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In September 1973, the young director Christopher Hogwood gathered together a group of like-minded musicians in one of Decca’s recording studios.

The orchestra met in a spirit of adventure and experimentation: what if, they asked, we tried using the instruments and techniques for which music was originally written? And what if we found out more about how composers envisaged their works would sound? Could we use this to inform our music-making? To bring out new colours, new textures, new life?

No one present on that day in 1973 thought that the orchestra would go on to make hundreds of recordings, or that it would change the way we think about baroque and classical music. But the Academy of Ancient Music did just that. And whilst much has changed since the early days, that sense of adventure – that sense of “what if?” – still runs through the orchestra’s music-making.

In this 40th anniversary season, hear the AAM at the Barbican (where it is Associate Ensemble) performing the music which has made its name. From Monteverdi’s first opera to Beethoven’s final symphony via Bach, Handel, Haydn and Mozart, the AAM is joined by great artists including Andreas Scholl, Angelika Kirchschlager, Alina Ibragimova, Anna Prohaska and John Mark Ainsley.

Visit www.aam.co.uk/London to find out more.

Richard Egarr Music DirectorChristopher Hogwood Emeritus Director

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Autumn/Winter Concerts 2013–2014

Contents

OAE Administration 02

Gamechangers: Musical FireworksMonday 30 September 2013 03

Gamechangers: Arcangelo CorelliThursday 31 October 2013 14

A Pianistic PartnershipTuesday 26 November 2013 31

Glossary 41

OAE Biography 45

OAE Education 46

OAE News 48

OAE Supporters 50

2013-2014 Concerts 52

01

Welcome to the Southbank Centre and to your freeprogramme. This is our fourth season of offeringcomplimentary programmes and we hope that theyare adding to your enjoyment of the evening.OAE regulars may notice some features missing fromthis programme. In an effort to reduce costs we arenow only publishing our artist interviews andcomposer biographies online – you will be able to findthem at oae.co.uk. If you don’t have internet access, dospeak to us at our information desk in the foyer or callus on 020 7230 9370, and we’ll be happy to send you aprinted version in the post.

Don’t forget to bring this programme back with you ifyou are attending another concert and remember thatyou can always download programmes in advance ofthe concert at oae.co.uk/programmes. Lastly, perhapsyou might consider putting the £3 you would usuallyhave paid for this programme towards an OAEPriority Booking or Friends Membership? These startfrom £15 a year and you can find information at ourdesk in the foyer or within this programme.

Major sponsor

OAEautumn2013AWnew**:OAE 2006 Prog6 h copy 18/10/2013 08:51 Page 3

Management

Chief ExecutiveStephen Carpenter

Orchestra ManagerPhilippa Brownsword

Projects ManagerLaura Sheldon

Projects OfficerSophie Kelland

Education DirectorCherry Forbes

Education ProjectsManagerEllie Cowan

Projects and EducationTraineeHannah Cooper

LibrarianColin Kitching

Finance DirectorLisa Sian

Finance OfficerDaniel Coelho Antão da Silva

Communications andCreative ProgrammingDirectorWilliam Norris

Press ManagerKaty Bell

Press and MarketingOfficerMatthew Grindon

Digital ContentOfficerZen Grisdale

Director ofDevelopmentClare Norburn

Deputy Director ofDevelopmentHarriet Lawrence

Development Manager:Individual GivingLiz Scase

Development OfficerKatie Grocott

Corporate RelationsOfficerHolly Noon

Development TraineeLucy Meechan

Board of DirectorsSir Martin Smith(Chairman)Cecelia BruggemeyerStephen CarpenterJane CarterRobert CoryDebbie DiamondNigel JonesMartin LawrenceSusannah SimonsMatthew TruscottAndrew WattsMark Williams

Development BoardSally Jackson(Player Member)James Flynn QCDavid MarksAnthony Simpson

LeadersAlison BuryKati DebretzeniMargaret FaultlessMatthew Truscott

American FriendsBoardWendy Brooks (Chair)

Advisory CouncilSir Martin Smith(Chairman)Sir Victor BlankJames JollChristopher JonasChristopher LawrenceJonathan Sumption QCSir John Tooley

Players ArtisticCommitteeCecelia BruggemeyerMartin Lawrence Matthew Truscott Andrew Watts Debbie Diamond

02

AdministrationOrchestra of the Age of Enlightenment

Kings Place, 90 York Way, London, N1 9AGTel: 020 7239 9370Email: [email protected]: oae.co.uk

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03

Over the coming months we’ll bemarking our 27th Season atSouthbank Centre withGamechangers; an eight part seriesall about to works and composersthat were pivotal in shapingmusical history, recreating onperiod instruments the sounds thatshocked audiences and challengedconventions; and artists who aregamechangers in the musical scenetoday. Helping us do this are a hostof outstanding performersincluding Principal Artists SirSimon Rattle and baroque legendWilliam Christie; and awardwinning composer Clare Connors.The season also showcases theextraordinary talents of the OAE’sleaders and soloists. OAE Leader,violinist Kati Debretzeni who co-curated the season with timpanistAdrian Bending, comments:

“The Gamechangers series looks atmusic that broke the mould of whatcame before, or laid the foundationsfor what came after, and involvessoloists and conductors who aregamechangers themselves. Both theseries and the season offer a greatvariety of repertoire from Corelliright through to Debussy and newworks by contemporary composers.

We’re very excited about so manyaspects of this season includingworking again with SigiswaldKuijken, one of the foremost pioneersof the early music movement, and bycontrast Semyon Bychkov, with hisRussian background, in his firstencounter with historicalperformance; his fresh approach willbe a real gamechanger.”

Arcangelo Corelli takes centrestage this autumn when composerClare Connors, best known for herstunning rearrangements ofKraftwerk and her collaborationswith artists such as David Byrne ofTalking Heads, joins us to exploreCorelli’s work and the influence hehad on composers succeeding him,with the London premiere of hernew work Corelli Leaves.

Clare comments, ‘Corelli was aninnovator, his first set of twelvesonatas for two violins and figuredbass hailed the beginning of theconcerto grosso and his worksconsolidated violin technique ofthe time. He perfected his worksover time and was true to his ideaof sound and taste’.

On 30 January we’ll be joined byharpsichordist Mahan Esfahani toexplore the world of JohannSebastian Bach’s son CPE Bach.Often overlooked, history hassomewhat cursed CPE Bach to sitin the shade of his father’s shadow,but this is a composer who was agamechanger in his own right;constantly dodging expectation, hismusic shifts and swerves like a manpossessed, and serves as anintriguing segue between theBaroque era and the later work ofcomposers like Haydn at the startof the classical era.

There will be the chance to hearthe rare and ‘extinct’ instrumentthe violoncello da spalla –effectively a small cello playedunder the chin – which makes itsmodern-day London debut on 25 March 2014 with Vivaldi’sConcerto for Violoncello da Spallain D. Played by violinist andconductor Sigiswald Kuijken,himself a major gamechanger,pioneering historical string playingand directing the OAE’s first everconcert 27 years ago. Kuijken isconvinced that the lower threeparts of Bach’s 3rd BrandenburgConcerto were in fact written for

the much lighter tones of thespalla, highlighting how historicalperformance continues to innovateand change the music we thoughtwe knew.

One of the most popularcomposers of all time, Beethovenbrought an individualism andfreedom that still resonates withmusicians and listeners today andwe take to the stage on 8 April for‘Symphonic Greats’ withconductor Semyon Bychkov,featuring Symphony No.7 in A.Then in May, OAE PrincipalArtists Sir Simon Rattle conductswhat might be called the mostoriginal and startling piece ofmusic from the baroque era –Haydn’s ‘The Creation’. StephenCarpenter, OAE CEO, comments

‘There could scarcely be a betterexample of the game of composing“changing” than the Representation ofChaos with which Haydn opens hisgreat oratorio, The Creation.Nothing like it had been heard before(although admirers of the DissonanceQuartet might make a case forMozart!), and was not heard for 50years or more after. Haydn managesto conjure up an image of primordialdisorder with a harmonic languagewhich defies and tricks ourexpectations at every turn.’

The series comes to a close with‘Mildly Rude?’ a concert thatfocuses on Handel and one of thebaroque era’s unsung heroes –William Boyce. Upon its release,Boyce’s Solomon shot to a fame thatrivalled even Handel’s Messiah, butlater audiences considered it tooindecent for their conservativetastes and it was pretty muchshelved until the 1800s. Andalthough it was too much foraudiences back then, with this kindof provocative approach such astaple way for artists to expressthemselves in the 21st century,we’re confident you’ll feel right athome.

