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A C A D E M Y
We are delighted to release this
limited edition CD to celebrate 40
years of the Academy of Ancient
Music. We hope you enjoy listening
to it as much as we have enjoyed
the forty years of music making
it represents.
4 0
Y E A R S
O F
R E CO R D I N G S
The history of AAM is the history of a
revolution. During the twentieth century,
there were many attempts to look again at
the way baroque and classical repertoire was
presented at the time of its composition,
and to explore the relevance of recreating
this style for contemporary audiences.
However, many of these experiments
succumbed to the polar extremes of either
austerity and earnestness or romanticism
and lushness. Founding AAM in 1973,
Christopher Hogwood took a different
approach — an approach rooted in the
combination of academic rigour and a desire
for direct communication. From these bold
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initial steps Hogwood and AAM realised
baroque and classical masterworks anew,
their historically informed performances
influencing profoundly the musical life of
Europe and beyond.
In everything they did, Hogwood and the
academy’s musicians aimed to recapture
the intimacy, passion and vitality of music
when it is first written.Through scholarship
they developed a deep understanding of the
music’s original context, through reducing
the size of the orchestra they allowed each
instrument to shine, restoring the original
balance of sound. And through using
instruments which were either originals or
faithful copies they created a sound which
is startling in its immediacy and clarity.
Where possible, they also played from first
edition scores, stripping away any later
additions and returning faithfully to the
composer’s original vision.
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Alongside a busy concert schedule,
Hogwood instituted a recording schedule
that has seen the orchestra’s discography
grow to over 300 discs. These recordings
have been lauded by listeners and critics
alike — many of them Brit and Grammy
Award-winning. True to Hogwood’s
original vision, these have also broken
new ground. It was AAM who recorded
Mozart’s complete symphonies on period
instruments for the first time. Pioneering
accounts of Beethoven piano concertos
and Hadyn symphonies followed and,
most recently, a world-premiere recording
of music by seventeenth-century English
composer Christopher Gibbons. This
two-disc compilation, divided between
the orchestra’s core baroque and classical
repertoires, is but a taste of its performance
and recording accomplishments but is
nevertheless brimming with the passion,
clarity and conviction that has become the
hallmark of AAM.
Appropriately, disc 1 starts with the
ensemble’s very first recording — an
overture by Thomas Arne recorded in
1974 — and the compilation concludes with
John Taverner’s Eternity’s Sunrise, which was
written for AAM.
years on, and 300
“Forty
recordings later, the AAM
is a leader in the field.
”
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Rachel Podger and Andrew Manze are
featured — to name but a few. Fruits of the
ongoing collaborations with the choirs of
New College, Oxford, and King’s College,
Cambridge also feature in this reflection
of AAM at 40. We hope you enjoy this
CD-retrospective of the Academy of
Ancient Music’s first forty years.
The Financial Times, 2013
Joining the orchestra on these discs are
outstanding artists who have frequently
collaborated with AAM in performance
and recording — singers Emma Kirkby
(soprano), James Bowman (counter-tenor),
Anthony Rolfe Johnson (tenor), Michael
George (bass), Catherine Bott (soprano),
Cecilia Bartoli (mezzo-soprano), Sarah
Connolly (alto) and instrumentalists
Gustav Leonhardt, Japp Schröder,
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A C A D E M Y
C h r i s to p h e r
H o g w o o d
Christopher Hogwood founded the
Academy of Ancient Music in 1973, rapidly
establishing a place at the forefront of the
period-instrument movement. Over the
next 30 years he conducted the AAM on
six continents and made over 200 discs,
including many of the first recordings
of baroque and classical masterworks on
period instruments. His reputation as
a conductor and keyboardist has been
complemented by his research and editing
work, which includes seminal books on
Handel and Mozart and countless editions
of baroque, classical and more modern
works. He is currently in the process of
completing a new edition of Mendelssohn’s
orchestral works for Bärenreiter.
