Age of the French Baroque

Bienvenue! As has happily become habit in recent years, we close the season with the Choir of the AAM. And what better way to end such an exhilarating and unforgettable month? We spent it putting Handels most celebratory works back at the heart of public life, performing to an audience of millions as part of the Thames Pageant, followed by a European tour which we finally bring home to London and Cambridge in September (turn to page 10 for details).

This evening marks a contrast, then: from Handels well-known works, we turn to sacred and instrumental works from the French baroque, which burst with similar lavishness but remain remarkably seldom-performed.

From one forgotten gem to another, I am thrilled that we have advance copies of our world-premire release of works by Christopher Gibbons on sale tonight. Ill be signing advance copies after the performance tonight; turn to page 20 for more information.

Finally, my warmest thanks for joining us along the way this season I look forward to welcoming you back in the autumn!

Richard Egarr Music Director

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

Choir of the AAMRichard Egarr director & keyboards

26 June West Road Concert Hall, Cambridge, UK 27 June Wigmore Hall, London, UK

Musical Revolutions:Age of the French baroque

Listen and watch againThe performance at Wigmore Hall on 27 June will be broadcast live by BBC Radio 3 and will be available to listen again via the BBC iPlayer: visit bbc.co.uk/iplayer and search for the programme under the Radio 3 schedule.

If you missed out on our performance as part of the Jubilee Pageant, or didnt quite catch as much as you would have liked from the river banks, you can watch close-up behind-the-scenes footage by visiting our youtube channel at youtube.com/acadofancientmusic.

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 1 - 2 01 2 S E A S O N

ProgrammeJEAN-BAPTISTE LULLY (163287)De profundis (1683) Symphonie De profundis Ritournelle Quia apud te Symphonie Requiem

MARC-ANTOINE CHARPENTIER (16431704)Sonate huit (c.1690) Grave Recit de la basse de Viole Recit de la basse de Violon Gavote Gigue Passecaille Chaconne, Guay JEAN-BAPTISTE LULLY (163287)Regina coeli laetare (1684)

JEAN-BAPTISTE LULLY (163287)Salve Regina (1684)

MARIN MARAIS (16561728)Suite from Sonatas pour le Coucher de Roy (c.1692) Suite No. 3 in D Major Prelude Sarabande Grave Gavotte en rondeau Double Bransle e village Troisime menuet Quatrime menuet Suite No. 5 in E minor Prelude Sarabande en rondeau Menuet Passacaille

JEAN-BAPTISTE LULLY (163287)Dies irae (1683) Symphonie Dies irae Quaerens me, sedisti lassus Symphonie Pie Jesu

Interval of 20 minutesPlease check that your phone is switched off, especially if you used it during the interval

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 devices that may become audible are switched off.

Tonights performance will end at approximately 9.25pm


In the seventeenth century, the most powerful European monarch was Louis XIV of France (16381715). The epitome of the absolutist ruler, he developed the agencies of government to focus all authority on himself. He pursued an aggressive foreign policy, invading neighbouring territories such as the Low Countries, Rhineland, and Italy. As a result of this belligerence, French domains expanded to include regions such as Lille, Dunkirk and the Franche-Comt, not to mention the acquisition of colonies in North America, Africa and Asia. (The French explorer Ren-Robert Cavelier named the territories he had claimed in the Mississipi basin Louisiana, in tribute to the king.) Not content to dominate the earthly realm, Louis also gained greater control over the French church at the expense of papal authority. By revoking the Edict of Nantes (which had granted freedom of worship to Huguenots), he upheld Catholicism as the only religion for the Gallic realm.

Louis XIV demonstrated his regal power via his lavish patronage of the arts. He commissioned over 300 formal portraits of himself, which often represented him as a Roman emperor or as the Greek deity Apollo. At Versailles, the splendour of his vast new palace epitomised by the Hall of Mirrors demonstrated his magnificence, while its distance from central Paris signalled regal aloofness. In addition, Louis sought to control French art by creating state-sponsored academies, including the Acadmie Royale de Peinture et de Sculpture, the Acadmie Royale de Danse, and the Acadmie Royale de Musique (for opera).

In music, Louis XIV cultivated genres and styles that were distinctively French. His favourite entertainment was the ballet de cour, a multi-media spectacle that embodied his love of dance and usually featured a hero such as Hercules or Alexander the Great who would be a model for the king and might be acted by him. Dynastic or military celebrations were marked with musical settings of the Te Deum, whose rich martial effects provided a musical counterpart to the assertive national spirit. And by supporting the genre

known as the tragdie lyrique, the king oversaw the development of a uniquely French form of opera.

Central to Louis XIVs image-making in music was the work of the royal musician Jean-Baptiste Lully (163287). Lully was Italian-born, the son of a Florentine miller, and he came to France as a scullion in a minor household. He entered royal service in 1652 as a dancer and rapidly became the favourite of Louis, who was just six years younger. The two men danced together in the Ballet de nuit (1653); this shared enthusiasm for dancing fostered their close relationship. Already in the 1650s the king granted Lully his own band at court (the Petits violons). When Louis began his personal rule in 1661 he declared Lully Surintendant de la Musique de la Chambre. Subsequently Lully gained the royal privilege for opera in Paris, and the king allowed many of his operas to be premiered at royal palaces such as that at Saint Germain-en-Laye.

Stephen Rose introduces the French baroque golden age

Louis XIV in the role of Apollo the Sun King. Painting by Henri Gissey, 1653, Bibliotque Nationale, Paris.


Already holding a monopoly over Frances musical life, Lully entered the highest rank of the peerage when he was declared Secrtaire du roi in 1681; he requested this office after having charmed the king by dancing in a revival of Le bourgeois gentilhomme. Lullys rise to utter musical power was facilitated by the cultural centralisation that accompanied Louiss political absolutism. With artistic resources focused upon the court and the formation of state-sponsored acadmies to promote art, it was possible for a single musician to become as powerful within his profession as Louis was in politics.