GamechangersAn Introduction


04

Gamechangers: Musical FireworksMonday 30 September 20137pmRoyal Festival Hall

Jean-Philippe RameauCastor et Pollux:OuvertureAirs pour les AthlètesBruit de GuerreGravement – Air: Tristes apprêts, pâles flambeaux (Télaïre)Menuet

Dardanus: Le Sommeil

Anacréon:Air: Règne avec moi, Bacchus (L’Amour)

Dardanus:Tambourins 1 & 2

Les Paladins: Air: Je vole, amour (Argie)

Dardanus:Chaconne

Interval

George Frideric HandelConcerto Grosso in G minor Op. 6 No. 6

Giulio Cesare: Aria: Che sento o Dio …Se Pietà (Cleopatra)

Scipione: March

Scipione: Aria: Scoglio d’immota fronte(Berenice)

Music for the Royal Fireworks

William Christie conductor

Sandrine Piau soprano

The concert will finish at approximately 9pm with an interval of 20 minutes

OAE Extras at 5.45pm, free admission

Royal Festival Hall auditorium

The Gamechangers Series is introduced by playersfrom the OAE.

Violins Kati DebretzeniRodolpho Richter Catherine Mackintosh Roy Mowatt Claire Sansom Debbie Diamond Alison BuryClaire Salaman Claire Holden Catherine Weiss Henrietta Wayne Rafael Font*Joanna Lawrence

Violas Oliver Wilson Annette Isserlis Martin Kelly Nicholas Logie

Cellos Piroska BaranyaySusan Sheppard Helen VerneyMarianne Diessner*

Basses Cecelia Bruggemeyer Andrew Durban

Flutes Rachel BrownRachel Latham

OboesAntoine TorunczykRichard Earle Cherry Forbes

BassoonsAndrew Watts Zoe Shevlin

ContraDavid Chatterton

Horns Gavin EdwardsMartin Lawrence David Bentley

TrumpetsDavid BlackadderPhillip BainbridgeMatthew Wells Richard Fomison

Timpani Henry Baldwin

PercussionSerge Vuille

HarpsichordJames Johnstone

* Ann & Peter Law OAEExperience for YoungPlayers participant


05

The Orchestra of the Age of Enlightenment would like to thank Robert and Laura Cory for their support, without which this concert

would not have been possible.

Gamechangers: Musical Fireworks Monday 30 September 2013

Roger Montgomery (Principal Horn): Credit Eric Richmond/Harrison & Co.


06

Concert inContext

‘Since the introduction of Italianoperas, here our men are growninsensibly more and moreeffeminate, and whereas they usedto go from a good comedy warmedby the fire of love and a goodtragedy fired with the spirit ofglory, they sit indolently and supineat an opera, and suffer their souls tobe sung away by the voices ofItalian sirens.’ Like many of hiscountrymen, the anonymousauthor of the pamphlet ‘PlainReasons for the Growth ofSodomy’ abhorred the aristocraticcraze for Italian opera seria in earlyeighteenth-century London.Igniting a toxic mix ofhomophobia, xenophobia and anti-Catholic paranoia, this decadentnew import was branded a dangerto manhood and empire. But theLondon beau monde remainedoblivious. Fresh from his Italiansojourn, Handel had created animmediate sensation with Rinaldoin 1711. Nine years later, Radamistolikewise triumphed at its premierein the King’s Theatre, Haymarket.It launched Handel’s mostglittering decade as an operacomposer and confirmed Londonas the new operatic centre ofEurope.This must-have new aristocratic

entertainment was mightilyexpensive, not least because of theexorbitant fees demanded by starItalian sopranos and castratos. In1719 a group of noblemen hadraised over £20,000 by subscriptionto set up the Royal Academy ofMusic. The King himself pledged£1000 a year. In the words ofHandel’s first biographer JohnMainwaring, ‘the intention of thismusical society was to securethemselves a constant supply ofoperas to be composed by Handel,and performed under his direction’.Armed with a virtual blank cheque,Handel set off to scout for starsingers on the continent. His prizecatches were the notoriouslyarrogant castrato Francesco

Bernardi (known as Senesino), andsoprano Francesca Cuzzoni, ofwhom it was written that ‘hergraces took possession of the soul ofevery auditor, by her tender andtouching expression’. The pairstarred in a whole series of Handeloperas at the King’s Theatre, fromOttone in 1722, via Giulio Cesareand Scipione, to Tolomeo (1728),before the Royal Academy brokeup, riven by financial crises andferociously clashing egos.


07

*Words indicated by an asteriskare explained on page 41.

Programme Notes

Jean-PhilippeRameau (1683-1764)Castor et Pollux

i Ouverture ii Airs pour les Athlètesiii Bruit de Guerreiv Gravement v Tristes apprêts, pâles flambeaux vi Menuet

Partly because its essential theme isbrotherly rather than romantic love,Rameau’s second tragédie en musiquewas less successful than itspredecessor, Hippolyte et Aricie,when it was unfurled at theAcadémie Royale de Musique in1737. In any case, the so-called‘Lullistes’, vociferous supporters ofRameau’s predecessor Lully, werenever going to give Castor et Polluxan easy ride. For a revival in 1754Rameau, by now the standard-bearer of French opera, maderadical revisions, dropping thedramatically redundant allegoricalPrologue (Prologues were out offashion by the 1750s) and tauteningthe action. The upshot was atriumph for Rameau and a decisiveblow in the latest Parisian culturalwar, this time between advocates ofFrench and Italian opera (the so-called Querelle des Bouffons).Pierre-Joseph Bernard’s libretto is,as usual in Rameau, a Baroquifiedtake on Greek mythology. Castor ismortal, while his brother Pollux isimmortal. After Castor is killed byhis rival-in-love Lyncaeus whiledefending his beloved Télaïre,Pollux first offers his love to Télaïre,then agrees to sacrifice hisimmortality to save his brother.

After an intensive debate as to whowill live and who will die, thebrothers are finally reunited as theconstellation Gemini. Following the two-part

Overture - an introduction based onspiky dotted rhythms, and abrusquely energetic fugue – theOAE’s sequence of extracts includesthe three lively Airs pour les Athlètesin which the Spartan athletes re-enact the battle where Lyncaeusis slain in revenge for Castor’sdeath, thunderous battle music(Bruit de guerre) that exploits the fullforce of Rameau’s orchestra, and aminuet of characteristic voluptuousmelancholy. The opera’s mostcelebrated number, both in theeighteenth century and today, is theair ‘Tristes apprêts, pâles flambeaux’,in which Télaïre expresses her griefat Castor’s death. Coloured by adoleful obbligato from Rameau’sfavourite bassoon, this profoundthrenody is all the more poignantfor its dignified restraint. Berliozwrote euphorically that ‘Gluckhimself has very few pages finerthan Télaïre’s famous air…Everything goes to make it one ofthe most sublime conceptions ofdramatic music.’


Tristes apprêts, pâles flambeaux,Jour, plus affreux que les ténèbres,Astres lugubres des tombeaux,Non, je ne verrai plus que vos clartés funèbres.

Toi, qui vois mon cœur éperdu,Père du jour, ô soleil, ô mon père!Je ne veux plus d'un bien, que Castor a perdu,Et je renonce à ta lumière.

No, I no longer see your awful brilliance.Day, more dreadful than darkness,Gloomy stars of the tomb,Sad endings, pale torches.

You, who see my distraught heart,Father of light, O sun, O my father!I desire only one good, which Castor has lost,And I give up your light.

‘Tristes apprêts, pâles flambeaux’


Programme Notes

Jean-Philippe Rameau Dardanus

i Sommeilii Tambourins I and II iii Chaconne

Premiered at the Paris Opéra in1739, Dardanus proved even morecontroversial than Castor et Pollux.While the composer’s supporters -the so-called ‘Ramoneurs’ - werewildly enthusiastic, theunconverted castigated Dardanusfor its feeble plot, loosely based onGreek myth, and its absurdrecourse to the supernaturalwhenever the going got tough.Beyond this, the Lullistes sneeredthat the work was so stuffed withmusic that for three tedious hoursno one in the orchestra had timeeven to sneeze. Five years later thecomposer and his librettist, Le Clerc de la Bruère, heeded someof the criticisms and drasticallytightened the structure. Even in itsnew form Dardanuswas slow tocatch on. Yet by the time of its nextrevival, in 1760, it was being hailedas a supreme masterpiece. In theyears after his death, many writersreferred to Rameau simply as ‘thecomposer of Dardanus’.

