Programme Nov10_AAM programme Sept 2010

Transcription

Programme Nov10_AAM programme Sept 2010 17/11/2010 14:12 Page 1
South American connections
Music from the New World and influences from the Old
Juanita Lascarro soprano
Rodolfo Richter director & violin
24 November
25 November
West Road Concert Hall, Cambridge
Wigmore Hall, London
Welcome! In a year when the AAM’s musicmaking centres on the work of the Bach family,
tonight’s concert promises something rather
different.
In curating this programme, Rodolfo Richter
returns to his South American roots. All of the
music you will hear is centred around South
America — whether written by South American
composers (Lobo de Mesquita), European-born
composers who worked in South America (Zipoli
and Torrejón y Velasco) or the Europeans who
influenced them (Hasse, Alessandro Scarlatti,
Corrette and Handel).
Some of the works are well known; others are
being heard for perhaps the first time in
centuries. Rodolfo has persuaded a secretive
collector to allow him to play Lobo de Mesquita’s
Adagio and Fugue in G minor; he has
reconstructed the anonymous Sonata Chiquitana
XVIII from manuscripts found in Brazil and Bolivia;
and the Cachua, a late 17th-century Peruvian folk
melody, forms the core — as it would in the past
— of a semi-improvised ‘jamming session’.
We are delighted to be joined for the first time by
soprano Juanita Lascarro. South American
baroque music has been neglected; tonight’s
programme shows just how undeserved this is.
Special offer: free CD with Wigmore Hall tickets
Buy a pair of tickets for any of the AAM’s Wigmore Hall concerts up to March 2011, and you’ll get
the AAM’s Wigmore Hall Live CD for free.
The CD features music by Handel, Bach and Vivaldi, and was described by Gramophone as
“an electrifying survey of baroque concertos... unflaggingly alert, playful and dramatic”.
To take advantage of this offer, simply call the Wigmore Hall box office on 020 7935 2141, or visit
www.wigmore-hall.org.uk.
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
Programme
JOHANN ADOLF HASSE (c.1699-1783)
Overture to Cleofide
Allegro assai
Andante
Minuetto — Presto
JOSÉ JOAQUIM EMERICO LOBO DE MESQUITA (1746-1805)
Adagio and Fugue in G minor
DOMENICO ZIPOLI (1688-1726)
‘Dell’offese a vendicarmi’ from Dell’offese a vendicarmi
ALESSANDRO SCARLATTI (1660-1725)
Concerto Grosso No.1 in F minor from VI Concertos in Seven Parts
Grave
Allegro
Largo
Allemande (Allegro)
MICHEL CORRETTE (1707-1795)
‘Les Sauvages’ from Concerto Comique No.25 in G minor
TOMÁS DE TORREJÓN Y VELASCO (1644-1728)
Desvelado dueño mio
ANONYMOUS (18th-century)
Cachua
Interval of 20 minutes
Please check that your mobile phone is switched off, especially if you used it during the interval.
ANONYMOUS (18th-century)
Sonata Chiquitana XVIII
Allegro
Andante
Menuetto
GEORGE FRIDERIC HANDEL (1685-1759)
Il Delirio Amoroso HWV90
Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much
as possible and ensure that watch alarms and any other electronic devices which may become
audible are switched off.
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
Stephen Rose describes the connections in tonight’s programme
From the first encounters between Europeans
and the indigenous peoples of America, music
played a vital role in defining identities and
facilitating communication. The early European
explorers took musicians such as trumpeters,
wind-players and drummers on their ships.
Christopher Columbus attempted to
communicate with the natives of Trinidad by
getting his ship’s musicians to play at them.
These European colonisers also noted the
musical sounds and instruments of the
American peoples. A member of Hernando
Cortés’s army in Mexico commented on the
“small tambourines and shell trumpets, horns
and whistles” of their Aztec adversaries. Another
European account noted the instruments used
in Chiribichi (present-day Venezuala), such as
sea shells with strings stretched across them
and wind instruments made from animal bones
or river rushes.
were often familiar with the latest musical
fashions from Spain and Italy. Tonight’s
programme includes pieces by indigenous
South American musicians and by European
colonisers, as well as a French evocation of the
music of American aborigines. Central to
tonight’s concert, however, is music written in
Italy or in Italian styles by Alessandro Scarlatti,
Johann Adolf Hasse and George Frideric Handel.
Italy was the training and recruiting ground for
so many musicians in the period, and hence
formed the centre from which almost all
musical connections radiated outwards.
In the European colonization of Latin and South
America, music was extensively disseminated
by missionaries. Jesuit missionaries favoured
polyphonic music, partly as a way to convey the
mystery and majesty of their Christian worship,
and partly because it was extremely popular
with indigenous peoples. A 1615 report by the
Franciscan missionary Juan de Torquemada
claimed that the Indians had mastered every
church instrument used in churches in Mexico.
He went on to note that: “Every town with a
population of at least one hundred contains
singers who are proficient in polyphonic music.
The same towns all have their supply of
instruments, and even the smallest hamlets, no
matter how insignificant, have three or four
Indians at least who sing every day in church.”
The concert starts with the Overture to
Cleofide by Johann Adolf Hasse
(c.1699–1783). Hasse gained his musical
education in Hamburg, but in 1722 he travelled
to Naples where he studied with Alessandro
Scarlatti and wrote many successful operas.
Cleofide was premiered at Dresden on 13
September 1731, after Hasse’s return from his
prolonged period in Italy. He never travelled
beyond Europe, although his music can be
found in manuscripts in the Americas (such as
at the cathedral of Puebla, Mexico); but the
opera Cleofide is itself on the theme of colonial
encounters (between Alexander the Great and
the Indian forces, led by Porus and Cleofide).
The overture is in three movements, starting
with an Allegro that summons the audience’s
attention via the violins’ repeated-note
semiquavers. The middle movement is an
Andante where the two flutes take the lead,
with melodic ornamentation including Scotch
Snap (short-long) rhythms in the so-called
galant style. The finale alternates a minuet with
a hectic duple-time trio.