Since passing the baton of Music Director
of the AAM to Richard Egarr in 2006,
Christopher has returned to conduct a
highly-acclaimed series of Handel operas.
In 2011 he was awarded “Artist of the
Year” at the Beijing Music Festival for his
contribution to baroque music.
Christopher Hogwood
In May 2013 he continued the cycle with
performances of Handel’s little-performed
Imeneo at London’s Barbican Hall and at
venues in France and Spain.
Christopher is equally active in 19th and
20th-century repertoire as a conductor and
musicologist, with a particular focus on
the Early Romantics and the neo-classical
school (Martinu, Stravinsky, Britten,
Copland, Tippett and Honegger). He has
worked with most of the leading symphony
orchestras and opera houses, and continues
to tour extensively throughout the world.
Christopher is Honorary Professor of
Music at the University of Cambridge and
Professor of Music at Gresham College,
London. He sits on the Board of the
CPE Bach Complete Edition, and is
General Editor of the complete works of
Francesco Geminiani for Ut Orpheus
Edizioni in Bologna.
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E g a r r
The Academy of Ancient Music’s Music
Director Richard Egarr is an accomplished
conductor and harpsichordist and equally
skilled on the organ, fortepiano and
modern piano.
For further information visit
www.hogwood.org
R ichard Egarr
Richard trained as a choirboy at York
Minster, at Chetham’s School of Music in
Manchester and as organ scholar at Clare
College, Cambridge; he later studied with
Gustav and Marie Leonhardt. Since being
appointed Music Director of the AAM in
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2006, Richard has directed the orchestra
in concerts around the world and in a
number of acclaimed recordings. Richard
is also involved with numerous other
period ensembles in America and the UK,
including the Handel and Haydn Society
and the Orchestra of the 18th Century.
As a soloist he has performed throughout
Europe, Japan and the USA, and for many
years he formed an “unequalled duo for
violin and keyboard” (Gramophone) with
violinist Andrew Manze. In 2006 Richard
established the Choir of the AAM, and
operas and oratorios lie at the heart of
his repertoire more generally. He is also
increasingly sought-after by non-period
orchestras including the London Symphony,
Royal Concertgebouw and Philadelphia
orchestras. Richard’s recording output
includes acclaimed discs of Bach’s
Wohltemperierte Clavier, and works by Handel
and JS Bach with the AAM.
A n d r e w
M a n z e
Andrew Manze has rapidly emerged as one
of the most stimulating and inspirational
conductors of his generation. As a guest
conductor Manze has regular relationships
with a number of leading international
orchestras including the Royal Stockholm
Philharmonic, Oslo Philharmonic, City
of Birmingham Symphony, Hallé and the
Swedish Chamber Orchestra among others.
Andrew Manze © Felix Broede
Manze has been Principal Conductor
and Artistic Director of the Helsingborg
Symphony Orchestra, Sweden, since
September 2006, where he has made a
number of recordings. From the 2010/11
season Manze assumed the role of Associate
Guest Conductor of the BBC Scottish
Symphony Orchestra and he was Principal
Guest Conductor of the Norwegian
Radio Symphony Orchestra from
2008-2011. In 2013/14, Manze is Artist
in Residence at the Royal Liverpool
Philharmonic Orchestra.
After reading Classics at Cambridge
University, Manze studied the violin and
rapidly became a leading specialist in the
world of historical performance practice.
He became Associate Director of the
Academy of Ancient Music in 1996 and
then Artistic Director of The English
Concert from 2003 to 2007. As a violinist
Manze has released an astonishing variety
of CDs, many of them award-winning.
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Manze is a fellow of the Royal Academy
of Music and a Visiting Professor at the
Oslo Academy and has contributed to
new editions of sonatas and concertos by
Mozart and Bach published by Bärenreiter
and Breitkopf and Härtel. He also teaches,
edits and writes about music, as well
as broadcasting regularly on radio and
television.
