Download the programme - Academy of Ancient · PDF fileAcAdemy of Ancient music, ... social hierarchy of the day: ... technique of the Baroque rather than the sonata-form

A c A d e m y o f A n c i e n t m u s i c , 2 0 1 3 – 1 4 s e A s o n | 3

ALINA IBRAGIMOVA director & violin (concertos)PAVLO BEZNOSIUK director & violin (symphonies)

HAYDN Violin concerto no.1 in c major (c.1769)Allegro moderato · Adagio · Finale: Presto

HAYDN symphony no.45 in f sharp minor “farewell” (1772)Allegro assai · Adagio · Menuet (Allegretto) & Trio · Finale: Presto – Adagio

MOZART symphony no.10 in G major (1770)

Allegro - Andante · Allegro

MOZART Violin concerto no.5 in A major “turkish” (1775)Allegro aperto – Adagio – Allegro aperto · Adagio · Rondeau: Tempo di Menuetto

20-minute interval

A C A D E M Y O F A N C I E N T M U S I C

I B R A G I M O VA D I R E C T S H AY D N A N D M O Z A R T

15–19 October 2013 · Performances in italy and the uK23 October 2013 · West Road concert Hall, cambridge, uK 24 October 2013 · milton court concert Hall, London, uK

AL

INA

IB

RA

GIM

OV

A D

IRE

CT

S H

AY

DN

& M

OZ

AR

T

A c A d e m y o f A n c i e n t m u s i c , 2 0 1 3 – 1 4 s e A s o n | 5IbragImova dIrects Haydn and mozart

over the past 25 years Pavlo Beznosiuk has established a formidable reputation as one of europe’s most respected baroque violinists, with a busy international career as a soloist, chamber musician, concertmaster and director.

Pavlo has a long association with the Academy of Ancient music. He first toured with the orchestra in 1985, and since then has appeared frequently as a soloist and director. Recent highlights include performances of Vivaldi’s The Four Seasons, concertos by Bach and Haydn, tartini’s ‘devil’s trill’ sonata and Pergolesi’s Stabat Mater. He is currently the AAm’s leader.

Pavlo is musical director of the Avison ensemble, with which he has recorded the complete output of charles Avison as well as music by Vivaldi (concerti op.8), Handel (concerti Grossi op.6) and the entire published output of corelli, released this year. n the mid-1980s he was involved in pioneering work in the use of renaissance violins with the Parley of instruments, and was a key member of the ground-breaking medieval ensemble the new London consort.

Pavlo’s extensive recording output is central to his reputation as one of the field’s finest and most versatile players. His recent recording of Js Bach’s solo sonatas and partitas was described as “exquisite” by The Independent on Sunday; and releases with the AAm include Handel’s solo and trio sonatas with Richard egarr and Vivaldi’s Violin concertos op.12 with christopher Hogwood. He has recorded Biber’s complete ‘Rosary’ sonatas with the actor timothy

West, and as a violist he has recorded mozart’s sinfonia concertante with both monica Huggett and Rachel Podger.

Pavlo teaches baroque violin at the Guildhall school of music & drama and at the Royal Academy of music in London.

PAV LO B E Z N O S I U Kdirector and violin

The Times has written that Alina ibragimova performs with “a mixture of total abandonment and total control that is in no way contradictory” and that she is “destined to be a force in the classical music firmament for decades to come”.

Performing music from baroque to new commissions on both modern and period instruments, Alina has appeared with orchestras including the London symphony orchestra, deutsche Kammerphilharmonie Bremen, stuttgart Radio symphony, Hallé, seattle symphony, munich chamber, the orchestra of the Age of enlightenment, Konzerthausorchester Berlin, orchestre national du capitole de toulouse, Philharmonia, and all the BBc orchestras. conductors with whom she has worked include sir charles mackerras, Valery Gergiev, sir John eliot Gardiner, sir mark elder, Paavo Järvi, Vladimir Jurowski, Rafael frühbeck de Burgos, Philippe Herreweghe, Richard Hickox, osmo Vänskä, yannick nézet-séguin, tugan sokhiev, edward Gardner and Gianandrea noseda.

As soloist and director Alina has toured with the Kremerata Baltica, Britten sinfonia, Academy of Ancient music, and the Australian chamber orchestra.

