodiesthe multiple abilities of most Germaninstrumentalists of his day. But until the revivalof period instruments, twentieth- centurylisteners tended to be puzzled by this choice offour soloists, thinking that the trumpet woulddrown out the recorder. On period instruments,however, the woodwind and brass are moreequal in sound. In any case, in the exuberantouter movements Bach generally avoids havingthe recorder and trumpet playing together, to



ensure clarity of their lines. In the middlemovement, the trumpet drops out from thetexture, leaving the violin, recorder and oboe toweave gently descending lines over the ripplingquavers of the continuo.

Brandenburg Concerto No.5 (BWV 1050) hassolo parts for flute, violin and harpsichord. In theearly eighteenth century the harpsichordnormally acted as a continuo instrument, andindeed at the start of the first movement itsounds as if the flute and violin will be thesoloists, with a harpsichord line that is onlyslightly more prominent than the usualcontinuo part. Gradually, though, theharpsichord’s role increases, until all the otherinstruments drop silent for a cadenza of vastproportions. This virtuosic keyboard part wasalmost certainly played by Bach himself; itaudaciously carves out one of the first concertosolos for a keyboardist. Indeed, some scholarshave suggested that the composition waswritten for a contest between Bach and avisiting French harpsichordist, Louis Marchand.Another theory is that the piece marked theacquisition of a new Mietke harpsichord by theCöthen court in 1719. Yet the remainingmovements are much more decorous than theopening, with a less extrovert part for theharpsichord. The Affettuoso is for the threesoloists alone, while the concluding Allegrocombines gigue rhythms with a fugue.

Brandenburg Concerto No.3 (BWV 1048) isscored for three violins, three violas, three cellosand continuo. This string consort was a typicallyGerman sound, harking back to the use of a richstring texture in the vocal music of DieterichBuxtehude or Matthias Weckmann. The openingmovement is dominated by a dactylic rhythm (long- short- short), dubbed figura corta by Bach’s

contemporaries and often associated with joyfulpraise in his organ music. In this movement, theexuberance is enhanced when the openingtheme returns, decorated with a new fanfare- like melody in the violins. The middlemovement is an enigma, consisting of just twochords; possibly these were meant to beornamented by one of the soloists, or were thecue for a movement that has not survived. Thefinale itself has suggestions of dance music inits bounding 12-8 metre, which sweeps theplayers through surge upon surge of harmonic tension.

Brandenburg Concerto No.4 (BWV 1049) hastwo recorders and violin as soloists. The firstmovement is one of the longest baroqueconcerto movements ever written; the openingritornello alone would be a self- sufficientmovement for some other composers. In theritornello the three soloists play an equal role,with the swirling lines of the violincomplementing the chirrups of the recorders;but in the episodes the violin becomesgradually more and more outlandish, with longstretches of figuration. The Andante hassomething of a French chaconne in its tripletime and falling bass- line. Here the soloists echothe tutti passages, but the violin— as if to payfor its showiness in the previous movement— now merely provides the bass- line supportingthe recorders. The finale is a typically Bachianfusion of the learned technique of fugue withthe on- rushing drive of Vivaldi. The fuguedissolves into breathless violin bariolage until atthe end everyone joins in the same syncopated rhythm.

Stephen Rose © 2010Dr Stephen Rose is Lecturer in Music at Royal

Holloway, University of London



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

years as Music Director his recordings with theorchestra have won the Edison, Gramophone andMIDEM Awards; 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, and anintriguing programme showcasing the little-knownbaroque and classical music of South America. Theorchestra will collaborate with the likes of BernardLabadie, acclaimed director of Les Violons du Roy,singers James Gilchrist, Rosemary Joshua, AndrewKennedy and Elizabeth Watts, cellist Steven Isserlis,and the Choir of King’s College, Cambridge.

The AAM’s international touring schedule in 2010-11 is as wide-ranging as it has ever been. Amongthis year’s highlights are performances of JS Bach’sBrandenburg Concertos and Haydn’s The Creationat the Shanghai Concert Hall and in Perth, Australia;concerts with the star Korean soprano Sumi Jo atthe National Centre for the Performing Arts inBeijing and around Singapore, South Korea andTaiwan; and performances in leading Europeanvenues including the Concertgebouw inAmsterdam and the Théatre des Champs-Elysées in Paris.

