AAM - Prodigious minds

Welcome to this evening’s concert of music bytwo remarkable prodigious minds.

The young Mendelssohn and Schubert livedpersonal lives which were poles apart. Theformer played regular concerts in the drawingrooms of his family’s friends, and wasencouraged in his musical studies by his dotingparents. Schubert, on the other hand, fell inwith the wrong crowd during his teenage years,beginning his association with the profligateFranz von Schober and discovering the lifestylewhich ultimately led to syphilis and his untimelydeath. A comparison of two pictures of thecomposers says it most eloquently:Mendelssohn (page 6) upright, studious,innocently juvenile; Schubert (page 3) thedashing Byronic hero. But, as Stephen Rosereminds us (pages 4-6), both received soundand conventional musical educations. Tonight’smusic will provide an intriguing insight into theperennial question of whether “musical aptitudeis an innate gift or something learned fromone’s environment”, as Rose puts it.

At the time of writing, the orchestra are gearingup for Music Director Richard Egarr’s firstperformance of a Beethoven piano concertowith the AAM. After concentrating on theseventeenth- and eighteenth- century works ofanniversary composers Handel and Purcell

during 2009, the orchestra will spend more timeon classical and early romantic repertoire in2010. Indeed, for the final concert in our 2009-10 London and Cambridge seasons — TheEnglish School — we will be joined by tenorJames Gilchrist for a rare, broad overview ofEnglish music, reaching back to theseventeenth century and the recently- discovered work of Christopher Gibbons, andstretching forward to the twentieth century andthe work of Finzi and Britten. Turn to page 14 fordetails of our London and Cambridge concerts.

Our forays into later repertoire will be anchoredin reminders of the foundations of Europeanbaroque music. In April we recall the early seventeenth- century Venetian golden age with agiant of the early baroque, Claudio Monteverdi,and his fellow wind player at San Marco, thevirtually unknown Dario Castello, before weembark on a summer tour through Franceperforming Monteverdi’s seminal Vespers withthe Choir of King’s College, Cambridge. In theautumn attention switches to another iconicfigure and his family in The Bach Dynasty, anexciting series of concerts which will form thecore of our 2010–11 London and Cambridge seasons.

We hope you enjoy tonight’s concert — thebeginning of this year’s fascinating musicaljourney with the AAM.

A C A D E M Y O F A N C I E N T M U S I C , 2 0 0 9 - 2 01 0 S E A S O N 1

Prodigious mindsGiuliano Carmignola directs early masterpieces by Schubert and Mendelssohn

Giuliano Carmignola director & violin

21 February West Road Concert Hall, Cambridge, UK22 February Wigmore Hall, London, UK24 February Barber Institute, Birmingham, UK

Programme Jan 10 Q8_AAM programme Oct2009 09/02/2010 17:33

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 0 9 - 2 01 0 S E A S O N

Felix Mendelssohn- Bartholdy (1809–1847)

Sinfonia No.10 in B minor for strings (1823)Adagio— Allegro

Concerto in D minor for violin (1822)Allegro Andante Allegro

Franz Schubert (1797–1828)

Rondo in A major for violin D438 (1816)Adagio— Allegro giusto

Felix Mendelssohn- Bartholdy

Sinfonia No.9 in C major for strings (1823)Grave— AllegroAndanteScherzo— Trio più lentoAllegro vivace— Presto

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.

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



THE YOUNG FRANZ SCHUBERT, BY LEOPOLD KUPELWEISER (1796-1862)

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Since ancient times, youthful prodigies in musichave been an object of popular fascination.Young virtuosos not only excite admiration fortheir abilities; they also can provoke us tocontemplate the nature of musical talent. Ismusical aptitude an innate gift or somethinglearned from one’s early environment? Do theachievements of musical prodigies stem fromcountless hours of practice, or do suchattainments come effortlessly to those who aresufficiently talented?