As so often with Rameau, thedivertissements, comprising briefarias, choruses and dancemovements, are among the opera’schief glories.The divertissement inAct Four is a beguiling dreamsequence in which the heroDardanus (in Greek legend the sonof Jupiter and Electra) is urged toconfront the ravaging sea monster.No eighteenth-century evocationof sleep is more haunting than theorchestral Sommeil and the trio andchorus ‘Par un sommeil agréable’,each based on a hypnoticallyrepeated succession of paired notes.In extreme contrast are the tworiotous Tambourins from the ActThree divertissement, with theirgurgling, buzzing bassoons. Theopera ends with perhaps thegrandest, most far-reaching ofRameau’s many chaconnes,transcending its rigidchoreographic framework with itsastonishing variety of expressionand orchestral colour.

Jean-Philippe Rameau Anacréon

‘Règne avec moi, Bacchus’

In 1748 Louis XV’s mistressMadame de Pompadourcommissioned from Rameau a newopéra-ballet, Les Surprises deL’Amour, for her private theatre inVersailles. Nine years later theelderly composer adapted it for theParis Opéra, adding a new entrée,

Anacréon, depicting the Greek poetAnacreon’s struggle between loveand wine, Cupid and Bacchus. All is resolved in the end, of course,with Cupid coquettishly extollingthe wine god in the delectableariette ‘Règne avec moi, Bacchus’.

08

AmourL’amour est le dieu de la paix!Règne, règne avec moi, Bacchus,Partage mes conquêtes.Règne, triomphe, partage mes conquêtes.Je lance par tes mains de plus rapides traits.Viens, triomphe, embellis nos fêtes,Mais ne les trouble jamais!

CupidCupid is the god of peace!Reign, reign with me, Bacchus,Share in my conquests.Reign, triumph, share in my conquests.I shoot with your hands swifter darts.Come, triumph, embellish our rejoicings,But never disturb them!

‘Règne avec moi, Bacchus’


Programme Notes

Jean-Philippe Rameau Les Paladins

‘Je vole, amour’

Expectations ran high whenRameau’s three-act comédie lyriqueLes Paladins was premiered at theParis Opéra on 12 February 1760.In the event the opera flopped,mainly because the cognoscentiobjected to the libretto’s mishmashof parody and buffoonery. Set inmedieval ‘Venetia’ (i.e. Venice), theplot turns on the love between Atis,a paladin disguised as a pilgrim, andthe long-suffering Argie, keptunder lock and key by the hideousgaoler Orcan. Atis has a rival inArgie’s aged tutor Anselme. Butwith the aid of the good fairyManto (played by a high tenor indrag) and various magictransformations, young love dulytriumphs. In the charming ariette‘Je vole, amour’, Argie gives vent toher feelings for Atis, spinningdelicately ornamental phrasesagainst avian twitterings from theflute.

09


Je vole, amour, où tu m’appelles :Prête-moi, prête-moi tes ailes.Quelles sont tes faveursPour les amants fidèles Tu brises leurs chaînes cruelles,Et tu les enchaîne de fleurs.Je vole…

I fly, love, where you call meLend me, lend me your wings,How great are your favoursFor constant loversYou break their cruel chainsAnd bind them with flowers instead.I fly…

‘Je vole, amour’

INTERVAL


Programme Notes

George FridericHandel (1685-1759)Concerto Grosso in G minor Op.6 No.6

i Largo affetuosoii Tempo giustoiii Musette: Larghettoiv Allegro v Allegro

Enclosing himself in one of his‘composing bubbles’ familiar to hisfriends and colleagues, Handelwrote his famous ‘Grand Concertos’Op. 6 in his house in Brook Streetbetween 29 September and 30October 1739 – a phenomenal burstof creative energy, even by hisprodigious standards. Theseglorious works were Handel’sindividual response to Corelli’sOp.6 concerti grossi, then all therage in London. The publisher JohnWalsh, who had made a mint fromselling Corelli’s concertos, evencannily supplied the ‘GrandConcertos’ with the same opusnumber! Like Corelli, Handel sets aconcertino group of two violins andcello against a ripieno stringensemble, with optional oboe partsin Nos 1, 2, 5 and 6. As toperformance, we know that two ofthe concertos were heard at aLondon concert on St Cecilia’s Day(22 November) 1739 that alsoinclude the newly composed Ode forSt Cecilia’s Day. Handel introducedthe others in the Act intervals oforatorios (Saul and Israel in Egypt),and the Milton ode L’Allegro duringthe 1739-40 Lincoln’s Inn Fieldsseason – no question of nipping outto the bar in those days. One of the twin peaks, with

Bach’s Brandenburgs, of theBaroque concerto grosso, the‘Grand Concertos’ are a unique andinspired amalgam of French courtlydances, Italian vocal lyricism,angular Teutonic fugues andcheerful English rusticity.Unorthodox, sometimes eccentric,each one differs from the others inits design. No. 6 in G minor, in fivemovements, opens with a Larghettoe affettuoso, darkly textured music ofstately sorrow, perhaps the mostobviously Corellian movement inthe whole set. Next comes a strenuously

worked fugue on a tortuouschromatic subject, the kind ofmovement in which Handel comesclosest to Bach. But there is nothing

remotely Bachian about theconcerto’s centrepiece, a hauntingmusette* that exploits the (forstrings) mellow warmth of the keyof E flat. High concertino* violinscontrast with the solemn richness ofthe ripieno* strings, with anintermittent suggestion of bagpipedrones. The music historian CharlesBurney, who as a young man playedin Handel’s oratorio orchestras,recalled that this bucolic idyll was aspecial favourite of the composer’s.After such expansiveness, the lasttwo movements, back in G minor,are terse and to the point: anAllegro* whose exuberant bustle istempered by the innate seriousnessof the minor mode; and a fastminuet or passepied*, wilful in itsmelodic contours, with little flurriesof galant triplets.

10


Programme Notes

George FridericHandelGiulio Cesare in Egitto

‘Che sento o Dio’… ‘Se pietà’

The Handel scholar Winton Deanmemorably summed up GiulioCesare as ‘a glorification of sexualpassion uninhibited by the shadowof matrimony’. Premiered at theKing’s Theatre, Haymarket, on 20 February 1724, the opera netteda record thirty-four performancesin the composer’s lifetime, not leastdue to the singing of the castrato-from-hell Senesino in the title role,and soprano Francesca Cuzzoni asthe uniquely alluring figure ofCleopatra. In what is surelyHandel’s greatest operatic role, shesets out to bewitch Caesar,disguised, ironically, as ‘Virtue’,suffers at his imagined death, and isfinally united with him as his‘tributary Queen’ (since he alreadyhas a wife, marriage is not on thecards). In Act One Cleopatra is

portrayed as an upmarket sexkitten. Then, at the centre of ActTwo, she reveals unsuspectedemotional depths in theaccompanied recitative and aria,‘Che sento?’ – ‘Se pietà’: with Caesar

now in grave danger, she provesthat her feelings for him are nomere coquettish play-acting. Withits obsessive, drooping violinfigures and wailing bassoons, thispiercing lament would hardly beout of place in a Bach Passion.

11


Cleopatra Che sento? Oh dio! Morrà Cleopatra ancora.Anima vil, che parli mai? Deh taci!Avrò, per vendicarmi,in bellicosa parte,di Bellona in sembianza un cor di Marte.Intanto, oh Numi, voi che il ciel reggete,difendete il mio bene!Ch’egli è del seno mio conforto e speme.

AriaSe pietà di me non senti,giusto ciel, io morirò.Tu da pace a’ miei tormenti, o quest’alma spirerò.

What do I hear? O gods! Cleopatra will die too.Craven soul, what are you saying? Ah, be silent!I shall,To revenge myself in battle,Have the features of Bellona and the heart of Mars.Meanwhile, O gods who reign in heaven,Protect my love!For he is the comfort and hope of my heart.

If for me you feel no pity,Just heaven, I shall die.Grant peace to my tormentOr my soul will perish.