C e c i l i a
B a r to l i
For over two decades Cecilia Bartoli has
indisputably been one of the leading artists
in the world of classical music. Her solo
CDs have been awarded five Grammys
(USA), ten ECHO Awards, one Bambi
(Germany), two Classical Brit Awards
(UK), the Victoire de la Musique (France)
and many other prestigious awards.
Herbert von Karajan, Daniel Barenboim
and Nikolaus Harnoncourt were among the
first conductors to discover Cecilia Bartoli.
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In 2012 Cecilia Bartoli became the first
woman to be appointed artistic director of
the Salzburg Whitsun Festival.
Cecelia Bartoli
Since then she has worked regularly with
many renowned conductors, pianists and
orchestras.
Cecilia Bartoli appears in all the major
concert halls of Europe, North America,
Asia and Australia. She has made stage
appearances at festivals and in famous opera
houses such as the Metropolitan Opera in
New York, the Royal Opera House, Covent
Garden in London, La Scala in Milan and at
the Zurich Opera House, among others.
Cecilia Bartoli has been awarded the
prestigious Italian prize Bellini d’Oro,
a Medalla de Oro al Mérito en las Bellas
Artes as well as the Médaille Grand
Vermeil de la Ville de Paris. In 2010
she was also awarded the distinguished
Danish Léonie Sonning Music Prize in
Copenhagen. In 2012 she was awarded
the Herbert von Karajan Prize in BadenBaden, together with a rare Swiss Award
for Culture, and she was made a Chevalier
de l’Ordre du Mérite Culturel by the
Principality of Monaco.
C at h e r i n e
B ot t
Catherine Bott studied at the Guildhall
School of Music and Drama and then spent
two years singing everything from Bach
to Berio with the Swingle Singers before
beginning her solo career. She is recognised
as a virtuoso of early music: among her
many recordings in this field are Bach’s St
John Passion with the Choir of King’s College,
Cambridge, Monteverdi’s L’Incoronazione di
Poppaea with Sir John Eliot Gardiner and
Purcell’s Dido and Aeneas with the Academy
of Ancient Music.
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In contrast, she is much in demand by
contemporary composers and has premiered
and recorded works by Craig Armstrong,
Jonathan Dove, Michael Nyman and
Errollyn Wallen.
Catherine Bott’s speaking voice can
regularly be heard on BBC Radio: she
presents The Early Music Show on BBC Radio
3 at weekends, and is one of the hosts of
R3’s weekday evenings, Performance on 3.
She has also presented programmes about
Saint Cecilia and Mantovani on Radio 4.
In 2007 she gave a series of talks on the
life and music of Bach for a leading cultural
travel company, and for passengers on
Lufthansa flights she is the English voice of
“Time for Classics”.
She is a patron of the Portsmouth
Festivities and a Governor of Trinity Laban
Conservatory of Music and Dance. The
GSMD awarded her a Fellowship in 2009.
Catherine Bott
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A C A D E M Y
J a m e s
B o w m a n
The English counter-tenor, James
(Thomas) Bowman, has been one of the
world’s leading counter-tenors for nearly
30 years; his career spans opera, oratorio,
contemporary music and solo recitals.
Opera House, Covent Garden in 1972.
Among his numerous opera engagements
abroad mention should be made of Paris
(L’Opéra, L’Opéra Comique and Théatre
des Champs Elysées), La Scala, Milan, La
Fenice, Venice and the Festival of Aix en
Provence. In Australia he has appeared at
the Sydney Opera House and in the USA at
San Francisco, Dallas and Santa Fe.
James Bowman was educated at New
College, Oxford, receiving his Diploma in
Education in 1964 and M.A. in History
in 1967. He began singing as a chorister
at Ely Cathedral. He also received vocal
instruction in London from De Rentz
and Manen.
