The Baroque Trumpet - Academy of Ancient Music

Academy of Ancient Music 2014-15 SeasoN | 3 | The baroque trumpe t
Academy of Ancient Music
David Blackadder director & trumpet
Bojan Čičić director & violin
The Baroque Trumpet
16 February 2015
West Road Concert Hall, Cambridge
18 February 2015
Milton Court Concert Hall, London
22 February 2015
The Apex, Bury St Edmunds
1 March 2015 Civic Theatre, Chelmsford
JS BACH
Sinfonia from Cantata No.29 (1731)
Sinfonia from Cantata No.150 (c.1708)
Sinfonia from Cantata No.249 “Easter Oratorio” (1725)
BIBER
Sonata No.10 in G minor (1676)
CORELLI
Sonata á quattro (1699)
Adagio · Allegro · Grave · Affettuoso · Allegro
JS BACH
Concerto in D minor for two violins (1723)
Vivace · Largo ma non tanto · Allegro
VIVALDI
Concerto in C major for two trumpets (c.1730)
Allegro · Largo · Allegro
BIBER
Battalia á 10 (1673)
Presto · Allegro · Presto · Der Mars · Presto · Aria · Die Schlact ·
Adagio - Lamento der verwundten Musquetir
TELEMANN Concerto in D major for trumpet, violin and cello (c.1715)
Vivace · Adagio · Allegro
TELEMANN Concerto in D major for three trumpets (1716)
Largo · Allegro · Adagio · Presto
Tonight’s performance is generously supported by Tony and Jackie Yates-Watson.
THE BAROQUE TRUMPET
20 minute interval
D av i d B l a c k a dd e r
director & trumpet
David took up the trumpet aged nine, following in the
footsteps of his grandfather who was a bandmaster
in the North East. He joined the Leicestershire Schools
Symphony Orchestra and went on to study at the Royal
College of Music with Michael Laird.
In 1993 he formed the ground-breaking group Blackadder
Brass which quickly became the resident educational
ensemble at Symphony Hall in Birmingham, playing to
over 40,000 children in its first three years. He is also a
professor at Birmingham Conservatoire.
© Boyd Gilmour
After a season as guest principal trumpet with Scottish
Opera he joined the English Baroque Soloists and
Orchestre Revolutionaire et Romantique as principal
trumpet under Sir John Eliot Gardiner. He also became
principal trumpet of the Academy of Ancient Music with
Christopher Hogwood. During this time he performed
extensively at major concert venues throughout the world
and took part in numerous recordings for CD, radio, TV
and video.
David is now also principal trumpet with the Orchestra of
the Age of Enlightenment and is renowned as a soloist,
having performed and recorded many of the great
trumpet masterpieces with conductors such as Sir Simon
Rattle, Sir Roger Norrington, Frans Brüggen, Vladimir
Jurowski and Stephen Cleobury.
His recordings of Handel – with singers including Renée
Fleming and Kiri Te Kanawa – have received particular
critical acclaim, and he has recorded JS Bach’s Brandenburg
Concertos with Trevor Pinnock and Richard Egarr.
Bojan Čičić
director & violin
In April 2012 Bojan became principal second violin of
the AAM. He is also Leader of Florilegium, and performs
with the Orchestra of the Age of Enlightenment.
In August 2006 Trevor Pinnock asked him to be one of
the soloists with the European Brandenburg Ensemble
on their tour across Europe and in the Far East. Their
recording of JS Bach’s Brandenburg Concertos won the
Gramophone Award in 2008.
© Tim Mintiens
Bojan Čičić originally graduated with a diploma in
modern violin from the Zagreb Academy of Music.
After finishing his studies at the Paris Conservatoire and
the Guildhall School of Music & Drama with
F Fernandez and Rachel Podger, he embarked on a
career as a chamber musician and leader using the vast
and diverse musical influence he was lucky to have
gained in his formative years.
Future projects outside AAM include leading the
ensemble La Nuova Musica on their five recordings
for Harmonia Mundi USA with director David Bates,
as well as an exciting tour with his own group Suonar
Cantando of Belgium and the Netherlands, performing
Venetian, Croatian and Viennese baroque music.
Academy of Ancient Music 2014-15 SeasoN | 5 | The baroque trumpe t
P H ILLI P B AIN B RI D G E
Phillip began playing the trumpet at the age of nine and went on to join
the Bedford Youth Orchestra and Town Band. Since studying with Michael
Laird at the Royal College of Music, he has been busy as a freelance
player working with some of the country’s leading orchestras including
the London Philharmonic, the RTE Orchestra, the OAE, the English
Baroque Soloists and the Academy of Ancient Music, with whom he has
toured Europe, Japan, Russia and North and South America. In 1993 he
co-founded Blackadder Brass which soon became the first ensemblein-residence at Birmingham Symphony Hall. Phillip teaches for the
Hertfordshire Music Service and at the RCM Junior Department.