‘Che sento o Dio’…


12

Programme Notes

George FridericHandelScipione

March‘Scoglio d’immota fronte’

‘A work worthy of its great authorin his meridian splendour’ wasCharles Burney’s verdict onScipione, which ran for thirteenperformances after its premiere atthe King’s Theatre on 12 March1726. The plot, (very) vaguelyderived from Roman history,centres on the young generalScipio’s self-denial in sacrificing hislove for the Spanish princessBerenice to his rival-in-arms. Partof its appeal was its politicalrelevance at a time when Spain wasmaking bellicose noises. AfterHandel drastically revised the operafor a revival in 1730, Scipione fellinto virtual oblivion for twocenturies save for a few favouritearias and, especially, the openingmarch celebrating Scipio’s conquestof New Carthage. Handel once remarked that

what the English liked was a tunethat ‘hit them on the drum of theear’. Scored for horns, oboes andstrings, this rousing march does justthat. With its echt-Handelian mixof elemental simplicity and instantmemorability, it immediatelybecame one of his popular hits,‘adopted by his Majesty’s life-guards and constantly played onparade for near forty years’(Burney), purloined for various

ballad operas, and thenappropriated as the anthem of theLord Mayor of London.‘Scoglio d’immota fronte’, sung

by the defiant captive Berenice atthe close of Act Two, is aspectacular bravura showpiece,Handel’s counterpart to Fiordiligi’s‘Come scoglio’ in Così fan tutte.Richly scored, with oboes,bassoons, and violins divided intothree parts, it combines vocalfireworks (tailored to the gifts ofHandel’s prima donna FrancescaCuzzoni) with vivid illustrativewriting. The vaulting arpeggio withwhich the voice enters graphicallypaints the towering rock, whileviolins have fun evoking thehowling winds and seething ocean,stilled in the calm of the central(‘B’) section before erupting anewin the da capo.

AriaScoglio d’immota frontenel torbido elementocime d’eccelso monteal tempestar del vento,è negli affetti suoiquest’alma amante.Già data è la mia fé;s’altri la meritò non lagnisi di me,la sorte gli mancòdal primo istante.

This loving soul of mineIs, in its affections,An unmovable rock,The summit of a sublime mountainAt the mercy of tempests.I have already plighted my troth;If others were deserving of it,Let them not complain of me.Fortune did not smile on themFrom the very first.

‘Scoglio d’immota fronte’


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Programme Notes

George FridericHandelMusic for the RoyalFireworks

i Overtureii Bourréeiii La Paixiv La Réjouissancev Menuets I & II

Ever-eager to promote his owninterests, King George II wasdetermined to celebrate the Peaceof Aix-la-Chapelle in spectacularstyle. A Baroque extravaganza withfireworks was duly planned inLondon’s Green Park for 27 April1749, and Handel, the de factonational composer, commissionedto write a grand celebratory suite.The King and his masters ofceremonies spared no expense,enlisting the services of theFlorentine theatrical designerServandoni, who concocted aspectacular firework ‘Machine’ inthe form of a Doric temple,‘adorned with Frets, Gilding,Lustres, Artificial Flowers,Inscriptions, Statues, AllegoricalPictures & c’. During the displaythe fireworks were designed tocreate dazzling pictures and conjureup symbolic scenes, culminating inthe image of the King bringingpeace to Britannia, Mars andNeptune.King George stipulated that

only ‘warlike instruments’ -woodwind, brass and percussion -should be used. Handel initiallyobliged, and scored his suite for 24oboes, 12 bassoons, nine horns,nine trumpets, contrabassoon,serpent and assorted drums. Thenhe insisted on ‘violeens’ (ie strings)as well, presumably to helpintonation and ensemble; and trueto form, the composer probably gothis way. Handel was, though, forcedto drop his initial objection to apublic rehearsal in VauxhallGardens. This took place on 21April, and attracted an audience ofmore than 12,000 (at 2s 6d aticket), causing the first-ever majortraffic jam on London Bridge - theonly bridge open to wheeled trafficat the time. Handel’s music dulylaunched the firework celebrationson 27th, and went down well,though the display itself wasblighted by rain and by an

accidental fire at one end of thespecially constructed building.The ‘Fireworks Music’ is a

French-style suite in the Versaillestradition, consisting of an overtureand a succession of contrasteddances. In the overture Handel,ever the master of effect, createsmusic of rolling grandeur from thesimplest diatonic material. Hear,for instance, how in theintroduction he conceals thelimitations of the natural brassinstruments by subtly varying thetheme’s harmonisation on each ofits three appearances; or the waythat the Allegro section expandsand develops its conventionalopening fanfares with a thrillingsweep and sense of colour. In calculated contrast, the first

dance, a tripping Bourrée*, is lightlyscored for two upper parts and bass,without brass; the rising chromaticscale in the second part, first in themiddle, then in the top voice, is apiquant touch amid theoverwhelmingly diatonicsurroundings. Next comes asiciliana entitled ‘La Paix’, withuncommonly rich orchestraltextures for a gentle pastoralmovement, followed by ‘LaRejouissance’, a rollicking Allegromarked to be played three times bydifferent instrumental groupings.To end his celebratory pièced’occasionHandel writes a pair ofminuets. The first is a rather wistfulpiece in D minor, while the second,in the work’s home key of D major,recalls Purcell’s great trumpet tunesin its mixture of nobility and easymemorability.

Programme notes © Richard Wigmore 2013



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Boffin’s Corner The Ghost of a Man

The greatest French composer of the century, Jean-Philippe Rameau had a notorious charm and tact bypass.Handel could be difficult. But the Frenchman was in a class of his own. Bony and elongated, ‘more like aghost than a man’, in the words of an early biographer, he was renowned for his unsociability andunapproachability. ‘The emptiness he found in society made him avoid it,’ remarked another contemporary.Taciturn, living entirely for his music, he avoided company and rarely talked about himself. When heattended the Paris Opéra, he would try to slip in unnoticed, dreading the possibility of being spotted andapplauded. In a culture where superficial politessewas de rigueur, his rudeness to all and sundry was legendary.If he mellowed slightly in old age, he could only go one way.Like Handel (and, in a later generation, Verdi), Rameau made short work of singers with attitude. In arehearsal for Les Paladins, one of the singers dared to complain that the orchestral accompaniment was sofull that no one would hear her words. To which the old composer allegedly retorted: ‘No matter whetherone hears your words, as long as they hear my music’ – a crisp way of silencing a potentially troublesome diva.

Lisa Beznosiuk (Flute): Credit Eric Richmond/Harrison & Co.


William Christie’s pioneering work has led to arenewed appreciation of Baroque music in France,notably of 17th- and 18th-century French repertoire.Born in Buffalo (New York State), Christie studied atboth Harvard and Yale Universities and has lived inFrance since 1971. The major turning point in hiscareer came in 1979 when he founded Les ArtsFlorissants. From Charpentier to Rameau, through Couperin,

Mondonville, Campra or Montéclair, he is anacknowledged master of tragédie-lyrique as well asopéra-ballet, and is equally at home with Frenchmotets as with music of the court. However, hisaffection for French music does not prevent him fromexploring other European repertoire and he has givenmany acclaimed performances of works by Italiancomposers such as Monteverdi, Rossi and Scarlatti.He undertakes Purcell and Handel with as muchpleasure as Mozart and Haydn.His extensive discography covers more than

100 recordings including award-winning releases.In addition to his engagements with Les Arts

Florissants, he is regularly invited to conduct at theworld’s leading opera houses. William Christie is equally committed to the

training and professional development of youngartists. In 2002, he created an academy for youngsingers in Caen, called Le Jardin des Voix, whosesessions generated a huge amount of interest all overEurope as well as in the United States. Since October2007, he has been Artist in Residency, with les ArtsFlorissants, at the Juilliard School, New York. William Christie acquired French nationality in

1995, has been elected at the Académie des Beaux-Arts and is a Commandeur dans l’Ordre de la Légiond’Honneur as well as Officier dans l’Ordre des Arts etdes Lettres.

15 photo: Denis Rouvre

BiographyWilliam Christieconductor



A renowned figure in the world of Baroque music,French soprano Sandrine Piau regularly performs withcelebrated conductors such as William Christie,Philippe Herreweghe, Christophe Rousset, GustavLleonhardt, Ivor Bolton, Ton Koopman, René Jacobs,Marc Minkowski and Nikolaus Harnoncourt.Highlights of her 2012/13 season include a debut

recital tour to Japan, her Boston Symphony Orchestradebut and performances with RAI Orchestra in Turin.Sandrine Piau returned to La Monnaie in Brussels tosing Mélisande, to the Paris Opera as Cleopatra and toWigmore Hall for both a Mozart recital and Britten’sLes Illuminations.Ms. Piau embraces both lyric and Baroque

repertoire, and performs roles such as Pamina fromMozart’s Die Zauberflöte, Titania from Britten’s A Midsummer Night’s Dream and Servilia from Gluck’sLa Clemenza di Tito. Recent opera engagementsinclude Pamina, Cleopatra in Handel’s Giulio Cesare,Ännchen in Weber’s Der Freischütz and her role debutas Donna Anna at the Théâtre des Champs-Elysées;the title role of L’Incoronazione di Poppea in Cologne;Sandrina in a new production of La Finta giardinieraat La Monnaie, Brussels; Ismène in Mitridate, Re diPonto at the Grand Théâtre de Genève; and Sophie inMassenet’s Werther at both the Capitole de Toulouseand the Théâtre du Châtelet.Sandrine Piau regularly appears in concert. In

recent years she has performed the Salzburg Festival,Carnegie Hall, Wigmore Hall, Covent Garden,Musikverein, Paris’s Salle Pleyel and Festival de SaintDenis, Amsterdam’s Concertgebouw, TeatroCommunale in both Florence and Bologna and withthe world’s most prestigious orchestras including theBerlin Philharmonic Orchestra, MunichPhilharmonic and Orchestre de Paris.Ms. Piau takes great pleasure in the art of recital.

