London concert season 2017-18 - Academy of Ancient · PDF fileLondon concert season 2017-18 ... oboe Corelli Concerto Grosso in D major Op. 6 No. 4 (1714) Handel Concerto for Oboe

Academy of Ancient MusicLondon concert season 2017-18

17-18

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Purcell’s King Arthur (semi-staged)Tuesday 3 October 2017, Barbican Hall

Italy in England – when Handel met CorelliThursday 19 October 2017, Milton Court Concert Hall

Bless’d Isle – with Carolyn SampsonThursday 2 November 2017, Milton Court Concert Hall

Bach and Telemann – Reversed Fortunes Thursday 7 December 2017, Milton Court Concert Hall

Handel’s MessiahWednesday 20 December 2017, Barbican Hall

Mortal Voices – music by Pergolesi, Corelli and HandelThursday 15 February 2018, Milton Court Concert Hall

Bach St John PassionFriday 30 March 2018, Barbican Hall

1790s London: Saint & Sinner – music by Haydn & DussekFriday 13 April 2018, Milton Court Concert Hall

Nicola Benedetti – music by Vivaldi and TelemannThursday 31 May 2018, Barbican Hall

LONDON season 2017-18

Visit aam.co.uk to find out more and to watch and listen to us in action

@AAMorchestra academyofancientmusic


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Welcome As the new Chief Executive of AAM, I am delighted to welcome you to our new season programme. On behalf of the musicians, staff, Society members, Friends, and audience of the AAM, I would like to thank my predecessor, Ed Hossack, whose dedicated work over the last three years realised the many wonderful programmes of recent seasons.

I’m enormously excited to see the variety of music in the 2017-18 season with exceptional guest soloists. Following the summer’s celebration of Richard Egarr’s 10th anniversary as our Music Director, and the announcement of Robert Levin as our inaugural Hogwood Fellow, the new season begins in style with a semi-staged performance of Purcell’s opera, King Arthur: a first-rate cast of soloists and a mystery narrator are directed by the charismatic Daisy Evans. If you missed last season’s Fairy Queen, be sure to get tickets early for King Arthur.

Hot on the heels of King Arthur we find AAM’s own Frank de Bruine and Pavlo Beznosiuk as the stars of Italy in England; the wonderful Carolyn Sampson joins us in November; and we mark 250 years since Telemann’s death in a concert that includes two of Bach’s popular Brandenburg concertos. I’m delighted to welcome Mary Bevan, Reginald Mobley, Thomas Hobbs and Christopher Purves for AAM’s Messiah in December, a pilgrimage that under Richard Egarr’s brilliant directorship is always fresh and uplifting.

As we start 2018, if you aren’t yet familiar with the names Keri Fuge and Tim Mead, you should be - join them with Christian Curnyn for Pergolesi’s Stabat Mater and more. Soon after, Bernard Labadie directs Bach’s masterpiece, the St John Passion; Richard Egarr takes centre-stage for Dussek’s fortepiano concerto with Haydn Symphonies; and I’m already impatient to hear Nicola Benedetti’s captivating Telemann and Vivaldi in May, bringing our season to a close.

We couldn’t, of course, put together such a phenomenal season of music without you, our audience and supporters. As we look to expand our programmes of education and outreach work, and to develop new projects, we need your support more than ever. Your generosity helps us to develop and to enthuse new audiences with the wonderful music we love. Thank you for your support; it means a great deal to us.

I hope that we will see you at many of our concerts at the Barbican, Milton Court, and elsewhere, and I look forward to meeting many of you in person over the course of the season. With some of the country’s finest musicians under the musical leadership of the tremendous Richard Egarr, I am confident that you will enjoy yourselves enormously whenever you join us.

Alexander Van Ingen, Chief Executive


I am so happy to present this new AAM season. First I would like to heartily welcome our new CEO, Alexander Van Ingen. I am extremely excited to be taking AAM into the future with this exceptional new partner.

Our season looks firmly at Britain and its many external influences. The immeasurable contribution of such ‘foreigners’ as Handel, Haydn and Dussek on both music and culture are deliciously demonstrated in a number of mind-tickling programmes.

Our ‘native’ talent is of course Henry Purcell - perhaps the greatest musical genius we have ever produced. We will give a thought-provoking performance of his music for King Arthur, directed by Daisy Evans who so brilliantly staged our Fairy Queen last season.