trumpet
RO B ER T VANR Y NE
Born in Hertfordshire, the trumpeter Robert Vanryne became a
finalist at the age of fifteen in the BBC Young Musician of the Year
competition. After completing a music degree at Royal Holloway
College he continued his studies on the trumpet as a postgraduate
at the Royal College of Music with Michael Laird. He has performed
and recorded regularly with Europe’s leading period-instrument
ensembles as well as with modern orchestras throughout the
United Kingdom. He is also an instrument maker, specialising in the
reproduction of 17th- and 18th-century trumpets which are currently
played by many of the world’s leading musicians.
trumpet
RE B ECCA LIVER M ORE
Since studying with Andrew Manze at the Royal Northern College of
Music, Rebecca has been busy as a freelance player working with some of
the country’s finest period-instrument orchestras including the Academy
of Ancient Music, the Orchestre Romantique et Revolutionaire, the OAE,
The King’s Consort, the Gabrieli Consort and the English Baroque Soloists.
She appears as a soloist regularly and has led many of the leading
orchestras including the AAM, the Dunedin Consort and Florilegium.
Rebecca also directs Norwich Baroque, though her main passion is
playing principal second violin. She has toured extensively worldwide and
participated in numerous recordings for CD, television, radio and DVD.
violin
S ARA H M C M A H ON
cello
Sarah McMahon studied at the Royal Academy of Music with David
Strange, Jenny Ward-Clarke and Colin Carr, graduating in 2001 with
a first class BMus and a DipRAM distinction. She is principal cellist
with the AAM, the Irish Baroque Orchestra and Camerata Kilkenny
and is also regularly invited to play as guest principal cellist with
Arcangelo, the OAE and Aurora Orchestra. A dedicated chamber
musician, she founded the Callino String Quartet in 1999. As a soloist
she has appeared with the OAE and the IBO and featured in a criticallyacclaimed disc for of the Vivaldi Concerto for two cellos with Jonathan
Cohen and The Kings Consort.
ACA D E M Y O F ANCIEN T M U S IC
Violin 1
Bojan Čičić · Sijie Chen · Emilia Benjamin
Bassoon
Rebecca Hammond
Violin 2
Trumpet
Rebecca Livermore · Jo Lawrence ·
Lara James
David Blackadder · Phillip Bainbridge ·
Robert Vanryne
Viola
Jane Rogers*
Timpani
Benedict Hoffnung
Cello
Sarah McMahon*
Harpsichord & Organ
Alastair Ross
Double Bass
Judith Evans
Theorbo
Alex McCartney
Oboe
Gail Hennessy · Belinda Paul
Keyboard Technicians
Malcolm Greenhalgh · Edmund Handy ·
Vince Woodstock
*Sponsored Chairs
principal viola
Principal flute
Richard and Elizabeth de Friend
Christopher and Phillida Purvis
Principal cello
Sub-principal viola
Dr Christopher and Lady Juliet Tadgell
Sir Nicholas and Lady Goodison
Academy of Ancient Music 2014-15 SeasoN | 7 | The baroque trumpe t
The baroque
t r ump e t
JS BACH Sinfonias and concerto
in d minor for two violins
Each of Johann Sebastian Bach’s two hundred-odd
surviving sacred cantatas is a miniature masterpiece,
taking a different approach to conveying the spiritual
message of a Sunday or feast in the Lutheran church
year. For the most part the cantatas open with
a fully-worked fugal movement or cantus firmus
chorale setting for the full complement of voices
and instruments. Twenty of them, though, begin
with sinfonias, or movements for instruments alone.
Tonight’s opening sequence presents three of those
sinfonias, each of them different in provenance, scoring
and mood.
Ever the resourceful recycler, Bach opens his Cantata
No.29 “Wir danken dir, Gott, wir danken dir” with an
arrangement of the Praeludium from the Partita for solo
violin BWV1006. His reworking transposes the original
down a tone from E major to D major, places the
organ in the solo role, and fleshes it out with orchestral
accompaniment to create an uplifting opening for
a cantata written to celebrate the Ratswechsel, or
inauguration of a new town council, in 1731.
By contrast, the sinfonia to Cantata No.150 depresses
rather than uplifts. Much is made of a chromatically
descending bass figure which anticipates the mood
of penitence and longing in the ensuing chorus; the
scoring is minimal and intimate, calling for just two
violins, bassoon and continuo.
The final sinfonia is a full-strength affair which opens
Cantata No.249, otherwise known as the “Easter
Oratorio”. Passages for trumpets and timpani alternate
with more intimate sections featuring solo violin, oboe
and bassoon. In creating a mood of celebration, the
sinfonia works just as well as part of Easter festivities
in Leipzig in 1735 as it did in its original context: the
Johann Sebastian Bach (1685-1750). 19th-century engraving by August Weger (1823-1892).
secular cantata “Entfliehet, verschwindet, entweichet,
ihr Sorgen”, written for the birthday of Duke Christian of
Saxe-Weissenfels a decade before.