Felix Mendelssohn- Bartholdy (1809–1847) wasunquestionably a child prodigy. By the age offifteen his output of compositions includedtwelve sinfonias for strings, four music dramas,four concertos, assorted pieces for solo violin orsolo piano, plus several vocal works. In additionhe was an accomplished violinist and pianist,who as a teenager was already accustomed toplaying with professional performers from theBerlin court ensemble and opera house. Hismother, describing Felix’s demeanour at aconcert of his music on his twelfth birthday (3February 1821), noted how “his eyes [are] alwaysenlivened by the music, radiant and flashing withuncommon energy”.

Unlike many musical prodigies in previouscenturies (such as Wolfgang Amadeus Mozart),Mendelssohn did not come from a family ofprofessional musicians. His grandfather was thephilosopher Moses Mendelssohn and his fatherAbraham was one of Berlin’s most successfulbankers; his mother Lea, however, was a giftedamateur pianist. Mendelssohn’s parents hiredprivate tutors to give Felix and his sister Fanny anexceptionally rigorous education at home. At theage of twelve, he was studying Latin for six hoursa week; taking lessons in maths, history,geography and German conversation; havingtwo violin lessons and two lessons incomposition a week; and attending the Berlinchoral society known as the Singakademie. Withthis packed programme of lessons for theirchildren, Abraham and Lea Mendelssohn

evidently did not see music as the only careeroption for their son. Yet the sheer intensity ofMendelssohn’s education certainly stimulatedmany of his teenage achievements and alsoendowed him with a compulsive work ethic. Ashis friend Eduard Devrient said, “The habit ofconstant occupation, instilled by his mother,made rest intolerable to him.”

Mendelssohn’s composition teacher was theBerlin conductor and educationalist Carl FriedrichZelter, who used pedagogical exercises similar tothose advocated almost a century earlier byJohann Sebastian Bach. At the age of ten,Mendelssohn was studying figured bass; at theage of eleven, he was harmonising chorales, andlearning how to write invertible counterpoint,canon and fugue. The emphasis on counterpointis evident in his teenage compositions, some ofwhich can be imagined as the young composer’sresponse to a contrapuntal challenge laid downby his teacher.

Chief among Mendelssohn’s early compositionsare his twelve string sinfonias, written between1821 and 1823. In effect these are miniaturesymphonies, written for strings only so theycould be performed at the musical gatheringsthat the Mendelssohns held at their house onSunday afternoons. (Felix led performances fromthe piano, as a kind of continuo accompaniment.)The exclusion of brass and wind instrumentsgave these sinfonias an archaic feel, harking backto the simple scorings of symphonies of the mid- eighteenth century. Yet the use of a strings- onlytexture was also an excellent discipline forMendelssohn’s compositional apprenticeship,requiring him to find musical interest in melodyand counterpoint rather than in grand scoring orinstrumental colour.

The Sinfonia No.10 in B minor for strings waswritten by Mendelssohn at the age of fourteen.Consisting of an Adagio introduction and anensuing Allegro, it is probably the first movementof a larger work that does not survive. Here the

Stephen Rose contemplates the nature of the prodigious mind



young composer experiments with the harmoniccolour and tension possible in a minor key. In theintroduction, the minor- key harmonies slowlyshift above a static bass until a bright chord of Dmajor is attained, and are then reinforced by a rapidly rising scale. The Allegro features a firsttheme with swirling motifs and a calmer secondtheme; both are underpinned by scurrying partsfor the second violins and violas, a characteristicof Mendelssohn’s later works.

The Sinfonia No.9 in C for strings, also written byMendelssohn at the age of fourteen, is a four- movement work that demonstrates hisabsorption of eighteenth- century styles. The firstmovement starts, like some of the late works ofHaydn or Mozart, with a minor- key introduction;and then the Allegro has the balanced phrasesand vivacious string- writing characteristic of thelate eighteenth century. In the Andante,Mendelssohn offered a clever solution to therestricted colours available in the string orchestra,splitting the movement into sections for four- part divisi violins and for lower strings. The violinshave a winsome melody that anticipates some ofMendelssohn’s later slow movements, whereasthe lower strings provide an edgier, contrapuntalepisode in the middle of the movement. A fieryscherzo frames a trio that incorporates yodellingcalls, an aural souvenir of a trip Mendelssohnmade to Switzerland the previous year. Then, inthe finale, Mendelssohn’s debt to Bach is evident,with a series of fugal sections punctuated byunison passages.