It is a joy to have old friends back. Bernard Labadie and Carolyn Sampson are wonderful and much valued artists and it is a pleasure to see them again.

New musical partners this year include Christian Curnyn, and the amazing Nicola Benedetti. Our colourful and somewhat aquatic programme with her will crown this action-packed year.

I am looking forward to seeing you all.

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Welcome from Richard Egarr

Richard Egarr, Music Director


Support UsSince our foundation over 40 years ago, the Academy of Ancient Music has benefitted from the generosity of its wonderful family of supporters. We are enormously grateful for their enthusiasm and commitment to our work, which has never been more important to our ongoing success.

As we begin our 2017-18 season we have ambitious plans for the future, both on and off-stage. In the concert hall we continue our Purcell opera cycle this season and next, and continue to present some of the world’s best artists performing the finest music at the highest standards. We are rapidly expanding our outreach work to reach more young and disadvantaged people and introduce them to music; and we are looking at exciting recording plans both to create resources to draw on in our education work, and to promote the very best of the music we love to the widest possible audience.

All of this and more is only possible with your help, and we invite you to support the orchestra and become a part of the AAM family.

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Friends of AAMThe Friends of the AAM are at the heart of our audience. Friends can see the orchestra in rehearsal, enjoy an annual drinks reception and be the first to hear about AAM’s future plans.

Membership of the Friends starts from as little as £2.50 a month. For more information, please contact Heppy Longworth, Fundraising Assistant at [email protected] or 01223 341092.

AAM SocietyThe AAM Society is the orchestra’s closest group of supporters. Membership enables you to become more involved with the musical life of the orchestra. Society members have regular opportunities to meet our players at open rehearsals and receptions, access to a range of bespoke events that explore the music we perform and a dedicated ticket booking service for all AAM concerts.

There are a range of AAM Society membership packages that start at just £21 per month.

For more information, please contact Heppy Longworth, Fundraising Assistant at [email protected] or 01223 341092.

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Purcell’s King Arthur (semi-staged)Tuesday 3 October 2017, 7pmBarbican Hall

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If you enjoyed The Fairy Queen last season, don’t miss the next instalment in our Purcell cycle. Daisy Evans and her team bring you Purcell’s Restoration semi-opera, King Arthur, dramatically reimagined for contemporary times.

‘What ho! Thou genius of this isle, what ho! Liest thou asleep beneath those hills?’

Spectacular battles rage whilst enchantment and magic glisten beneath the surface; the famous ‘Frost scene’ shivers with Purcell’s lyric genius, and the ultimate victory of the Britons over the Saxons concludes with a glorious celebratory masque. Richard Egarr and an outstanding cast bring Dryden’s words and Purcell’s extraordinary music to life in a performance not to be missed.

Surtitles will be displayed

Tuesday 3 October 2017, 7pmBarbican HallTickets £10, £20, £30, £40, £50£5 AAMplify tickets, see page 29

Free pre-concert talk at 6pm Box Office: 020 7638 8891barbican.org.ukBooking fees may apply, see page 29

Reginald Mobley countertenor

Daisy Evans stage director

Lukas Jakobski bass

Charles Daniels tenor

Richard Egarr director & harpsichord

Choir of AAM

Mhairi Lawson soprano

Peter Harvey baritone

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Purcell King Arthur (1691)Semi-staged peformance

Louise Alder soprano

“Underpinned by the Academy’s informed musicianship – the evening was a delightful succession of phantasmagoric tableaux”THE INDEPENDENT review of 2016’s The Fairy Queen

Part of Barbican Presents. Produced by the Barbican and Academy of Ancient Music.

Louise Alder Charles Daniels Peter Harvey Lukas Jakobski


Italy in England – when Handel met CorelliThursday 19 October 2017, 7.30pmMilton Court Concert Hall

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Thursday 19 October 2017, 7.30pmMilton Court Concert HallTickets £15, £25, £32£5 AAMplify tickets, see page 29

Free pre-concert talk at 6.30pmBox Office: 020 7638 8891barbican.org.ukBooking fees may apply, see page 29

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Pavlo Beznosiuk director & violin

Frank de Bruine oboe

Corelli Concerto Grosso in D major Op. 6 No. 4 (1714)

Handel Concerto for Oboe No. 3 in G minor (c. 1704)

Geminiani Concerto Grosso Op. 5 No. 3 (after Corelli) (1727)

Sammartini Sinfonia in G major (1742)

Avison Concerto Grosso in D minor No. 3, The garden of harmony (after Scarlatti) (1740)

Sammartini Concerto for Oboe in E flat major (by 1716)

Handel Concerto Grosso Op. 6 No. 5 (1739)

Musical migration and cross fertilisation was at a peak in the eighteenth century. Arriving in England (Giuseppe Sammartini made London his home) the Italian concerto grosso was soon adopted by London’s fashionable musical circles.

