A cadem y of Ancient Music

Academy of Ancient Music
London & Cambridge 2009–2010
“
”
No praise can be too high
THE INDEPENDENT, MAY 2009
“
a superb period
instrument band
Inspirational performances
on a global stage
”
NEW YORK TIMES, MARCH 2009
“
Your concert last week was otherworldly. I never realized how desensitized our
modern ears are: it took a while to adjust to the gentleness of your sound, but
when I did I heard things I’ve never heard before. Thank you.
AUDIENCE MEMBER, USA BRANDENBURG CONCERTOS TOUR, MARCH 2009
”
That’s exactly what makes the AAM tick. Whenever we play, we cut through centuries of
convention to get back to the spirit and the style in which music was originally
performed. The result: electrifying performances, breathing new life into the sounds of
yesterday and inspiring the audiences of today.
Last season we won two of the biggest prizes in the musical world — the Edison
Classical Music Award and the MIDEM Classical Award. We made history with the world’s
first ever live choral “cinecast”: our performance of Handel’s Messiah with the choir of
King’s College, Cambridge was enjoyed by tens of thousands of people in cinemas
around the globe. And we performed in the flesh for audiences on four continents,
travelling to venues as diverse as Carnegie Hall, the Roman ruins at Sabratha, Libya and
the Beijing Concert Hall.
Further CD releases and concerts in Africa, Asia and around Europe stand out among
many highlights in 2009–2010. But while we’re global in our outlook and our reach, we’re
firmly rooted at home. This booklet introduces our London and Cambridge seasons. We
hope you can join us.
3
2009–2010 season
Variety, they say, is the spice of life, and it’s here in our 2009–2010
season by the bucketload. We’ll be shedding new light on music
spanning four centuries, from glittering early seventeenth-century
Venetian works for strings and dulcian to the wartime sound-world
of Britten’s Serenade for tenor, horn and strings. Our repertoire ranges
in scale from intimate chamber music by Henry Purcell and John
Blow to great choral masterpieces by JS Bach, Handel and Haydn.
We’re thrilled to be teaming up once again with two world-renowned
choirs, Polyphony and the Choir of King’s College, Cambridge, and to be
working in partnership with the Cambridge Film Festival to bring you an
evening of baroque concertos used in movie soundtracks. It is a
particular pleasure to welcome so many superb soloists and guest
directors: audience favourites including Giuliano Carmignola and Carolyn
Sampson are joined by rising stars including the brilliant young soprano
Aleksandra Anisimowicz.
Read on to find out more, and be sure to join us for a year of wonderful music
and musicians.
Richard Egarr
Music Director
Page
CAMBRIDGE
LONDON
6
An Evening Hymn
Celebrating Purcell at the BBC Proms
8
Baroque in high definition
Concertos used in film soundtracks
24 September
10
The Creation
11 November
12
The virtuoso voice
Carolyn Sampson sings
Handel and Purcell
21 November
14
Messiah
18
Prodigious minds
Giuliano Carmignola directs early
masterpieces by Schubert and
Mendelssohn
20
St John Passion
22
“In stil moderno”
The seventeenth-century Italian
avant garde
26 April
28 April
24
The English school
Four centuries of music by
English composers
17 June
18 June
7 September
25 September
22 November
19 December
21 February
22 February
2 April
5
An Evening Hymn
Celebrating Purcell at the BBC Proms
PURCELL ‘’Tis nature’s voice’ from
Hail, Bright Cecilia
PURCELL A new ground in E minor
PURCELL ‘Music for a while’ from
Oedipus
PURCELL excerpts from Suite in
D major
PURCELL ‘Sweeter than Roses’
from Pausanius
The centrepiece of this lunchtime recital celebrating the 350th
anniversary of Purcell’s birth is an affecting tribute to Purcell by his
teacher and predecessor as organist of Westminster Abbey, John Blow.
PHOTO ©PATRICK EMERSON, REPRODUCED WITH KIND PERMISSION
PURCELL excerpts from Suite in
G major à 4
Ode on the Death of Mr Henry Purcell sets Dryden’s poem of the same
name, which describes how “the lark and linnet sing” but then fall silent
at the appearance of “the matchless man ... our Orpheus”. A sequence of
Purcell’s solo songs and keyboard pieces and the deeply moving An
Evening Hymn complete this mix of mellifluous music.