Church music was only a small part of Lullys output, but nonetheless his grands motets were crucial to the royal image from the 1660s onwards. These large-scale works were written for the Chapelle Royale, whose services were usually held in chapel at Versailles. Music at the Mass was opulent and lengthy, so much so that the service might resemble a concert, with the liturgical text being read quietly by the clergy. As Pierre Perrin

wrote in his Cantica pro Capella Regis (1665), the motets could fill the entire service:

For the Kings Mass, there are ordinarily three motets sung: a grand, a petit for the Elevation, and a Domine salvum fac Regem. I have made the grands long enough so that they can last a quarter of an hour and occupy the beginning of the Mass up to the Elevation. Those of the Elevation are smaller and can last up to the Post-Communion, where the Domine begins.

Rather than enhancing the liturgy, these motets were intended primarily to honour the king and his divinely ordained power.

Lullys grands motets are scored for an ensemble split into three groups: a petit choeur of five solo vocalists (soprano, alto, two tenors and bass); a grand choeur of five voice-parts; and five instrumental parts. Such sumptuous writing made full use of the large musical contingent of the Chapelle Royale, which in 1708 was listed as containing 11 sopranos, 18 haute-contres, 23

Tonight, co-flautist Guy Williams and I are playing rather unusual flutes. He and I just happen to have virtually identical instruments (the type of flute seen in the foreground opposite), made by Scottish but Californian-based craftsman, Roderick Cameron. Rod copied an original by the late seventeenth-century French maker Pierre Naust (except of course that La Barres in the image opposite was made of ivory whereas ours are in blackwood). Coincidentally we both bought the instruments around the same time, back in the 1980s, shortly after which I used mine for my first ever solo recording (French Baroque Music on Chandos). Theyre very well-matched instruments.

Pitch was never standardized but in France a generally low pitch prevailed. These flutes are almost (but not exactly) a whole tone lower than modern concert pitch. Many modern replicas are adapted to A392 (a whole tone lower) to allow easy transposition of the harpsichord keyboard. Consequently we havent used these instruments very often. But as this project came up, it dawned on me that Guy and I would be the only two wind players, and the instruments are perfect for the repertoire; the string players have graciously adopted our pitch.

The flutes have a lovely deep voice. Theyre distinctive-looking, too, with beautifully-turned head caps and foot joints much more decorative to look at than most baroque flutes as well as a whole centre piece carved from one piece of wood, rather than two, as in later flutes.

Tonights flutes: AAM principal Rachel Brown elaborates


tenors, 24 baritones and 14 basses. (The haut-contre was a voice-type that many scholars believe was sung by a high tenor, using falsetto for the top notes.)

The style of the grand motet is epitomised by Lullys De profundis and Dies irae. Both pieces were written for the funeral of Louis XIVs wife Marie-Thrse in 1683, at the basilica of Saint Denis (the traditional burial site for kings of France and their families). The solemnity of the occasion is indicated by the key of G minor used for both pieces. De profundis (Psalm 130) is one of the penitential psalms, bemoaning mankinds sinfulness and looking to God for forgiveness. After the initial symphonie, Lully sets the words De profundis clamavi ad te (From the depths I cried to thee) with an imploring leap of an upward minor 6th.

Further petitions (Fiant aures and Si iniquitates) are initiated by the soprano soloist, before being reinforced by the full ensemble. The middle section of the motet, starting with the line Quia apud te propitatio est (For there is mercy with thee), uses thinner textures and strikes a more confident note, with the bass solo on Speravit anima mea in Domino (My soul fleeeth to the Lord) containing long rising melodies that symbolise the hope of the faithful. The motet ends with a tutti setting of the introit from the Requiem mass: the words Requiem aeternam are set to sombre downward phrases, then soaring melismas on Et lux perpetua signal Lullys confidence in the resurrection.

Even grander and more dramatic is Lullys setting of the Dies irae, the sequence for the Requiem Mass. The opening section is dominated by terrifying

Andre Bouys La Barre and Other Musicians (c. 1710), oil on canvas. Michel de La Barre (right-hand side, turning the music) was a flautist and composer. The original painting is life size, measuring 160 x 127 cm, and is painted with such accuracy that the score (one of La Barres own compositions) is legible.


images of the Day of Judgement: dies irae (day of wrath), tuba mirum (trumpet sounding), quantus tremor est futurus (great trembling there will be). Most of this section is sung by the bass soloist or by the chorus, with brisk dotted rhythms in the orchestra adding to the feel of agitation. The middle section, starting with the tenor solo quaerens me, sedisti lassus (faint and weary you have sought me), is less frenetic, instead contemplating the deliverance that God offers. Lully writes expansively for the solo ensemble, especially for the trio of lower voices on qui Mariam absolvisti (you who absolved Mary [Magdalene]) and the lyrical triple-time lines on voca me cum benedictis (call me among the blessed). A symphonie introduces the final section, in which the Pie Jesu is sung to hushed counterpoint by the tutti ensemble.

At the centre of tonights concert are two of Lullys petits motets: Regina coeli laetare and Salve Regina. These were probably written for the Parisian convent of the Assumption. Temporarily freed from the requirement to boost the image of the Sun King, Lully here wrote some of his most Italianate and intimate works. Both motets are scored for three upper voices and continuo, allowing Lully to indulge in the Italianate texture of intertwining high voices over the bass. In Regina coeli laetare, the trio texture creates a buoyant feel of jubilation, particularly on the words Alleluia and Resurrexit. A more plangent tone is struck in the Salve Regina, with the voices lingering on dissonances over the bass. In this motet the texture of the vocal trio alternates with two solo sections (on Ad te clamamus and Et Jesum, in which the singers highlight words such as lacrimarum with melismas).