As a singer of both French and German repertoire, shehas performed with many renowned accompanistsincluding Jos van Immerseel, Susan Manoff, RogerVignoles and Corine Durous. She frequently givesrecitals in Paris, Amsterdam, London and New York.Ms. Piau is an exclusive recording artist for Naïve.

Recent recordings include 2011’s Après un Rêve and2012’s Le Triomphe de l’Amour, which was namedOpera News’ CD of the Month.

Her next engagements include singing Constancein Le Dialogue des Carmélites at the Théâtre desChamps Elysées, performing in Alcina at the ParisOpera and appearing in Ariodante at Le Festival d’Aixen Provence.

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BiographySandrine Piausoprano


Gamechangers: Arcangelo CorelliThursday 31 October 20137pmQueen Elizabeth Hall

For an introduction to the Gamechangers series please turn to page 3.

Handel Overture to Il Trionfo del Tempo e del Disinganno

Muffatt Passacaglia from Armonico Tributo No.5

Clare Connors Corelli Leaves (London premiere)

Corelli Concerto Grosso Op.6 No.8 Christmas Concerto

Interval

Corelli Sinfonia to Santa Beatrice d’Este

Handel Concerto Grosso Op 6, No. 4

Corelli Trio Sonata Op 3, No. 12

Geminiani Concerto Grosso, La follia

Alison Bury director/violin

The concert will finish at approximately 9pm withan interval of 20 minutes

OAE Extras at 5.45pm, free admissionQueen Elizabeth Hall auditoriumClare Connors introduces her new commission,Corelli Leaves.

Violins Alison Bury Rachel Isserlis Roy MowattAnnegret Hoffman*Emilia BenjaminRodolfo RichterClaire Sansom Claire HoldenRafael Font*Catherine Weiss

Violas Annette IsserlisMartin KellyNicholas Logie

Cellos Andrew SkidmoreSusan SheppardGavin Kibble*

Basses Cecelia BruggemeyerSanne Depreterre*

Oboes Katharina SpreckelsenRichard Earle

Harpsichord Robert Howarth

*OAE Experience player

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Gamechangers: Arcangelo Corelli Thursday 31 October 2013

OAEautumn2013AWnew***:OAE 2006 Prog6 h copy 18/10/2013 12:49 Page 19

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Henrietta Wayne (Violin): Credit Eric Richmond/Harrison & Co.


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It might not be stretching a pointtoo far to claim that ArcangeloCorelli was one of the first globalstars of music. Through his foursets of trio sonatas for two violinsand continuo (Op. 1-4, publishedbetween 1681 and 1694), his onebook of twelve sonatas for soloviolin and continuo (Op. 5,released in 1700) and his single setof concerti grossi (Op. 6, issuedposthumously in 1714), he wonrecognition as a seminal musicalfigure far beyond the confines ofthe city of Rome where he livedand worked. As early as 1689 hewas being described as ‘the newOrpheus of our days’, while in1711 he was lauded as ‘the greatestglory of this century, of whomfame speaks and ever shall speak’. Corelli’s achievement was not

only to have been one of the mostrespected violinists and teachers inEurope (in which capacity alone heleft a stamp on instrumentaltechnique that lasted well into theeighteenth century), but also as oneof the most revered and imitated ofall composers. Though his outputconsisted only of instrumentalmusic, his sonatas and concertigrossi were quickly recognised assupreme models of their kind, inwhich genres that had until thenbeen somewhat loosely definedwere codified into undisputedarchetypes of classical elegance,refinement and formal clarity. Fewcomposers of the mid to lateBaroque were untouched by theirinfluence: Bach used a theme ofCorelli’s in his organ fugueBWV579; Telemann published aset of openly imitative SonatesCorellisantes; Couperin paidhomage in a work entitled LeParnasse, ou L’Apothéose de Corelli;and Jesuit missionaries evencarried his music as far afield asChina and Bolivia.

Concert in Context




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As one of the leading lights inRoman musical life, Corelli wouldnot only have been high on the 21-year-old Handel’s wish-list ofpeople to meet on his first trip toItaly in 1706; he would have beenunavoidable. Handel’s Italiansojourn lasted just over three years,during which time he visitedFlorence, Naples and Venice tolearn about Italian opera at itssource. In Rome, however, thisdangerously secular entertainmentwas banned, and the city’s opera-lovers turned instead to the moremorally elevated genre of oratorio tosatisfy their cravings for dramaticmusic. The type of piece thatresulted was stylisticallyindistinguishable from opera, sowhen early in 1707 an allegoricaloratorio entitled Il trionfo del tempo edel disinganno (‘The Triumph ofTime and Enlightenment’) wascommissioned from Handel by thewealthy patron Cardinal Benedetto

Pamphili, it was a perfectopportunity to show off his rapidlydeveloping operatic skills. When itwas performed, presumably inPamphili’s Roman palace in the latespring or early summer, the leaderof the orchestra was none otherthan Corelli. The meeting was not without its

tensions, if an anecdote from one ofHandel’s early biographies is to bebelieved: the story goes that Handel,growing impatient with the wayCorelli was executing certainpassages in the overture, grabbedthe violin and demonstrated how toplay them himself. Corelli, ‘a personof great modesty and meekness’ issaid to have replied ‘but, dear Saxon,this music is in the French stylewhich I don’t understand.’ Handelmust have relented, for if there wasoriginally a French-style overturehere, it was replaced by the three-part Italian-style ‘Sonata’ that standsat the head of the oratorio today.

Programme Notes

George FridericHandel (1685-1759)Overture: Il Trionfodel Tempo e delDisinganno

Georg Muffat was one of baroquemusic’s most consciously eclecticfigures. Born in the Savoy region ofFrance in 1653 to a family ofScottish descent, he consideredhimself German and spent most ofhis working life at Salzburg andlater Passau. A period of study withLully in Paris as a child and a visitto Rome in 1680, however, hadacquainted him with the twocompeting national styles inbaroque music, and his own musicbecame a systematic exploration ofhow they could be demonstratedand, better still, combined in anearly flowering of the synthesisingmission which was in itself tobecome something of a Germannational musical characteristic. His published sets Armonico tributo(1682) and AusserleseneInstrumental-Music (1701)promoted concerti grossi in theCorellian mould, while the twopublications entitled Florilegium

(1695 and 1698) were among theearliest examples by a Germancomposer of the French orchestraldance suite. ‘My profession is veryfar from the tumult of arms andfrom the reasons of state that causethem to be taken up’, he wrote.‘When I mingle French airs withthose of the Germans and theItalians, it is not in order to incite awar, but rather, perhaps, a preludeto the harmony of many nationsand to amiable peace.’So it is that while the Sonata

No. 5 from Armonico tributo is forthe most part a concerto grosso* inthoroughly Corellian mould, thereis a distinct Frenchness to the basicfive-part string texture and to theform of its final movement, a longand rich ‘Passacaglia’ (the Frenchwould have called it a ‘passacaille’or a ‘chaconne’) in which eachphrase is heard twice and frequentreturns are made to the maintheme.

Georg Muffat (1653-1704)Passacaglia fromSonata No. 5 in G(Armonico Tributo)


The piece was inspired by thebrilliance and beauty of the soundof The Orchestra of the Age ofEnlightenment. I wanted to create apiece that illustrated the unique andparticular sounds of the gut stringedinstruments but writing from acontemporary point of view. Thereis a programmatic element to thewriting, the sound of leaves inautumn, and leaves being ametaphor for the individual playersin the orchestra and us in ourindividual lives. In the piece I wanted to highlight the sounds ofindividual instruments and thencombine different groups to createdifferent colours and textures. Fromthe opening of leaves fluttering inthe wind each section has arecitative which draws ourattention, as if focusing in on part ofthe tree. After all sections of theorchestra are introduced in this waya solo violin emerges; the followingsection is the real heart of the piece,Corelli and his ‘golden tone’. Fromhere the violins join and the wholeorchestra follows to celebrate thefull sound and life of the orchestra.The final section combineselements from the solo violinsection with other string effects;string crossings and runs againstmelodic lines and counter melodiesto produce an uplifting finale.When writing Corelli Leaves

I considered how the piece would sitin the programme against the otherworks of Corelli and Geminiani. I also wanted the piece to standalone and work in its own right. I was looking to demonstrate thestrengths of the baroqueinstruments and celebrate theirsound and power; to show how theyhave a place in new music makingand that there is more yet toexplore. I would indeed like to writeother movements or pieces to makea set or programme of new works.I’m very interested in how music

communicates with its audienceand it’s a great privilege to workwith musicians in the OAE who are

at the cutting edge of this in theirperformance, playing withenthusiasm, virtuosity andcommitment. I think the nature ofthe gut strings also draws thelistener in and I really wanted thiseffect in the quiet parts of the piece,to create an intimacy andimmediacy with the listener.