Mendelssohn wrote his Concerto in D minor forviolin at the age of thirteen, in 1822. Althoughhe was an accomplished violinist himself, thepiece was intended for his friend Eduard Rietz(1802–32). Rietz was only seven years older thanMendelssohn but acted as his violin teacher; healso helped Mendelssohn revise the work after itsfirst performance. As with the sinfonias, thescoring excludes wind and brass, reflecting thelimited forces available for performances at theMendelssohns’ home.

The first movement has a nervous energy similarto that found in the works of an eighteenth- century Berlin composer, Carl Philipp EmanuelBach. The opening theme is a jagged, unisonmelody leaping across almost two octaves. Thisunison writing is quickly contrasted with fullyharmonised sounds, and Mendelssohn alsojuxtaposes cantabile dialogues alongsidepassages with drumming semiquavers in theinner parts. Above all these agitateddiscontinuities in the orchestra, the soloistsweeps in with long- breathed phrases,sometimes cantabile and sometimes with fastfiguration. The second movement starts as a lushmelody in D major; but when the soloist enters,Mendelssohn moves to the minor key and thentakes the music on a harmonic adventure ofgreat sophistication for a thirteen- year- old,travelling through minor and flat keys beforeresolving back to D major. Harmonic changes arealso prevalent in the finale, but here they areimplemented with a skittish smile. There are alsonumerous contrasts between solo reveries andrapid figuration, giving an accomplishedmingling of light and shade in the movement.

Another prodigiously gifted young musician wasFranz Schubert (1797–1828). Like Mendelssohn,as a teenager he composed an astonishingnumber of works. In 1815, at the age of eighteen,he finished his Symphonies no.2 and no.3, twoMasses, four operas, plus many songs. It has beencalculated in this year he was writing an averageof 65 bars of new music a day, much of it fororchestra! At the time Schubert was working asan assistant schoolteacher in the suburbs ofVienna. Contrasted with the hothouseenvironment in which Mendelssohn was raised,Schubert’s mundane surroundings might givethe impression that his teenage achievementsstemmed from a natural and untutored talent,from inspiration rather than perspiration. But itwould be misleading to draw this conclusion. Infact, at the age of seven Schubert was a choristerin the imperial Viennese chapel, and he attendedthe imperial city college, where he received a




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THE YOUNG FELIX MENDELSSOHN- BARTHOLDY PLAYINGTHE PIANO, BY WILHELM HENSEL (1794-1861)

musical education as rigorous as thatencountered by Mendelssohn in his home- schooling. Schubert continued to havecomposition lessons with the imperialKapellmeister, Antonio Salieri, until the age of atleast thirteen.

Schubert wrote his Rondo in A major for violinand strings in 1816, at the age of nineteen. Othercompositions from that year include his Fourthand Fifth Symphonies, a string quartet, an opera,plus over a hundred songs. The Rondo is aconcerto movement in all but name: it consistsof a slow introduction, followed by an Allegrodominated by figuration for the soloist. The piecewas written for Franz’s violin- playing brotherFerdinand, and it was probably performed in the small- scale musical gatherings in the Viennesesuburbs that were the main outlet for Franz’scompositions at that stage of his life.

Stephen Rose © 2009

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


Equally accomplished on modern and baroqueviolin, Giuliano Carmignola is highly regardedfor his broad repertoire, encompassing baroque,romantic, classical, and 20th- century works.

A native of Treviso, Italy, Giuliano began hisstudies with his father and graduated from theConservatorio Benedetto Marcello in Venicewhere he studied with Luigi Ferro. He isprofessor of violin at the Lucerne Hochschule aswell as at Siena’s Accademia Musicale Chigiana.