S t e p h e n
As the result of an audition, James Bowman
was invited by Benjamin Britten to sing at
the opening concert of the Queen Elizabeth
Hall in March 1967, and this marked his
London debut. He was soon in demand
on both the opera stage and the concert
platform, appearing at Sadler’s Wells in
1967, at Glyndebourne in 1970, the English
National Opera in 1971 and at the Royal
Stephen Cleobury has for thirty years been
associated with one of the world’s most
famous choirs, that of King’s College,
Cambridge. His work at King’s has brought
him into fruitful relationships with many
leading orchestras and soloists, among
them the Academy of Ancient Music and
the Philharmonia. He complements and
refreshes his work in Cambridge through
He was appointed a CBE in the 1997
Queen’s Birthday Honours.
C l e o b u r y
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Easter at King’s, from which the BBC regularly
broadcasts, and, in its wake, a series of highprofile performances throughout the year,
Concerts at King’s.
Stephen Cleobury
the many other musical activities in which
he engages.
At King’s, he has sought to maintain and
enhance the reputation of the renowned
Choir, considerably broadening the daily
service repertoire, commissioning new
music from leading composers, principally
for A Festival of Nine Lessons and Carols, and
developing its activities in broadcasting,
recording and touring.
He has conceived and introduced the
highly successful annual festival,
Between 1995 and 2007 he was Chief
Conductor of the BBC Singers and since
then has been Conductor Laureate. With
the Singers he relished the opportunity to
showcase challenging contemporary music
and gave a number of important premieres.
His many recordings with the Singers
include albums of Tippett, Richard Strauss
and Bach.
Performances as an organ recitalist also find
him travelling the world. He has recorded
Bach Clavierübung Pt.3 and the Leipzig
Chorale Preludes for BBC Radio 3;
discs recorded on the organ at King’s
including albums of music by Howells and
Elgar, and a Priory Records DVD release of
popular repertoire.
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A C A D E M Y
S a r a h
C o n n o l ly
Sarah Connolly studied piano and singing
at the Royal College of Music, of which
she is now a Fellow. She was made CBE
in the 2010 New Year’s Honours List. In
2011 she was honoured by the Incorporated
Society of Musicians and presented with the
Distinguished Musician Award and she is
the recipient of the the Royal Philharmonic
Society’s 2012 Singer Award.
Sarah Connolly
Her operatic engagements have seen her
perform at La Scala, the Metropolitan
Opera, the Royal Opera House Covent
Garden, the Glyndebourne and Aix-enProvence Festivals, the Festspielhaus
Baden-Baden, the Vienna and Munich
State Operas and the Gran Teatro del Liceu
among others.
On the concert platform she has
performed with the London Symphony
Orchestra, Berlin Philharmonic Orchestra,
Boston Symphony Orchestra, London
Philharmonic Orchestra and the BBC
Symphony Orchestra among others and she
has worked with some of the world’s leading
conductors including Sir Colin Davis, Sir
Andrew Davis, Sir Mark Elder, Sir Simon
Rattle, Daniel Harding and Yannick
Nézet-séguin. She has appeared in recital in
London, New York, Amsterdam, Paris and
Stuttgart and at the Aldeburgh, Edinburgh
and Schwarzenberg Schubertiade Festivals
and her many concert engagements include
appearances at the Lucerne, Salzburg,
Tanglewood and Three Choirs Festivals
and at the BBC Proms where, in 2009, she
was a memorable guest soloist at the Last
Night. She is a prolific recording artist,
twice nominated for a Grammy Award.
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Haydn’s The Creation with the Academy of
Ancient Music and Christopher Hogwood,
as well as the complete Purcell series with
Robert King and The King’s Consort,
and over twenty discs with Philip Pickett
and the New London Consort, including
Monteverdi’s 1610 Vespers and Orfeo.
G e o r g e
Michael George is firmly established
as one of Britain’s most versatile bassbaritones. He started his musical training
as a chorister at King’s College, Cambridge
under Sir David Willcocks, and later went
on to study at the Royal College of Music,
where he was a major prize-winner. He has
appeared with all the leading UK orchestras
and ensembles, has sung throughout Britain
at all the major festivals and venues and has
performed extensively abroad.