“The ultimate raspberry to anyone whosays baroque music is predictable” THE INDEPENDENT, 2009



Richard Egarr director & harpsichord

Richard Egarr brings a joyful sense of adventureand a keen, enquiring mind to all his music-making. A brilliant harpsichordist and equallyskilled on the organ, fortepiano and modernpiano, Richard’s many roles include directingfrom the keyboard, playing concertos, givingsolo recitals and playing chamber music. He isalso an accomplished conductor, and he relishesthe chance to talk about music at everyopportunity.

Richard trained as a choirboy at York Minster, atChetham’s School of Music in Manchester and asorgan scholar at Clare College, Cambridge. Hisstudies with Gustav and Marie Leonhardt furtherinspired his work in the field of historicalperformance.

Since being appointed Music Director of theAAM in 2006, Richard has directed the orchestrain concerts around the world and in a numberof acclaimed recordings. Richard is also involvedwith a number of other period ensembles: thisseason he appears in America with the Handeland Haydn Society, Tafelmusik and Portland

Baroque; and he has performed as a soloist withThe English Concert, the Orchestra of the Age of Enlightenment and the Orchestra of the 18th Century.

In 2006 Richard established the Choir of theAAM, and operas and oratorios lie at the heart ofhis repertoire more generally. He regularlyappears at the Concertgebouw in Amsterdamwith, among others, the Netherlands OperaCompany; and in summer 2010 he conductedHandel’s Saul with the Britten-Pears BaroqueOrchestra at Snape Maltings.

Richard is also increasingly sought-after by non-period orchestras. This season he makes hisdebuts as conductor with the RotterdamPhilharmonic Orchestra, the BBC NationalOrchestra of Wales, the Swedish ChamberOrchestra and the Dallas Symphony Orchestra;and he appears annually with the ScottishChamber Orchestra.

Richard has performed as a soloist throughoutEurope, Japan and the USA, and his solorecording output comprises works byFrescobaldi, Orlando Gibbons, Couperin, Purcell,Froberger, Mozart and JS Bach. For many yearshe formed an “unequalled duo for violin andkeyboard” (Gramophone) with violinist AndrewManze, which resulted in acclaimed concertsand award-winning recordings of music fromStylus Phantasticus to Mozart and Schubert.

Richard has directed the AAM in recordings byJS Bach, including the Brandenburg Concertos;and in a complete cycle of Handel’s Opp.1-7instrumental music which has won the MIDEM,Edison and Gramophone Awards.

Richard lives in Amsterdam with his wife anddaughter.

“The Bernstein of Early Music” USA NATIONAL PUBLIC RADIO



Pavlo Beznosiuk violinA long- standing presence on theearly music scene, Pavlo has earnedthe respect of musicians, audiencesand critics alike through hisvirtuosity and versatility on

renaissance, baroque and classical violins andviolas. As well as leading the AAM, Pavlo directsthe Avison Ensemble and has appeared withorchestras including the Orchestra of the Age ofEnlightenment and the Hanover Band.

Pavlo's extensive list of recordings is testament tohis popularity as one of the field's outstandingplayers. These include, among many others, anacclaimed version of Biber's "Rosary" Sonataswith the actor Timothy West, Vivaldi's ViolinConcertos, world premiere recordings of musicby JJ Walther and JP von Westhoff, and Mozart'sSinfonia Concertante with Monica Huggett.

Pavlo continues to work in ground- breakingdirections, particularly in his role within TheDivision Lobby, an ensemble exploring soloimprovisation from seventeenth- century Italy. Heteaches baroque violin at the Guildhall School ofMusic and Drama in London.

Rodolfo Richter violin & violaBrazilian- born Rodolfo Richter wastrained as a modern violinist withKlaus Wusthoff and PinchasZuckermann, and has studiedcomposition with Pierre Boulez. He

studied baroque violin with Monica Huggett atthe Royal Academy of Music.

Rodolfo won first prize at the Antonio VivaldiInternational Violin Competition (2001). Sincethen he has appeared as soloist and directorthroughout the world, and he combines thiswork with his role as co- leader with the AAM.

His recorded output is extensive, and includeswork by Handel and JS Bach with the AAM. Solorecordings include sonatas by Tartini andVeracini, the first recording of Erlebach’s

complete sonatas, and Vivaldi’s solo concertos.Future plans include music by Vivaldi and JohnCage, and an album of JS Bach's Trio Sonatas.

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

Jane Rogers violaJane Rogers studied the viola at theRoyal Academy of Music, and hassince pursued a busy career in the period- instrument world. She was co- principal viola with The English

Concert for nine years and is now principal violawith the AAM, the Amsterdam BaroqueOrchestra, the English Baroque Soloists, theDunedin Consort, The King's Consort andCollegium Musicum 90.