Giuliano’s career began with awards at the“Premio Città di Vittorio Veneto” in 1971 and thePaganini Competition in Genoa in 1973. Suchacclaim led to performances with ClaudioAbbado, Eliahu Inbal, Peter Maag and GiuseppeSinopoli, at venues including the Royal AlbertHall, La Scala, Musikverein, the BerlinPhilharmonie and Tchaikovsky Hall. This seasonhe performs concertos with Claudio Abbadoand Orchestra Mozart in Italy and SouthAmerica; with Paul McCreesh and the BaselChamber Orchestra in France and Germany;and with the Venice Baroque Orchestra in theUnited States.

The 2008–2009 season included a tour to Japan,Korea and the United States with the VeniceBaroque Orchestra; performances of theSchumann concerto in Duisburg and of Vivaldiconcertos with Frankfurt Radio Orchestra underChristopher Hogwood; a tour with the Orchestredes Champs- Élysées playing Mozart concertos;and a recital with Robert Levin at the SalzburgMozartwoche. He also gave a series of duorecitals with violinist Viktoria Mullova in Turin,Milan, Bologna, Florence, and Rome, performingon both original and modern instruments inworks ranging from duo sonatas of CPE Bach andHaydn to Bartók and Prokofiev.

In recent seasons he has worked also withBernard Labadie and Ton Koopman, and has ledthe Mahler Chamber Orchestra andKammerakademie Potsdam. His festivalappearances have included Aldeburgh,Ambronay, Dortmund, Dresden, Istanbul,Ludwigsburg, Lucerne, Salzburg, Vienna, theBoston Early Music Festival, the Mostly MozartFestival, the Festival Mozart in Coruña, and the Proms.

Giuliano’s extensive discography includes twoalbums of previously unrecorded Vivaldiconcertos; The Four Seasons; a collection ofLocatelli violin concertos with the VeniceBaroque Orchestra; and the complete Bachsonatas for violin and harpsichord with AndreaMarcon, all recorded for Sony. His recordings forDeutsche Grammophon include a collection ofconcertos by Tartini, Locatelli, and Vivaldi; a discof previously unrecorded Vivaldi concertos thatwas awarded both the Diapason D’Or and Chocdu Monde de la Musique; Vivaldi concertos fortwo violins with Viktoria Mullova and the VBO;and the complete Mozart concertos withClaudio Abbado and Orchestra Mozart.

Giuliano plays a 1732 Stradivari on permanentloan from the Fondazione Cassa di Risparmio in Bologna.

Giuliano Carmignola director & violin


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Academy of Ancient MusicRecently hailed as “a superb period instrumentband” by the New York Times, the Academy ofAncient Music is a household name renownedworldwide for its energized, passionateperformances of baroque and classical music.Since it was founded by Christopher Hogwoodin 1973 the AAM has reached music lovers on aglobal stage with over 250 recordings and liveperformances on every continent except Antarctica.

The AAM specialises in performing oninstruments and in styles dating from the timewhen the music was composed. UnderHogwood’s stewardship it established itself as aleading authority on how music was originallyperformed. This pioneering work had atransformative impact on the world of classicalmusic, and lies at the heart of the AAM’sreputation for musical excellence.

In 2006, Hogwood passed leadership of theAAM on to Richard Egarr. In his first three yearsas Music Director, Egarr has led tours to fourcontinents, released CDs which have alreadywon Gramophone, MIDEM and Edison awards,and founded the award- winning Choir of the AAM.

Concerts with Egarr in 2009–10 see theorchestra performing music ranging fromMonteverdi to Britten around the world.Highlights include a tour of music byanniversary composers Purcell and Haydn toAfrica and the Far East, a Christmas tour ofHandel’s Messiah around Europe, and afascinating programme showcasing the musicof Monteverdi’s little- known contemporaryDario Castello.