Michael has worked widely as a recording
artist, and releases include Schubert’s Mass
in A Flat with Sir John Eliot Gardiner,
Michael George
Notable performances have included
Schubert Mass in A flat with Riccardo
Muti, Beethoven’s Missa Solemnis with
the Hallé and Mark Elder, Beethoven’s
Symphony No. 9 with Sir Neville Marriner
in Brisbane and major tours of Handel’s
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Messiah with Harry Christophers and The
Sixteen in Europe and Japan. He has
sung Mozart’s Requiem with the Vienna
Philharmonic and also with the San
Francisco Symphony Orchestra and Bach’s
St John Passion with the Orchestra of the Age
of Enlightenment and the LPO.
Pa u l
Washington, the Philadelphia Orchestra,
Bayerischer, Hessischer, NDR (Hannover)
and MDR (Leipzig) Rundfunkorchester.
In opera, Paul’s recent successes have
included performances at the Komische
Oper Berlin, the Teatro Real Madrid,
Opera Australia and Welsh National Opera.
G o o d w i n
Paul Goodwin is renowned for his
historically informed interpretations of
music of all periods, his wide repertoire and
his interest in contemporary music.
He is Artistic Director and Conductor of
the Carmel Bach Festival in California.
Paul has a wide symphonic repertoire,
conducting orchestras across the world
including: the BBC Philharmonic, the
Hallé Orchestra, the City of Birmingham
Symphony Orchestra, Royal Scottish
National Orchestra, the Minnesota
Orchestra, National Symphony Orchestra
Orchestra for 6 years, and has recorded
CDs of Strauss, Hartmann, Handel’s
Riccardo Primo and Athalia, and a highly
acclaimed CD of Elgar’s Nursery Suite for
Harmonia Mundi.
Paul’s dedication to educational projects
has led him to work with National Youth
Orchestras in Spain and Holland as well
as the Royal Conservatoire in The Hague
and the orchestras of the Royal College and
Royal Academy of Music, London. In 2007,
Paul Goodwin was awarded the Handel
Honorary Prize of the City of Halle (Saale)
in recognition of his extraordinary services
to performances of works by George
Frederic Handel.
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Schola Cantorum, and, best of all, that she
encountered from the start the “historical”
instruments known to Renaissance and
baroque composers; the lute, harpsichord,
and wind and string instruments whose
sound and human scale drew from her
an instinctive response. Continuing
this passion as a schoolteacher, she was
soon invited to perform professionally
with pioneer groups, principally the
Taverner Choir, the Consort of Musicke
and the Academy of Ancient Music; long
partnerships followed with British and
Paul Goodwin
For 11 years Paul was the Associate
Conductor of the Academy of Ancient
Music with whom he toured extensively and
made several recordings. He was Principal
Guest Conductor of the English Chamber
Emm a
K i r kb y
Emma Kirkby feels very lucky in many ways:
that she met Renaissance vocal polyphony
while still at school, that she studied
Classics at Somerville and sang with the
Emma Kirkby
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international ensembles, individual players
and record companies, so that now Emma’s
voice and style are recognized worldwide.
Of a series of honours the most recent
have been a DBE in 2007 and in 2011
the Queen’s Medal for Music. Amazed
by all this, she is nevertheless glad of the
recognition it implies, for a way of musicmaking that values ensemble, clarity and
stillness over such things as volume and
display; above all she is delighted to see
a new generation of singers and players
bringing their skills to the endeavour.
R o b e r t
Sir Neville Marriner, Sir Simon Rattle
and Esa-Pekka Salonen. On period pianos
he has appeared with the Academy of
Ancient Music, English Baroque Soloists,
Handel & Haydn Society, Orchestra of the
Age of Enlightenment and the Orchestre
Révolutionnaire et Romantique, with
Sir John Eliot Gardiner, Christopher
Hogwood, Sir Charles Mackerras, Nicholas
McGegan and Sir Roger Norrington.