This concert explores the web of musical
connections that existed between South
America and Europe in the early eighteenth
century. Musicians, manuscripts and
instruments were all exchanged with
astonishing rapidity between Old and New
Worlds, such that performers in Cuzco or Lima
Alessandro Scarlatti (1660–1725) connects
several of the composers in tonight’s
programme: he taught Hasse and Domenico
Zipoli, and his music undoubtedly made a mark
on the young Handel. Scarlatti was best known
for his operas, but in tonight’s programme he is
represented by the Concerto Grosso No.1 in F
Private Collection / The Stapleton Collection / The Bridgeman Art Library
Spaniards being welcomed by an Indian king, from Girolamo Benzoni's account of the conquest of
Peru in ‘Newe Welt und Americanische Historien’ by Johann Ludwig Gottfried, published by Mattaeus
Merian in Frankfurt, 1631. Engraving by Theodore de Bry (1528–98).
minor (from the collection VI Concertos in Seven
Parts, published in England in the 1740s).
Scarlatti’s concerto follows the scoring of
Arcangelo Corelli’s Op.5 concerti grossi, with
two violins and cello singled out as soloists; and
a Corellian touch is also evident in the finelywrought orchestral fugue.
by a storm, and in 1725 he died of tuberculosis
before he could be ordained. Zipoli’s music was
extremely popular in South America, being
disseminated by Spanish administrators and
clerics, and also within Indian communities
from which Europeans were excluded. Tonight’s
concert includes an aria for voice and continuo
from the cantata Dell’offese a vendicarmi
chiamo all’armi, which Zipoli wrote before
leaving for Paraguay.
Also active in Italy during the 1700s was the
young George Frideric Handel (1685–1759),
whose output from the period included his
cantata Il Deliro Amoroso. Written to a text by
Cardinal Pamphili (who had earlier acted as a
patron to Alessandro Scarlatti), the cantata
recounts Chloris’s dream that she has entered
the underworld to reclaim her lover Thyrsis. An
initial anticipation of this dark journey can be
heard in the slow chromatic chords that
interrupt the jaunty, gigue-like Sinfonia. The first
aria, ‘Un pensiero voli in ciel’ (‘Let a thought soar
into the sky’), uses long solo passages for violin
and voice to evoke its flighty mood. A more
sombre mood pervades ‘Per te lascia la luce’
(‘For you I left the daylight’), with its hymn-like
declamation and echoes sung down an octave.
Subsequently, ‘Lascia omai le brune vele’ (‘Leave
now the dark brown sails’) seeks to bring a ray
of light into Hades, with its flute obbligato and
chirpy 3-8 metre; then, after the overture-like
Entrée, ‘In queste amene piaggie serene’ (‘On
these pleasant, serene shores’) combines the
cheerful metre of a minuet with the wistfulness
of E minor.
Another European who travelled to the New
World was Tomás de Torrejón y Velasco
(1644–1728). As a teenager he served as a page
in the household of the Count of Lemos, who in
1667 was appointed as viceroy of Peru. Torrejón
y Velasco travelled to Peru in the Count’s
entourage and subsequently became
superintendent of the armoury at Lima, then
chief justice of the province of Chachapoyas. In
1676 he became maestro de capella at Lima
cathedral, a post he held for the rest of his life.
He wrote the earliest surviving opera from the
New World, La púrpura de la rosa, premiered in
1701 to mark the first year of the reign of King
Philip V of Spain. A more conservative musical
style is evident in his Desvelado dueño mio, an
eight-voice piece for double choir that
nonetheless incorporates the dance-rhythms of
the chaconne. It was presumably intended for
Lima cathedral, although tonight it is performed
in an arrangement by Rodolfo Richter for strings
and wind instruments.
At the same time that Handel was working in
Rome, Domenico Zipoli (1688–1726) was
receiving his musical training in Florence, Rome
and briefly with Alessandro Scarlatti in Naples.
In 1715 he became organist at the Jesuit
Church in Rome. A year later, however, he had
joined the Society of Jesus and in 1717 he was
sent to the district of Paraguay where he
studied theology and philosophy at Cordoba,
with the eventual aim of becoming a priest. But
Zipoli’s South American sojourn was bedevilled
by bad luck: his voyage there was interrupted
As the European colonization of South America
advanced, second- and third-generation
immigrants also began to gain musical
reputations for themselves. José Joaquim
Emerico Lobo de Mesquita (1746–1805) was
the mixed-race son of the Portuguese José
Lobo de Mesquita and his slave Joaquina
Emerenciana. He worked as organist at various
churches in the province of Minas Gerais, and in
1801 moved to Rio de Janeiro to become
organist at the church of Nossa Senhora de
Carmo. He is mainly known for his sacred music,
including numerous settings of the Mass; these
use the balanced phrases also found in the
music of Viennese classicism. Tonight’s concert
includes a rare example of Lobo de Mesquita’s
instrumental music, the Adagio and Fugue in
G minor. The first movement combines two
intricate themes—a descending chromatic line,
and also a series of falling triads. The following
fugue was left unfinished by Mesquita, but uses
a theme (that descends chromatically through a
full octave) also found in works by Hasse and
the Strasbourg musician Franz Xaver Richter
(1709–1789).
The music archives in such South American
towns as Cuzco include numerous anonymous
pieces, indicating the richness of musical
activity there in the eighteenth century. One
such piece is the Sonata Chiquitana XVIII,
which uses a similar three-movement form to
the Hasse overture heard at the start of
tonight’s concert. The vigorous triadic
harmonies of the outer movements act as a foil
to the gentle minor-key melody of the inner
slow movement. Another piece of indigenous
South American music is the Cachua, a late
seventeenth-century transcription of a Peruvian
dance.
Even for those European musicians who did not
visit the New World, it still held a considerable
hold on their imaginations, as is indicated by
the French tune ‘Les Sauvages’, here heard in a
version from Michel Corrette’s Concerto
comique No.25 in G minor. This energetic
minor-key tune, alternating held-notes with
sudden quaver outbursts and flurries of
repeated notes, was originally written by
Rameau either for or shortly after the display of
two North American Indians at the SaintGermain fair in 1725. The event was described
thus in the Mercure de France of September
1725:
“Two large and well-built savages, about 25
years old and only recently arrived from
Louisiana, danced three kinds of dances in a
style that left no room for doubt that the steps
and leaps they executed were learnt a long way
away from Paris. [After the dance of peace,] next
came a war-dance, depicting a gathering of
savages resolved on waging war with such and
such a tribe. One of their number acts out all
the horror of so doing, while those in
agreement with him signify their approval by
joining in the dance. In the third dance the
warrior, armed with a bow and quiverful of
arrows, first tracks down an enemy while the
other savage sits on the ground and beats a
drum.”