The vitality of the AAM’s music makingcontinues to be fostered by a range of guestdirectors. In addition to this month’scollaboration with Giuliano Carmignola, thisseason the orchestra works with PavloBeznosiuk, who directs a programme

contrasting the Pergolesi and Vivaldi settings ofthe Stabat Mater; Stephen Cleobury, whoconducts a major European tour ofMonteverdi’s Vespers with the Choir of King’sCollege, Cambridge; Paul Goodwin, whoconducts Haydn symphonies at EsterházaPalace, the historic seat of the composer’spatrons; and Stephen Layton, who conducts theAAM’s traditional Good Friday performance of JSBach’s St John Passion with Polyphony.

The AAM’s pioneering recordings underHogwood for Decca’s L’Oiseau- Lyre label covermuch of the baroque and classical orchestralcanon. They include the first recordings onperiod instruments of Mozart’s completesymphonies and Beethoven’s piano concertos,and prize- winning opera recordings starringCecilia Bartoli, Emma Kirkby and JoanSutherland. Further projects have resulted inrecordings for EMI, Chandos, Erato andHarmonia Mundi, and the orchestra hasreleased award- winning recordings with thechoirs of King’s College, Cambridge, TrinityCollege, Cambridge and New College, Oxford.

With Richard Egarr, the orchestra has recentlycompleted a landmark new cycle of Handel’scomplete instrumental music published asOpp.1-7. Other recent releases include JS Bach’scomplete Brandenburg Concertos with Egarr,Purcell and Handel discs with Stephen Laytonand the Choir of Trinity College, Cambridge onHyperion, and, for EMI, Handel’s Messiah withStephen Cleobury and the Choir of King’sCollege, Cambridge.

The AAM is Orchestra- in- Residence at theUniversity of Cambridge.

“The peerless Academy of Ancient Music”BBC MUSIC MAGAZINE, JANUARY 2010



Director & violinGiuliano Carmignola

Violin 1Rodolfo RichterBojan !i"i#Rebecca LivermoreLiz MacCarthy

Violin 2William ThorpPierre JoubertJoanna LawrenceSijie Chen

ViolaRachel ByrtMarina Ascherson

CelloCatherine JonesPoppy Walshaw

Double bassJudith Evans

*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

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 DirectorRichard Egarr

Emeritus DirectorChristopher Hogwood CBE

Chief ExecutivePeter Ansell

Orchestra ManagerAndrew Moore

Marketing &Development ManagerSimon Fairclough

Concerts & Tours ManagerKate Caro

Assistant Marketing &Development ManagerToby Chadd

Finance ManagerElaine Hendrie

InternSamantha Fryer



The AAM SocietyThe Academy of Ancient Music has been abyword for musical excellence for over 30 years.The orchestra has enriched the lives of millionsof music lovers with its ground- breakingperformances and recordings of baroque andclassical music on period instruments; and it hasattained an important position as one ofBritain’s most active cultural institutions on theglobal stage.$ Today over 50,000 people attendAAM performances annually; and the orchestrareaches hundreds of thousands more throughits recordings and broadcasts.

As its 40th anniversary approaches, the AAM isseeking to build upon and develop itsdistinctive traditions of excellence andinnovation for the music lovers of the future —but year by year the cost of sustaining thesetraditions is increasing.$ Only a modestproportion of the cost of staging concerts liketonight’s is covered by ticket income, and theAAM receives no regular public funding.$$Thisyear, the AAM needs to raise £250,000 to makeits plans possible.

One way in which you can help the Academy ofAncient Music to transform its ambitious visioninto reality is to join the AAM Society. $TheSociety is the orchestra’s closest group ofregular supporters.$$It$was established ten yearsago by a committed group of foundermembers who appreciated the orchestra’s

superb artistry and wanted to secure its future.Membership ranges from £250 to £10,000+ perannum, and members’ annual contributionsprovide the vital core funding required if theorchestra is to continue to perform.

Society members enjoy a very closeinvolvement with the life of the AAM.$ Afterperformances in London, members dine withthe director, soloists and AAM musicians.Members have the chance to become a part oforchestral life behind the scenes by sitting in onrehearsals for concerts and recordings, and fromtime to time by accompanying the orchestra oninternational tours.