LONDON
Monday 7 September 2009
1.00pm Cadogan Hall
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
This concert will be broadcast live on BBC Radio 3, and will be available
as audio on demand at www.bbc.co.uk for the following week.
BLOW Ode on the Death of
Mr Henry Purcell
PURCELL An Evening Hymn
IESTYN DAVIES countertenor
SIMON WALL tenor
RICHARD EGARR director &
harpsichord
“
One of the world’s great orchestras
CHINA DAILY, OC TOBER 2008
”
7
Baroque in high definition
Concertos used in film soundtracks
MARCELLO Concerto in D minor
for oboe
VIVALDI Concerto in B flat major
for violin
JS BACH Concerto in F minor
for harpsichord
LULLY Sarabande from Les Plaisirs
LULLY Plus j’observe ces lieux and
Passacaille from Armide
It’s almost impossible to imagine film without music. From the heyday
of the Wurlitzer to the world of high definition, masterpieces of the silver
screen have always owed much to the music which accompanies them.
The AAM itself appears on film and TV soundtracks including
Gormenghast, The Return of the Musketeers and After Hours.
PHOTO ©PAUL HART REPRODUCED UNDER CREATIVE COMMONS LICENSE
CORELLI Concerto Grosso in G
minor Op.6 No.8 ‘Christmas
Concerto’
We open our Wigmore Hall and West Road Concert Hall seasons with a
panoply of baroque music featured in films ranging from Woody Allen’s
Oscar-winning comedy Hannah and Her Sisters to Le Roi Danse, a French
movie which explores composer Jean-Baptiste Lully’s life-long
association with King Louis XIV.
JS BACH Concerto in D minor for
2 violins
The programme showcases three AAM musicians as concerto soloists:
Katharina Spreckelsen performs Alessandro Marcello’s much-loved oboe
concerto (used in Lorenzo’s Oil) and our leaders Pavlo Beznosiuk and
Rodolfo Richter team up for JS Bach’s Double Violin Concerto (from
Children of a Lesser God).
PAVLO BEZNOSIUK violin
RODOLFO RICHTER violin
CAMBRIDGE
Thursday 24 September 2009
7.30pm West Road Concert Hall
LONDON
Friday 25 September 2009
7.30pm Wigmore Hall
Pre-concert talks with
Carlo Cenciarelli at 6.30pm
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
THE WIGMORE HALL PERFORMANCE IS MADE POSSIBLE WITH
GENEROUS SUPPORT FROM THE ROYAL BANK OF CANADA
KATHARINA SPRECKELSEN oboe
RICHARD EGARR director &
harpsichord
“
Film is one of the three universal
languages — the other two:
mathematics and music
FRANK CAPRA
THIS CONCERT IS
PART OF THE
”
9
HAYDN The Creation
ELIN MANAHAN THOMAS soprano
ANDREW KENNEDY tenor
CHRISTOPHER PURVES bass
STEPHEN CLEOBURY conductor
CHOIR OF KING’S COLLEGE,
CAMBRIDGE
CREATION OF MAN / ©2007 WWW.BEATEISELE.COM
The Creation
“
This day we had a different spectacle in Vienna... the famous Haydn
performed the creation of the world set to music. In my whole life I
won’t hear another piece of music so beautiful... The music all by itself
described thunder and lightning and then you heard the rain falling
and the water rushing and the birds really singing and the lion roaring
and you could even hear the worms crawling along the ground .
”
JOSEPH RICHTER ON THE FIRST PUBLIC PERFORMANCE OF THE CREATION, VIENNA, 1799
The inspiration for The Creation came from 1790s London. Overwhelmed
by the experience of hearing Handel’s oratorios performed on a grand
scale at Westminster Abbey, Haydn returned to Vienna in 1795 armed
with the libretto which was to be the basis of his own masterpiece. The
work was a huge hit: by the time of the composer’s death in 1809
Vienna had enjoyed some 45 performances, and the oratorio’s fame
spread almost immediately to cities ranging from St Petersburg to Paris
and from Budapest to London.
CAMBRIDGE
Wednesday 11 November 2009
7.30pm King’s College Chapel
Pre-concert talk with Elizabeth Blake at
6.30pm in Keynes Hall
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
THIS PERFORMANCE IS PROMOTED BY THE CAMBRIDGE
MUSIC FESTIVAL AND CONCERTS AT KING’S WITH
GENEROUS SUPPORT FROM TPP GROUP
Building on our acclaimed collaborations with King’s College Choir last
season, we join forces once again for what promises to be a highlight of
the Cambridge Music Festival.