The re-use in church cantatas and other works of
pre-existing material means that, in many cases, music
survives which otherwise we would have lost forever.
Bach is thought to have composed several violin
concertos during his stints at Weimar (1708-17) and
Cöthen (1717-23) which only survive in later versions
for harpsichord. There are only three violin concertos
extant today “as is”: the two solo concertos in A minor
and E major, and this concerto in D minor for two
violins. Bach puts what he had learnt from studying and
copying the concertos of Vivaldi to good use here. The
Vivace opening movement pits full ripieno sections
against solo interludes in the best Italian tradition; Bach
follows it with a gently rocking Largo in 12/8 time before
concluding with a tightly-knit Allegro which takes a tiny
three-note motif as the seed of its main theme.
Biber Sonata No.10 in G minor
and Battalia
Both a composer and a violin virtuoso of stunning
ability, Heinrich von Biber (1644-1704) is best known in
concert programmes these days for his brilliant sonatas,
many of which call for scordatura, or special tuning
of the violin’s four strings, and for strikingly evocative
ensemble works. These include the Serenada which
features a bass soloist in the guise of a nightwatchman
singing the German equivalent of “three o’clock and
all’s well,” and a thoroughly entertaining work that
appears later in tonight’s programme: Battalia, which
in its vivid description of renaissance warfare from
many different angles – the heroism, the gunfire, the
pre-battle alcoholic stiffeners, and the gory aftermath
– leaves little to the aural imagination. All in all, Biber’s
compositions must have made a lively contribution to
life at court in Salzburg, where he entered the service
of the Prince-Archbishop, Maximilian Gandolph von
Khuenberg, in the autumn months of 1670. Initially
classed as one of the valets de chambre in the
all-important court pecking order, Biber rose
through the ranks to become deputy Kapellmeister,
Kapellmeister and dean of the choir school, knight and
finally Lord High Steward of Salzburg.
Tonight’s Biber sonata comes from a collection from
1676 glorying in the title of Sonatae tam aris quam aulis
servientes, or sonatas just as suitable for the altar as for
the table – in other words, apt for sacred and secular
use. There are a dozen works in all, for anything from
five to eight instruments. Sonata No.10 in G minor,
scored for one trumpet and strings, is a fluid sequence
of five movements in a variety of tempi and meters.
Its most eyebrow-raising feature is its key; G minor is
a most unusual key for a natural C trumpet to play in,
without the aid of valves to complete the scale. The
need to “lip” the natural harmonics to produce the
necessary notes such as B flat and F sharp is probably
a nod to one of the standout trumpeters of Biber’s day
who was a master of this technique: Pavel Vejvanovský,
principal trumpeter at the court of Kroměříž, Biber’s
previous place of employment.
Corelli Sonata Á quattro
Writing almost a century after the event, in 1789,
the Englishman Charles Burney had nothing but
praise for tonight’s next composer. “The Concertos
of Corelli,” Burney wrote, “seem to have withstood
all the attacks of time and fashion […] they preclude
all criticism and make us forget that there is any
other music of the same kind existing.” Perhaps it is
surprising that Arcangelo Corelli’s music should cast
such a long shadow, given that he concentrated
on just three genres: solo sonata, trio sonata and
concerto. That focus on instrumental music, in an era
when the power of the church with its need for new
sacred compositions still held considerable sway, was
especially unusual. But, as Corelli put it in a letter of
1679 to Count Fabrizio Laderchi, the sole purpose of his
compositions was “per far campeggiare il violino” – to
show off what the violin can do. As an outstanding
violinist, teacher and ensemble director, he may have
been an exacting taskmaster, but in an age when
leading composers of the time are now famous for
castigating town councils or threatening sopranos with
defenestration, Corelli stands out as a model citizen. Sir
John Hawkins, a music-loving friend of Dr Johnson’s,
records that Corelli was “remarkable for the mildness of
his temper and the modesty of his deportment.”
This D major Sonata á quattro features five light
movements in the space of some seven minutes. An
opening Adagio is followed by a fugal Allegro led off
by the first violin. Third comes a chordal Grave for
Academy of Ancient Music 2014-15 SeasoN | 9 | The baroque trumpe t
strings alone, followed by an Allegretto characterised
by a dotted rhythm for trumpet and continuo. Finally,
all instrumentalists combine for an Allegro in dancing,
triple time.
Vivaldi Concerto in C major
for two trumpets
Antonio Vivaldi played a central role in the musical life
of the Republic of Venice at a time when it was creating
musical performances of the highest calibre. Many of
them took place, somewhat incongruously perhaps, in
the four ospedali grande, charitable institutions which
quite apart from their assistance to indigent Venetians
were important sources of employment for many
musicians. There were the Ospedali dei Mendicanti,
degli Incurablii, dell’Ospedaletto – and the Ospedale
della Pietà, which had several distinguished musicians
on its staff in the early 1700s, including Vivaldi who
worked there on and off for over thirty years.