Those at the Principal Benefactor level andabove receive invitations to special events inLondon; those at the Principal Patron level andabove have the opportunity to sponsor aspecific position in the orchestra; and those atthe Hogwood Circle level have the opportunityto support a specific concert each season.

If you want to get closer to the AAM’s musicmaking while helping to secure the orchestra’sfuture, do be in touch with me.

Simon Fairclough Development Manager01223 [email protected]



The AAM is indebted to the following trusts, companies, public bodies and individuals for theirsupport of the orchestra’s work during the 2009–2010 season:

AAM Business ClubCambridge University PressKleinwort BensonRBC Wealth ManagementSVG Capital

John Ellerman FoundationThe Idlewild TrustGoldsmiths’ Company CharityMichael Marks Charitable Trust

Arts Council England through the Sustain programmeOrchestras LiveCambridge City Council

AAM Funders & Supporters

The Hogwood Circle (Donations £10,000 and above 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)Sir Nicholas and Lady Goodison *Christopher Hogwood CBE *Newby Trust Ltd *and other anonymous Principal Patrons

Patrons (Donations £2,500 – £4,999 per annum)Adam and Sara BroadbentMr and Mrs JE EverettJohn and Ann GrievesChristopher Rocker and Alison WisbeachSarah and Andrew WilliamsSVG Capitaland other anonymous Patrons

Principal Benefactors (Donations £1,000 – £2,499 per annum)Lady Alexander of WeedonRichard Bridges and Elena VorotkoGeorge and Kay BrockMrs D BrokeMr and Mrs Graham BrownClive and Helena ButlerSir Charles Chadwyck- Healey BtKate DonaghyElizabeth Hartley- BrewerElma Hawkins and Charles RichterLord HindlipDonald and Libby InsallJohn McFadden and Lisa Kabnick *Mark and Liza LovedayMr and Mrs C NortonLionel and Lynn PerseyNigel and Hilary Pye *Mr and Mrs Charles Rawlinson

Joyce and John ReeveMichael and Sophia RobinsonSir Konrad and Lady Schiemann *Sir David and Lady ScholeyJG StanfordMarcellus and Katharine Taylor- JonesMrs R Wilson Stephensand other anonymous Principal Benefactors

Benefactors (Donations £500 – £999)Dr Aileen Adams CBEBill and Sue BlythElisabeth and Bob Boas *Claire Brisby and John Brisby QC *Jo and Keren ButlerMr and Mrs Edward Davies- GilbertCharles DumasThe Hon Simon EcclesMr and Mrs Jean- Marie EveillardMarshall FieldAndrew and Wendy GairdnerWilliam GibsonThe Hon Mr and Mrs Philip HaversProfessor Sean HiltonHeather Jarman *Michael and Nicola KeaneSusan LathamTessa MayhewMrs Sheila MitchellMr and Mrs Hideto NakaharaRodney and Kusum Nelson- JonesNick and Margaret ParkerTimothy and Maren RobinsonBruno Schroder and FamilyJohn and Madeleine TattersallPeter ThomsonCharles WoodwardPeter & Margaret Wynnand other anonymous Benefactors

Donors (Donations £250 – £499)Maureen Acland OBE *Angela and Roderick Ashby- Johnson

Mrs Nicky BrownDr and Mrs S ChallahDavid and Elizabeth ChallenThe Cottisford TrustDerek and Mary DraperCharles GoldieSteven and Madelaine GundersMr David GyeGemma and Lewis Morris HallMrs Helen HiggsMr and Mrs G and W HoffmanLord and Lady Jenkin of RodingRichard LockwoodRobin 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 VousdenPaul F. Wilkinson and Associates Inc.and other anonymous Donors* denotes founder member

Members of the AAM Recording ClubJo and Keren ButlerJohn S Cohen FoundationSir Nicholas and Lady GoodisonAnne and Phillip GreenwoodMike and Jan HewinsHeather JarmanDavid and Linda LakhdhirLowell and Rowena LibsonMichael Marks Charitable TrustChristopher and Phillida PurvisNigel and Hilary PyeStephen ThomasMrs R Wilson StephensJack and Margaret VousdenCharles WoodwardPeter and Margaret Wynn

The AAM Society



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At the heart of the AAM’s London andCambridge seasons in 2010–11 will be The BachDynasty — a groundbreaking concert seriescelebrating the output of history’s mostimportant musical family.