Such did Lully dominate French music that during his lifetime the careers of many other musicians suffered. Marc-Antoine Charpentier (c.16431704) never received a position at court, possibly because his musical style was considered too Italianate. (In the 1660s he had studied with Giacomo Carissimi in Rome.) Instead Charpentier spent his career working at various

Jesuit institutions in Paris, and from 1698 he was matre de musique at the Sainte-Chapelle. Charpentiers Sonate huit is one of his few surviving instrumental works, and is written for the unusual combination of two flutes, two violins, bass viol, bass violin, harpsichord and theorbo. Of its nine movements, six are dances, including a concluding Chaconne. There are also two rcits in which the viol and bass violin demonstrate their solo virtuosity.

Unlike Charpentier, Marin Marais (16561728) managed to carve a niche for himself in court music. As one of Lullys pupils, Marais composed in the Gallic style favoured by the king; and as a virtuoso viol player, Marais was able to develop his own distinctive musical style. The Trios pour le Coucher du Roy are found in two sources: an anonymous manuscript in the Bibliothque Nationale, Paris (where they appear alongside pieces that can be ascribed to Lully) and in Marais 1692 publication of Pices en trio pour les Fltes, Violon & Dessus de Viole. The manuscript describes the trios as pieces for the king, whereas Maraiss 1692 publication dedicates them to Mademoiselle Roland (whom he describes as a fine singer and instrumentalist, and a perceptive judge of music and dance).

Marais trios are grouped in suites, each starting with a Prlude that is followed by a succession of dances from which the players can select the movements that suit their taste. Marais does not specify an exact scoring: his 1692 edition recommends flutes, violin and treble viol, but the Paris manuscript implies that strings alone are acceptable, while another possibility would be performance by wind instruments.

Stephen Rose 2012Dr Stephen Rose is Lecturer in Music at

Royal Holloway, University of London


Central nave at the Chapelle Royale, Versailles: just one of five increasingly grand new chapels that were built at Versailles under Louis XIVs reign this one (the fifth) being unreservedly lavish. This particular chapel would have been the original performance venue for some (if not all) of the sacred works in tonights programme. This is the view as from the tribune royale, where the King and members of the royal family heard mass.


Texts and translationsDe profundisDe profundis clamavi ad te, Domine;domine, exaudi vocem meam. Fiant aures tu

intendentes in vocem deprecationis me.Si iniquitates observaveris, Domine, Domine,

quis sustinebit?Quia apud te propitiatio est; et propter legem

tuam sustinui te, Domine.Sustinuit anima mea in verbo ejus:speravit anima mea in Domino.A custodia matutina usque ad noctem, speret Isral in Domino.Quia apud Dominum misericordia, et copiosa

apud eum redemptio.Et ipse redimet Isral ex omnibus iniquitatibus ejus.

Regina coeli ltare Regina coeli, ltare, alleluia:quia quem meruisti portare, alleluia,resurrexit, sicut dixit, alleluia,ora pro nobis Deum, alleluia.

Salve ReginaSalve, Regina, mater misericordiae:vita, dulcedo, et spes nostra, salve.Ad te clamamus, exsules, filii Hevae.Ad te suspiramus, gementes et flentesin hac lacrimarum valle.Eia ergo, Advocata nostra,illos tuos misericordes oculosad nos converte.Et Iesum, benedictum fructum ventris tui,nobis, post hoc exsilium ostende.O clemens: O pia: O dulcis Virgo Maria.

Dies iraeDies irae, dies illasolvet saeclum in favilla,teste David cum Sibylla.Quantus tremor est futurus,quando judex est venturus,cuncta stricte discussurus!

Tuba mirum spargens sonumper sepulcra regionum,coget omnes ante thronum. Mors stupebit et natura,cum resurget creatura,judicanti responsura.

From the depthsFrom the depths I have cried out to you, O Lord;Lord, hear my voice. Let your ears be attentive

to the voice of my supplication.If you, Lord, were to mark iniquities, who, O Lord,

shall stand?But with you is forgiveness, that you may be

revered. I trust in the Lord;My soul trusts in his word.My soul waits for the Lord,More than watchmen wait for the dawn, let Israel hope in the Lord.For with the Lord there is mercy, and with him is

plenteous redemption.And he will redeem Israel from all his iniquities.

PSALM 130

Queen of heaven, rejoiceQueen of heaven, rejoice, alleluia.For he whom you did merit to bear, alleluia,has risen, as he said, alleluia.Pray for us to God, alleluia.

MARIAN ANTIPHON FROM LITURGIA HORARUM

Hail, holy queenHail, holy queen, Mother of mercy!Our life, our sweetness, and our hope!To thee do we cry, poor banished children of Eve,to thee do we send up our sighs,mourning and weeping in this valley, of tears.Turn, then, most gracious advocate,thine eyes of mercy toward us;and after this our exile show unto us theblessed fruit of thy womb Jesus;O clement, O loving, O sweet virgin Mary.

MARIAN ANTIPHON FROM LITURGIA HORARUM

Day of wrathDay of wrath, day of angerwill dissolve the world in ashes,as foretold by David and the Sibyl.Great trembling there will bewhen the Judge descends from heavento examine all things closely.

The trumpet send its wondrous soundthroughout earths sepulchresand gather all before the throne. Death and nature will be astounded,when all creation rises again,to answer the judgement.

Liber scriptus proferetur,in quo totum continetur,unde mundus judicetur

Judex ergo cum sedebit,quidquid latet, apparebit,nil inultum remanebit.

Quid sum miser tunc dicturus?quem patronum rogaturus,cum vix justus sit securus?

Rex tremendae majestatis,qui salvandos savas gratis,salve me, fons pietatis.

Recordare, Jesu pie,quod sum causa tuae viae;ne me perdas illa die.

Quaerens me, sedisti lassus,redemisti crucem passus;tantus labor non sit cassus. Juste judex ultionis,donum fac remissionisante diem rationis. Ingemisco, tamquam reus:culpa rubet vultus meus;supplicanti parce, Deus.

Qui Mariam absolvisti,et latronem exaudisti,mihi quoque spem dedisti. Preces meae non sunt dignae,sed tu, bonus, fac benigne,ne perenni cremer igne. Inter oves locum praesta,Et ab haedis me sequestra,Statuens in parte dextra.