These ospedali were hospices rather than just hospitals
– they were also dedicated to looking after illegitimate
children and orphans, and music had for a long time
been part of the curriculum for these unfortunate
children. The girls who opted to study music
there became so good at playing and singing that
performances in the chapels drew large congregations;
they in turn gave generously in the form of donations
and endowments to ensure standards remained high;
this money was used to engage leading musicians as
teachers; the girls were assured a blue-chip education
– and so a virtuous circle came about. The skill of these
girls made them internationally famous; it became the
done thing to take visiting dignitaries to performances
given by girls from the four Ospedali. For example, a
guidebook from 1740, talking about the girl performers
of the Ospedale degli Incurabili, states: “Such is the
Antonio Vivaldi (1678-1741). Painted portrait (1723) by François Morellon de la Cave.
perfection which they attain in so doing that for
this very reason many foreigners are attracted here
throughout the year; no visitor of importance who was
come to Venice leaves without having first honoured
this holy place with his presence.”
Leaving aside his forty-six recognised operas and
the ninety-odd sonatas, the famously prolific Vivaldi
composed around 500 concertos. Around 350 of
them were for a solo instrument and strings. Most of
them are for the violin, but Vivaldi places many other
instruments in the solo spotlight including bassoon,
cello, oboe, mandolin, flute and recorder. The trumpet
though is an interesting case. Vivaldi left us no solo
trumpet concerto, but there is a concerto for two
trumpets which survives in a single manuscript in the
National Library of Turin. What’s unusual about this
work is that it is one of a very few Vivaldi works written
for trumpets in C, rather than the more usual D. Other
Vivaldi works including the C trumpet include the opera
Tito Manlio, staged in Mantua during Vivaldi’s time there
as Maestro di cappella from 1718 to 1720. That has led
the Italian scholar Federico Maria Sardelli to suggest
that this concerto was written with the skilled, German,
trumpeters of the Mantuan court in mind. The concerto
is laid out in the usual three movements; its outer
Allegros featuring writing for the two trumpets which is
exactly equal in its virtuosity are separated by a delicate
Largo, just six bars long, for strings alone.
Telemann Concertos in D major
for trumpet, violin and cello
and three trumpets
Godfather to Johann Sebastian Bach’s second son
Carl Philipp Emanuel in 1714, first choice to become
Leipzig Cantor in 1723, and founder of the Collegium
Musicum which JS Bach took over in 1729, Georg Philipp
Telemann’s life is one which it is tempting to view purely
in the context of his friend and contemporary. The two
men did have great regard for each other, and while
posterity may have turned the tables on Telemann
these days, three centuries ago it was he rather than
Bach who was regarded as the leading composer of the
German states – prolific, successful and endowed with
plenty of political savoir-faire. In 1712 Telemann became
director of music of the city of Frankfurt am Main, and
composed tonight’s final two works during his decade
in post there: a Concerto in D major for trumpet, violin
and cello of 1715, and a Concerto in D major for three
trumpets from the following year, both works making
striking use of the trumpet’s high-flying “clarino” register.
The second of these concerti was written to celebrate
the birth of Prince Leopold, heir to Holy Roman Emperor
Charles VI. From the grandeur of the opening Intrada
to the rousing final Vivace, this is a fitting way to wish a
new-born royal a long and happy life. Alas, it was not
to be – the infant prince died later that same year at the
age of just seven months old.
Sandy Burnett © 2015
Sandy Burnett is a leading broadcaster, conductor, bassist, lecturer and
evangelist for music.
A c a d e m y o f A n c i e n t M u s i c 2 0 1 4 - 1 5 S e a s o N | 11 | T h e b a r o q u e t r u m p e t
Ou r T e a m
Music ­Director
Richard Egarr
Head of Projects & Administration
Samantha Martin
PR Consultant
Rebecca Driver Media Relations
Chief ­Executive
Ed Hossack
Administrative Assistant
Alan Bowman
Head of Finance
Elaine ­Hendrie
Head of Concerts and Tours
Sarah Bennett
Marketing & Communications
Manager
Erica Rees
Head of Fundraising
Brittany Wellner-James
Concerts and Tours Manager
Chloë Wennersten
Artistic Consultant
Lars Henriksson
Marketing & Communications
Assistant
John McMunn
Fundraising Manager­
Bethan Quartermaine
Fundraising Assistant
Will Finch
b o a r d o f t r ust e e s
Terence Sinclair (chairman) · John Grieves (vice-chairman) · Richard Bridges · Hugh Burkitt · Richard Egarr
John Everett · Matthew Ferrey · James Golob · Philip Jones · John Reeve · Madeleine Tattersall · Janet
Unwin
·
Honorary president: Christopher Purvis CBE
D e v e l o pm e n t B o a r d
Richard Bridges* (chairman) · Delia Broke · Hugh Burkitt · Elizabeth De Friend · Kate Donaghy · John
Everett* · Matthew Ferrey* · Andrew Gairdner MBE · James Golob · John Grieves · Peter Hullah · Philip
Jones · Linda Lakhdhir · Annie Norton · John Reeve · Chris Rocker* · Terence Sinclair* · Madeleine
Tattersall* · Janet Unwin · Alison Wisbeach
*Fundraising committee member
Co u n c i l
Christopher Purvis CBE (chairman) · Richard Bridges · Adam Broadbent · Kay Brock LVO DL · Delia Broke · Hugh
Burkitt · Elizabeth de Friend · Kate Donaghy · Jane Evans · John Everett · Matthew Ferrey · Andrew Gairdner
MBE · James Golob · John Grieves · Nick Heath · Lars Henriksson · Peter Hullah · Philip Jones · Linda Lakhdhir
· Annie Norton · John Reeve · Chris Rocker · Will Samuel · Sir Konrad Schiemann · Terence Sinclair · Rachel
Stroud · Dr Christopher Tadgell · The Lady Juliet Tadgell · Madeleine Tattersall · Janet Unwin · Alison Wisbeach
ACA D E M Y O F ANCIEN T M U S IC
OUR ETHOS
The history of the Academy of Ancient Music is the
history of a revolution. When Christopher Hogwood
founded the group in 1973, the world’s orchestras
performed old music in a thoroughly modern style.