“
I would happily sit in King’s College Chapel listening to this choir sing
for the rest of my days
THE TIMES
”
11
The virtuoso voice
Carolyn Sampson sings Handel and Purcell
PURCELL ‘Man is for the woman made’
from The Mock Marriage
PURCELL ‘From silent shades, and the
Elysian groves’
PURCELL ‘Music for a while’ from
Oedipus
PURCELL Arias from The Fairy Queen
PURCELL Excerpts from Dido & Aeneas
HANDEL Concerto Grosso in B flat
major Op.3 No.2
The Restoration must have been a thrilling period for England’s
musicians. The King’s musical household was re-formed, cathedral choirs
were re-established, and playhouses re-opened. English music changed
radically as women took to the stage for the first time, and as our yearlong celebration of Purcell and Handel draws towards its conclusion we
team up with Carolyn Sampson to celebrate the wonderful corpus of
English baroque music for the female voice.
PHOTO ©PIERRE JOUBERT REPRODUCED WITH KIND PERMISSION
PURCELL Chacony à 4 in G minor
Opera did not gain popularity in London until the early eighteenth
century; indeed, Dido & Aeneas is almost unique among English theatre
music of its time in being sung throughout. More typical of Restorationperiod theatre is The Fairy Queen, a “Restoration spectacular” which
meshed spoken word with elaborate music, complex stage machinery,
fireworks and thrilling visual effects.
HANDEL Overture from Rinaldo
HANDEL ‘Destero dall’empia dite’
from Amadigi di Gaula
HANDEL ‘Lassa! ch’io t’ho perduta’
from Atalanta
HANDEL ‘Let the Bright Seraphim’
from Samson
RICHARD EGARR director & harpsichord
Saturday 21 November 2009
7.30pm West Road Concert Hall
LONDON
Sunday 22 November 2009
7.30pm Wigmore Hall
Pre-concert talks with Richard Egarr at 6.30pm
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
Opera fever took hold of Londoners in the first decade of the eighteenth
century. Rinaldo, the first Italian-style opera written especially for the English
stage, was premiered by a troop of Italian singers in 1711. In the decades
which followed, countless starry continental sopranos and castrati travelled
to London to perform in Handel’s subsequent operas and oratorios.
HANDEL ‘Ma quando tornerai’
from Alcina
CAROLYN SAMPSON soprano
CAMBRIDGE
“
Sampson is one of the wonders of the operatic world
THE INDEPENDENT, MAY 2006
”
13
HANDEL Messiah
ELIZABETH WATTS soprano
MICHAEL CHANCE countertenor
ANDREW TORTISE tenor
CHRISTOPHER PURVES bass
RICHARD EGARR director &
harpsichord
CHOIR OF THE AAM
© LEBRECHT MUSIC & ARTS
Messiah
The final instalment of our 2009 Handel anniversary celebrations is a
seasonal performance of the composer’s most enduring masterpiece,
Messiah.
LONDON
Handel’s oratorios are among the most cosmopolitan music of the
baroque period. Written by a German émigré for a loyal British following,
they fuse elements of the Italian operatic tradition with the liturgical
style of the composer’s homeland. Handel’s oratorios, unlike Bach’s,
were conceived for performance in concert rather than in church, a fact
which earned him few friends among London’s ecclesiastical elite.
Having courted the wrath of the Bishop of London with an attempted
performance of Esther in 1732, he wisely chose to premiere Messiah not
in England but in Dublin. Even there, the dean (one Jonathan Swift, of
Gulliver fame) almost thwarted the plan by forbidding his choristers
from taking part; he relented only when Handel promised to give the
proceeds of the concert to local charities.
Pre-concert talk with Richard Egarr at 6.00pm
Saturday 19 December 2009
7.00pm Cadogan Hall
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
Handel readily adapted Messiah to suit changing circumstances during
his lifetime, so reconstructing a definitive “authentic” version of the work
can be difficult. On this occasion we team up with the celebrated
countertenor Michael Chance to shine the spotlight on the 1750
incarnation of the work, which starred the castrato Gaetano Guadagni
rather than a female alto. Bringing the award-winning Choir of the AAM
together with some of Britain’s finest oratorio soloists, this performance
promises to be a highlight of London’s Christmas season.