Rameau then used the tune in his keyboard
music and his opera Les Indes Galants (1735). It
was subsequently used by a succession of
composers up to the French revolution. Among
these was Michel Corrette (1707–1795), who
held numerous organist posts in Paris (including
at the Jesuit College). His version of Les
Sauvages is found in the last of his Concertos
comiques, a set of pieces written between 1733
and 1760 which all quote popular tunes of the
day. Evidently Paris was fascinated by this
musical representation of the exotic dances of
the American Indians.
Stephen Rose © 2010
Dr Stephen Rose is Lecturer in Music at Royal
Holloway, University of London
Tonight’s composers
Johann Adolf Hasse (c.1699–1783)
Michel Corrette (1707–1795)
Born near Hamburg, Hasse
was an important figure in
the development of opera
seria (‘serious’ opera,
usually Italian). After his
death, though, his huge
operatic output (around 70
works survive) was wholly neglected, only to be
revived in the late 20th century.
A prolific composer of
ballets, concertos, sonatas,
songs, cantatas and
chamber music, the
Normandy-born Corrette
was also a teacher,
producing several methodbooks (including L’Art de se perfectionner sur le
violon). For more than 40 years he was organist
at the Jesuit College in Paris, where he taught
missionaries who subsequently left for Paraguay
and Bolivia.
José Joaquim Emerico Lobo de
Mesquita (1746–1805)
Born in Brazil and given an extensive musical
education, Lobo de Mesquita spent much of his
life in Diamantina where he founded a music
school and was cathedral organist, renowned
for his virtuosic playing and improvisation. He
moved to Rio de Janeiro after quarrelling with
the mayor, and remained there until his death.
Domenico Zipoli (1688–1726)
Born in Italy, Zipoli was rapidly becoming one of
the finest musicians of his day (studying with,
among others, Alessandro Scarlatti) when he
moved to Seville and became a Jesuit
missionary. In Cordoba (Argentina) the absence
of a bishop meant he was never ordained, but
his fame as Kapellmeister spread as far as
Paraguay and Peru.
Alessandro Scarlatti (1660–1725)
Born in Palermo, Scarlatti
was active throughout
Italy: he composed in
Naples, Florence, Venice
and Urbino. His finest
music, though, was written
in Rome — including
several operas and a number of works for the
church. His sons, Domenico and Pietro Filippo,
were also composers.
Tomás de Torrejón y Velasco
(1644–1728)
Born in Madrid, Torrejón y Velasco entered the
service of the Count of Lemos — who
subsequently became viceroy of Peru, taking a
113-strong retinue (including Velasco) to the
New World. But Velasco’s musical abilities
marked him out, and he became maestro da
capella at the cathedral. In 1707 he returned to
Europe to collect together the latest European
music — including, quite possibly, that of
Handel.
George Frideric Handel (1685–1759)
German-born, Handel
studied in Italy before
becoming a British subject.
Whilst in Italy he
composed Il Delirio
Amoroso, which he
dedicated to his patron
Cardinal Pamphili — with whom Zipoli was in
contact, and who wrote libretti for Alessandro
Scarlatti’s operas. Appropriately, Pamphili’s
palace is now the Brazilian embassy in Rome.
Texts and translations
Zipoli
‘Dell’offese a vendicarmi’
Dell’offese a vendicarmi
chiamo all’armi
voi tiranni miei pensieri.
Esser miei più non potete
se non siete
di giust’ira armati arcieri.
I call you to arms,
my tyrannous thoughts,
to avenge myself from these wrongdoings.
You can be my thoughts no longer
unless you are
archers armed with rightful anger.
© GEORGE CORBETT
Handel
Il Delirio Amoroso
Recitativo
Da quel giorno fatale,
che tolse morte
il crudo Tirsi a Clori,
ella per duolo immenso,
sciolto il crin, torvo il guardo,
incerto il piede, par, ch’abbia
in sè due volontà, due cori:
e del chiarro intelletto,
per gran fiamma d’amor, turbato il raggio,
ora s’adorna, ora del crin negletto
fa dispettoso oltraggio;
e varia nel pensier, ma sempre bella,
agitata così, seco favella.
From that fatal day
when Death took
cruel Thyrsis from Chloris,
she, in deepest grief,
her hair flying loose, grim-faced,
unsteady on her feet, seems to have
two wills, two hearts within her;
and with the ray of clear thinking
dimmed by the great flame of love,
she first decks herself, then makes
a dire tangle of her dishevelled hair,
and wanders in her mind, but ever fair
so agitatedly speaks to herself.
Aria
Un pensiero voli in ciel,
se in cielo è quella alma bella,
che la pace m’involò.
Se in averno è condannato,
per avermi disprezzato,
io dal regno delle pene
il mio bene rapirò.
Let a thought soar into the sky,
if in Heaven is that fair soul
which robbed me of my peace.
But if he is condemned to Hell
because he scorned me,
I from the realm of punishment
my beloved shall rescue.
Recitativo
Ma fermati pensier, pur toppo è vero che fra
l’ombre d’averno è condannato per giusta pena,
e per crudel mio fato.
Sì, sì, rapida io scendo
a rapir il mio bene delll’arso Dite
alle in focate arene. Ma che veggio?
But stay, my thoughts, alas, it is true that he is
condemned to darkest Hell
as a just punishment for my cruel fate.
Yes, yes, I'll rapidly descend to save my
beloved from the red-hot sands of Pluto,
god of burning Hell. But what do I see?
Rimira il mio sembiante
dispettosa poi fugge un’ombra errante.
Tirsi, o Tirsi, ah! crudele!
A wandering spirit angrily sees
my face again and then escapes me.