The works of Bach, Handel, Haydn and Mozart were
unrecognisable, enshrouded by the accumulation
of centuries of shifting tastes and incremental
developments in instrument building and design.
But change was in the air. Wouldn’t it be great, people
asked, if we could turn back the clock, if we could strip
away modern fashion and artifice to approach music
as it was originally conceived? This was the spirit in
which the AAM was founded, and it was revolutionary.
Centuries of convention were cut away as baroque and
classical masterworks were heard anew. Music-lovers
the world over were electrified, and ancient music got
a thrilling new lease of life.
So what’s different about the AAM? Partly it’s our
instruments, which are originals, or faithful copies of
them. Our strings are made of animal gut, not steel; our
trumpets have no valves; our violins and violas don’t
have chin-rests, and our cellists cradle their instruments
between their legs rather than resting them on the
floor. The result is a sound which is bright, immediate
and striking.
Additionally, the size of our orchestra is often small
by modern standards, meaning that every instrument
shines through and the original balance of sound is
restored. Finally, where possible we play from
first-edition scores, stripping away the later additions
and annotations of editors to get back to composers’
initial notes, markings and ideas.
There’s also a difference in the way we approach our
music-making. Composers prized musicians’ creativity
and expected them to make music come alive and to
communicate its thrill to audiences. This spirit is at the
heart of all we do. Very often we don’t have a conductor,
but are directed by one of our musicians, making for
spontaneous, sparky and engaged performances.
We believe it’s not enough to research the past;
musicians have to be creative in the present. In
everything we do, we aim to recapture the intimacy,
passion and vitality of music when it was first composed.
The result? Performances which are full of energy
and vibrancy, and which combine the superb artistry
and musical imagination of our players with a deep
understanding of music as it was originally performed.
O U R PA S T , P RE S EN T ,
F U T U RE
For more than 40 years the Academy of Ancient Music
has enriched the lives of thousands the world over with
historically informed performances of baroque and
classical music of the highest calibre.
Founded in 1973 by scholar-conductor Christopher
Hogwood, the AAM quickly developed a global
reputation which continues today. Performing on period
instruments, and taking inspiration from the forgotten
sound-worlds of the past, the orchestra combines
scholarship with superb musicianship to create
performances acclaimed for their vitality and intimacy.
The AAM has performed live to music-lovers on all six
inhabited continents, and millions more have heard
the orchestra through its extensive catalogue of
recordings — now numbering more than 300 CDs —
which includes Brit- and Gramophone-Award winning
A c a d e m y o f A n c i e n t M u s i c 2 0 1 4 - 1 5 S e a s o N | 13 | T h e b a r o q u e t r u m p e t
releases of Handel operas, the first-ever recording
on period instruments of the complete Mozart
symphonies, pioneering accounts of the Beethoven
piano concertos and Haydn symphonies, as well as
discs championing lesser-known composers.
In 2006 Richard Egarr succeeded Christopher Hogwood
as Music Director, and has since led the orchestra on
tours of Europe, Australia, the United States and the
Far East. In 2012 he conducted the AAM as part of The
Queen’s Thames Diamond Jubilee Pageant, and in
2013 he directed the orchestra’s residency at London’s
National Gallery, accompanying the exhibition “Vermeer
and Music” with innovative, immersive performances.
Notable amongst Egarr’s recordings with the AAM
are a complete cycle of Handel’s instrumental music
Opp1-7, released to celebrate the 250th anniversary of
the composer’s death, the world-premiere recording of
music by 17th century English composer Christopher
Gibbons, and Birth of the symphony: Handel to Haydn,
the first recording released on the orchestra’s in-house
record label AAM Records in October 2013.
Since its foundation, the AAM’s artistic excellence has
been fostered by a superlative roster of guest artists.