With regular recital partner cédric tiberghien and in solo and chamber music she has appeared at venues including the Wigmore Hall, concertgebouw, mozarteum, musikverein, carnegie Hall, Palais des Beaux Arts, Vancouver Recital series, and at festivals including salzburg, Verbier, mdR musiksommer, manchester international, Lockenhaus and Aldeburgh.

Born in Russia in 1985, Alina studied at the moscow Gnesin school before moving with her family to the uK in 1995 where she studied at the yehudi menuhin

school and Royal college of music, and was a member of the Kronberg Academy masters programme. Alina’s teachers have included natasha Boyarsky, Gordan nikolitch and christian tetzlaff.

Alina has been the recipient of awards including the Royal Philharmonic society young Artist Award 2010, Borletti-Buitoni trust Award and a classical BRit Award, and was a member of the BBc new Generation Artists scheme from 2005 to 2007.

IBRAGIMOVA DIRECTS HAYDN AND MOZART

A L I N A I B R A G I M O VA director and violin

© Sussie Ahlburg

© Joanne Green


in the eighteenth century, aristocrats generally regarded instrumental music as high-class background music, to be started or stopped at their command. courts used symphonies to accompany the aristocrats’ meals, conversation and recreation. At the Brunswick court the duchess insisted that the orchestra play softly in her presence, so as not to interrupt her card games. At the esterházy court, where Joseph Haydn worked from 1761 until 1790, the subservient status of musicians was evident in Haydn’s contract, which required him to report daily at noon to his patron to ask where and when music was required.

Less patient was Wolfgang Amadeus mozart, who frequently complained about the indifference of his aristocratic audiences. Visiting Paris in 1778, he was made to wait for over an hour outside the salon of the duchesse du chabot, while she and her companions made drawings of each other. “At last … i played on that miserable, wretched pianoforte,” he told his father in a letter. “But what vexed me most of all was that madame and all her gentlemen never interrupted their drawing for a moment, but went on intently, so that i had to play to the chairs, tables and walls.”

despite these attitudes of eighteenth-century audiences, composers sometimes imbued their orchestral music with covert messages and even with social commentaries. to be sure, Haydn and mozart would not have subscribed to Gustav mahler’s view that: “A symphony must be like the world; it must embrace everything.” yet they would have agreed that even the smallest instrumental genre could allude to greater matters. in 1754 the Austrian musician Joseph Riepel described a minuet as “no different from a concerto, aria or a symphony”; in its modulations and themes, it was a microcosm of the larger forms. Riepel saw the different keys in a piece as symbolising the social hierarchy of the day: in a composition in c major,

c represented the landowner, G the chief servant, while more remote keys were like social outcasts (thus d minor is a female interloper).

Haydn and mozart, too, incorporated allusions and deeper messages within some of their orchestral works. Haydn’s symphony no.45 in f sharp minor “farewell” delivers a message to his patron that the court musicians are tired of staying at the prince’s summer residence. mozart’s Violin concerto no.5 in A major evokes the sound of turkish military bands, symbolising the ottoman power that still in the eighteenth century could threaten christendom in general and Austria in particular. through their imagination, wit and artistic tenacity, Haydn and mozart ensured that their symphonies and concertos were much more than background music.

JOSEPH HAYDN, VIOLIN CONCERTO NO.1 IN C MAJOR, HOB.VIIA:1

Haydn’s concertos occupy only a small part of his output: he was not a virtuosic soloist, so did not write concertos for himself to play (unlike mozart, who used his many piano concertos as a showcase for his abilities on the keyboard). His Violin concerto in c major probably dates from the early 1760s, shortly after his arrival at the esterházy court, and (according to Haydn’s catalogue of his works) was written for the leader of the orchestra, the violinist Luigi tomasini.

the opening movement harks back to the concertos of the first half of the eighteenth century in its swaggering dotted rhythms and array of rhythmic figures. structurally, too, it is closer to the ritornello technique of the Baroque rather than the sonata-form movements of the second half of the century.