L e v i n
Pianist and conductor Robert Levin
has been heard throughout the United
States, Europe, Australia and Asia. His
solo engagements include the orchestras
of Atlanta, Berlin, Birmingham, Boston,
Chicago, Cleveland, Detroit and Vienna
with such conductors as Bernard Haitink,
recordings for DG Archiv, CRI, Decca,
Deutsche Grammophon, Deutsche
Harmonia Mundi, ECM, New York
Philomusica, Nonesuch, Philips and SONY
Classical. A passionate advocate of new
music, Robert Levin has commissioned and
premiered a large number of works. He is
a renowned chamber musician and a noted
theorist and musicologist. His completions
of Mozart fragments are published by
Bärenreiter, Breitkopf & Härtel, Carus,
Peters and Wiener Urtext Edition, and
recorded and performed throughout
the world.
R a c h e l
Robert Levin ©Ascherman
Renowned for his improvised
embellishments and cadenzas in classical
repertoire, Robert Levin has made
P o d g e r
Rachel Podger is one of the most creative
talents to emerge in the field of period
performance. Over the last two decades
she has established herself as a leading
interpreter of the music of the baroque
and classical periods. She was educated in
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Germany and in England at the Guildhall
School of Music and Drama, where she
studied with David Takeno and Micaela
Comberti.
Rachel Podger
After beginnings with The Palladian
Ensemble and Florilegium, she was leader
of The English Concert from 1997 to 2002
and in 2004 began a guest directorship with
the Orchestra of the Age of Enlightenment.
As a guest director and soloist she has
collaborated with numerous orchestras
including The European Union Baroque
Orchestra, Holland Baroque Society and
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the Handel and Haydn Society (USA).
Rachel has performed in chamber recitals
and recorded with Trevor Pinnock and
Gary Cooper. Since 2007 she has also
directed her own group, Brecon Baroque.
Rachel is also Artistic Director of her
own festival: the Brecon Baroque Festival.
Rachel is an honorary member of both the
Royal Academy of Music, where she holds
the Micaela Comberti Chair for Baroque
Violin, and the Royal Welsh College of
Music and Drama, where she holds the Jane
Hodge Foundation International Chair in
Baroque Violin, and teaches at institutions
throughout the world.
Rachel has won numerous awards from her
recordings with Channel Classics including
the Baroque Instrumental Gramophone
Award for La Stravaganza in 2003, the
Diapason d’Or de l’année in the Baroque
Ensemble category for the La Cetra Vivaldi
concertos with Holland Baroque in 2012,
and the BBC Music Magazine Award in
the instrumental category for her solo disc
Guardian Angel in 2014.
Conductors with whom he worked
included Sir Simon Rattle, Pierre Boulez,
Kurt Masur, Bernard Haitink and
Claudio Abbado.
A n t h o n y
J o h n s o n
Anthony Rolfe-Johnson had a vast range
of recordings to his name, reflecting his
worldwide reputation as an interpreter of
J.S. Bach, George Frideric Handel, Haydn,
Mozart and Benjamin Britten.
R o l f e
One of England’s most distinguished
singers, Anthony Rolfe-Johnson was a
student of Ellis Keeler at the Guildhall
School of Music in London, and later of
Vera Rosza. In 1973 he made his formal
operatic debut with the English Opera
Group in Iolante. In 1978 he made his first
appearance with the English National
Opera in London as Don Ottavio.
Anthony Rolfe-Johnson’s schedule included
concerts with the major orchestras and
festivals in UK and in the leading European
capitals. In America, he sang with the
Chicago Symphony Orchestra, the Boston
Symphony, the New York Philharmonic
Orchestra and the Cleveland Orchestra.
Anthony Rolfe-Johnson appeared with all
the major opera companies in Britain since
his debut at the Glyndebourne Festival,
including English National Opera, the
Metropolitan Opera, Vienna State Opera,
Paris Opera and the Royal Opera House,
Covent Garden. He also performed at the
Monnaie in Brussels, La Scala, Milan and
he was a regular guest with the
Netherlands Opera.