Confutatis maledictis,flammis acribus addictis,voca me cum benedictus. Oro supplex et acclinis,cor contritum quasi cinis,gere curam mei finis.

Lacrimosa dies illa,qua resurget ex favillajudicandus homo reus.Huic ergo parce, Deus,pie Jesu Domine,dona eis requiem. Amen.


A book will be brought forth,in which all will be written,by which the world will be judged.

When the judge takes his place,what is hidden will be revealed,nothing will remain unavenged.

What shall a wretch like me say?Who shall intercede for me,when the just ones need mercy?

King of tremendous majesty,who freely saves those worthy ones,save me, source of mercy.

Remember, kind Jesus,my salvation caused your suffering;do not forsake me on that day.

Faint and weary you have sought me,redeemed me, suffering on the cross;may such great effort not be in vain. Righteous judge of vengeance,grant me the gift of absolutionbefore the day of retribution. I moan as one who is guilty:owning my shame with a red face;suppliant before you, Lord.

You, who absolved Mary,and listened to the thief,give me hope also. My prayers are unworthy,but, good Lord, have mercy,and rescue me from eternal fire. Provide me a place among the sheep,and separate me from the goats,guiding me to Your right hand.

When the accused are confounded,and doomed to flames of woe,call me among the blessed. I kneel with submissive heart,my contrition is like ashes,help me in my final condition.

That day of tears and mourning,when from the ashes shall arise,all humanity to be judged.Spare us by your mercy, Lord,gentle Lord Jesus,grant them eternal rest. Amen.

THOMAS OF CELANO, 12001265


JS Bachs Orchestral SuitesExploring the life and music of Johann Sebastian Bach

AAM in London and Cambridge: 201213 season

A musical feastTable music from Schein to Telemann

Handels royal musicCelebratory performances of four glorious works

Scholl sings BachThe celebrated counter-tenor makes his AAM debut

CAMBRIDGEWednesday 19 September 20127.30pm West Road Concert Hall

LONDONFriday 21 September 20127.30pm Wigmore Hall

SCHEIN Suites from Banchetto Musicale (1617)THOMAS SIMPSON Taffel Consort (1621)BIBER Mensa Sonora Suite III in A minor (1680)TELEMANN Musique de table II (1733)

LONDONWednesday 26 September 20127.30pm Barbican Concert Hall

CAMBRIDGEThursday 27 September 20127.30pm Corn Exchange

Coronation Anthems (1727)Music for the Royal Fireworks (1749) Suite from Water Music (1717)Hallelujah! and Amen from Messiah (1741)

CAMBRIDGEWednesday 14 November 20116.45pm Kings College Chapel

JS BACH Motet Lobet den Herrn BWV230 (unknown)JS BACH / HOFFMANN Cantata No.53

Schlage doch, gewnschte Stunde (c.1730)JS BACH Cantata No.82 Ich habe genug (1727)JS BACH Sinfonia and chorus from Cantata No.146

Wir mssen durch viel Trbsal (1726)JS BACH Sanctus in D major BWV238 (c.1723)JS BACH Cantata No.170 Vergngte Ruh, beliebte Seenlust (1726)

Richard Egarr director & harpsichord

Richard Egarr conductor

Andreas Scholl counter-tenor AAM DEBUT

Handel the LondonerThree days of exploration and music-making, discovering Handels world at venues around London. Try out the instruments he would have known, listen to his chamber music, and tour sites which featured prominently in his daily life.

LONDON1517 November 2012 St Georges Hanover Square, Handel House, Foundling Museum and Barbican Centre

Events include talks, workshops, chamber concerts and tours

VISIT AAM.CO.UK FOR DETAILS

Sir Nicholas Kenyon guest speaker


Christoph Wolff guest speaker

WEST ROAD CONCERT HALLCorn Exchange box office01223 357851aam.co.uk/concerts

WIGMORE HALLWigmore Hall box office020 7935 2141wigmore-hall.org.uk

KINGS PLACEKings Place box office020 7520 1490kingsplace.co.uk

BARBICAN CENTREAdvance box office, Silk Street020 7638 8891barbican.org.uk

Booking information

Choir of the AAM

Stephen Cleobury conductor

Choir of Kings College, Cambridge

Edward Blakeman guest speaker

CAMBRIDGEThursday 31 January 20131pm, 2.30pm, 6pm and 7.30pm West Road Concert Hall

LONDONSaturday 2 February 20131pm, 2.30pm, 6pm and 7.30pm Kings Place


JS BACH English Suites Nos. 3, 4 & 6 (1pm) Richard Egarr harpsichordCHRISTOPH WOLFF Discovering Bach (2.30pm)

Discussing a life of groundbreaking researchSARAH MOHR-PIETCH Playing Bach (6pm)

In conversation with AAM playersJS BACH Orchestral Suites (1725-41) (7.30pm)

KINGS COLLEGEThe Shop at Kings01223 769340kings.cam.ac.uk

CORN EXCHANGECorn Exchange box office01223 357851cornex.co.uk


Bernarda Fink mezzo -soprano

VERACINI Overture in G minor (1716)MERULA Hor Che Tempo di Dormire (Canzonetta spirituale sopra alla nanna) (1638)VIVALDI Concerto in E major for violin Lamoroso RV271 (c.1728)VIVALDI Sovvente il Sole from Andromeda liberata (1726)VIVALDI Concerto in D major for violin Linquietudine RV234 (c.1727)FERRANDINI Il pianto di Maria (c.1735)