A more modern style is heard in the slow movement, where the soloist has a cantabile rhapsody over an

H AY D N A N D M O Z A R T :S Y M P H O N I E S A N D C O N C E R T O S



VIOLIN 1Pavlo Beznosiuk* · Rodolfo Richter · Sijie Chen · Iona Davies

VIOLIN 2William Thorp · Persephone Gibbs · Pierre Joubert · Liz MacCarthy

VIOLAJane Rogers · Ricardo Cuende Isuskiza*

CELLOJoseph Crouch* · Imogen Seth-Smith*

DOUBLE BASSJudith Evans

OBOEHans Peter Westermann · Lars Henriksson

BASSOONAlexandre Salles

HORNGavin Edwards · David Bentley

*SPONSORED CHAIRS

LeAdeRLord and Lady Magan

PRinciPAL ceLLoDr Christopher and Lady Juliet Tadgell

PRinciPAL fLuteChristopher and Phillida Purvis

suB-PRinciPAL VioLASir Nicholas and Lady Goodison

suB-PRinciPAL ceLLoNewby Trust Ltd


for Prince esterházy, the Presto of this symphony would initially have sounded like a typical Haydn finale, albeit one whose brio is restrained by the austere key of f sharp minor. the concluding cadence seems to be imminent when Haydn interrupts the musical flow with a slow Adagio in the luxuriant key of A major. Perhaps the prince thought this would be an extra slow movement featuring short solos for members of the orchestra. But after each instrumentalist played his solo, he extinguished the candle on his music stand and left the room. one by one, the oboists, horn players and bassonist disappeared. then the double-bass player and cellist left, followed by the violins and viola one by one. At the end only tomasini and Haydn were still playing, on muted violins in what would have been an almost entirely dark room. Prince esterházy got the message: the next day the musicians left eszterháza to return home.

WOLFGANG AMADEUS MOZART, SYMPHONY NO.10 IN G MAJOR, K74

mozart wrote this symphony in 1770, during his first trip to italy. some scholars have dated it to his time in milan (october 1770–January 1711), where his main musical activity was composing and directing the opera, Mitridate, rè di Ponto. the symphony may possibly have been intended as an overture to the opera: it has the form of an italian opera overture, being in three short and interlinked movements. the first movement makes a spirited start, with energetic figuration and prominent horn-calls over repeated notes in the strings. there are just a few moments of lyricism, including a short oboe duo before the recapitulation of the opening. the slow movement offers a brief moment of repose, prior to the lively contredanse of the finale. Here mozart strives to capture his audience’s attention with a quiet opening for the violins, before the full orchestra enters eight bars later.

MOZART, VIOLIN CONCERTO NO.5 IN A MAJOR, K219

this concerto has several unusual and innovative features that reflect the fact that it was composed in 1775, five years after his symphony no.10. in the intervening years mozart had gained further experience of opera (having written La finta giardiniera for performance in munich in 1775) and also of contrapuntal genres in Vienna. His operatic experience is evident in the dramatic start of the concerto. true, the opening tutti sounds unexceptional, if anything perhaps a little sparse in invention. But then the solo section starts not at this tempo but as a luxuriant Adagio, almost like an operatic diva taking time over her entrance. there is even an opportunity for a cadenza only six bars after the soloist entered.

accompaniment of pizzicato strings. the movement is framed by a memorable musical motto: a slow rising scale for the soloist, spanning a whole octave and supported by a pulsating accompaniment. As for the finale, here the soloist’s virtuosity is allowed full rein, with lively figuration that bounces through intervals of a tenth or more. HAYDN, SYMPHONY NO.45 IN F SHARP MINOR “FAREWELL”, HOB.I:45

the story of Haydn’s “farewell” symphony is well known. every summer Prince nikolaus esterházy spent at least several months at his palace of eszterháza, about seventy miles southeast of Vienna and made inaccessible by its location on the swampy plains by the neusiedler see. in may 1772 the prince embarked on his usual summer residency, accompanied by his instrumentalists and singers. Because of the limited accommodation at eszterháza, only Haydn, three singers and the orchestral leader tomasini were allowed to bring their families with them. Whereas the prince relished eszterháza as a retreat from city living, the musicians rapidly became disenchanted with life there. separated from their families, many became homesick; several succumbed to illnesses caused by the unhealthy marsh air. When Prince esterházy announced that he would stay at eszterháza until december (rather than leaving in october), the musicians approached Haydn in desperation, pleading that he do something to relieve their homesickness and boredom.