Thyrsis, Thyrsis, oh, you cruel one!
Aria
Perte lasciai la luce,
ed or che mi conduce
amor per riverderti, tu vuoi partir da me.
Deh! ferma i passi incerti,
o pur se vuoi fuggir, dimmi perché?
For you I left the daylight,
and now that love leads me
to see you again, you want to leave me.
Oh, stop your uncertain steps,
Or if you want to go, tell me why. Why?
Recitativo
Non ti bastava, ingrato,
d’avermi in vita lacerato il core?
Dopo l’ultimo fato siegui ad esser per me furia
d’amore; anzi, ti prendi a scherno,
ch’io venga teco ad abitar l’inferno.
Ma pietà per rigore ti renderò.
Su vieni al dolce oblio di Lete;
indi daranno pace gli Elisi,
al già sofferto affanno.
Wasn't it enough for you, ungrateful one,
to break my heart while you lived?
After your death, you still inflict a frenzy of
love on me; rather, you treat with scorn
the fact that I've come to live with you in Hell.
But I'll reward your cruelty with compassion.
Come now to the sweet forgetfulness of Lethe,
then the Elysian fields will give respite
to our past suffering.
Aria
Lascia omai le brune vele,
negro pin di Flegetonte.
Io farò che un zeffiretto, per diletto,
spiri intorno a te fedele;
e che mova i bianchi lini,
pellegrini, in Acheronte.
Leave now the dark brown sails, black boat
of the fiery river of Hades, Phlegethon.
I will see that a light breeze, for your delight,
breathes constantly around you;
and that it moves the white canvas,
on its way, along the river Acheron.
Recitativo
Ma siamo giunti in Lete.
Odi il suono soave degli Elisi beati.
But we have reached the river Lethe. Hear the
sweet sound of the blessed in Elysium.
Minuet
In queste amene piaggie serene,
da sè ridente nasce ogni fior.
Tra suoni e canti, sempre clemente,
spiran gli amanti, aura d’amor.
On these pleasant, serene shores,
laughing to itself each flower springs up.
Amid music and song, always mild,
lovers breathe an air of love.
Recitativo
Si, disse Clori,
e se d’un sole estinto
più non vide il bel lume,
lo vide almen per fantasia dipinto.
Yes, said Chloris,
and if the bright light
of an eclipsed sun was not seen,
at least it was seen in the fancy.
©THE SIXTEEN PRODUCTIONS
Rodolfo Richter violin
(Norway), B'Rock (Belgium), Die Kölner
Akademie (Germany), Harmonia Universalis
(Brazil), St. James Baroque, the Orchestra of the
Age of Enlightenment, the Hanover Band and
The English Concert. He combines this work
with his role as co-leader of the Academy of
Ancient Music.
His recorded output is extensive, and includes
JS Bach’s Brandenburg Concertos and Triple
Concerto and Handel’s Trio Sonatas Opp.2 & 5
with the AAM. Solo recordings include an
album of sonatas by Tartini and Veracini and the
first recording of Erlebach’s complete sonatas, as
well as Vivaldi’s solo concertos. Future plans
include music by Vivaldi and John Cage with
B'Rock and an album of JS Bach's Trio Sonatas.
“Rodolfo Richter (and his bright, boldvoiced 1674 Guarneri) is more than
capable of generating the necessary
sparks, delicate turns and swift runs...”
CLASSICS TODAY
Brazilian-born Rodolfo Richter was trained as a
modern violinist with Klaus Wusthoff and
Pinchas Zukerman, and has studied
composition with Hans Joachim Koellreutter
and Pierre Boulez. He studied baroque violin
with Monica Huggett at the Royal Academy of
Music and has performed with most of Britain’s
leading period ensembles. Also in demand as a
chamber musician, he has regularly
collaborated in concerts and recordings with
the Bach Players, Sonnerie, and Hausmusik.
Rodolfo was a prize-winner at the prestigious
International Early Music Competition for
Ensembles in Bruges (2000), and won first prize
at the Antonio Vivaldi International Violin
Competition (2001). Since then, he has often
been invited as a soloist and director of
orchestras throughout the world, including
Academia Montis Regalis (Italy), Barokkanerne
As a soloist and chamber musician Rodolfo has
performed throughout the UK and toured
extensively. He has appeared in such venues as
the Concertgebouw in Amsterdam,
Konzerthaus Wien, Sydney’s City Hall, Chicago’s
Orchestra Hall, and the Alice Tully Hall and
Carnegie Hall in New York.
Rodolfo teaches baroque violin at the Royal
College of Music in London.
Juanita Lascarro soprano
been particularly significant in Juanita’s operatic
career. After making her British debut in the
British stage-premiere of the opera for
Garsington Opera, she has sung the part for
Deutsche Oper Berlin under Christian
Thielemann, for De Nederlandse Oper under
Ingo Metzmacher, and in concert under Edo de
Waart at the Concertgebouw.
In concert her performances include
appearances with the Leipzig Gewandhaus
under Lothar Zagrosek; with the Deutsches
Symphonie-Orchester under Vladimir
Ashkenazy; the Israel Philharmonic Orchestra
under Antonio Pappano; and the Gürzenich
Orchestra under James Conlon. Her
performances at the BBC Proms include Villa
Lobos’ Bachiana Brasileira No. 5 with the 12
Cellists of the Berliner Philharmoniker.
“Juanita Lascarro brings ease of line,
perfect intonation and tremendous
charm”
FINANCIAL TIMES
Colombian-born Juanita Lascarro began her
studies in biology in Bogotá, before moving to
Cologne to pursue her singing career at the
Musikhochschule Köln and the Opera Studio of
Oper Köln.
Notable operatic appearances have included
the title role of Monteverdi’s L'incoronazione di
Poppea at Opernhaus Zürich; Manon in Henze’s
Boulevard Solitude at the Gran Teatre del Liceu in
Barcelona; and debuts at the Wiener Staatsoper
and Bayerische Staatsoper as Juliette in Romeo
et Juliette, and in Martinů’s The Greek Passion at
the Royal Opera House, Covent Garden. She has
become one of Oper Frankfurt’s most significant
ensemble members, earning critical acclaim for
her performances in works from Janáček’s The
Adventures of Mr Brouček to Puccini’s La Boheme.