15
Cutting edge...
The AAM is known around the world for the
dynamism of its performances.
This season we perform around 50 concerts
on three continents.
Casa da Música,
Porto, Portugal
Turn to page 29 to find out more.
17
Prodigious minds
MENDELSSOHN Sinfonia No.10 in
B minor for strings
MENDELSSOHN Concerto for violin
in D minor
SCHUBERT Rondo for violin in
A major
MENDELSSOHN Sinfonia No.9 in
C major for strings
GIULIANO CARMIGNOLA
director & violin
©FELIX BROEDE / DEUTSCHE GRAMMOPHON
Early masterpieces by Schubert and Mendelssohn
Italian violin virtuoso Giuliano Carmignola makes a welcome return to
direct works penned within a seven-year period by two of the romantic
era’s most prodigious musical minds.
CAMBRIDGE
In 1816 the 19-year-old Schubert was mid-way through what must rank
as one of music’s great creative outpourings. That year alone he
produced 110 songs, two symphonies, a mass, a string quartet, the first
two acts of an opera, and the Rondo for violin featured here. This
compositional torrent flowed forth against an increasingly tumultuous
personal background. He had fallen into the circle of the charismatic but
profligate Franz von Schober, whose “pernicious” influence was later
lamented by the young composer’s childhood friends. Around this time
he also appears to have discovered the lifestyle which would lead to
syphilis and his untimely death.
LONDON
Sunday 21 February 2010
7.30pm West Road Concert Hall
Monday 22 February 2010
7.30pm Wigmore Hall
Pre-concert talks at 6.30pm
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
Mendelssohn — just over a decade Schubert’s junior — developed into
one of the most gifted and versatile musical prodigies of all time with
encouragement from his doting and well-to-do parents. He wrote his
first concerto, for violin in D minor, at the age of 13, and Sinfonias No.9 in
C major and No.10 in B minor followed within the year. By the age of 15
he had composed mature essays in almost all the standard musical
genres of the time.
19
JS BACH St John Passion
JULIA DOYLE soprano
IESTYN DAVIES countertenor
JOHN MARK AINSLEY Evangelist
NATHAN VALE tenor
NEAL DAVIES Christ
DAVID STOUT bass
STEPHEN LAYTON conductor
POLYPHONY
PHOTO BY BRIAN PETERSEN AT BRIANPETERSEN.COM
St John Passion
On Good Friday in 1724 the congregation of Leipzig’s Nicholaikirche
experienced something quite new. The Kantor — less than a year into
his tenure — had produced a new setting of the passion story which
overshadowed almost every piece of liturgical music the world had
previously known.
LONDON
Friday 2 April 2010
2.30pm St. John’s, Smith Square
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
St John Passion was penned mid-way through a frenetic splurge of
compositional activity. New half-hour-long cantatas for the Sunday
liturgy had poured from Bach’s quill almost every week since Trinity
Sunday in June of the previous year — a Herculean feat in itself, and still
more so given that his other duties included overseeing music at four
churches, teaching the pupils of the Thomasschule, directing the town’s
choir and instrumental ensemble and serving as music director to the
university. One cannot help but wonder whether he was trying to prove
a point. On the occasion of his appointment a less-than-enthusiastic
councillor famously lamented “as the best men could not be got, we
must make do with the mediocre”. Within a year this statement had
been proved spectacularly wrong.
For the rest of his life Bach maintained Leipzig’s tradition of Passion
performances on the afternoon of Good Friday. Our annual rendition of
St John Passion with Stephen Layton and Polyphony has become a
similarly regular feature in London’s Easter concert calendar.