© Clare Connors 2013

Programme notes

Clare Connors (b. 1963)Corelli Leaves(London premiere)

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Programme notes

Arcangelo Corelli(1653-1713)Concerto grosso in G minor, Op.6 No.8Christmas Concerto

i Vivace – Grave ii Allegroiii Adagio – Allegro – Adagioiv Vivacev Allegro

Corelli did not invent the concertogrosso form, but he did bring it tounchallenged perfection. Itsfundamental procedure involved asmall group of soloists (orconcertino) interacting with the fullorchestra (the ripieno), andalthough it would be the concerto*for single soloist as developed byVivaldi that eventually prevailed asthe dominant formal model of theage, Corelli’s concertos remainedpopular and influential well intothe eighteenth century. But it was not just the way

Corelli choreographed hisorchestra that made his concertosso revered and influential; just asimportant was his clear-sightedcommand of the musical languageof the mid-Baroque, the way inwhich he brought together formalbalance, textural clarity andmelodic elegance to create some ofthe most satisfying instrumentalcompositions of the era. AsBurney commented: ‘The harmonyis so pure, so rich and so grateful,the parts are so clearly, judiciously,and ingeniously disposed; and theeffect of the whole, from a largeband, so majestic, solemn andsublime, that they preclude allcriticism, and make us forget thatthere is any other Music of thesame kind existing.’ It comes as nosurprise, then, that by far the mostcelebrated of his concerti grossi isthe one that scores primarily on thestrength of its melodic beauties,the so-called ‘ChristmasConcerto’.

The association of pastoralmusic with Christmas – ‘pastoral’in the sense that it imitates therustic sounds one might link toimages of shepherds abiding in thefield – seems to have had its originsin Italy. The sounds invoked owemore, no doubt, to the campagnathan to the hills aroundBethlehem, and they can still beheard at Christmas-time in Italytoday, when shepherds appear inthe towns to serenade the infantChrist on shawm and bagpipe.Like many Christmas traditions,the resulting sweetly liltingmelodies and drone basses seemunlikely to lose their evocativehold, and are enough to ensure thatthis concerto is heard primarilyduring the Christmas period,despite the fact that they arepresent only in the final, optional‘add-on’ section of an otherwiseorthodox work.

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INTERVAL


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When Corelli led the orchestra forHandel’s Il trionfo in 1707 he wastechnically in the employ ofanother patron, Cardinal PietroOttoboni. Earlier in his life,however, he had worked forCardinal Pamphili, and it was athis residence in 1689 that anoratorio* was performed tocelebrate the visit of yet anothercardinal, Rinaldo d’Este. SantaBeatrice d’Este, honouring aprevious member of the powerfuld’Este family had music byGiovanni Lorenzo Lulier, aSpanish-born cellist (nicknamedby the Romans ‘Giovannino delviolone’) who often performed in a

trio with Corelli and anotherviolinist, Corelli’s pupil MatteoFornari, and the three of themmust have played the principalparts in the 80-piece orchestramustered for the occasion, whichalso included the composersBernardo Pasquini and FrancescoGasparini. The leader of coursewas Corelli, who also provided thework with its solemn five-movement opening Sinfonia.

Programme notes

Arcangelo Corelli Sinfonia to SantaBeatrice d’Este

i Grave – Allegro – Adagioii Largo assaiiii Vivace

Perhaps nowhere was Corelli’smusic worshipped more than inEngland. ‘It [is] wonderful toobserve what a scratching ofCorelli there is every where –nothing will relish but Corelli’,wrote the theorist Roger North in1710, no doubt referring to thepopularity of the Op. 5 ViolinSonatas, the first of Corelli’s worksactually to be published in thiscountry. The Op. 6 concerti grossiwere to prove no less exciting toBritish music-lovers, however,remaining popular staples of publicconcert life throughout the countrylong after their publication in1714, and long, too, after theVivaldian solo concerto hadconquered the rest of Europe. To North they were ‘like the breadof life’. That Handel himself was happy

to remain under Corelli’s influenceis evident from his Op. 6 Concertigrossi, composed in a single burstlasting just over a month in theautumn of 1739, and published thefollowing year. Not only does thetitle under which they appeared –‘Twelve Grand Concertos’ –literally translate the Italian termconcerto grosso, but they are clearly

laid out in Corellian vein, withconcertino and ripieno groupingsand a similar mix and layout ofmovement*-types. Perhaps eventhe adoption of the same opusnumber could be seen as nod toCorelli’s eminence in the field. If so, Handel had nothing to fearfrom comparison, for in thesetwelve perfectly crafted works heproduced a set to rival even Bach’sBrandenburg Concertos at thepinnacle of Baroque orchestralwriting. The fourth of the concertos,

like most of its companions, is amixture of newly composed andrecycled music. The openingmovement is classic Handel in itsmelodic tenderness, and isfollowed by a vigorous fugue. The overlapping lines and ‘walkingbass’ of the third movement arestraight from the Corelli stylebook, and the concerto ends withan allegro refashioned from an ariafrom Handel’s recently composedopera Idomeneo.

George FridericHandel Concerto grosso in A minor, Op.6 No.4

i Larghetto affettuosoii Allegroiii Largo, e pianoiv Allegro



Corelli’s influence on the principalchamber music form of thebaroque period, the trio sonata, wasif anything more far-reaching thanit was on the concerto grosso. Thetexture of two equal-voiced trebleinstruments over a continuo bass-line was not new – it had beenaround since the beginning of theseventeenth century – but as usualit was Corelli who perfected themodels for later composers toimitate, from Bach to Vivaldi,Purcell to Couperin. Within thatstyle, there were two distinctformal types: the sonata da camera,largely made up of binary-formdance movements; and the moreabstract and often more

contrapuntally inclined sonata dachiesa. The Op. 3 set, published in1689, contains twelve sonatas inthe da chiesa style. No. 12 isperhaps the closest of them tomixing both of them; there is anextrovert, toccata-like feel to theviolins’ bold exchange of arpeggiosin the opening section, and theother movements come in a rangeof foot-tapping fast tempos.

Programme notes

Arcangelo Corelli Trio Sonata in Aminor, Op.3 No.12

i Graveii Vivaceiii Allegroiv Allegrov Allegro

The popularity of Corelli’s musicin England was such that hisrelatively small corpus of worksstruggled to meet enthusiasticdemand, and soon the arrangerswere at work. The Op. 5 violinsonatas were issued as recordersonatas by the London publisherJohn Walsh as early as 1702, and inthe mid-1720s, just over a decadeafter moving to London, Corelli’sone-time pupil FrancescoGeminiani converted them intotwelve perfectly idiomatic andhighly successful concerti grossi. The best-known and easy

favourite of the Sonatas was alwaysthe last, a one-movement piececomprising twenty-four variationson an old Iberian folk-melodyknown as the ‘La Follia’. The Folliaitself was one of the mostcommonly used subjects forvariation throughout the Baroqueperiod (there are examples byMarais, Vivaldi, Cabanilles andAlessandro Scarlatti) and wellbeyond: Liszt’s Rhapsodie espagnoleuses it, as do Rachmaninov’sVariations on a Theme of Corelli.Not surprisingly, then, ConcertoNo. 12 has also proved to this day

to be the most popular ofGeminiani’s transcriptions, andrightly so: Corelli’s brilliant sonatawas a compendium ofcontemporary violin techniques,but Geminiani’s achievement wasto turn it into a truly orchestralshowpiece of enormous ingenuityand excitement.