Anthony Rolfe-Johnson was awarded
a CBE in the 1992 Queen’s Birthday
Honours. After a long battle with
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Alzheimer’s, he died in London in July
2010 at the age of 69.
J a a p
Sc h r ö d e r
The distinguished Dutch violinist (regular
and baroque), conductor and pedagogue,
Jaap Schröder, studied violin at the
Amsterdam Conservatory and in Paris.
He also attended classes in musicology at
the Sorbonne. Jaap Schröder then served
as concert-master of the Hilversum Radio
Chamber Orchestra, and was a member
of the Netherlands String Quartet. In
1975 he founded the Quartetto Esterhazy,
which gave performances of music from
the classical era on period instruments He
subsequently served as music director and
concertmaster of the Academy of Ancient
Music in London. In 1982 he was appointed
visiting music director of the Smithsonian
Chamber Players in Washington, D.C.
He was a faculty member of the School
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of Music at Yale University alongside
teaching at the Universities of Virginia and
Maryland, Peabody Conservatory, Case
Western Reserve University and the Banff
School of the Arts.
Jaap Schröder has long been engaged in
research on unknown violin literature of
the 17th and 18th centuries, and as a result
has recorded many works by such virtuosi
as Uccellini, Leclair and Biber. As an
orchestra leader and soloist he has recorded
with the Concerto Amsterdam and
performed with the Salzburg Mozarteum
Orchestra, the Drottningholm Court
Baroque Orchestra and the Smithsonian
Chamber Orchestra, with which he has
recorded works by Mozart and several
Beethoven symphonies.
With Christopher Hogwood, he directed
the first complete recording of the Mozart
symphonies on classical instruments
with the Academy of Ancient Music and
recorded Bach’s violin concertos and the
Brandenburg Concert No. 4.
TRA C K
DIS C
INFOR M ATION
ONE
Thomas Arne (1710-17 78)
Eight Overtures
1. Overture No.3 in G major 5:07
Christopher Hogwood director
Decca 436 859-2. 1974
Antonio Vivaldi (1678-1741)
Concerto in C ma jor , RV588
2. Allegro molto 5:41
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Johann Sebastian Bach (1685-1750)
Concerto in D minor for two
violins, BWV1043
4. Vivace 3:26
Rachel Podger violin
Andrew Manze director & violin
Harmonia Mundi HMU 907155 . 1997
George Frideric Handel
Rinaldo, HWV 7
5. “Combatti da forte” 3:22
Harmonia Mundi HMU 907230. 1997
Cecilia Bartoli Almirena – mezzo-soprano
Decca 467 087-2. 2000
George Frideric Handel (1685-1759)
Concerto Grosso, Op.6, No.12 in B
minor
3. Larghetto e piano 3:42
Giovanni Battista Pergolesi
(1710-1736)
Stabat Mater
6. Stabat Mater 4:27
Harmonia Mundi HMU 907228-29. 1998
Emma Kirkby soprano
James Bowman counter-tenor
Decca 425 692-2. 1989
28/05/2014 11:54
A C A D E M Y
Johann Sebastian Bach
Harpsichord Concerto in
A ma jor , BWV1055
7. Allegro 4:12
Violin Concerto No.2 in E MA JOR ,
BWV1042
10. Allegro 7:58
Richard Egarr harpsichord
Andrew Manze director
Harmonia Mundi HMU 907283.84. 2002
Jaap Schröder violin
Decca 400 080-2. 1982
Henry Purcell (1659-1695)