Italian passionsConcertos and cantatas with Rodolfo Richter and Bernarda Fink

JS Bachs St Matthew PassionWith the Choir of Kings College, Cambridge

CAMBRIDGEMonday 25 March 20136.30pm Kings College Chapel

Tuesday 26 March 20136.30pm Kings College Chapel

LONDONMonday 25 February 20137.30pm Wigmore Hall

CAMBRIDGEWednesday 27 February 20137.30pm West Road Concert Hall

Christoph Genz Evangelist AAM DEBUT

Stephen Cleobury conductor

Choir of Kings College, Cambridge

JS Bachs St John PassionWith the Choir of the AAM

NachtmusikSerenades and symphonies by Haydn and Mozart

Nicholas Collon conductor AAM DEBUT

James Gilchrist Evangelist

Matthew Rose Christ

Ashley Riches Pilate

MOZART Adagio and Fugue in C minor K546 (1788)MOZART Serenata Notturna in D major K239 (1776)HAYDN Symphony No.8 in G major Le soir (1761)HAYDN Notturno No.1 in C major (c.1788)MOZART Symphony No.27 in G major (1733)

CAMBRIDGESunday 14 April 20137.30pm West Road Concert Hall

LONDONThursday 18 April 20137.30pm Wigmore Hall

LONDON Friday 29 March 20133pm Barbican Concert Hall

Hogwood conducts HandelAAM founder returns in Imeneo

Christopher Hogwood conductor

LONDONWednesday 29 May 20137.30pm Barbican Concert Hall

CONCERT PERFORMANCE

Handel in ItalyMusic from the young composers travels


HANDEL Diana cacciatrice(1707)DOMENICO SCARLATTI Sinfonia 3 in G minor (unknown)CORELLI Concerto Grosso Op.6 No.9 in F major (1714)ALESSANDRO SCARLATTI Concerto Grosso No.5 in D minor (c.1715)HANDEL Clori, Tirsi e Fileno (1707)

LONDONTuesday 11 June 20137.30pm Wigmore Hall

CAMBRIDGEThursday 13 June 20137.30pm West Road Concert Hall

Rodolfo Richter director & violin

Andreas Scholl counter-tenor

Andrew Kennedy tenor

Elizabeth Watts soprano

Sarah Connolly mezzo-soprano

Christopher Purves bass


Sophie Junker soprano AAM DEBUT

Lucy Crowe soprano

Stephan Loges Argenio

Vittorio Prato Imeneo AAM DEBUT

David Daniels Tirinto

RebeccaBottoneRosmene

Lucy Crowe ClomiriAAM DEBUT


Theres also a difference in the way we approach our music making. Composers prized the creativity of musicians, expecting them to make the music come alive and to communicate its thrill to the audience an ethos we place at the heart of all that we do. Very often we dont have a conductor, but are directed by one of the musicians, making for spontaneous, sparky and engaged performances. Its not just about researching the past; its about being 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, the superb artistry and musical imagination of our players combined with a deep understanding of the musics original context.

Academy of Ancient Music: our ethos

The history of the AAM is the history of a revolution. When Christopher Hogwood founded the orchestra almost forty years ago, he rejected the decades-old convention of playing old music in a modern style. Hogwood and the AAM were inspired by original performances and, along with musicians across Europe, were beginning to discover the sound worlds which Bach, Handel and Haydn would have known. These bold initial steps would lead to a radical transformation in musical performance, allowing baroque and classical masterworks to be heard anew from that day to this.

So whats different about the AAM? Partly its the instruments, which are originals (or faithful copies of them). The stringed instruments have strings made of animal gut, not steel; the trumpets have no valves; the violins and violas dont have chin-rests, and the cellists grip 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 the orchestra is often smaller, meaning that every instrument shines through and the original balance of sound is restored; and where possible we play from first edition scores, stripping away the later additions and annotations of editors and getting back to composers initial notes, markings and ideas.

NEW IMAGE HERE

a band that, for nearly 40 years, has consistently established a benchmark of veracity and authority in getting composers music played as it was intended to be played: free of accretions, stripped of varnish, and as straight and true as an arrowG L A S G O W H E R A L D, 2010

ON 3 JUNE, WE GAVE A PERFORMANCE OF HANDELS WATER MUSIC AND MUSIC FOR THE ROYAL F IREWORKS FROM A THAMES BARGE AS PART OF THE JUBILEE PAGEANT. WATCH OUR BEHIND-THE-SCENES FOOTAGE OF THE DAY AT YOUTUBE.COM/ACADOFANCIENTMUSIC.


Academy of Ancient Music: our past, present and future

The AAM was founded in 1973 by Christopher Hogwood, under whose leadership the orchestra developed the global reputation for inspirational music making which continues today. In its first three decades the AAM performed live to music lovers on every continent except Antarctica, and millions more heard the orchestra through its astonishing catalogue of over 300 CDs: Brit- and Grammy-Award-winning recordings of Handel operas, pioneering accounts of the Beethoven, Mozart and Haydn symphonies, and revelatory discs which championed neglected composers.

This artistic excellence was fostered by a stunning roster of guest artists: singers Dame Emma Kirkby, Dame Joan Sutherland and Cecilia Bartoli and pianist Robert Levin were among those performing regularly with the AAM. A range of collaborations continue to inspire the group with new ideas and fresh approaches. The current relationship with the Choir of Kings College, Cambridge recently produced the worlds first live classical cinecast, with Handels Messiah streamed live into hundreds of cinemas across the globe; and ongoing work with the likes of soprano Elizabeth Watts, tenor Andrew Kennedy and cellist Steven Isserlis lies at the heart of the AAMs present-day artistic success.

In 2006 Richard Egarr succeeded Hogwood as Music Director, and the orchestra continues

its tradition of enthralling audiences old and new. Already Egarr has directed the first-ever performances in China of Purcells Dido and Aeneas and JS Bachs complete Brandenburg Concertos, and has led tours throughout Europe and to Australia, America and the Far East. Recent recordings, including a complete cycle of Handels instrumental music Opp.1-7, have won MIDEM, Edison and Gramophone Awards. In 2007 Egarr founded the Choir of the AAM, which a year later was awarded the title of Choir of the Year at the Beijing Classical Elites.