Pianist Robert Levin and singers Dame Emma Kirkby,
Dame Joan Sutherland and Cecilia Bartoli were among
those performing regularly with the orchestra in the
early days. Today a diverse range of collaborations
continues to inspire the ensemble with new ideas
and fresh approaches. In 2009 the orchestra joined
the Choir of King’s College, Cambridge to produce
the world’s first classical cinecast — in which Handel’s
Messiah streamed live to hundreds of cinemas across
the globe — and ongoing work with mezzo-soprano
Sarah Connolly, counter-tenor Iestyn Davies, tenor
James Gilchrist and violinist Richard Tognetti lies at the
heart of the AAM’s present-day artistic success.
The AAM’s 2014-15 season takes listeners on a musical
Grand Tour, from Monteverdi’s L’incoronazione di
Poppea to Mozart’s magisterial piano concertos via
Venice and the North African coast. International
touring includes a major tour of the United States
and Canada featuring performances at Washington
DC’s Strathmore Center, Walt Disney Concert Hall in
Los Angeles and Carnegie Hall in New York. Recent
and forthcoming releases on AAM Records include
recordings of JS Bach’s Orchestral Suites and the 1727
version of the St Matthew Passion.
The AAM is Associate Ensemble at London’s Barbican
Centre and Orchestra-in-Residence at the University
of Cambridge.
Visit www.aam.co.uk to find out more.
NO T E
No smoking in the auditorium.
Please try to restrain coughing until the normal breaks in the performance.
If you have a mobile telephone, please ensure that it is turned off during the performance.
In accordance with the requirements of the licensing authority, persons shall not be permitted to stand or sit in any of the gangways.
No camera, tape recorder, other types of recording apparatus, food or drink may be brought into the auditorium. It is illegal to record
any performance unless prior arrangements have been made.
West Road Concert Hall and Milton Court Concert Hall are surrounded by residential communities. Our neighbours would appreciate
your keeping noise and disturbance to a minimum when you leave the building after the performance.
T H E AA M S OCIE T Y
On 17 September 1973, 23 musicians gathered in
Richmond to record Arne’s Eight Overtures under the
young director Christopher Hogwood.
Nobody travelling to the church that morning could
have begun to imagine that the Academy of Ancient
Music (as Hogwood had christened the group) would
be in flourishing health more than 40 years later.
Yet funded by Decca the AAM began to build a
pioneering discography. Over the next 25 years it
released more recordings than any other periodinstrument orchestra in the world and gave thousands of
performances at the finest concert halls on six continents.
By the late 1990s, when Hogwood began to plan
for the appointment of his successor, the world was
changing. The record industry was in decline, and
financial pressures facing international concert halls
meant that the generous performing fees of old were
no longer available. Putting down roots at home in the
UK had become a pressing priority.
In 2000 founder-members of the AAM Society
contributed £10,000 to fund the orchestra’s first London
season. It was AAM Society members too who financed
the establishment of the orchestra’s residency at
Cambridge, and who provided the support needed to
appoint Richard Egarr as Hogwood’s successor.
Over the last decade, the generosity of an everexpanding group of supporters has transformed the
AAM from a private enterprise directed by Hogwood
into a major charitable institution which continues his
work today.
The strength of support offered by Society members
and other funders has enabled the AAM to develop an
ambitious vision for the next stage of its development.
In 2010 it established the AAMplify education scheme
to nurture the audiences, artists and arts managers of
the future, in 2012 it was appointed Associate Ensemble
at the Barbican Centre and in 2013 it established AAM
Records, its own in-house record label.
The orchestra’s supporters have risen magnificently
to the challenge of funding the initial costs of these
developments, and the greatest priority now is to make
the step-change permanent. You can help us to do so
by joining their number.
Because the AAM is a charity it can claim Gift Aid on
donations, boosting their value by 25%. Even better,
the orchestra has received a generous challenge grant
which means that every pound donated by a new
Society member will be matched.
We would be thrilled to welcome you as a member —
and your support would enable us to enrich more lives
than ever before with our music.
To find out more about the AAM Society please contact
Brittany Wellner-James, Head of Fundraising, on
01223 341099 or by email at [email protected],
or visit us online at aam.co.uk/support.
A c a d e m y o f A n c i e n t M u s i c 2 0 1 4 - 1 5 S e a s o N | 15 | T h e b a r o q u e t r u m p e t
J o i n th e a a m s o c i e ty
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: ............................................................................................................................................................................................................................................................................................
Member’s address: .......................................................................................................................................................................................................................................................................................
Member’s telephone: ...................................................................................................... Member’s email: ................................................................................................................................
Membership level
The Chairman’s Circle
The Hogwood Circle
Principal Patron
Patron
£20,000+
£10,000–£19,999
£5,000–£9,999
£2,500–£4,999
Principal Benefactor £1,000–£2,499
Benefactor£500–£999
Donor£250–£499
Acknowledgement
Please acknowledge my gift using the following wording ......................................................................................................................................................................................