Rather than submit a written petition to Prince esterházy, Haydn expressed the musicians’ disaffection via his symphony no.45. the symphony is in the key of f sharp minor — an exceptionally unusual choice for eighteenth-century orchestral music, and a key associated by the theorist Johann mattheson with “heartache” and “misanthropy”. the mood of emotional

intensity is established in the first movement, which uses the musical mannerisms of the sturm und drang, including violent descending arpeggios against a syncopated accompaniment, sudden sforzandos and jagged chromatic lines. in the midst of this musical turmoil, a brief respite is offered by a cantabile second subject in minuet style. in the ensuing Adagio, a hushed mood is created by the muted violins and sparing ornamentation; the music sinks through harmonically remote chords to sighing cadences. then in the menuetto, Haydn blinds his audience with the harmonic brightness of f sharp major (requiring a key signature of six sharps, again something rarely used in music of this era).


Joseph Haydn (1732–1809). Portrait (1791) by Thomas Hardy (1757–c.1805).Wolfgang Amadeus Mozart (1756–91). Posthumous portrait (1819) by Barbara Kraft (1764–1825).


A c A d e m y o f A n c i e n t m u s i c , 2 0 1 3 – 1 4 s e A s o n | 11IBRAGIMOVA DIRECTS HAYDN AND MOZART

the brisk tempo then returns, and we realise that the mundane tutti opening is actually the accompaniment for the soloist’s springing melody. With its interplay of soloist and orchestra, the concerto off ered mozart as much dramatic potential as an operatic aria or scena.

mozart has further surprises up his sleeve in the fi nale. this starts as an uncomplicated minuet, sometimes adorned by grace notes and sometimes breaking into longer phrases. this elegant dance, though, is interrupted by an outburst of turkish music in the minor key. the insistently repetitive chords, the gypsy-like violin melody and the sudden dynamic

contrasts all evoke the rhythms and noise of an ottoman army band. At the end of the eighteenth century, aristocrats and bourgeoisie alike were fascinated by the exotic and dangerous connotations of turkish culture, and composers capitalised on this fascination with music alla Turca. certainly in this concerto, the minuet sounds more fragile and precarious when it returns after the dark yet vibrant “turkish” episode.

Stephen Rose © 2013Dr Stephen Rose is Senior Lecturer in Music at Royal Holloway, University of London.

A A M N E W S

AAM opens 40th anniversary season with Monteverdi

We opened our anniversary season at the end of september with a performance of monteverdi’s L’Orfeo at the Barbican. the audience a performance of the fi rst great opera, set in a modern mafi a underworld. The Telegraph, among others, praised the choir of the AAm who “shone gloriously in the great madrigals,” adding that “Richard egarr led the band of the AAm in playing of irresistible colour and exuberance.”

Vermeer and Music on fi lm

throughout summer 2013, the AAm was Resident ensemble at the national Gallery, accompanying the popular Vermeer exhibition. As part of this artistic collaboration, we feature in a fi lm exploring the life and work of Vermeer presented by art historian tim marlow and featuring Hd footage of the Vermeer paintings we accompanied over the summer. the fi lm was screened in over 1000 cinemas across 30 countries, underlining the signifi cance of this project and its global appeal.

AAM Records launched

this autumn we launch our own record label, AAm Records. over the past 40 years we have released over 300 cds, predominantly on the decca and Harmonia mundi labels. the establishment of AAm Records will allow us to build on this distinguished legacy, taking full control of our future recording catalogue and producing a range of recordings which match the artistic plans and development of the orchestra. the fi rst release, Birth of the symphony: Handel to Haydn, is available to buy in the foyer tonight.

Curtain call at the end of the AAM’s opening performance of the 2013–14 season

Tim Marlow fi lming with Tracy Chevalier

Recording for JS Bach St John Passion (1724 version) (due for release in February 2014)

Go online to hear a podcast of the pre-concert talk featuring Alina ibragimova and BBC Radio 3’s tom service discussing this evening’s repertoire.

Available after the concert at www.aam.co.uk/Podcasts

F I N D O U T M O R E



O U R E T H O S 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 what’s different about the AAm? Partly it’s 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 don’t have chin-rests, and the 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 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.

there’s 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 don’t have a conductor, but are directed by one of the musicians, making for spontaneous, sparky and engaged performances. it’s not just about researching the past; it’s about being creative in the present.

in everything we do, we aim to recapture then 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 music’s original context.