The future is just as bright. This summer sees the world-premire release of our recording of music by Christopher Gibbons (turn to page 20 to read more) and a performance as part of the BBC Proms. Highlights of the forthcoming 2012-13 season include AAM debuts for Andreas Scholl and Lucy Crowe; performances of both of JS Bachs passions; and, in our first year as Associate Ensemble at Londons Barbican Centre a celebratory performance of Handels royal music, as well as a rare chance to hear his farewell to Italian opera, Imeneo, conducted by Christopher Hogwood.

Visit www.aam.co.uk to find out more, or pick up a season brochure tonight.


Richard Egarr director & keyboards

Richard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his music making. As well as being an accomplished conductor, Richard is a brilliant harpsichordist and equally skilled on the organ, fortepiano and modern pianos. His many roles include directing from the keyboard, playing concertos and giving solo recitals, and he relishes the chance to talk about music at every opportunity.

Richard trained as a choirboy at York Minster, atChethams School of Music in Manchester andas organ scholar at Clare College, Cambridge.His studies with early music pioneers Gustavand Marie Leonhardt further inspired his work inthe field of historical performance.

Richard was appointed Music Director ofthe AAM in 2006, since when he has led theorchestra on tours to four continents and ina number of acclaimed recordings. Richard isalso involved with a number of other periodensembles: he appears in America with theHandel and Haydn Society and PortlandBaroque, and this season makes his debut withPhilharmonia Baroque in San Francisco. He has performed as a soloist with The English Concert and the Orchestra of the Age of Enlightenment.

In 2007 Richard established the Choir of theAAM, and operas and oratorios lie at the heartof his repertoire. He regularly appears at theConcertgebouw in Amsterdam with, amongothers, the Netherlands Opera Company; andin 2007 he made his Glyndebourne debut in astaged performance of JS Bachs St MatthewPassion. Richard is also renowned as aninspiration for young musicians: alongsidehis teaching position at the AmsterdamConservatoire, he has regular relationships withthe BrittenPears Foundation in Aldeburgh andwith the Netherlands Opera Academy.

Richard is increasingly sought after by nonperiod orchestras. This season he returns toconduct the Rotterdam Philharmonic Orchestra, and makes his debut with the Berlin Konzerthausorchester and Helsingborg Symphony. In December 2011 he was appointed Associate Artist with the Scottish Chamber Orchestra.

Richard has performed as a soloist throughoutEurope, Japan and the USA, and his solorecording output comprises works byFrescobaldi, Orlando Gibbons, Couperin, Purcell,Froberger, Mozart and JS Bach. For many yearshe formed an unequalled duo for violin andkeyboard (Gramophone) with violinist AndrewManze, which resulted in acclaimed concertsand award-winning recordings of music fromStylus Phantasticus to Mozart and Schubert.

Richard has directed the AAM in recordings byJS Bach, including the Brandenburg Concertos;and in a complete cycle of Handels Opp.1-7instrumental music which has won MIDEM,Edison and Gramophone Awards.

Richard lives in Amsterdam with his wife anddaughter.

genuinely exhilarating and constantly surprisingT H E G UA R D I A N , J U LY 2011


Board of DirectorsAdam BroadbentKay Brock LVO DLJohn EverettMatthew FerreyJames GolobJohn GrievesHeather JarmanChristopher Purvis CBE (Chairman)John ReeveTerence SinclairDr Christopher TadgellJanet Unwin

Development BoardAdam BroadbentKay Brock LVO DLDelia BrokeElizabeth de FriendKate DonaghyJohn EverettMatthew FerreyJames GolobJohn GrievesMadelaine GundersAnnie NortonChristopher Purvis CBEJohn ReeveChris Rocker Terence Sinclair (Chairman)Dr Christopher TadgellMadeleine TattersallSarah Miles WilliamsAlison Wisbeach

Music Director Richard Egarr

Emeritus DirectorChristopher Hogwood CBE

Chief ExecutiveMichael Garvey

Orchestra ManagerAndrew Moore

Head of External RelationsSimon Fairclough

External Relations Manager: CommunicationsToby Chadd

Finance ManagerElaine Hendrie

External Relations Manager: DevelopmentOriel Williams

Concerts & Administration ManagerSamantha Martin

Communications OfficerAnna Goldbeck-Wood

Concerts & Administration TraineeGraham Sale

PR ManagementRebecca Driver Media Relations

Violin IPavlo Beznosiuk*

Violin IIRodolfo Richter

Viola Jane RogersRachel Byrt

Cello Sarah McMahon* Viola da gambaReiko Ichise

TheorboPaula Chateauneuf

FluteRachel BrownGuy Williams

OrganStephen Farr

Keyboards Richard Egarr

Keyboard TechnicianMalcolm Greenhalgh

SopranoCharmian BedfordElizabeth DruryPhilippa Hyde

AltoJacqueline ConnellSusanna Spicer

TenorJulian Forbes Christopher Tortise

BassMichael BundyRichard LathamPhilip Tebb

Guy Williams fluteTonights programme features repertoire for the early flute that is in many ways the reason I took up the instrument seriously. In 1973 I became a pupil of Stephen Preston, who was an original member of AAM and the pioneer of baroque flute playing in the UK. I was then 15 and at my first lesson he introduced me to the KuijkenLeonhardt recording of Marais Tombeau de Monsieur de Sainte-Colombe and a glass of sherry Ive never looked back. Ive been playing with AAM since 1982 but this is the first time Ill be playing my copy of a seventeenth-century flute by Naust. Im thrilled because its an instrument Ive loved for many years but have rarely had the opportunity to perform with because of its lower-than-usual pitch.

*Sponsored chairs

Leader Lord and Lady Magan

Principal cello Dr Christopher and Lady Juliet Tadgell

Principal fluteChristopher and Phillida Purvis

Sub- principal violaSir Nicholas and Lady Goodison

Sub- principal celloNewby Trust Ltd

Academy of Ancient Music


Supporting the Academy of Ancient Music

Having fun, getting closer to the music and securing the future of a great tradition. Thats what supporting the Academy of Ancient Music is all about.