Johann Sebastian was just one of a great lineageof distinguished composers active inseventeenth- and eighteenth-century Germany.In modern times, the outstanding music of hisrelatives has been neglected. The Bach Dynastywill breathe new life into works by Heinrich,Johann Christoph, Johann Michael, JohannChristian, Johann Christoph Friedrich, CarlPhilipp Emanuel and Wilhelm Friedemann Bach— as well as including music by JS Bach himself.Guest soloists will include the world-famouscellist Steven Isserlis and four AAM Young Artists.

Funding of £70,000 is needed if this landmarkproject is to go ahead. Those supporting theseries with gifts of £500 or more will becomemembers of the AAM Bach Patrons — an innercircle of supporters whose special associationwith the series will include the exclusiveopportunity to sit in on rehearsals for concerts,the chance to join musicians for dinner afterperformances and an invitation to The BachDynasty launch party. Patrons may choose tomake a general gift of any amount over £500, orto target their contribution towards one ormore of the areas listed below which are inparticular need of support.

For more information, please contact SimonFairclough, AAM Development Manager, on01223 301509 or [email protected].

AAM Bach Patrons


Support towards Steven Isserlis’ appearances in the series £4,000 per concert £8,000 for 2 concertsSupport towards the Choir of the AAM’s appearances in the series £2,500 per concert £12,500 for 5 concertsSupport towards Richard Egarr’s appearances in the series £2,000 per concert £16,000 for 8 concertsSupport of the AAM Young Artists £1,400 per Young Artist £5,600 for four

Young ArtistsProvision of sheet music for the series £1,400 Provision of free programme booklets, each including a newly-commissioned scholarly essay £1,000 per concert £8,000 for the seriesProvision of harpsichords and chamber organs appropriate to the repertoire being performed £750 per concert £6,000 for the seriesConcert sponsorship By negotiation

WOODCUT OF JS BACH, AT THE CLAVICHORD, WITH HIS FAMILY. ONE SON PLAYS THE VIOLIN WHILE ANOTHER SINGS.©

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Wigmore Hall and West Road Concert Hall2009–2010 Season

Academy of Ancient Music

WEST ROAD CONCERT HALL, CAMBRIDGE

Ways to book• General booking is now open through the

Arts Theatre box office on 01223 503333.

WEST ROAD CONCERT WIGMORE HALL,

HALL, CAMBRIDGE LONDON

Baroque in high definition 24 September 25 SeptemberConcertos used in film

The virtuoso voice 21 November 22 NovemberCarolyn Sampson sings arias by Handel and Purcell

Prodigious minds 21 February 22 FebruaryGiuliano Carmignola directs early masterpieces by Schubert and Mendelssohn

‘In Stil Moderno’ 26 April 28 AprilMusic by composers from seventeenth- century Venice

The English school 17 June 18 JuneFour centuries of music by English composers

Booking informationWIGMORE HALL, LONDON

Ways to book• In person: 7 days a week; 10am – 8.30pm. Days without an evening

concert, 10am –5pm. No advance booking in the half hour prior to a concert.

• Telephone: 020 7935 2141, 7 days a week; 10am – 5pm. Days withoutan evening concert, 10am 5pm.

• Online: www. wigmore- hall.org.uk, 7 days a week, 24 hours a day.



Forthcoming concertsFor details of concerts in the 2009-10 London and Cambridge seasons, please refer to facing page.