Whether penned by Italians (Sammartini, Corelli, Geminiani), or composed by Englishmen after the Italian style (Handel, Avison), the combative character and exciting virtuosity of the concerto grosso had a profound impact on the music-making and composition of the baroque and early classical age. The works in this programme explore the development of the concerto grosso across the continent and illustrate the pervasive influence of Italian music in England.

“De Bruine masterfully wove the complex contours of the elaborate melodic lines with ease, ... with the AAM strings and harpsichord continuo providing light and crisp accompaniment with characteristic care and precision”.BACHTRACK review of 2017’s Bach and the Italian Concerto


Bless’d Isle – with Carolyn SampsonThursday 2 November 2017, 7.30pmMilton Court Concert Hall

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Thursday 2 November 2017, 7.30pmMilton Court Concert Hall Tickets £15, £25, £32£5 AAMplify tickets, see page 29


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Carolyn Sampson soprano

Richard Egarr director, organ & harpsichord

‘Where words leave off, music begins’: a celebration of the mastery of English composers from Dowland to Arne and their setting of words to music.

Carolyn Sampson reveals the diversity of her artistry, opening with Dowland’s stark and spare In darkness let me dwell and ending on a rousing and roistering note asour Britannia of song. This range is matched in plaintive and playful orchestral music including a performance of Handel’s frolicsome Cuckoo and Nightingale organ concerto by Music Director Richard Egarr.

Dowland Lachrimae Pavan (1604)

Dowland In darkness let me dwell (1610)

Lawes Fantasy in six parts (c. 1638)

Blow and Purcell Songs

Purcell Instrumental Suite from The Fairy Queen (1692)

Purcell Chacony in G minor (c. 1680)

Handel Arias

Handel Concerto for Organ No. 13 in F major, The Cuckoo and the Nightingale (1739)

Arne Songs

“The British soprano’s voice combines limpid clarity with laser-focused precision, with any possible harsh edges softened in a smooth finish.“WASHINGTON POST


Bach and Telemann – Reversed FortunesThursday 7 December 2017, 7.30pmMilton Court Concert Hall

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Thursday 7 December 2017, 7.30pmMilton Court Concert Hall Tickets £15, £25, £32£5 AAMplify tickets, see page 29


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JS Bach Brandenburg Concerto No. 5 in D major BWV 1050 (c. 1719)

Telemann Concerto for Flute and Recorder in E minor (by 1740)

Telemann Overture-suite, Burlesque de Quixotte (1761)

JS Bach Brandenburg Concerto No. 4 in G major BWV 1049 (c. 1719)

In the first of two concerts marking the 250th anniversary of Telemann’s death, soloists from the Academy of Ancient Music perform some of the greatest music by these joint pillars of the German baroque.

Though Telemann may now languish in the shadow of his contemporary and close friend JS Bach, during his lifetime Telemann was regarded as the far more talented composer. (Offered the position of Cantor at St Thomas’ Leipzig ahead of Bach, the authorities felt short-changed when Telemann turned them down and Bach was appointed.) One of history’s most prolific composers, Telemann’s music was extremely popular and influential until the 19th century when his reputation fell into obscurity. Showcasing some of Telemann’s finest works alongside two of Bach’s beloved Brandenburg concertos, here we give this wonderful composer equal billing with his more celebrated peer.

Rachel Brown flute & recorder

Bojan Čičić director & violin

Rachel Beckett recorder

Alastair Ross harpsichord

“Frankly exquisite string playing from the Academy of Ancient Music... brought an elegant freshness which was truly beautiful. The lithe, dynamic lines... positively gleamed with a tangible sense of fun... played with flourish and superb control“ BACHTRACK


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Handel’s MessiahWednesday 20 December 2017, 7pmBarbican Hall

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Hearing the opening bars of Handel’s Messiah is a sure sign that the festive season is underway, and in the hands of Richard Egarr, four stellar soloists and the choir and orchestra of AAM, you can almost smell Christmas around the corner.