The music we are enjoying tonight came into being only through a tradition of patronage. JS Bach composed his instrumental masterpieces at the courts of Weimar and Kthen; Haydn enjoyed the backing of the Esterhzy family; Mozarts patrons included the Archbishop of Salzburg and Emperor Joseph II.

The AAM exists to keep this music alive but income from ticket sales covers only a third of the cost of staging concerts like tonights. Just like the composers of old, the orchestra relies on generous support from those who value its work and care about its future.

Over the next few years the AAM will be doing more than ever to develop the audiences, musicians and arts managers of the future through its AAMplify new generation programme, to bring baroque and classical music to a global audience through recordings and online work, and to enrich peoples lives through its concerts. In order to do so it must raise a total of 2.8 million by 2015. Through the generosity of individual philanthropists, Arts Council England and other funders and supporters 1.3 million has already been secured. 1.5 million remains to be raised.

The future of ancient music is in our hands. Read on to find out how you can help.

Join the AAM Society

The AAM Society is the AAMs core group of regular supporters. Members annual gifts provide the vital ongoing support without which the orchestra would be unable to continue to perform.

Members enjoy a close and ongoing involvement with the life of the orchestra: they dine with the musicians after performances in London; they receive regular invitations to open rehearsals, private recitals and other special events; and at least once each year they are invited to travel with the orchestra on tour internationally.

Membership starts from 250 per annum (100 for young supporters aged up to 40) and goes up to 20,000+. Gifts can be made annually or by regular standing order. Those giving over 1,000 receive invitations to regular recitals and other special events held in the homes of fellow members. Those giving over 5,000 have

the opportunity to sponsor a specific position in the orchestra, and are invited to join the Council of Benefactors which meets annually to receive an update on the orchestras performance from the Chief Executive and Chairman.

To join the AAM Society, please either contact the AAM or complete and return the membership form on page 19.

The AAMs Porto-Lisbon trip was memorable. We socialised with the players, heard wonderful music twice over with soprano Carolyn Sampson, had an exclusive tour and tasting of Grahams Port, and were introduced to Portos extraordinary churches by an expert with an optional trip to the Gulbenkian thrown in. All smoothly organised, relaxed and with the bonus of excellent company, meals and wine. E L I Z A B E T H D E F R I E N D A A M S O C I E T Y M E M B E R


We love the AAMs excellent performances, academic depth and innovative programming, and as AAM Society members we share the musical life of this superb ensemble project by project. The AAM is as welcoming and friendly as it is enlightening, and as professional behind the scenes as it is on stage! R I C H A R D A N D E L E N A B R I D G E S A A M S O C I E T Y M E M B E R S

From time to time, syndicates are formed to support special artistic projects. Members enjoy a particularly close involvement with the work they are supporting. Its not too late to get involved with Musical Revolutions, the concert

series at the heart of the AAMs 201112 London and Cambridge season. Please contact the AAM to find out more.

Support a special project

The AAM Tomorrow Fund has been established for those who want to invest at a substantial level in the long-term future of the orchestra. Support from the Fund is making major strategic initiatives possible, including the

development of the AAMplify new generation programme and the revitalisation of the AAMs recording programme. The Fund was established by a generous leading gift from Lady Sainsbury of Turville, and major gifts have subsequently been received from other individual and institutional supporters.

Invest in the AAM Tomorrow Fund

Over the last four decades the AAM has brought joy and inspiration to millions of people. Our aim over the next is to begin to build an endowment which will ultimately enable it to do so in perpetuity.

Leaving a legacy is one of the most enduring ways in which you can support our work: gifts of any size have a real impact in enabling the AAM to keep baroque and classical music alive for generations to come. By supporting our work in this way you may also be able to reduce the overall tax liability due on your estate.

Leave a legacy

Generous tax incentives exist for UK taxpayers supporting charities like the AAM. Under the Gift Aid scheme the eventual cost of making a gift could be as little as half of its value to

the AAM and for donors who make gifts of shares the cost could be lower still. Further information is available from the AAM.

Tax-efficient giving

Contact Simon Fairclough, Head of External Relations, on 01223 341096 or [email protected]

Visit www.aam.co.uk and click Support the AAM

To find out more


The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestras work:

AAM Funders & Supporters

Special giftsThe Academy of Ancient Music extends its grateful thanks to Lady Sainsbury of Turville, who has supported the orchestras work at a particularly significant level this year.

The Chairmans Circle(Donations 20,00049,999 per annum)Matthew FerreyCHK Charities LtdDunard Fund

The Hogwood Circle(Donations 10,000 - 19,999 per annum)Lord and Lady MaganChristopher and Phillida Purvis *Mrs Julia RosierDr Christopher and Lady Juliet TadgellLady Linda Wong Davies (KT Wong Foundation)

Principal Patrons (Donations 5,000 9,999 per annum)Richard and Elena BridgesChristopher Hogwood CBE *Mrs Sheila MitchellNewby Trust Ltd *Chris Rocker and Alison WisbeachTerence and Sian Sinclairand other anonymous Principal Patrons

Patrons (Donations 2,500 4,999 per annum)Lady Alexander of WeedonAdam and Sara BroadbentRichard and Elizabeth de FriendMr and Mrs JE EverettMr and Mrs James GolobSir Nicholas and Lady Goodison *John and Ann GrievesGraham and Amanda HuttonMark and Liza LovedayJohn and Joyce ReeveMark Westand other anonymous Patrons

Principal Benefactors (Donations 1,000 2,499 per annum)John and Gilly BakerGeorge and Kay BrockMrs D BrokeMr and Mrs Graham BrownClive and Helena ButlerJo and Keren Butler