The title-role of Richard Strauss’ Daphne has
In recital Juanita has made appearances at the
Bath International Festival, the Stensgård
Festival, the Cork Chamber Music Festival and
London’s Wigmore Hall. Her discography
includes Les contes d’Hoffmann and Alcina for
Erato; Der Silbersee for BMG; Die Verlobung im
Traum for Decca; Der Zwerg for EMI; La Senna
Festeggiante for Opus 111; Arcadian Duets from
Handel for Virgin; a selection of Spanish songs
for Ópera Tres; and, with the Katona Brothers, a
selection of works by De Falla for Channel
Music.
In 2010 she made her debut under Sir Simon
Rattle as Princess Laoula in a rare staging of
Chabrier’s L’étoile, and in 2011 her roles include
Countess in Le nozze di Figaro, Pamina in Die
Zauberflöte, the title role in Daphne and Antonia
in Les Contes d’Hoffmann.
Academy of Ancient Music
Back in 1973, most orchestras played old music in
a modern style. Centuries of change had eroded
the sound-worlds known to Bach, Handel, Haydn
and Mozart: the instruments were different; the
pitch was different; the number of players was
different; the very essence and spirit of
performances was different.
But change was in the air. Wouldn’t it be
wonderful, people asked, if we could turn the
clock back; if we could find out more about
composers’ original intentions and get closer to
the style in which music was originally
performed? This was the spirit in which
Christopher Hogwood founded the AAM. It was
revolutionary. Centuries of convention were cut
away and baroque and classical masterworks
were heard anew.
succeeded Hogwood in 2006. In his first four years
as Music Director his recordings with the orchestra
have won the Edison, Gramophone and MIDEM
Awards; and he has directed hundreds of
performances across four continents. The
orchestra continues to work with a roster of guest
directors including Pavlo Beznosiuk, Giuliano
Carmignola, Paul Goodwin, Stephen Layton and
Masaaki Suzuki, ensuring that new ideas and
approaches continually inspire the group. In 2009
the AAM made history with the world’s first-ever
live choral “cinecast”: its performance of Handel’s
Messiah was beamed in real time from the King’s
College Chapel, Cambridge to tens of thousands of
people in over 250 cities around the globe.
“The ultimate raspberry to anyone who
says baroque music is predictable”
THE INDEPENDENT, 2009
The stringed instruments in Hogwood’s new
orchestra had strings made of animal gut, not
steel. The trumpets had no valves. The violins
and violas didn’t have chin-rests, and the cellists
gripped their instruments between their legs
rather than resting them on the floor. It wasn’t
just the instruments or the sound of the music
which changed, though; it was how it felt. AAM
performances were full of energy and passion
and joy.
From these beginnings, one of the world’s great
orchestras was born. Over the next three
decades the AAM’s fame spread to every corner
of the globe as it built up a celebrated
discography of well over 250 CDs — Brit- and
Grammy-award-winning recordings of the great
baroque masterworks; opera releases starring
Cecilia Bartoli, Dame Emma Kirkby and Dame
Joan Sutherland; pioneering cycles of the Mozart
and Beethoven symphonies. It performed live on
every continent except Antarctica, inspiring music
lovers worldwide with the passion and the power
of its music-making.
Richard Egarr — a leading light in the next
generation of early music specialists —
Today, the AAM’s concert series in London and
Cambridge lies at the heart of its work. This
season’s programme is based around The Bach
Dynasty — a major new concert series exploring
the music of JS Bach and his many composerrelatives. Other highlights include Mozart’s early
opera La Finta Giardiniera at the Barbican, and
tonight’s intriguing programme showcasing the
little-known baroque and classical music of South
America. The orchestra will collaborate with the
likes of Bernard Labadie, acclaimed director of Les
Violons du Roy, singers James Gilchrist, Rosemary
Joshua, Andrew Kennedy 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. Among this
year’s highlights are performances of JS Bach’s
Brandenburg Concertos and Haydn’s The Creation at
the Shanghai Concert Hall and in Perth, Australia;
concerts with the star Korean soprano Sumi Jo at
the National Centre for the Performing Arts in Beijing
and around Singapore, South Korea and Taiwan; and
performances in leading European venues including
the Concertgebouw in Amsterdam and the Théatre
des Champs-Elysées in Paris.
Violin
Rodolfo Richter
Bojan Čičić
Pierre Joubert
Rebecca Livermore
Liz MacCarthy
William Thorp
Viola
Jane Rogers
Cello
Andrew Skidmore
Double bass
Judith Evans
*Sponsored chairs
Flute
Rachel Brown
Leader
Mr and Mrs George Magan
Oboe
Katharina Spreckelsen
Lars Henriksson
Principal cello
Dr Christopher and
Lady Juliet Tadgell
Horn
Gavin Edwards
David Bentley
Principal flute
Christopher and Phillida Purvis
Theorbo
William Carter
Sub-principal viola
Sir Nicholas and Lady Goodison
Harpsichord
Alastair Ross
Sub-principal cello
Newby Trust Ltd
In profile: Katharina Spreckelsen oboe
Music has always been a big part of my life. Particularly memorable are
the annual trips to Midnight Mass in our Renault 4 with my parents, three
siblings and various cellos, violas, recorders and oboes, to play the
chorales from the Christmas Oratorio.
I was determined not to turn my hobby into my profession, and so
started to study Medicine. But I soon realized that I was unable to
concentrate on the human body whilst listening to music... Had I known
about the benefits of having music in the operating theatre I would
possibly have stuck to this career, but I switched to music and studied
with two inspirational teachers, the late Michel Piguet and Paul Goodwin.
Now I enjoy life with my husband and my two sons and in whatever time is left I play the
oboe and teach.