O U R PA S T , P R E S E N T , F U T U R Ethe Academy of Ancient music was founded in 1973 by christopher Hogwood, under whose leadership the orchestra developed the global reputation for inspirational music making which continues today. the AAm performs baroque and classical music on period instruments, taking inspiration from the unique soundworlds which composers would have originally known. founded on a combination of academic research and superb musicianship, the AAm’s performances have been acclaimed for their vitality and intimacy.

over the past forty years the AAm has performed live to music lovers on every continent except Antarctica, and millions more have heard the orchestra through its catalogue of over 300 cds: Brit- and Grammy-Award-winning recordings 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; and discs which champion neglected composers.

in 2006 Richard egarr succeeded christopher Hogwood as music director. egarr has led the orchestra on tours throughout europe, the usA and the far east, and in 2007 he founded the choir of the AAm. Recent recordings include a complete cycle of Handel’s opp.1-7 instrumental music, released to celebrate the 250th anniversary of the composer’s death, and the


world-premiere recording of music by seventeenth-century english composer christopher Gibbons. in June 2012 the AAm was invited to perform at the thames diamond Jubilee Pageant; and in summer 2013 the AAm was Resident ensemble at London’s national Gallery, accompanying the exhibition ‘Vermeer and music’ with ongoing performances.

the AAm’s artistic excellence has long been fostered by a range of guest artists. Pianist Robert Levin and singers dame emma Kirkby, dame Joan sutherland and cecilia Bartoli were among those performing regularly with the AAm in the early days, and a range of collaborations continue to inspire the group with new ideas and fresh approaches. the current relationship with the choir of King’s college, cambridge recently produced the world’s first live classical cinecast, with Handel’s messiah streamed live into hundreds of cinemas across the globe; and ongoing work with the likes of mezzo-soprano Angelika Kirchschlager, counter-tenor Andreas scholl, tenor James Gilchrist and violinist

Alina ibragimova lies at the heart of the AAm’s present-day artistic success.

the future is just as bright. from september 2013 to August 2014 the AAm marks its 40th anniversary with a season of concerts featuring the full range of the orchestra’s music-making from monteverdi’s L’orfeo (1607) to Beethoven’s symphony no.9 (1824). international plans include a major tour of Australia as well as performances at Amsterdam’s concertgebouw, the Palais des Beaux-Arts in Brussels and the théâtre des champs elysées in Paris. AAm Records, the orchestra’s own record label, is launched in october 2013, with forthcoming releases including Js Bach’s st John Passion, st matthew Passion and orchestral suites.

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.

Rehearsing Monteverdi’s L’Orfeo, London, September 2013


O U R T E A M

Music Director Richard Egarr Emeritus Director Christopher Hogwood CBE Chief Executive Michael Garvey Head of Concerts & Artistic Planning Andrew Moore Concerts Administrator Ceri Humphries

Head of CommunicationsToby Chadd Communications ManagerTom McNeill

PR ConsultantRebecca Driver Media Relations

Head of Finance Elaine Hendrie

Head of Fundraising Andrew McGowan

Fundraising Manager Brittany Wellner James

Fundraising AssistantBethan Quartermaine

Head of Projects & AdministrationSamantha Martin

Administration AssistantHelena Gavrielides

BOARD OF TRUSTEES

Richard Bridges · Hugh Burkitt · John everett · matthew ferrey · James Golob · John Grieves · Philip Jones John Reeve · terence sinclair (chairman) · madeleine tattersall · Janet unwin

COUNCIL

Richard Bridges * · Adam Broadbent · delia Broke * · elizabeth de friend * · Kate donaghy * · John everett * matthew ferrey * · Andrew Gairdner mBe * · James Golob * · John Grieves * · Linda Lakhdhir * · Annie norton * John Reeve * · chris Rocker* · sir Konrad schiemann · terence sinclair (chairman) * · madeleine tattersall * Janet unwin * · Alison Wisbeach *

*development board member

ON SALE TONIGHT FOR £10the AAm launches its own record label by charting the development of the symphony

in the eighteenth century, including a Handel sinfonia, works by the avant-garde franz Richter and Johann stamitz, mozart’s first symphony and Haydn’s mature “La passione”.