I would prefer to remain anonymous
Payment details
I enclose a cheque for £.......................... (please make payable to ‘AAM’)
I would like to pay by standing order (see below)
I enclose a CAF cheque for £.......................... (please make payable to ‘AAM’)
I would like to make a gift of shares (please contact the AAM)
Gift Aid declaration
Please treat as Gift Aid donations all qualifying gifts of money made in the past four years and in the future. I confirm I have paid or will pay an amount of Income Tax and/or Capital Gains Tax for each tax year (6
April to 5 April) that is at least equal to the amount of tax that all the charities or Community Amateur Sports Clubs (CASCs) that I dontate to will reclaim on my gifts for that tax year. I understand that other taxes
such as VAT and Council Tax do not qualify. I understand the charity will reclaim 28p of tax on every £1 that I gave up to 5 April 2008 and will reclaim 25p of tax on every £1 that I give on or after 6 April 2008.
Signed .................................................................................................................................................................................... Date ...........................................................................................................
Please notify the charity if you want to cancel this declaration, change your name of home address, or no longer pay sufficient tax on your income and/or capital gains. If you pay Income Tax at the higher or
additional rate and want to receive the additional tax relief due to you, you must include all your Gift Aid donations on your Self Assessment tax return or ask HM Revenue and Customs to adjust your tax code.
Standing order mandate
Please complete this section only if you would like to make your donation by standing order.
Name of bank ...............................................................................................................................................................................................................................................................................................
Bank address .................................................................................................................................................................................................................................................................................................
Account number .............................................................................................................. Sort code .............................................................................................................................................
Please pay Academy of Ancient Music, Lloyds Bank, Gonville Place Branch, Cambridge, sort code 30-13-55, account number 02768172,
the sum of £.......................... per month / quarter / year, starting on...........................................................................................................................................................................
Signed .................................................................................................................................................................................... Date ...........................................................................................................
Please return this form to:
Academy of Ancient Music, 11b King’s Parade, Cambridge CB2 1SJ
F r i e n ds o f th e a a m
We are extremely grateful to the Friends of the AAM for their ongoing generosity.
For four decades the Academy of Ancient Music has brought its inimitable performances to audiences the world
over through live concerts and over 300 recordings, making music come alive for millions in the style and spirit in
which it was originally performed.
As a Friend you’ll get closer to our musicians and to the music we perform, and you’ll have the rare oppourtunity
to glimpse orchestral life behind the scenes. Your generosity will help to make our London and Cambridge seasons
possible, supporting annual Friends concerts in both cities.
The Friends of the AAM are the heart of our audience, and membership starts from only £2.50 per month.
Joining is the best way to get closer to our work while also supporting the future of the music you love.
We look forward to welcoming you!
Silver friends
Gold friends
(individual £30, joint £48)
(individual £60, joint £96)
Annual post-concert drinks with the musicians.
As silver friendship, plus:
An opportunity to meet the orchestra informally and to
socialise with other supporters.
Priority booking for AAM performances in London.
Invitation to a second open rehearsal.
Quarterly copies of the AAM’s in-house journal.
The inside track on our performances, our musicians
and our repertoire, with exclusive interviews with our
soloists and advance news of forthcoming concerts,
recordings and AAMplify orchestral workshops and
master-classes.
Invitation to an annual open rehearsal.
Acknowledgement on the AAM website.
To join, contact Bethan Quartermaine at:
Academy of Ancient Music, 11b King’s Parade, Cambridge CB2 1SJ
Alternatively you can contact Bethan directly at [email protected] or on 01223 341093
A c a d e m y o f A n c i e n t M u s i c 2 0 1 4 - 1 5 S e a s o N | 17 | T h e b a r o q u e t r u m p e t
THank you
The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work:
Public funders
Arts Council England
Trusts and foundations
The John Armitage Trust
The Backstage Trust
CHK Charities L­ td
Constance Travis Charitable Trust
Cottisford Trust
D’Oyly Carte Charitable Trust
Dunard ­Fund
John Ellerman ­Foundation
Esmée Fairbairn ­Foundation
Fidelity UK F­ oundation
Garfield Weston Foundation
Gatsby Charitable Foundation
Harold Hyam Wingate Foundation
J Paul Getty Jnr Charitable ­Trust
Newby Trust ­Ltd *
The Nicholas John Trust
Sir Siegmund Warburg’s Voluntary ­Settlement
and other anonymous trusts and foundations
Friends of the AAM
Find out more at
aam.co.uk/support
th e a a m s o c i e ty
AAM Tomorrow
The Academy of Ancient Music extends its
grateful thanks to Richard and Elena Bridges,
Matthew Ferrey and Lady Sainsbury of
Turville, who have supported the orchestra’s
work at a particularly significant level this
­year.