Programme notes © Lindsay Kemp

Francesco Geminiani(1687-1762)Concerto grosso in D minor, La follia(after Corelli’s Sonatafor violin andcontinuo, Op.5 No.12)

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Boffin’s Corner Corelli Slips Up

Corelli may have been famous as a composer and violinist across Europe, but he was not immune from thekind of mishaps and disagreements that can occur when you find yourself out of your cultural orgeographical comfort zone. The story of how he found himself unable to play a Handel overture* ‘in theFrench style, which I don’t understand’ is mentioned in the programme notes, but even Naples proved a littletoo foreign when he arrived there in 1702. Invited to lead the orchestra in an opera by Alessandro Scarlattihe struggled to master one high-lying passage which the Neapolitan violinist Petrillo Marchitellisubsequently tossed off with ease, and then twice led off an aria in C major instead of C minor beforeScarlatti himself politely corrected him. And even though Corelli himself had been trained in Bologna andbeen a member of the city’s Accademia Filarmonica since the age of seventeen, he still found himself takento task in 1685 by his former colleagues over what appeared to be the error of musical grammar that is‘parallel fifths’ in one of his Op. 2 trio sonatas. Corelli denied that he had made a mistake, and for a while aRome-Bologna dispute raged, but even today the matter is open to interpretation. And Corelli does seem tohave taken a lesson from it. ‘I am fully aware of my own weaknesses,’ he wrote in 1708, ‘so that only recently,in spite of numerous, long-drawn-out corrections, I scarcely had the confidence to put before the public eyethose few works I entrusted to the printer.’ Very wise.


Susan Sheppard (Cello): Credit Eric Richmond/Harrison & Co.


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BiographyAlison Burydirector/violin

Photo: Lesley Aggar

Alison Bury has played with most of London’s leadingperiod instrument orchestras. She trained at the RoyalCollege of Music, furthering her studies at theSalzburg Mozarteum with Sandor Vegh and NikolausHarnoncourt. During this time she worked withConcentus Musicus Wien.She is a founder member and regular leader of the

Orchestra of the Age of Enlightenment and hasappeared with them frequently as a soloist. In 2011 shedirected a prgramme of Handel Concerti Grossi withOAE at the Queen Elizabeth Hall and at the HandelFestival in Halle, Germany.For over twenty years she led the English Baroque

Soloists, performing all over the world and recordingmuch of the baroque and classical repertoire includingMozart operas. As a participant in Sir John EliotGardiner’s Bach Cantata Pilgrimage in 2000 sherecorded many of the violin obbligati in those works .She has played as guest leader with the Mahler

Chamber Orchestra and the Swedish RadioSymphony Orchestra.Since 2009 she has been director of the BREMF

Players, performing every year at the Brighton EarlyMusic Festival, with music ranging from Vivaldi’sFour Seasons to Haydn symphonies. She is also leaderand co-director of the Sussex based BaroqueCollective. She regularly performs in concerts of chamber

music with colleagues from the OAE and has givenrecitals with harpsichordists Maggie Cole, NicholasParle and Malcolm Proud.


BeethovenCoriolan Overture Op.62

MendelssohnConcerto in A flat for Two Pianos MWV 06

Interval

SchubertFantasy in F minor for piano duet D940

BeethovenSymphony No. 8 in F Op.93

Margaret Faultlessleader/director

Robert Levin and Ya-Fei Chuangfortepianos

The concert will finish at approximately 9.15pm withan interval of 20 minutes

OAE Extras at 5.45pm, free admissionThe Front Room at Queen Elizabeth hallIntroduction and performance by OAE players ofexcerpts from the quintet arrangement of Beethoven’sSymphony No.8

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A Pianistic PartnershipTuesday 26 November 20137pmQueen Elizabeth Hall

Violins Margaret FaultlessLucy Russell Rodolfo Richter Jane Gordon Maya Magub Claire Sansom Stephen Pedder Davina Clarke Alison Bury Claire Holden Catherine Mackintosh Debbie DiamondSusan Carpenter-Jacobs Catherine Ford Catherine Weiss Izleh Henry

Violas Nicholas Logie Martin Kelly Annette Isserlis Kate HellerMarina AschersonElitsa Bogdanova

Cellos Pierre Doumenge Richard Tunnicliffe Susan Sheppard Helen Verney Kate ConwayMarianne Diessner

Basses Chi-chi Nwanoku Andrew Durban Sanne Depretterre

Flutes Lisa BeznosiukKaty Bircher

Oboes James EastawayRichard Earle

Clarinets Antony PaySarah Thurlow

Bassoons Andrew Watts Sally Jackson

Horns Gavin Edwards David Bentley

Trumpets Phillip BainbridgeJohn Hutchins

Timpani Adrian Bending

A Pianistic Partnership Tuesday 26 November 2013


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The Orchestra of the Age of Enlightenment would like to thank Robert and Laura Cory & Nigel Jones and Françoise Valat Jones for

their support, without which this concert would not have been possible.

Cecelia Bruggemeyer (Double Bass): Credit Eric Richmond/Harrison & Co.



At the core of tonight’s concert aretwo pieces by composers whoshared a sleight-of-hand creativewizardry, yet from opposite ends ofthe emotional spectrum. IfMendelssohn’s double concertobubbles over with pianisticeffervescence and joie de vivre,Schubert’s F minor Fantasy takesthe audience out of its comfortzone into a world of tragic despairand semantic uncertainty. Webegin and end the programme withtwo masterworks by the same

composer, no less differentiated intheir expressive profiling.Beethoven’s Eighth Symphony is ariot of orchestral exuberance inwhich the musical jokes come thickand fast, whereas Coriolanus’sthirst for vengeance hurtles us overinto the musical abyss…..A Pianistic

Parnership

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Of the dozen orchestral overturesby Beethoven that have survived,only two were originally intendedfor concert-hall performance: thelittle known Name’s-Day(completed in 1815) and thesearingly dramatic Coriolan of1807, composed shortly after thethree ‘Razumovsky’ StringQuartets* and the Fourth PianoConcerto.There is no firm evidence that

the Coriolan Overturewas everactually intended for the theatre,although Heinrich Joseph vonCollin’s eponymous tragedy hadbeen performed in Vienna as earlyas 1802 and a new production hadin fact been planned for 1807.There also seems to have been noconnection with Shakespeare’sCoriolanus. The most likelyexplanation is that Beethovenassumed most people in theaudience would have at least beenfamiliar with the main outline ofthe story. The overture is cast in C minor,

Beethoven’s most emotionallyvolatile key and the one he hadalready chosen for hisgroundbreaking Fifth Symphony,premiered the following year. Twomain ideas represent respectivelythe banished Coriolanus, whowishes to avenge himself byattacking his home city of Rome,and his mother Volumnia, who

attempts to appease him. After aseries of stormy episodes herelents, having accepted theuncomfortable reality that toattack would mean certainexecution. His sense of frustrationand anger is still audible at the end,although the sting has clearly goneout of his tail.

Programme Notes

Ludwig vanBeethoven(1770–1827)Coriolan OvertureOp.62



Mendelssohn’s distinctive pianostyle was derived not so much fromthe mechanism-challenginginnovations of Beethoven andSchubert, as from the filigreeintricacies of the German virtuosopiano school of Hummel andWeber. It was never Mendelssohn’sintention to push contemporarykeyboard instruments beyond thatof which they were comfortablycapable, more to utilise thosequalities for which they were bestadapted – brilliant clarity in thetreble register and the ability tosustain flowing, cantabile melodieswithout undue bass resonance.The two double-piano

concertos are amongstMendelssohn’s earliest orchestralcompositions, the A flat majorbeing completed in November1824 when he was still only 15.Both works then droppedcompletely out of the repertoireuntil in 1950 the originalmanuscripts were rediscovered inthe Berlin State Library. The A flatConcerto was inspired by Felix’sfirst encounter with the sensationalprodigy virtuoso Ignaz Moscheles.When he first saw the teenageMendelssohn play, even Moschelescould barely believe his eyes: ‘Felix,a mere boy of fifteen, is aphenomenon. What are all otherprodigies compared with him?—mere gifted children. I had to play agood deal, when all I really wantedto do was to hear him and look athis compositions.’

The longest of all his concertomovements, the opening Allegrovivace announces the pianisticcredentials that would serveMendelssohn well throughout hiscareer: assertive main themesdriven by fizzing cascades ofdazzling semiquavers, and gentlesecondary melodies of Mozartiangrace and calm. The wistfulAndante establishes anotherexpressive archetype with its gentlyswaying compound time spinninginnocent melodic strands ofsublime contentment. The jocularhigh spirits of the Weberian finaleare offset by passing moments ofcontrapuntal ingenuity that betraythe composer’s veneration of Bach.Still in his mid-teens,Mendelssohn was no merefledgling but a vital creativeintelligence on the verge of artisticmaturity.