Board of Directors
Adam Broadbent
Kay Brock LVO DL
John Everett
Matthew Ferrey
John Grieves
Christopher Hogwood
CBE
Heather Jarman
Christopher Purvis CBE
(Chairman)
Dr Christopher Tadgell
Sarah Miles Williams
Development Board
Adam Broadbent
Kay Brock LVO DL
Delia Broke
John Everett
Matthew Ferrey
John Grieves
Madelaine Gunders
Elizabeth Hartley-Brewer
Annie Norton
Christopher Purvis CBE
Chris Rocker
Dr Christopher Tadgell
Madeleine Tattersall
Sarah Miles Williams
Alison Wisbeach
Music Director
Richard Egarr
Emeritus Director
Christopher Hogwood
CBE
External Relations
Manager
Toby Chadd
Administration Manager
Samantha Fryer
Chief Executive
Michael Garvey
Finance Manager
Elaine Hendrie
Orchestra Manager
Andrew Moore
Arts Management
Trainee
Sarah Reid
Head of External
Relations
Simon Fairclough
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
SHOR TLISTED FOR 2010 GRAMOPHONE AWARD FOR BAR OQUE INSTRUMENTAL MUSIC
“the subtleties and nuances of the playing, coupled with the sheer variety
of Handel’s fertile imagination, never pales over two hours of continuous
listening... These are outstanding accounts”
BBC MUSIC MAGAZINE, DECEMBER 2009
Concerti Grossi Op.3; Sonata à 5
WINNER OF 2007 GRAMOPHONE AWARD FOR BAR OQUE INSTRUMENTAL MUSIC
“The Academy of Ancient Music is in world-beating form”
GRAMOPHONE, APRIL 2007
Organ Concertos Op.4
WINNER 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
AAM celebrates Christmas and
Passiontide at Cadogan Hall
Johann Sebastian Bach wrote music especially tailored for the
great feasts of the year. He responded to the year’s liturgical
events with remarkable lucidity; he also knew how to celebrate
and enter into the festive spirit. Be sure to join us as we mark
Christmas and Passiontide with the masterworks of JS Bach.
Ticket offer
Save 10% if you book a
pair of tickets for both
JS Bach at Christmas and the
St John Passion at the same time.
Phone 020 7730 4500 or visit
www.cadoganhall.com,
and quote AAM1003
when booking.
Thursday 23 December 2010
Wednesday 20 April 2011
JS Bach at Christmas
JS Bach’s St John Passion
Choral and instrumental music,
including the Magnificat
with the Choir of King’s College, Cambridge
To celebrate Christmas we present a selection of
JS Bach’s finest festive work. At the centre of the
programme stands the Magnificat, renowned for
its sheer exuberance and vitality. But Christmas
music wasn’t all for the church, and Bach was
called on to entertain the crowds visiting the
trade-fairs. The festive mood comes across
strongly in the Concerto in C minor for violin
and oboe, with its playful dialogue and rhythmic
buoyancy; whilst the Concerto in D minor for
harpsichord, designed as a showpiece for a new
instrument, provides a virtuosic flourish.
Following sold out Christmas performances of
Messiah in 2009 and the Christmas Oratorio in
2008, the Choir of the AAM returns to Cadogan
Hall for what is sure to be another unmissable
festive celebration.
Choir of the AAM
The St John Passion is one of the great works of
western music. When it was first performed on
Good Friday 1724, Bach’s congregation would
never have heard anything like it; and nearly three
hundred years later it still reaches to the heart of
the Passion story with startling clarity and emotion
through its intimate scale and moving lyricism.
The AAM’s acclaimed annual Passion performance
with the Choir of King’s College, Cambridge is
brought to London for the first time. Andrew
Kennedy, described as “outstanding” by the
Guardian for his performance in this year’s BBC
Proms, takes the role of the Evangelist.
“I would happily sit in King’s College Chapel
listening to this choir sing for
the rest of my days”
THE TIMES
Choir of King’s College, Cambridge
Visit http://www.youtube.com/acadofancientmusic for exclusive preview videos,
featuring rehearsal footage and interviews with the players.
Supporting the Academy of Ancient Music
We live in a world of worthy causes. Why
support an orchestra like the AAM?
to support from generous individuals which
enabled them to realise their potential.
For centuries, people have understood the
importance of culture. The arts enrich society and
change lives. They help to make life worth living.
Over the centuries, successive generations of
philanthropists created and sustained the
orchestras and choirs which kept this music alive.
It is their legacy which we inherit today.
For centuries, people have also understood that
culture is costly, and that it can only thrive if
those who are in a position to sustain it do so
generously. The music which the AAM performs
only ever came into being because of a culture
of patronage: Monteverdi was supported for
much of his career by the Duke of Mantua; JS
Bach composed many of his instrumental
masterpieces while employed at the courts of
Weimar and Köthen; and Haydn’s 104
symphonies may never have been written had
he not enjoyed the backing of the Esterházy
family. The music of these great composers —
and of many others besides — stands as
testament not only to individual genius, but also
For a time, it seemed that the future of the arts in
Britain would be taken care of by the state; that
the need for support from generous individuals
was a thing of the past. For better or worse,
those days are long gone. The Academy of
Ancient Music does not receive any regular
public funding, and income from ticket sales
will fall short of covering the full cost of
sustaining the orchestra by at least £400,000
this year.
The future of ancient music lies in the hands of a
new generation of philanthropists.
The AAM Society
The AAM Society is the orchestra’s closest group
of regular supporters. Membership ranges from
£250–£20,000+ per annum — or from £100 per
annum for Young Supporters — given either as a
lump sum or by regular donation. Members’
contributions provide the vital core funding
required if the orchestra is to continue to
perform.
Society members enjoy a very close involvement
with the life of the AAM. After performances in
London, members dine with the director, soloists
and AAM musicians. They have a chance to
become a part of orchestral life behind the
scenes by sitting in on rehearsals for concerts and
recordings. At least once each year they have the
opportunity to accompany the orchestra on an
international tour — earlier this month, for
example, a large group travelled with the AAM
and Choir of King’s College, Cambridge on a
tour of the Netherlands.
Those giving over £1,000 per year receive
invitations to regular recitals and other special
events held at the homes of fellow members.
Those giving over £5,000 per year have the
opportunity to sponsor a specific position in the
orchestra, and are invited to join the Council of
Benefactors, a forum which will meet annually to
receive an update on the orchestra’s performance
from the Chief Executive and Chairman.