The Chairman’s C
­ ircle
Matthew ­Ferrey
Mrs Julia Rosier
The Hogwood C
­ ircle
Christopher and Phillida Purvis *
Chris and Ali Rocker
Terence and Sian Sinclair
Dr Christopher and Lady Juliet ­Tadgell
Lady Linda Wong Davies (KT Wong
Foundation)
Principal ­Patrons
Richard and Elena Bridges
Richard and Elizabeth de Friend
The Hon Simon Eccles
Richard and Jean Gooder
John and Ann Grieves
Christopher Hogwood CBE *
Graham and Amanda Hutton
Ralph Hullah, in memoriam
Mrs Sheila ­Mitchell
and other anonymous Principal ­Patrons
Patrons
Lady Alexander of ­Weedon
John and Gilly Baker
Adam and Sara ­Broadbent
Clive and Helena ­Butler
Mr and Mrs JE ­Everett
Malcolm Gammie CBE QC
Mr and Mrs James ­Golob
Sir Nicholas and Lady Goodison *
Graham and Amanda Hutton
David and Linda Lakhdhir
Mark and Liza ­Loveday
Roger Mayhew
Nigel and Hilary Pye *
John and Joyce Reeve
Mark and Elizabeth Ridley
John and Madeleine Tattersall
Paul and Michi Warren
Mark West
and other anonymous ­Patrons
Principal ­Benefactors
Carol Atack and Alex van Someren
George and Kay ­Brock
Mrs D ­Broke
Jo and Keren ­Butler
Sir Charles ­Chadwyck-­Healey ­Bt
Kate Donaghy
The Hon William Gibson
Duncan and Marie-Josée Hunter
Philip Jones
Steven Larcombe and Sonya Leydecker
Mark and Sophie Lewisohn
Oscar and Margaret Lewisohn
John McFadden and Lisa Kabnick *
Mr and Mrs C ­Norton
Mr and Mrs Charles ­Rawlinson
Simon and Victoria Robey
Sir Konrad and Lady Schiemann *
JG ­Stanford
Mr Michael Stump and Oriel Williams
Stephen Thomas
Anthony Travis
Julie and Richard Webb
Andrew Williams
Mrs R Wilson Stephens
Charles Woodward
and other anonymous Principal ­Benefactors
Benefactors
Dr Aileen Adams ­CBE
William and Midori Atkins
Elise Badoy Dauby
Professor John and Professor Hilary Birks
Bill and Sue ­Blyth
Claire Brisby and John Brisby QC *
Hugh Burkitt
Jonathan and Belinda Davie
Mr and Mrs Edward Davies-­Gilbert
Marshall F­ ield CBE
Michael and Michele Foot CBE
Andrew and Wendy G
­ airdner MBE
Michael and Margaret Garner
Lisa and Brian Garrison
Beatrice and Charles G
­ oldie
The Hon Mr and Mrs Philip ­Havers
Professor Sean ­Hilton
Heather Jarman *
Professor David and Mrs Jan London
John Missing and Milica Mitrovic
Nick and Margaret ­Parker
Peter ­Thomson
Janet Unwin
Peter and Margaret ­Wynn
and other anonymous ­Benefactors
Donors
Angela and Roderick Ashby-­Johnson
Marianne Aston
Dr Julia Bland
Elisabeth and Bob Boas *
Lord and Lady Browne-Wilkinson
Charles Bryant
Jeremy J ­Bunting
David and Elizabeth ­Challen
Peter Stormonth Darling
Derek and Mary Draper
Christopher and Jill Evans
Tina Fordham
Mrs Marilyn Goldberg
Mrs Helen ­Higgs
Andrew and Kay Hunter Johnston
Mr and Mrs William Husselby
Lord and Lady Jenkin of ­Roding
Ali ­Knocker
Mr and Mrs Evan Llewellyn
Richard and Romilly Lyttelton
Richard ­Lockwood
Richard Meade
Sarah Miles Williams
Annie Middlemiss
Edward Powell
Yvonne de la Praudière
Jane Rabagliati and Raymond Cross
Annabel and Martin Randall
Robin and Jane ­Raw
Chris and Valery Rees
Denys ­Robinson
Michael and Giustina ­Ryan
Mahnaz Safa
Alison Salt and David Mackinlay
Miss J J Sandeman
Miss E M ­Schlossmann
Mr Peter Shawdon
Michael Smith
Jason and Louise Streets
Rt Hon Sir Murray ­Stuart-­Smith *
Lady Vaizey of Greenwich
Robin ­Vousden
Professor Tony Watts OBE
Tony and Jackie Yates-Watson
and other anonymous D
­ onors
* denotes founder ­member
THE NEWEST RELEASE FROM AAM RECORDS
James MacMillan © Philip Gatward
AVAilable worldwide SPRING 2015
MacMillan’s
St Luke Passion
Easter performances of
James MacMillan’s new Passion,
conducted by the composer himself
CAMBRIDGE
KING’S COLLEGE CHAPEL
Good Friday 3 April 2015 7.30pm
Box Office: 01223 357 851
www.brittensinfonia.com
LONDON
BARBICAN
Easter Sunday 5 April 2015 6pm
Box Office: 020 7638 8891