March 2010

Vivaldi Stabat Mater RV621Wassenaer Concerto Armonico No.2 in B flat majorVivaldi Salve Regina RV617Pergolesi Stabat Mater

Carolyn Sampson soprano, Daniel Taylor counter- tenorPavlo Beznosiuk director & violin

16 March, 7pm Philharmonic Hall, Warsaw, Poland19 March, 8pm De Bijloke, Ghent, Belgium

JS Bach St Matthew Passion

Klara Ek soprano, Marina de Liso mezzo- soprano, Bernard Loonen EvangelistJuan Sancho tenor, Christopher Purves bass, Jesús Maria García Aréjula ChristChoir of the AAMRichard Egarr director & harpsichord

28 March, 7.30pm Palau de la Música, Valencia, Spain

JS Bach St Matthew Passion

Katharine Fuge soprano, Clare McCaldin mezzo-soprano, Simon Wall Evangelist, Thomas Hobbs tenor, Mark Rowlinson Christ, Jonathan Sells bass, Richard Lloyd Morgan PilateChoir of King’s College, CambridgeStephen Cleobury conductor

31 March, 6.30pm King’s College Chapel, Cambridge

April 2010

JS Bach St John Passion

Julia Doyle soprano, Clint van der Linde counter-tenor, John Mark Ainsley Evangelist, Nathan Vale tenor, Neal Davies Christ, David Stout bass, Thomas Guthrie PilatePolyphonyStephen Layton conductor

2 April, 2.30pm St John, Smith’s Square, London



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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 & 5“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 MACGREGOR, BBC RADIO 3 , AUGUST 2009



Friday 9 July 2010 7.30pm

MonteverdiVespers 1610King’s College Chapel

Catherine Bott sopranoNicki Kennedy sopranoJohn McMunn tenorBen Alden tenor

King’s College ChoirAcademy of Ancient Music

Stephen Cleobury conductorTickets: £40, £30, £22 (unsighted seats £7, student standby £5)

Wednesday 31 March 2010 6.30pm

BachSt Matthew PassionKing’s College Chapel

Simon Wall EvangelistMark Rowlinson ChristRichard Lloyd Morgan PilateKatharine Fuge sopranoClare McCaldin mezzo sopranoThomas Hobbs tenorJonathan Sells bass

King’s College ChoirChoristers of Jesus and St Catharine’s College ChoirsAcademy of Ancient Music

Stephen Cleobury conductorTickets: £60, £48, £35, £25 (unsighted seats £10)

Tickets from the Cambridge Corn Exchange Box Office: 01223 357851For a full list of concerts at King’s visit www.kings.cam.ac.uk/events

AAM Concerts

King’s

SIMON WALL (Donald Beltvelsen) NICKI KENNEDY (Hanya Chlala)CHOIR OF KING’S COLLEGE (Gerald Place) KING’S COLLEGE

at



Bach St John Passionconducted by Ralph WoodwardwithSimon WallEdward GrintEleanor CramerDavid CleggJulian ForbesAdam Green

andThe Parley of Instruments

Saturday, March 20th, 7.30pmSt John’s College Chapel, Cambridge

Tickets £22/£16/£10available from Cambridge Corn Exchange Box O!ce, 01223 357851

www.fairhavensingers.org.uk

The sound of the oboe is explored in the third of Britten Sinfonia’s lunchtime concert series. Performed by one of the finest musicians in the UK, Nicholas Daniel, Mozart’s Oboe Quartet is in effect a chamber concerto for the oboe, full of singable melodies and charm. This is set alongside a new work |by German composer, Ulrich Kreppein, Schubert’s String Trio and Mozart’s Adagio. The programme is completed by Colin Matthews’ beautiful arrangement of Schumann’s haunting lament to the moon.

Cambridge West Road Concert HallTuesday 2 March 2010, 1pmBox Office: 01223 357851Tickets: £7 (£3 students and under 18s)

London Wigmore HallWednesday 3 March 2010, 1pmBox Office: 020 7935 2141Tickets: £12 (£10 conc)

For further info log on to www.brittensinfonia.com

Britten Sinfonia at Lunch

Wigmore Hall

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


AAM - Prodigious minds

Documents

Transcript of AAM - Prodigious minds