Jane is a keen chamber musician and was amember of the Eroica String Quartet for manyyears — where she became interested in the nineteenth- century historically- informed style.She is currently a member of the AmsterdamString Quartet, which has recently released 2 CDsof Haydn’s string quartets.

Jane has appeared on over 200 recordings assoloist, chamber musician and orchestral player,several of which have received Gramophone Awards.

Jane teaches viola at the Royal Academy ofMusic and the Guildhall School of Music inLondon, and is a visiting professor at theBirmingham Conservatoire and the Royal WelshCollege of Music and Drama.



Rachel Brown flute & recorderRachel trained as a modern flautist,giving premieres of works by RobinWalker, John Ogden and JudithWeir before her interest wascaptured by the baroque flute.

Her recital discs of French baroque musicestablished her reputation, and her recording ofvirtuosic works by Schubert and Boehm has beendescribed as “a revelation”. She is also known forchampioning unknown work by Quantz.

Equally at home as an orchestral player, Rachelhas had a long and distinguished career asprincipal flute with, among others, the AAM, theHanover Band and Ex Cathedra. She has givenmasterclasses around the world, and is currentlyprofessor of baroque flute at the Royal College ofMusic. She is author of the Cambridge UniversityPress handbook on the early flute.

Frank de Bruine oboeFrank received his musical trainingat the Royal Conservatory in TheHague, where he graduated withdistinction. Since then he hasplayed with many period-

instrument orchestras in Holland, England,Germany and France. He is principal oboe withthe AAM, the Orchestra of the EighteenthCentury and Concerto Copenhagen.

Frank is also renowned for his solo performancesacross Europe, the USA, South America andJapan. He has recorded several oboe concertosby Vivaldi and Albinoni with the AAM andChristopher Hogwood, and he appears on theAAM’s acclaimed new recording of theBrandenburg Concertos under Richard Egarr. In2009 he recorded Handel’s Oboe Sonatas Op.1.

Frank makes regular appearances as a teacher inHolland, Poland and Canada. He teaches earlyoboe at the Royal Conservatory in The Hagueand at the Utrecht Conservatory.

Rachel Beckett recorderRachel studied the recorder andflute at the Guildhall School ofMusic and Drama in London. Herillustrious subsequent career hasincluded performances of JS Bach’s

Brandenburg Concertos as principal flute andrecorder with the English Baroque Soloists underSir John Eliot Gardiner at the BBC Proms. Rachelalso featured prominently in the Bach CantataPilgrimage in 2000.

Future engagements include performances of JSBach’s Suite No.2 in B minor with Le ConcertLorraine in Bruges and Neuss, Handel’s Rinaldowith the Orchestra of the Age of Enlightenmentat Glyndebourne, and JS Bach’s St MatthewPassion with De Nederlandse Bachvereniging asguest principal flute.

David Blackadder trumpetDavid took up the trumpet agednine, following in the footsteps ofhis bandmaster- grandfather. Hewent on to study at the RoyalCollege of Music, and became

principal trumpet with the AAM underChristopher Hogwood.

In 1993 David formed the groundbreaking groupBlackadder Brass, which became the residenteducational ensemble at Symphony Hall inBirmingham and played to over 40,000 childrenin its first three years. He is also a professor at theBirmingham Conservatoire.

He is renowned as a soloist, having performedand recorded with conductors including SirSimon Rattle, Sir Roger Norrington and VladimirJurowski. His recordings of Handel arias withsingers including Renée Fleming and Kiri TeKanawa have received particular critical acclaim;and he has recorded the Brandenburg Concertoswith Trevor Pinnock and with the AAM.



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

After studying at the Guildhall School of Music and Drama, Gavin fledto play first horn in the Orchestra Symphonica de Tenerife, feeling that“a small rock far out in the Atlantic was as good a place as any to makethose early mistakes”. He returned to the UK just as the period- instrument movement took off, and met and married the flautist UtakoIkeda. They have a 14- year- old daughter who also plays the Frenchhorn, studying at the Guildhall. We are delighted to welcome Gavin asthe AAM’s new principal horn.