21
“In stil moderno”
CASTELLO Sonata for two sopranos from
Sonate Concertate in Stil Moderno, Libro II
MONTEVERDI Prologo from L’Orfeo
The seventeenth-century Italian avant garde
MONTEVERDI Exulta filia Sion
CASTELLO Sonata à 2 for soprano and
violeta from Sonate Concertate in Stil
Moderno, Libro II
MONTEVERDI Lamento d’Arianna from
Arianna
MONTEVERDI ‘Di misera regina’ from
Il ritorno d’Ulisse in patria
CASTELLO Sonata à 2 for soprano and
dulcian from Sonate Concertate in Stil
Moderno, Libro II
MONTEVERDI Laudate Dominum in
sanctis eius
CASTELLO Sonata à 3 for two sopranos
and dulcian from Sonate Concertate in
Stil Moderno, Libro II
MONTEVERDI ‘Se i languidi miei sguardi’
from Il Settimo Libro de Madrigali
CASTELLO Sonata à 4 for two sopranos,
violeta and dulcian from Sonate
Concertate in Stil Moderno, Libro II
MONTEVERDI Confitebor tibi Dominum
ALEKSANDRA ANISIMOWICZ soprano
©HAMED MASOUMI REPRODUCED UNDER CREATIVE COMMONS LICENSE
CASTELLO Sonata à 3 for two sopranos
and ducian from Sonate Concertate in Stil
Moderno, Libro II
Early seventeenth-century Venice was in the throes of a musical golden
age. We recall the glories of the period with music by Claudio
Monteverdi, widely recognised as a giant of the early baroque, and his
long-forgotten contemporary Dario Castello.
Monteverdi’s music is for many typical of the new sound world of the
early baroque. The birth of opera and the florid vocal style created a new
sense of virtuosity, freedom and experimentation in music which is
demonstrated fabulously by Monteverdi’s rich music for solo voice.
Instrumental virtuosity is displayed in the music of Dario Castello, who
worked alongside Monteverdi as a wind player at San Marco. Little is
known of this extraordinary musician: even his birth and death dates are
uncertain. Much of what we do know of him is found in two books of
sonatas, full of glittering, exciting music of stunning instrumental colour
and vitality. There is a huge sense of joy and energy in his avant garde
exploration of the “stil moderno”. His music is as fresh today as it has
ever been.
CAMBRIDGE
Monday 26 April 2010
7.30pm West Road Concert Hall
LONDON
Wednesday 28 April 2010
7.30pm Wigmore Hall
Pre-concert talks with Richard Egarr at 6.30pm
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
THE WIGMORE HALL PERFORMANCE IS MADE POSSIBLE WITH
GENEROUS SUPPORT FROM THE ROYAL BANK OF CANADA
A colourful array of early baroque instruments will take the stage —
early violins, a theorbo and a dulcian. Don't miss out on an evening of
music guaranteed to dazzle the eyes and astonish the ears.
RICHARD EGARR director & harpsichord
23
The English school
HANDEL Sonata à 5
PURCELL ‘Lord, what is Man?’ from
Three Sacred Songs
PURCELL ‘In the black, dismal
dungeon’
PURCELL An Evening Hymn
C GIBBONS Fantasy à 4
HANDEL Four arias for John Beard
HANDEL ‘Where’er you walk’
from Semele
HANDEL ‘Total Eclipse’ from Samson
HANDEL ‘Waft her angels’
from Jephtha
HANDEL ‘Call forth the Pow’rs’
from Judas Maccabaeus
FINZI Romance in E flat for strings
Op.11
BRITTEN Serenade for tenor, horn
and strings Op.31
JAMES GILCHRIST tenor
RICHARD EGARR director & harpsichord
© BRIAN SEED/LEBRECHT MUSIC & ARTS
Four centuries of English music
We close the season in collaboration with celebrated tenor James
Gilchrist by showcasing music from the English school spanning four
centuries. Purcell and Handel — giants of England’s baroque golden age
— are contrasted with twentieth-century masters Finzi and Britten.
Britten is well known for declaring his debt to composers of the baroque
period. Early in his lifetime Handel’s music enjoyed a high and growing
profile while Purcell’s was little known; but it was with the latter composer
that Britten felt the greater affinity. He co-authored a “Homage” on the
250th anniversary of Purcell’s death, and in the years which followed he did
much to increase the composer’s profile by realising, publishing and
performing music including the three Purcell pieces in this programme.
CAMBRIDGE
Thursday 17 June 2010
7.30pm West Road Concert Hall
LONDON
Friday 18 June 2010
7.30pm Wigmore Hall
Pre-concert talks with Richard Egarr at 6.30pm
TURN TO PAGE 30 FOR BOOKING INFORMATION ®
Finzi, some twelve years Britten’s senior, saw himself as heir to a more
lyrical English tradition. Although he collected Britten’s music assiduously
as it was published, he saw little of value within it. In a letter to a friend in
1945 he summed up his view of his younger contemporary with
characteristic bluntness: “I’m allergic to Britten’s music... what he brings off
isn’t worth a rat’s dropping”.