First performed in Dublin in 1742 and swiftly gaining in popularity, the Messiah is now one of the best-loved choral works in Western music. Join us to hear this iconic work performed on the instruments Handel intended and in its original configuration; let yourself be swept into Christmas by these sparkling arias, glorious choruses, and the raw emotion of the story.

Wednesday 20 December 2017, 7pmBarbican HallTickets £10, £20, £30, £40, £50£5 AAMplify tickets, see page 29


“…the joy of music making is written all over the orchestra’s faces”NACHRICHTEN.AT

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Handel Messiah (1741)

Thomas Hobbs tenor

Mary Bevan soprano

Choir of AAM

Reginald Mobley countertenor


Christopher Purves baritone

Reginald Mobley Mary Bevan Thomas Hobbs Christopher Purves


Mortal Voices – music by Pergolesi, Corelli and HandelThursday 15 February 2018, 7.30pmMilton Court Concert Hall

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In a concert that will pull at the heart strings, baroque specialist Christian Curnyn directs soprano Keri Fuge and countertenor Tim Mead, in some the most sublime music of the early 18th century.

Pergolesi’s beautiful Stabat Mater is his best-known work and one of the finest settings of this sorrowful song to Mary at the Crucifixion. A hidden gem in this concert is Handel’s cantata Ah! che troppo ineguali, an anguished appeal of mortal voices to Mary to extinguish every spark of warlike fury and bring peace - it is paired here with the altogether earthier cantata Il Duello Amoroso. Almost a mini-opera, it tells the story of an ‘amorous duel’ between the shepherd Daliso and the shepherdess Amaryllis, the music perfectly capturing the drama of the story.

Thursday 15 February 2018, 7.30pmMilton Court Concert Hall Tickets £15, £25, £32£5 AAMplify tickets, see page 29


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Christian Curnyn director & harpsichord

Keri Fuge soprano

Tim Mead countertenor

“The AAM players captured the style and grace of this music with lightness of touch and with individuality in phrasing and ornamentation, and the dramatic effects were riveting“ CLASSICAL SOURCE

Corelli Concerto Grosso Op. 6 No. 1 in D major (1714)

Handel Cantata HWV230, Ah! Che troppo ineguali (c. 1707)

Handel Cantata HWV82, Il Duello Amoroso (1708)

Pergolesi Stabat Mater (1736)

Keri Fuge Tim Mead


Bach St John PassionFriday 30 March 2018, 3pmBarbican Hall

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Friday 30 March 2018, 3pmBarbican HallTickets £10, £20, £30, £40, £50£5 AAMplify tickets, see page 29


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A musical masterwork, Bach’s St John Passion is a cornerstone of Western musical art. Bernard Labadie conducts the orchestra and choir of AAM and a celebrated cast of soloists, including James Gilchrist as the Evangelist.

The music is full of excitement, yet carefully paced, driven forward by the ‘turba’ (crowd) choruses. Bach shows his mastery matching instrumental colour to individual voices, notably the mournful viola da gamba accompaniment to the aria Es ist vollbracht, here sung by Iestyn Davies, one of the finest countertenors of his generation.

Bach St John Passion BWV245 (1724)

“the unassuming and unforced Evangelist of James Gilchrist; his is a supremely courageous and intelligent reading“ GRAMOPHONE, on AAM’s St John Passion

Iestyn Davies countertenor

James Gilchrist Evangelist

Choir of AAM

Lydia Teuscher soprano

Bernard Labadie conductor

Philippe Sly bass-baritone

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1790s London: Saint and Sinner – music by Haydn and DussekFriday 13 April 2018, 7.30pmMilton Court Concert Hall


Friday 13 April 2018, 7.30pmMilton Court Concert HallTickets £15, £25, £32£5 AAMplify tickets, see page 29


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Daniela Lehner mezzo soprano

Music migration continued throughout the 18th century. With the arrival of composers, musicians and new instruments from Europe, London’s musical world changed. Perhaps the most famous visitor was ‘Papa’ Haydn, a devout Catholic, who penned 12 ‘London’ symphonies, two of which we hear in this concert.

Jan Ladislav Dussek was another international visitor to the capital at the time. Rumoured to have been a revolutionary and seducer of princesses, he charged extortionate prices for piano lessons then fled London when his music publishing business failed, abandoning his wife and daughter, and eventually drinking himself to death. Music Director Richard Egarr will bring to life one of Dussek’s gems, performing his Concerto in G minor on an instrument modelled on a Broadwood fortepiano, as used by Dussek and his contemporaries.