Sir Charles Chadwyck- Healey BtPeter Stormonth DarlingKate DonaghyThe Hon Simon EcclesThe Hon. William GibsonElma Hawkins and Charles RichterLord HindlipJohn McFadden and Lisa Kabnick *David and Linda Lakhdhir Steven Larcombe and Sonya LeydeckerMr and Mrs C NortonLionel and Lynn PerseyNigel and Hilary Pye *Mr and Mrs Charles Rawlinson Mark and Elizabeth RidleySir Konrad and Lady Schiemann *JG StanfordMr Michael StumpJohn and Madeleine TattersallMarcellus and Katharine Taylor- JonesStephen ThomasSarah and Andrew WilliamsMrs R Wilson StephensCharles Woodwardand other anonymous Principal Benefactors

Benefactors (Donations 500 999)Dr Aileen Adams CBEBill and Sue BlythClaire Brisby and John Brisby QC *Mr and Mrs Edward Davies- GilbertCharles DumasMr and Mrs Jean- Marie EveillardSimon FaircloughMarshall FieldMichael and Michele Foot CBEAndrew and Wendy GairdnerHon William GibsonThe Hon Mr and Mrs Philip HaversProfessor Sean HiltonDr and Mrs G and W HoffmanHeather Jarman *Susan LathamTessa MayhewMr and Mrs Hideto NakaharaRodney and Kusum Nelson- JonesNick and Margaret ParkerBruno Schroder and FamilyPeter ThomsonJanet UnwinPippa WicksOriel Williams

Peter and Margaret WynnJulia Yorkeand other anonymous Benefactors

Donors (Donations 250 499)Angela and Roderick Ashby- JohnsonElisabeth and Bob Boas *Mrs Nicky BrownJeremy J BuntingMr Alexander ChaddDr and Mrs S ChallahDavid and Elizabeth ChallenCottisford TrustStephen and Debbie Dance Derek and Mary DraperBeatrice and Charles GoldieSteven and Madelaine GundersGemma and Lewis Morris HallMrs Helen HiggsLord and Lady Jenkin of RodingAlison KnockerRichard LockwoodYvonne de la PraudireJane Rabagliati and Raymond CrossRobin and Jane RawAnnabel and Martin RandallArthur L Rebell and Susan B CohenDenys RobinsonMr and Mrs Timothy RobinsonMichael and Giustina RyanMiss E M SchlossmannMichael SmithRt Hon Sir Murray Stuart- Smith *Janet UnwinRobin VousdenPaul F. Wilkinson and Associates Inc.and other anonymous Donors* denotes founder member

Musical RevolutionariesHilary BartonCottisford TrustHon William GibsonHeather JarmanMark and Lisa LovedayMrs Sheila MitchellMr and Mrs Charles RawlinsonMichael and Giustina RyanRobin VousdenMr Charles Woodwardand other anonymous Musical Revolutionaries

The AAM Society

AAM Business ClubCambridge University PressKleinwort BensonRoyal Bank of Canada

Public fundersArts Council EnglandOrchestras LiveCambridge City Council

Trusts and foundationsThe Backstage TrustCHK Charities LtdDunard FundJohn Ellerman FoundationEsme Fairbairn FoundationFidelity UK FoundationGatsby Charitable FoundationJ Paul Getty Jnr Charitable TrustNewby Trust LtdSir Siegmund Warburgs Voluntary SettlementConstance Travis Charitable TrustGarfield Weston Foundationand other anonymous trusts and foundations


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 members detailsPlease complete this section only if you are giving Society membership to someone else as a gift.

Members name: ................................................................................................................

Members address: ............................................................................................................

........................................................................................................................................................

Members telephone: ......................................................................................................

Members email: .................................................................................................................

Membership level The Chairmans Circle 20,000+

The Hogwood Circle 10,00019,999

Principal Patron 5,0009,999

Patron 2,5004,999

Principal Benefactor 1,0002,499

Benefactor 500999

Donor 250499

Young Supporter (under 40 only) 100249

Date of birth: ..................................................................................................................

Acknowledgement Please acknowledge my gift using the following form of wording

.......................................................................................................................................................

I would prefer to remain anonymous

Payment detailsI 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)

I would like to pay by standing order (please complete the standing order section below)

I would like to make a gift of shares (please contact the AAM)

Three-year pledgeBy 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 declarationPlease 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.

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.

Signed: .....................................................................................................................................

Date: ...........................................................................................................................................

Donations made by standing orderPlease complete this section if you would like to make your donation to the AAM by standing order.

Name of bank: .....................................................................................................................

Bank address: ........................................................................................................................

........................................................................................................................................................

Account number: ...............................................................................................................

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 month

quarter

year

starting on: .............................................................................................................................

Signed: ......................................................................................................................................

Date: ...........................................................................................................................................

Full name: ...............................................................................................................................

Please return your completed form to:Oriel WilliamsExternal Relations Manager: DevelopmentAcademy of Ancient Music11b Kings ParadeCambridge CB2 1SJ


Wigmore Hall 36 Wigmore Street, London W1U 2BPDirector: John Gilhooly, The Wigmore Hall Trust, Registered Charity No.1024838Wigmore 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.

SummerChoral ConcertGold Like FireA new work for the 2012 Games

Handel Dixit DominusMozart Requiem

Friday 6 July 2012Kings College Chapel 7.30pm

Concerts atKings

Tickets from the Shop at King's 01223 769 340www.kings.cam.ac.uk/events/concerts-at-kings.html

Christopher Gibbons: world-premire recording Advance copies available tonight for just 10 | CD signing in the foyer after the performance

Having been almost entirely neglected over the past three centuries, the music of Christopher Gibbons second son of the famous Orlando was rediscovered by Richard Egarr around 15 years ago. His sparked interest led to a period of research in Oxford and London library archives, various performances with the AAM and finally this world-premire recording.

This collection includes a selection of choral and instrumental works that demonstrate Gibbons style and broad expressive palette, including works for solo organ, fantasias for violin, viol and organ, and vocal motets. The disc also features anthems with the Choir of the AAM who make their recording debut that Egarr cites as the jewels in the crown.

Academy of Ancient Music | Choir of the AAM | Richard Egarr director & keyboards

Documents

Age of the French Baroque