History has begged to differ, just as it has restored Purcell’s rightful place
among the English greats. Join us for this panoramic overview of
England’s musical golden ages.
25
The AAM Society
Income from ticket sales and concert fees does not cover the full cost of
performing to world-class standards. The Academy of Ancient Music
needs to raise around £250,000 per year to support its performing and
recording activities, and it receives no regular public funding.
To address this pressing financial need, the AAM Society was established
by a group of committed founder members who appreciated the AAM’s
superb artistry and wanted to secure its future. Today the extraordinary
generosity of AAM Society members enables the orchestra to continue to
perform.
Members of the AAM Society enjoy a very close involvement with the life
of the orchestra and its musicians. After performances in London, society
members are invited to dine with the conductor, soloists and members of
the orchestra. Society members also have the opportunity to become a
part of life behind the scenes by sitting in on AAM rehearsals for concerts
and recordings.
PHOTO ©JUDITH GREEN REPRODUCED UNDER CREATIVE COMMONS
Would you like to become part of the future of one of the world’s great
orchestras?
AAM Society member benefits
Donor
£250-£499 per annum
Benefactor
£500-£999 per annum
A range of benefits, including
• invitations to complimentary drinks
before London and Cambridge concerts
• invitations to dinner with members of
the orchestra and society
• invitations to attend AAM rehearsals
• the ability to book the best seats for
AAM concerts in London and Cambridge
directly from the AAM office.
Principal Benefactor
£1000–£2499 per annum
All the benefits listed above, plus
invitations to exclusive AAM events.
Patron
£2500–£4999
All the benefits above, plus the
opportunity to book the AAM to perform
at private functions (musicians’ fees to be
paid by the Patron).
Principal Patron
£5000–£9999 per annum
All the benefits above, plus the
opportunity to sponsor a specific seat in
the orchestra, resulting in a special
association between the Principal Patron
and an AAM player.
The Hogwood Circle
£10000 or more per annum
All the benefits above, plus the
opportunity to be recognised as the
sponsor of a particular AAM performance
each season.
To find out more about supporting the
orchestra as a member of the AAM
Society, please contact Simon Fairclough
on 01223 301509 or
[email protected].
27
PHOTO ©DAVE FAYRAM
Going places...
Touring highlights
20 September
5 October
11 October
14 November
15 November
18 November
1 December
4 December
12 December
14 December
15 December
13 February
24 February
16 March
19 March
28 March
29 March
16 April
27 April
3 June
6 June
12 June
18 August
19 August
21 August
22 August
Eisenstadt, Austria
Sabratha, Libya
Macau, China
Porto, Portugal
Lisbon, Portugal
Antwerp, Belgium
Brugge, Belgium
Utrecht, The Netherlands
Palma de Mallorca, Spain
Barcelona, Spain
Barcelona, Spain
Groningen, The Netherlands
Birmingham, UK
Warsaw, Poland
Ghent, Belgium
Valencia, Spain
Pamplona, Spain
Birmingham, UK
Bury St Edmunds, UK
Manchester, UK
Reading, UK
Kouklia, Cyprus
Saint Malo, France
Lessay, France
La Chaise Dieu, France
La Chaise Dieu, France
HAYDN SYMPHONIES
PURCELL DIDO & AENEAS
HAYDN LORD NELSON MASS
THE VIRTUOSO VOICE
THE VIRTUOSO VOICE
THE VIRTUOSO VOICE
HANDEL MESSIAH
HANDEL MESSIAH
HANDEL MESSIAH
HANDEL MESSIAH
HANDEL MESSIAH
BEETHOVEN PIANO CONCERTOS
PRODIGIOUS MINDS
PERGOLESI STABAT MATER
PERGOLESI STABAT MATER
JS BACH ST MAT THEW PASSION
JS BACH ST MAT THEW PASSION
MOZART REQUIEM
IN STIL MODERNO
VIVALDI THE FOUR SEASONS
VIVALDI THE FOUR SEASONS
VIVALDI THE FOUR SEASONS
MONTEVERDI VESPERS
MONTEVERDI VESPERS
MONTEVERDI VESPERS
MONTEVERDI VESPERS
29
St. John’s, Smith Square
Booking
information
WIGMORE HALL
36 Wigmore Street, London W1U 2BP
Tickets £18, £24, £28, £32
including a free programme
Booking for the concerts in September and
November opens on 21 May 2009
Booking for the concert in February opens on
2 November 2009
Booking for the concerts in April and June
opens on 2 January 2010
Ways to book
• By telephone on 020 7935 2141 10am–7pm
daily (days without an evening concert
10am–5pm). There is a £1.50 administration fee
for all telephone bookings, which includes the
delivery of your tickets by first class post.