In profile: Gavin Edwards horn

Academy of Ancient MusicViolinPavlo BeznosiukRodolfo Richter

(viola in Concerto No.6)

Bojan Čičić William Thorp

(viola in Concerto No.3)

ViolaJane RogersMarina Ascherson

CelloJoseph CrouchPoppy Walsh

(viola da gamba in Concerto No.6)

Cassandra Luckhardt(viola da gamba in Concerto No.6)

Double bassJudith Evans

Flute and RecorderRachel Brown

RecorderRachel Beckett

OboeFrank de BruineGail HennessyMark Radcliffe

BassoonAlexandre Salles

HornGavin EdwardsDavid Bentley

Trumpet David Blackadder

TheorboWilliam Carter

HarpsichordRichard Egarr

*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”ANDRE W MCGREGOR, BBC RADIO 3 , AUGUST 2009



Global performances: 2010-11 touring highlights

The AAM has a distinguished touring history, having performed on every continent except Antarctica.In 2010-11 we’ll be as busy as ever, with performances throughout Europe and the Far East.

JS Bach at Christmas, with the Choir of the AAM20 December 2010 Auditorio Nacional de Música, Madrid, Spain

JS Bach’s sons, starring cellist Steven Isserlis23 January 2011 Herkulessaal der Residenz, Munich, Germany

JS Bach, Handel and Haydn17 February 2011 Shanghai Concert Hall, China20 & 22 February 2011 Perth Concert Hall, Australia23 February 2011 Holy Family Church, Albany, Australia

Soprano Sumi Jo in the Far East6 & 7 May 2011 Seoul Arts Centre, South Korea12 May 2011 Taipei Concert Hall, Taiwan14 May 2011 National Centre for the Performing Arts, Beijing, China16 & 17 May 2011 Esplanade, Singapore

Mozart’s La Finta Giardiniera28 June 2011 Théâtre des Champs- Élysées, Paris, France

National Centre for the Performing Arts, Beijing

© N

CPA



South American connectionsMusic by South American composers and their European contemporaries

Wednesday 24 November West Road Concert Hall, CambridgeThursday 25 November Wigmore Hall, London

Pre- concert talks with Dr Alexander Samson (UCL) at 6.30pm in Cambridge and LondonSee inside back cover for details of how to book

Rodolfo Richter director & violinRodolfo Richter was born andbrought up in Brazil, andstudied the violin with KlausWusthoff and PinchasZuckermann and compositionwith Pierre Boulez. He won theAntonio Vivaldi InternationalViolin Competition in 2001, and has performed withorchestras across the world in repertoire from Vivaldi’sconcertos to music by John Cage.

Juanita Lascarro sopranoColombian soprano JuanitaLascarro began her studies inbiology in Bogotá, beforemoving to Cologne to pursueher singing career. Since thenperformances with Sir SimonRattle, Vladimir Ashkenazy andAntonio Pappano, as well asnumerous recitals, haveconfirmed Juanita’s status asone of the music world’sbrightest talents.

“The Colombian soprano Juanita Lascarro —petite, knowing, and utterly irresistible —becomes the convincing focus of everyone’sdesire. The singing is first class.” (THE INDEPENDENT 2009).

Growing up in Brazil, Rodolfo Richter— like generations of young musiciansbefore him — had no access to the richmusical heritage of South America,created (and then destroyed) by thecomplex and extensive culturalinterchange with Europe in thesixteenth and seventeenth centuries.

Much of the music is still undiscovered,lying neglected in churches and privatecollections. Putting this programmetogether, then, has been a labour oflove. Velasco’s Desvelado dueño mio willbe heard for the first time in centuriesafter Rodolfo persuaded a secretivecollector to allow him to play it. Then,while lying in his hospital bedrecovering from heart surgery, Rodolfofound a horn part from Bolivia whichfitted exactly the Brazilian SonataChiquitana. Where the paths of thesetwo works crossed, and whetherdirectly or by a common influence, isunclear; they are reunited in thisprogramme. Meanwhile the Cachua, asort of folk tune, will — true to its roots— form the centre of what Rodolfodescribes as “a jamming session”.

Join us for a journey of musicaldiscovery as Rodolfo and Juanitaexplore the music of their homeland.



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 Giftaid scheme.The cost of a gift tothe donor can be as little as half of its value tothe AAM. The orchestra can claim back from theHMRC 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 afterGiftaid

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 EcclesGraham 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 Society

I 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.

Giftaid 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 Giftaiddonations.

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



Johann Sebastian Bach wrote music especially tailored for thegreat feasts of the year. He responded to the year’s liturgical eventswith remarkable lucidity; he also knew how to celebrate and enter intothe festive spirit. Be sure to join us as we mark Christmas and Easter with themasterworks 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 andemotion through 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 CollegeChapel listening 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


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