Tax efficient giving
Because the AAM is a charity, gifts from UK
taxpayers can be made in a tax efficient manner
under the Gift Aid scheme.The cost of a gift to
the donor can be as little as half of its value
to the AAM. The orchestra can claim back from
the HMRC the basic rate tax already paid by the
donor, and higher and additional rate taxpayers
can claim tax relief on the difference between the
basic rate and the applicable rate of income tax:
Membership
level
Minimum
donation
Value of donation
to AAM after
Gift Aid
Final cost to
additional rate
(50%) taxpayer
after tax relief
Final cost to
higher rate (40%)
taxpayer
after tax relief
Equivalent
monthly
donation
Young Supporter
(under 40 only)
Donor
Benefactor
Principal Benefactor
Patron
Principal Patron
The Hogwood Circle
The Chairman’s Circle
£100
£125
£62.50
£75
£8.33
£250
£500
£1,000
£2,500
£5,000
£10,000
£20,000
£312.50
£625
£1,250
£3,125
£6,250
£12,500
£25,000
£156.25
£312.50
£625
£1,562.50
£3,125
£6,250
£12,500
£187.50
£375
£750
£1,875
£3,750
£7,500
£15,000
£20.83
£41.67
£83.33
£208.33
£416.67
£833.33
£1,666.67
Gifts of shares
Donors are encouraged to consider covering
the cost of their AAM Society membership by
making gifts of shares. Generous tax incentives
are available to individuals who support
charities in this manner. Donors are able to
claim income tax relief on the value of shares
and securities donated, and are also exempt
from any tax on capital gains that would have
arisen if the shares had been sold. In some
circumstances the cost of the gift could be
under 50% of the eventual value to the AAM.
More information is available from the Head of
External Relations, Simon Fairclough, on 01223
301509 or [email protected].
How to join
To join the AAM Society, please complete and
return the form on page 19 of this booklet.
Leaving a legacy
Over the last four decades the Academy of
Ancient Music has brought joy and inspiration
to millions of people. Our aim over the next is
to begin to build up an endowment fund
which will enable the orchestra to do so in
perpetuity.
Leaving a legacy is one of the most important
and enduring ways in which you can support
the AAM. Whether you give £5,000 or
£5 million, your bequest will have a real
impact in enabling the AAM to keep the
music of the baroque and classical periods
alive, and to enrich the lives of music lovers
for generations to come.
Legacies are highly tax efficient: the AAM’s
charitable status means that gifts are exempt
from Inheritance Tax, and any legacy you
bequeath may also reduce the overall tax
liability due on your estate.
Should you find yourself a beneficiary under a
will, you may also wish to consider
transferring part of your inheritance to the
AAM using a Deed of Variation. Amounts
transferred in this manner become freed of
any Inheritance Tax otherwise due, affording
the opportunity for the AAM to benefit from
your generosity during your lifetime.
The Head of External Relations, Simon
Fairclough, is always happy to talk informally
and in confidence with anyone considering
making provision for the AAM in their will. He
can be contacted on 01223 301509 or
[email protected].
AAM Funders & Supporters
The AAM is indebted to the following trusts, companies, public
bodies and individuals for their support of the orchestra’s work:
AAM Business Club
Cambridge University Press
Kleinwort Benson
Amberstone Trust
CHK Charities Ltd
Dunard Fund
John Ellerman Foundation
Esmée Fairbairn Foundation
Fidelity UK Foundation
Goldsmiths’ Company Charity
The Idlewild Trust
The Michael Marks Charitable Trust
Anthony Travis Charitable Trust
Arts Council England through the
Sustain programme
Orchestras Live
Cambridge City Council
The AAM Society
Special gifts
The Academy of Ancient Music extends its
grateful thanks to Lady Sainsbury of Turville,
who has supported the orchestra’s work at a
particularly significant level this year.
(Donations £20,000–£49,999 per annum)
CHK Charities Ltd
Dunard Fund
The Hogwood Circle
(Donations £10,000 - £19,999 per annum)
Matthew Ferrey
Mr and Mrs George Magan
Christopher and Phillida Purvis *
Mrs Julia Rosier
Dr Christopher and Lady Juliet Tadgell
Principal Patrons
(Donations £5,000 – £9,999 per annum)
Lady Alexander of Weedon
Sir Nicholas and Lady Goodison *
Richard and Elena Bridges
Christopher Hogwood CBE *
Mrs Sheila Mitchell
Newby Trust Ltd *
Chris Rocker and Alison Wisbeach
and other anonymous Principal Patrons
Patrons
Adam and Sara Broadbent
Mr and Mrs Graham Brown
Mr and Mrs JE Everett
John and Ann Grieves
Mark and Liza Loveday
John and Joyce Reeve
Mark West
Sarah and Andrew Williams
and other anonymous Patrons
Principal Benefactors
George and Kay Brock
Mrs D Broke
Clive and Helena Butler
Jo and Keren Butler
Sir Charles Chadwyck-Healey Bt
Kate Donaghy
The Hon Simon Eccles
Elma Hawkins and Charles Richter
Lord Hindlip
John McFadden and Lisa Kabnick *
Mr and Mrs C Norton
Lionel and Lynn Persey
Nigel and Hilary Pye *
Mr and Mrs Charles Rawlinson
Sir Konrad and Lady Schiemann *
JG Stanford
John and Madeleine Tattersall
Marcellus and Katharine Taylor-Jones
Stephen Thomas
Mrs R Wilson Stephens
Charles Woodward
and other anonymous Principal Benefactors
Benefactors
(Donations £500 – £999)
Maureen Acland OBE *
Dr Aileen Adams CBE
Bill and Sue Blyth
Elisabeth and Bob Boas *
Claire Brisby and John Brisby QC *
Mr and Mrs Edward Davies-Gilbert
Charles Dumas
Mr and Mrs Jean-Marie Eveillard
Simon Fairclough
Marshall Field
Andrew and Wendy Gairdner
William Gibson
The Hon Mr and Mrs Philip Havers
Professor Sean Hilton
Dr and Mrs G and W Hoffman
Heather Jarman *
David and Linda Lakhdhir
Susan Latham
Tessa Mayhew
Mr and Mrs Hideto Nakahara
Rodney and Kusum Nelson-Jones
Nick and Margaret Parker
Timothy and Maren Robinson
Bruno Schroder and Family
Peter Thomson
Peter and Margaret Wynn
Julia Yorke
and other anonymous Benefactors
Donors
(Donations £250 – £499)
Angela and Roderick Ashby-Johnson
Mrs Nicky Brown
Dr and Mrs S Challah
David and Elizabeth Challen
The Cottisford Trust
Derek and Mary Draper
Beatrice and Charles Goldie
Steven and Madelaine Gunders
Gemma and Lewis Morris Hall
Mrs Helen Higgs
Lord and Lady Jenkin of Roding
Richard Lockwood
Yvonne de la Praudière
Robin and Jane Raw
Annabel and Martin Randall
Arthur L Rebell and Susan B Cohen
Michael and Giustina Ryan
Miss E M Schlossmann
Tom Siebens and Mimi Parsons
Rt Hon Sir Murray Stuart-Smith *
Robin Vousden
Pippa Wicks
Paul F. Wilkinson and Associates Inc.