Dido and Aeneas
8. “Thy hand Belinda – When I am laid –
With drooping wings” 8:26
St John Passion, BWV245
11. “Es ist vollbracht” 5:30
Catherine Bott Dido – soprano
Decca 475 7195. 1994
Orl ando, HWV31
9. “E’questa la mercede – Cielo! Se tu il consenti”
4:38
James Bowman Orlando – counter-tenor
Decca 430 845-2. 1991
Sarah Connolly alto
Richard Egarr director & harpsichord
AAM Records AAM002. 2014
Concerto Grosso, Op.3, No.6 in
D MA JOR
12. Allegro 3:26
Richard Egarr director
Harmonia Mundi HMU 907415. 2007
Total playing time 60:03
DIS C
TWO
Wolfgang Amadeus Mozart
(1756-1791)
Requiem, K626
1. Introitus 4:11
The Choir of King’s College, Cambridge
Stephen Cleobury director
KGS0002. 2013
Johann Wenzel Anton Stamitz
(1717-1757)
Sinfonia a 4 in D ma jor
2. Presto 4:24
Richard Egarr director
AAM Records AAM001. 2013
Ludwig van Beethoven (17 70-1827)
Symphony No.1 in C ma jor , Op.21
3. Menuetto 4:17
Decca 476 168-6. 1986
O F
A N C I E N T
M U S I C
A T
40
25
Fr anz Joseph Haydn (1732-1809)
The Creation, HobXXI:2
4. “Most beautiful appear” 6:45
Emma Kirkby soprano
Anthony Rolfe Johnson tenor
Michael George bass
Choir of New College, Oxford
Decca 430 397-2. 1990
Symphony No.31 in D ma jor , K 297,
“Paris”
5. Allegro assai 7:04
Decca 452 496-2. 1985
Fr anz Schubert (1797-1828)
Piano Quintet in A ma jor , D667,
“Trout”
6. Scherzo 3:56
Jaap Schröder violin
Christopher Hogwood director & fortepiano
Decca 455 724-2 . 1980
28/05/2014 11:54
A C A D E M Y
Fr anz Joseph Haydn
Symphony No.24 in D ma jor ,
HobI:24
7. Adagio 3:54
Symphony No.41 in C ma jor , K551,
“Jupiter”
11. Menuetto 5:57
Decca 436 082-2. 1990
Decca 452 496-2. 1985
Piano Concerto No.15 in B-fl at
ma jor , K450
8. Allegro 7:53
John Tavener (194 4-2013)
12. Eternity’s Sunrise 4:56
Robert Levin fortepiano
Decca 455 814-2. 1997
Ludwig van Beethoven
Symphony No.4 in B-fl at ma jor ,
Op.60
9. Allegro non troppo 6:33
Decca 476 168-6. 1987
Fr anz Joseph Haydn
Symphony No.59 in A ma jor ,
HobI:59, “Feuersymphonie”
10. Presto 6:18
Decca 436 012-2. 1992
Paul Goodwin director
HMU 907231. 1999
Total playing time 66:14
O F
A N C I E N T
M U S I C
A T
40
27
AA M 0 4 0
© 2014 Academy of Ancient Music π 2013 & 2014 Academy of Ancient Music. Tracks used
under licence: π 1974, 1980, 1982, 1985, 1986, 1987, 1989, 1990, 1991, 1992, 1994, 1997, 2000
& 2004 Decca Music Group Limited. π 1997, 1998, 1999, 2002, 2007 Harmonia Mundi USA.
π2013 The Choir of King’s College, Cambridge. Made in the UK.
With thanks to the following for their assistance and support in compiling this 40th anniversary
album: Barry Holden & Alexander van Ingen of Universal Music/Decca Classics; Mike Sklansky
& René Goiffon of Harmonia Mundi USA, and Patrick Lemanski of Harmonia Mundi UK;
and to Andy Doe, label manager of The Choir of King’s College, Cambridge.
Executive Producer for AAM: Jonathan Manners
Artistic consultant: Lars Henriksson
Production assistants: Andy Wells and John McMunn
Design: Gary Haslam @ Process Studios (www.processstudios.net)
www.aam.co.uk
28/05/2014 11:54

AAMGala_2CD_booklet_24pp_s2.indd 2

Transcription

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