CLASSICAL MUSIC

“Thrilling, uplifting”THE ARTS DESK

“Crisp, spirited, full of imaginative detail” THE ObSERvER

“An enjoyable bird’s-eye view of the symphony’s development” THE SUNDAY TIMES


A A M S O C I E T Y M E M B E R S H I P F O R M

YOUR DETAILS:

name

Address

Post code

telephone

email

YOUR GIFT:i would like to join the AAm society at the following level:

* the chairman’s circle £20,000+

* the Hogwood circle £10,000–£19,999

* Principal Patron £5,000–£9,999

* Patron £2,500–£4,999

* Principal Benefactor £1,000–£2,499

* Benefactor £500–£999

* donor £250–£499

* i would like to make a gift of £

in support of the following priority project identified on page 17:

ACKNOWLEDGEMENT

* Please acknowledge my gift using the following wording

* i would prefer to remain anonymous

PAYMENT DETAILS

* i enclose a cheque, payable to ‘AAm’ for £

* i enclose a cAf cheque, payable to ‘AAm’ for £

* i would like to pay by standing order (please complete the standing order section overleaf)

* i am transferring my gift by bank transfer to Academy of Ancient music, Lloyds Bank Gonville Place Branch.

sort code 30-13-55 Account number 02768172

* i would like to pay by card — please contact me

* i would like to make a gift of shares — please contact me

(Form continued overleaf)

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 40 years later.

funded by decca the AAm began to build a pioneering discography. over the next 25 years it released more recordings than any other period instrument orchestra in the world, and gave thousands of performances at the finest concert halls on every continent.

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 ever-expanding group of supporters has transformed the AAm from a private enterprise directed by Hogwood into a major charitable institution which continues his work beyond his active involvement.

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. it recently established the AAmplify new generation programme to nurture the audiences, performers and arts managers of the future; in January 2012

it was appointed as Associate ensemble at the Barbican centre; and it is now working to establish its own 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 please contact: Brittany Wellner James, our fundraising manager, on 01223 341099 or [email protected]

T H E A A M S O C I E T Y


Please complete this section only if you would like to make your donation to the AAm by standing order:

name of Bank:

Bank Address:

sort code: – –

Account number:

Please pay:

Academy of Ancient music Lloyds Bank, Gonville Place Branch.sort code: 30-13-55 Account number: 02768172

the sum of £

Per month/quarter/year starting on:

signed:

date:


J O I N T H E F R I E N D S O F T H E A A M T O D AY

FRIENDS OF THE AAM INTERvAL DRINKS Wednesday 23 october, West Road concert Hall, cambridge

friends of the AAm are invited to toast the start of our 40th anniversary season.

“AN ENgLISH gOLDEN AgE” AT HANDEL HOUSE AND MILTON COURT

thursday 21 november, 3.30pm–5.30pm Handel House and milton court concert Hall, London

friends of the AAm are warmly invited to Handel House where an expert from the foundling museum will explore

a rare manuscript relating to the evening concert.

for further information or to reserve a place at one of these events please contact Bethan Quartermaine at

[email protected] or on 01223 341093

GIFT AID DECLARATIONPlease treat as Gift Aid donations all qualifying gifts of money made in the past 4 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 donate 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:

Please notify the charity if you:

• Want to cancel this declaration

• Change your name or home address

• 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.

S TA N D I N G O R D E R M A N DAT E

the friends of the AAm are the heart of our audience. Joining is the best way to get closer to our work while also supporting the future of the music you love. membership starts from only £2.50 per month, which ensures benefits such as priority booking and a glimpse of orchestral life behind the scenes. see below for a preview of some friends of the AAm events happening soon in London and cambridge.

A A M S O C I E T Y M E M B E R S H I P F O R M

!


T H A N K Y O U

SPECIAL GIFTSthe 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 CIRCLE(Donations £20,000–£49,999 per annum)

matthew ferrey

cHK charities Ltd

THE HOGWOOD CIRCLE(Donations £10,000 - £19,999 per annum)

Lord and Lady magan

christopher and Phillida Purvis *

chris and Ali Rocker

mrs Julia Rosier

dr christopher and Lady Juliet tadgell

Lady Linda Wong davies (Kt Wong foundation)

PRINCIPAL PATRONS (Donations £5,000 – £9,999 per annum)

Richard and elena Bridges

the Hon simon eccles

Richard and Jean Gooder

christopher Hogwood cBe *

dr duncan Hunter

Graham and Amanda Hutton

mrs sheila mitchell

newby trust Ltd *

terence and sian sinclair

and other anonymous Principal Patrons

PATRONS (Donations £2,500 – £4,999 per annum)