Haydn Symphony No 93 in D major (1791)

Dussek Concerto for Fortepiano, Op 49 in G minor (1801)

Dussek Sehnsucht der Liebe, Hoffnung and Das Warum from 6 Gesänge for Voice and Fortepiano (1804)

Haydn Symphony No 94 in G major, The Surprise (1791)

“The AAM’s three period trumpets rang out proudly at the Barbican over the delicate sound of its period flutes and strings’“ FINANCIAL TIMES


Nicola Benedetti –music by Vivaldi and TelemannThursday 31 May 2018, 7.30pmBarbican Hall

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Nicola Benedetti violin

In the second of our two concerts marking the 250th anniversary of Telemann’s death, we welcome Nicola Benedetti who joins Richard Egarr and AAM for the first time.

Performing this programme using gut strings - which she has described as having a more ‘human’ sound than that offered by their modern counterparts - Nicola brings to life music including Telemann’s ‘Frogs’ concerto (where the violins and violas imitate a chorus of croaking amphibians), and Vivaldi’s sizzling Il Grosso Mogul where solo and orchestral parts mesh together in a feast of virtuosity. Opening the concerto, soloists from AAM join Nicola in Telemann’s Concerto for Four Violins.

Thursday 31 May 2018, 7.30pmMilton Court Concert HallTickets £15, £25, £32£5 AAMplify tickets, see page 29


“This is an artist who exudes star quality; her exquisite playing combining true virtuosity and a deep musical intelligence“ HERALD SCOTLAND

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“‘…a truly mesmerising and absorbing solo performance. Her interpretation… was nothing short of sublime.” BACHTRACK

Telemann Concerto for Four Violins in C major (before 1740)

Telemann Alster Overture (1725)

Vivaldi Concerto for Violin in D major, Il Grosso Mogul (1710)

Vivaldi Dresden Concerto for Violin in F major (1716)

Telemann Concerto for Violin in A major, The Frogs (c. 1720)


AAM Explore

At Our Concerts Join us for free pre-concert talks with guest musicians, writers, broadcasters, artists and academics.

Pick up your free programme containing specially commissioned notes, information about the players and the very latest AAM news.

Online Do you want to find out more about what we do and why we do it? Then dive into the world of AAM at aam.co.uk/explore and discover podcasts, interviews with musicians, photos, and a whole library of tracks for you to stream for free.

LISTENto tracks from our acclaimed recordings,

streaming for free via aam.co.uk

WATCHfilms of us live in performance, in rehearsal and discussing our music and instruments.

DOWNLOADexclusive podcasts, including recordings

of pre-concert discussions.

BROWSEour extensive archive of

programme notes and photos.

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Hogwood Fellow – Robert LevinWe are delighted to announce the appointment of Robert Levin as our inaugural Hogwood Fellow. A consummate musician, Robert is much loved by audiences around the world as a soloist and as a conductor. He enjoyed a long and close association with Christopher Hogwood and AAM, which continues now with Richard Egarr as our Music Director. A renowned scholar and musicologist, Robert’s tenure as our first Hogwood Fellow will include performances with the orchestra alongside interviews, talks, articles and programme notes giving insights in to the music we perform.

Robert Levin writes:Not long after Richard Egarr assumed the

directorship of the AAM, succeeding Chris (Hogwood), I had the joy of partnering with him in Mozart’s concerto for two pianos. His artistry and flair were captivating, and we have pursued collaboration. I have also had the joy of directing the AAM from the keyboard as well as conducting it in several concerts in recent years. Its continuing successes and worldwide renown, so richly deserved, are an inspiration to me, and I hope to have the pleasure of continued association with this beloved cultural institution.

In particular, I dream of bringing the Mozart concerto recording cycle to a conclusion – a fitting legacy honouring both the AAM and Chris’ pioneering work with it.

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AAM Records

‘A joy for ear and spirit’ GRAMOPHONE

‘Egarr fields an octet of all the talents, wonderfully in tune both with Castello and each other. The result, gloriously

idiomatic, beautifully recorded, is a truly life-enhancing set.’