and other anonymous Donors
* denotes founder member
Members of the AAM Bach Patrons
Lady Alexander of Weedon
Richard and Elena Bridges
Mr and Mrs Graham Brown
Jo and Keren Butler
CHK Charities Ltd
Matthew Ferrey
Dunard Fund
The Hon Simon Eccles
Professor Sean Hilton
Graham and Amanda Hutton
Mark and Lisa Loveday
Mrs Sheila Mitchell
Mr and Mrs Charles Rawlinson
John and Joyce Reeve
Dr Christopher and Lady Juliet Tadgell
John and Madeleine Tattersall
Stephen Thomas
Mark West
Charles Woodward
Cambridge Bach Supporters
Cambridge Bach Friends
and other anonymous AAM Bach Patrons
Join the AAM Society
I would like to join the AAM Society
I would like to give membership of the AAM Society to
someone else as a gift
Your details
Name: ........................................................................................................................................
Address: ....................................................................................................................................
........................................................................................................................................................
Telephone: ..............................................................................................................................
Email: ..........................................................................................................................................
Gift membership — member’s details
Please complete this section only if you are giving Society
membership to someone else as a gift.
Member’s name: ................................................................................................................
Three-year pledge
By pledging to support the AAM over a three-year period, you can
help the orchestra to plan for the future with confidence.
Please tick here if you are able to pledge to support the
orchestra at this level for three years.
Leaving a legacy
Please tick here if you would be willing to receive information
about remembering the AAM in your will.
Matched giving
My firm operates a matched giving policy. Please contact me
to discuss this further.
Gift Aid declaration
Please complete this section if you pay UK income tax and/or
capital gains tax at least equal to the tax which the AAM will
reclaim on your donations in the appropriate tax year.
Member’s address: ............................................................................................................
........................................................................................................................................................
Please treat this donation and all donations that I make from the
date of this declaration until I notify you otherwise as Gift Aid
donations.
Member’s telephone: ......................................................................................................
Signed: .....................................................................................................................................
Member’s email: .................................................................................................................
Date: ...........................................................................................................................................
Membership level
The Hogwood Circle
Principal Patron
Patron
Principal Benefactor
Benefactor
Donor
Young Supporter (under 40 only)
£20,000+
£10,000–£19,999
£5,000–£9,999
£2,500–£4,999
£1,000–£2,499
£500–£999
£250–£499
£100–£249
Donations made by standing order
Please complete this section if you would like to make your
donation to the AAM by standing order.
Name of bank: .....................................................................................................................
Bank address: ........................................................................................................................
........................................................................................................................................................
Date of birth: ..................................................................................................................
Account number: ...............................................................................................................
Acknowledgement
Please acknowledge my gift using the following form of
wording
.......................................................................................................................................................
I would prefer to remain anonymous
Sort code: ................................................................................................................................
Please pay Academy of Ancient Music, Lloyds TSB, Gonville Place
Branch, Cambridge, sort code 30-13-55, Account number
02768172 the sum of
£......................................................................................................................................................
per
Payment details
I 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’)
month
quarter
year
starting on: .............................................................................................................................
Signed: ......................................................................................................................................
Date: ...........................................................................................................................................
I would like to pay by standing order
(please complete the standing order section below)
Full name: ...............................................................................................................................
I would like to make a gift of shares (please contact the AAM)
Please return your completed form to:
Simon Fairclough
Head of External Relations
32 Newnham Road
Cambridge CB3 9EY
Academy of
Ancient Music
Handel’s tragic muse
16 March 2011
18 March 2011
Wigmore Hall, London
West Road Concert Hall, Cambridge
Pre-concert talks with Bernard Labadie at 6.30pm
See inside back cover for details of how to book.
“Her glinting
soprano, bright-edged
yet deliciously rounded and
sensual, is used with rare
understanding for character”
Canadian duo Karina Gauvin and
Bernard Labadie join us for a
programme showcasing Handel’s most
moving writing for the stage. Arias from
six operas — including Alcina’s lament
for her lost magical powers and the
achingly beautiful ‘Lascia ch’io
pianga’ from Rinaldo — are set
against the elegant dance
interludes from Ariodante
and Alcina.
Karina Gauvin
soprano
Bernard Labadie
conductor
SUNDAY TIMES
Wigmore Hall
36 Wigmore Street
London W1U 2BP
Director: John Gilhooly
The Wigmore Hall Trust
Registered Charity No.1024838
Wigmore Hall is a no-smoking venue.
No recording or photographic equipment may be taken into the
auditorium, nor used in any other part of the Hall without the
prior written permission of the Hall Management.
Wigmore Hall is equipped with a ’Loop’ to help hearing aid users
receive clear sound without background noise. Patrons can use
the 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 the
gangways intersecting the seating, or to sit in any of the other
gangways. If standing is permitted in the gangways at the sides
and rear of the seating, it shall be limited to the numbers
indicated in the notices exhibited in those positions.
Facilities for Disabled People:
Please contact House Management
for full details.

Programme Nov10_AAM programme Sept 2010

Transcription

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