Lady Alexander of Weedon

John and Gilly Baker

Adam and sara Broadbent

clive and Helena Butler

Richard and elizabeth de friend

mr and mrs Je everett

mr and mrs James Golob

sir nicholas and Lady Goodison *

John and Ann Grieves

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

mark West

and other anonymous Patrons

PRINCIPAL BENEFACTORS (Donations £1,000 – £2,499 per annum)

carol Atack and Alex van someren

sir John Baker

George and Kay Brock

mrs d Broke

mr and mrs Graham Brown

the AAm is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work:

AAM BUSINESS CLUBcambridge university Press

Kleinwort Benson

Royal Bank of canada

PUBLIC FUNDERSArts council england

orchestras Live

cambridge city council

FRIENDS OF THE AAMfind out more at www.aam.co.uk/support

TRUSTS AND FOUNDATIONSthe Backstage trust

cHK charities Ltd

dunard fund

John ellerman foundation

esmée fairbairn foundation

fidelity uK foundation

Gatsby charitable foundation

J Paul Getty Jnr charitable trust

newby trust Ltd

sir siegmund Warburg’s Voluntary settlement

constance travis charitable trust

Garfield Weston foundation

and other anonymous trusts and foundations

T H E A A M S O C I E T Y

Jo and Keren Butler

sir charles chadwyck- Healey Bt

Peter stormonth darling

Kate donaghy

malcolm Gammie cBe Qc

the Hon William Gibson

elma Hawkins and charles Richter

david and Linda Lakhdhir

oscar and margaret Lewishom

steven Larcombe and sonya Leydecker

John mcfadden and Lisa Kabnick *

steven Larcombe and sonya Leydecker

mr and mrs c norton

Lionel and Lynn Persey

mr and mrs charles Rawlinson

simon Robey

Robert sansom

sir Konrad and Lady schiemann *

JG stanford

Peter stormonth darling

mr michael stump

John and madeleine tattersall

marcellus and Katharine taylor- Jones

stephen thomas

Anthony travis

Paul and michi Warren

sarah Williams

mrs R Wilson stephens

charles Woodward

and other anonymous Principal Benefactors

BENEFACTORS (Donations £500 – £999)

dr Aileen Adams cBe

Professor John and Professor Hilary Birks

Bill and sue Blyth

claire Brisby and John Brisby Qc *

Hugh Burkitt

mr and mrs edward davies- Gilbert

charles dumas

mr and mrs Jean- marie eveillard

simon fairclough

marshall field

michael and michele foot cBe

Wendy and Andrew Gairdner mBe

Beatrice and charles Goldie

the Hon mr and mrs Philip Havers

Professor sean Hilton

dr and mrs G and W Hoffman

Heather Jarman *

susan Latham

mr and mrs Hideto nakahara

orpheus and Bacchus festival

nick and margaret Parker

Bruno schroder and family

Victoria sharp

Peter thomson

Janet unwin

Pippa Wicks

oriel Williams

Peter and margaret Wynn

Julia yorke

and other anonymous Benefactors

DONORS (Donations £250 – £499)

Angela and Roderick Ashby- Johnson

marianne Aston

dr Julia Bland

elisabeth and Bob Boas *

mrs nicky Brown

Jeremy J Bunting

dr and mrs s challah

david and elizabeth challen

cottisford trust

stephen and debbie dance

derek and mary draper

steven and madelaine Gunders

Gemma and Lewis morris Hall

mrs Helen Higgs

Lord and Lady Jenkin of Roding

Ali Knocker

Richard Lockwood

Annie middlemiss

John missing and milica mitrovich

edward Powell

yvonne de la Praudière

Jane Rabagliati and Raymond cross

Robin and Jane Raw

martin Randall

Arthur L Rebell and susan B cohen

chris and Valery Rees

denys Robinson

mr and mrs timothy Robinson

michael and Giustina Ryan

Alison salt and david mackinlay

miss e m schlossmann

michael smith

Rt Hon sir murray stuart- smith *

marina Vaizey

Robin Vousden

Professor tony Watts oBe

Paul f. Wilkinson and Associates inc.

tony and Jackie yates-Watson

and other anonymous donors

* denotes founder member


N O T ENo 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 with the managing director and the concert promoter concerned.

milton court and West Road concert Hall are surrounded by a residential community. our neighbours would appreciate your keeping noise and disturbance to a minimum when you leave the building after the performance.

Documents

Download the programme - Academy of Ancient · PDF fileAcAdemy of Ancient music, ... social hierarchy of the day: ... technique of the Baroque rather than the sonata-form