BBC MUSIC MAGAZINE

‘This is a gem of a CD’ STRAD

‘It is no surprise that this small ensemble hand-picked from the Academy of Ancient

Music should play with exemplary virtuosity, but also with warmth and character that make

this a very invigorating, delightful listen.’CLASSICAL MUSIC MAGAZINE

We have released five critically acclaimed studio recordings on our own in-house record label, AAM Records. You can learn more about these as well as our rich back catalogue of over 300 releases on other labels at aam.co.uk/recordings

Available now on AAM Records: JS Bach St Matthew Passion (1727) JS Bach Orchestral Suites JS Bach St John Passion (1724) Birth of the Symphony: from Handel to Haydn

Out Now: Dario Castello Sonate Concertate In Stil Moderno, Libro Primo


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AAMplifyAAMplify, AAM’s Participation & Learning programme provides high quality music-making opportunities strategically linked with the concert programmes and performance activity.

Under 26 or a full-time student? You can get £5 AAMplify tickets for all AAM performances in London and Cambridge by providing proof of age or a valid NUS card on collection at the box office. AAMplify tickets are only available for collection in person at the box office.

Actively building partnerships across the country, the AAMplify programme is developing new ways to work creatively, engaging people of all ages in baroque and classical music.

Tickets

Workshops

Programmes in development include work with the Fitzwilliam Museum, local hospitals, schools and care homes.

To find out more contact Kathryn Rowland, Head of Participation and Learningat [email protected].

“I would highly recommend this performance for a SEN setting’“ Teacher, following a recent schools performance

“I will ask my mum for a cello for my birthday!’“ Pupil, following a recent schools performance

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Booking details:

Barbican Hall£10, £20, £30, £40, £50

Milton Court Concert Hall£15, £25, £32

ConcessionsUnder 26 or a full-time student? You can get £5 AAMplify tickets for all AAM performances in London by providing proof of age or a valid NUS card on collection at the box office. AAMplify tickets must be collected in person

Young Barbican - Aged 14-25? Discounted tickets available for all AAM concerts at the Barbican and Milton Court. For more information and to become a Young Barbican member, visit barbican.org.uk/youngbarbican

How to BookBy telephone 020 7638 8891Monday-Saturday 10am – 8pm, Sunday and bank holidays 11am – 8pm£4 booking fee per transaction

Online at barbican.org.uk£3 booking fee per transaction

In person at Barbican Advance Box OfficeMonday-Saturday 10am-9pm, Sunday and bank holidays 12pm-9pm


Aldersgate Street >

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BARBICAN CENTRE

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< Milton Street

Whitecross Street >

Moor Lane >

Silk Street >

South Place >

< Finsbury Circus

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New Union Street >

Wood Street >

Fann Street <

< Fore Street

< Finsbury Street

< Bunhill Row

< Ropemaker Street

Moorgate

Silk Street Entrance >

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MultibuyPurchase tickets for five or more AAM performances in 2016-17 and receive a 15% discount. This discount cannot be used in conjunction with any other offer and will not apply to 3 October, however this concert will still count towards your multibuy total – book five concerts including 3 October and you will still save 15% on four concerts.

ReturnsTickets can be exchanged for another AAM performance if returned more than 24 hours prior to the concert. An administration fee applies for these services.

Access InformationThe main entrance at Silk Street is ramped and lifts give access to all levels. Both the Barbican Hall and Milton Court have seating for wheelchair users. Please inform the Box Office of any access requirements on booking. An induction loop is provided in the Barbican Hall. Visitors with hearing aids can make use of this facility by switching their hearing aid to the “T” position. An Access Guide with full details is available at barbican.org.uk/access or from the Barbican Box Office.

Visitors with access requirements who have joined the Barbican Access Membership scheme can provide information about their requirements, receive information in alternative formats and may be eligible for reductions on tickets. Any available discounted tickets are limited in number and subject to availability - please book early to avoid disappointment.


Design by Apropos-

Associate Ensemble at the Barbican CentreOrchestra-in-Residence at the University of CambridgeOrchestra-in-Residence at The Grange Festival

Music Director: Richard EgarrHogwood Fellow: Robert LevinFounder: Christopher Hogwood CBE

11b King’s Parade, Cambridge CB2 1SJ

+44 (0) 1223 [email protected]

Registered charity number 1085485All details correct at time of printing


Documents

London concert season 2017-18 - Academy of Ancient · PDF fileLondon concert season 2017-18 ... oboe Corelli Concerto Grosso in D major Op. 6 No. 4 (1714) Handel Concerto for Oboe