• Online at www.wigmore-hall.org.uk 7 days a week,
24 hours a day. There is a 50p administration fee
for online bookings, which includes the delivery of
your tickets by first class post.
• In person at the Wigmore Hall box office, 10am–
8.30pm daily (days without an evening concert
10am–5pm). No advance booking in the half
hour prior to a concert.
Facilities for disabled people
30
Please telephone 020 7258 8210 for full information
Director John Gilhooly
Registered charity number 1024838
CADOGAN HALL
5 Sloane Terrace, London SW1X 9DQ
HANDEL'S MESSIAH (19 DECEMBER 2009)
Tickets £15, £22, £28, £32, £35
Booking opens 1 June 2009
Ways to book
• By telephone on 020 7730 4500 10am–7pm
daily. There is a £2.50 administration fee for all
telephone bookings.
• Online at www.cadoganhall.com. There is a
£1.50 administration fee for online bookings.
• In person at the Cadogan Hall box office 10am–
8pm Monday–Friday; 10am–4pm Saturday and
Sunday (8pm on concert days)
AN EVENING HYMN (7 SEPTEMBER 2009)
Tickets £5, £8, £12
Booking opens 26 May 2009
Ways to book
• By telephone on 020 7730 4500 or 0845 401
5040
• Online at www.royalalberthall.com
• In person at the Cadogan Hall box office 10am–
8pm Monday–Friday, 10am–4pm Saturday and
Sunday (8pm on concert days), or at the Royal
Albert Hall box office (9am–9pm daily)
WEST ROAD CONCERT HALL
11 West Road, Cambridge CB3 9DP
Tickets £14, £20, £27 (£5 for students and under
18s on the door, subject to availability)
including a free programme
KING’S COLLEGE CHAPEL
King’s College, Cambridge CB2 1ST
Tickets £22, £30, £35 (£5 for unsighted seats)
Ways to book
• By telephone on 020 7222 1061 10am–5pm
Monday–Friday (6pm on concert days).
There is a £2 administration fee for all
telephone bookings.
• Online at www.sjss.org.uk. There is a £1.50
administration fee for online bookings.
• In person at the St. John’s, Smith Square box
office 10am–8pm Monday–Friday (6pm on
concert days)
• By post from St. John’s, Smith Square, London
SQ1P 3HA. Please enclose a stamped addressed
envelope.
• By fax on 020 7233 1618
Subscription booking opens 6 July 2009
Book for all five concerts in the West Road Concert
Hall series through the AAM subscriptions office
between 6 July and 31 July and receive a
15% discount
Ways to book
• By telephone on 01223 357851 10am–6pm
Monday–Saturday
• In person at the Corn Exchange box office
10am–6pm Monday–Saturday
Registered charity number 1045309
Registered in England. Company no 3028678
General Manager Paul Davies
General booking opens 5 August 2009
Book tickets for individual concerts through the
Arts Theatre box office.
ST. JOHN’S, SMITH SQUARE
London SW1P 3HA
Tickets £19, £38, £44, £50
Booking opens 4 January 2010
Booking opens 24 August 2009
Ways to book subscription tickets
• By telephone on 01223 301509 9am–5.30pm
Monday–Friday
• By email on [email protected]
Subscription booking closes at 9am on Friday
31 July. Tickets will be sent to subscribers in the
week of 3 August.
Ways to book for individual concerts
• By telephone on 01223 503333
• In person at the Arts Theatre box office
12 noon-8pm Monday–Saturday
31
Academy of
Ancient Music
Music Director
Richard Egarr
Emeritus Director
Christopher Hogwood CBE
32 Newnham Road,
Cambridge CB3 9EY
+44 (0)1223 301509
[email protected]
www.aam.co.uk
Registered charity number 1085485
Email [email protected] to receive
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Design: www.theoakstudio.co.uk