Programme Notes

Felix Mendelssohn(1809–1847)Concerto for twopianos in A flatMWV O 6 i Allegro vivaceii Andanteiii Allegro vivace

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INTERVAL


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Franz Schubert is widelycelebrated as one of the four greatpillars of musical Classicismalongside Haydn, Mozart andBeethoven. Yet although his musichas become a vital part of ourlistening experience today, duringhis own short lifetime he waslargely regarded as someone on theperiphery of the Beethovenmainstream. The popular image wehave today is of Viennese coffeesociety warmly embracing hislatest creations, but according toEnglish musicologist DonaldTovey, a popular music dictionaryof the 1830s contained ‘fiveSchuberts, but Franz Schubert wasnot among them.’ It still seems almost

inconceivable that Schubert couldhave achieved all he did in alifetime which spanned a mere 31 years. Yet, in the cruelly shorttime available to him, he produceda staggering 600 song settings, 15 string quartets, 8 symphonies,21 piano sonatas, countless otherworks for solo piano and pianoduet, a notable body of sacredmusic including 6 Mass settings,and music for some 20 stage worksof which sadly little is heardnowadays save for Rosamunde. In March 1827 Schubert was

one of the torchbearers atBeethoven’s funeral. A year later,on 26 March 1828, an all-Schubertconcert was given in Vienna, whichappeared to signal a new interest inthe young composer’s work. Thatsome month Schubert completedone of the last and finest of his 60pieces for piano duet: the Fantasyin F minor. Cast in four continuousmovements, in a little over aquarter-of-an-hour Schubertwrestles the piano-duet genre fromthe cosy salon into the symphonicarena, climaxing in a fugal passageof inexorable power and forwardmomentum. Tragically, just eightmonths later, he was laid to rest inVienna’s Währing Cemetery. In1888, his and Beethoven’s remains

were moved to the Zentralfriedhof,where they now rest alongside oneanother. ‘The art of music hereentombed a rich possession,’ readsthe prophetic inscription onSchubert’s tombstone, ‘but evenfairer hopes.’

Programme Notes

Franz Schubert(1797–1828)Fantasy in F minor forpiano duet D940 i Allegro molto moderato –ii Largo –iii Scherzo: Allegro vivace –iv Finale: Allegro molto moderato



At no time in musical history has acomposer travelled so far as rapidlyas Beethoven in his epic ‘Eroica’Symphony of 1803. This is musicthat seems to breathe the air of adifferent planet with brutalsforzandos* rammed home,harmonic dissonances revelled inas never before, and fizzingvirtuosity demanded of the playersat every turn. Over the followingdecade Beethoven produced aseries of masterworks whichredefined the expressive power ofmusic, each one possessing its ownunique emotional narrative. Heturned musical philosopher in theFourth Piano Concerto, all-conquering hero in the ‘Emperor’Piano Concerto and socio-politicalactivist in his sole opera, Fidelio.He faced and conquered his innerdemons in the Fifth Symphony,communed with Nature in the‘Pastoral’ (6th) and rejoiced in thesheer exhilaration of being alive inthe Seventh. By now, Beethoven’s admirers

had learned to expect theunexpected, yet no one could havepredicted that his next major opuswould turn out to be the mostirrepressibly bright and cheerfulwork in his symphonic canon. TheEighth is a compact work thatwears its scholarship lightly and asa result tends to be undervaluedwhen compared to the indomitablephysicality of the works that lieeither side of it. As Wagnermemorably put it: ‘In the Eighththe power is not so sublime,although it is entirely characteristicof the man, mingling farce andHerculean vigour with the gamesand caprices of a child.’The opening movement is brief

but eventful, in which falseharmonic leads cheerfullyundermine the tonal solidity thatBeethoven is at such pains toestablish in the opening bars. Inplace of the expected slowmovement comes a scherzandohomage to the composer’s friend

Johann Maelzel, inventor of themetronome, a device thatBeethoven found invaluable inspecifying exact tempos for hismusic. He compensates by makinghis next movement a Tempo dimenuetto, a genre he had long sinceceased using in his symphonies.Having held his horses back forthree movements, Beethoven letsthem have their head in the finale,played at such a gallop that onehardly has a chance to take in themusical scenery as it whistles past.

Programme notes © Julian Haylock 2013

Programme Notes

Ludwig vanBeethoven Symphony 8 in FOp.93 i Allegro vivace e con brioii Allegretto scherzandoiii Tempo di menuettoiv Allegro vivace

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Boffin’s Corner Felix Mendelssohn –Music’s Greatest Prodigy?

Every so often a composer emerges with a supercharged DNA that facilitates a profound creative gift intheir teenage years. Amongst the most famous have been Mozart, Saint-Saëns and Korngold, yet none havequite rivalled the miraculous achievements of Felix Mendelssohn. In addition to his composing genius, hewas also a prodigy pianist and violinist, an inspired poet, fluent multi-linguist, skilled water-colourist,consulted philosopher and an exceptional swimmer. In fact he excelled at virtually anything that could holdhis attention for long enough, although it was music which above all activated his creative imagination.Like a musical sponge, the child Mendelssohn absorbed the best the Renaissance, Baroque and Classical

masters had to offer, constantly refuelling his own insatiable creative energies. By the age of 12 he alreadyhad a bulging portfolio of pieces to his name, including four light operas, twelve symphonies for stringorchestra, concertos for violin, piano and two pianos, two piano quartets, a string quartet, piano trio, pianosextet, several piano sonatas and (most astonishingly) his first orchestral symphony. During the spring of 1825, the 16-year-old Mendelssohn composed a B minor Piano Quartet whose

expressive intensity and originality signalled yet another leap of musical imagination, yet even this gavelittle indication of what would emerge just five months later: the String Octet E flat, arguably the mostastonishing act of creative prodigy in the history of Western music. The Octet’s most remarkable novelty –and arguably Mendelssohn’s greatest gift to music – was the creation of a new kind of feather-light,quicksilver, darting scherzo, as revolutionary in sound as it was in technique. Partly in order to realise thefull potential of this remarkable textural innovation, a year later he composed his groundbreaking Overtureto A Midsummer Night’s Dream, capturing the magical atmosphere of Shakespeare’s comic masterpiece withastonishing sonic precision. The world of music would never quite be the same again.



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BiographyMargaret Faultlessleader/director

Margaret has been a co-leader of The Orchestra of theAge of Enlightenment since 1989 and also directs theorchestra from time to time. She frequently performsas violinist-director with the Britten-Pears Baroque,European Union Baroque Orchestra, the orchestra ofthe Teatro Nacional in Lisbon, Philharmonie Merck,The Harmony of Nations and the Jerusalem BaroqueOrchestra. Margaret has been a guest leader of the Handel &

Haydn Society of Boston and the LondonPhilharmonic Orchestra. She was invited to Moscowby Vladimir Jurowski to coach and lead the RussianNational Orchestra. For over twelve years Margaretled the Amsterdam Baroque Orchestra under TonKoopman, including the ten-year project performingand recording all the Bach cantatas.She is the Artistic director of Music for Awhile, a

flexible chamber ensemble/orchestra and of DevonBaroque, a thriving chamber orchestra in the SouthWest. She was a member of the London HaydnQuartet for ten years and now appears as a duo withpianist Adrian Partington, focusing on the sonatas ofBeethoven and Brahms.Margaret is an Artistic Director of the Cambridge

University Collegium Musicum. She lectures onperformance practice, is Director of Studies of theEuropean Union Baroque Orchestra and a frequentguest teacher and director at leading conservatoires.She is the Director of Performance Studies at theFaculty of Music in Cambridge, a Bye-Fellow ofGirton College, and Musician in Residence at StJohn’s College.


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BiographyRobert Levinfortepiano

Pianist Robert Levin has been heard throughout theUnited States, Europe, Australia, and Asia, in recital,as soloist, and in chamber concerts. He has performedwith the orchestras of Berlin, Birmingham, Boston,Chicago, Cleveland, Los Angeles, Montreal andVienna with such conductors as Bernard Haitink, SirNeville Marriner, Seiji Ozawa, Sir Simon Rattle, Esa-Pekka Salonen and Joseph Silverstein. On fortepianohe has appeared with the Academy of Ancient Music,London Classical Players, Orchestra of the Age ofEnlightenment and Orchestre Révolutionnaire etRomantique, with Sir John Eliot Gardiner,Christopher Hogwood, Sir Charles Mackerras,Nicholas McGegan and Sir Roger Norrington. Hehas performed frequently at such festivals as Sarasota,Tanglewood, Ravinia, Bremen, Lockenhaus, and theMozartwoche in Salzburg. As a chamber musician, hispartners include Steven Isserlis, and Kim Kashkashianand Ya-Fei Chuang. Robert Levin is renowned for his restoration of the

Classical period practice of improvisedembellishments and cadenzas; his Mozart andBeethoven performances have been hailed for theiractive mastery of the Classical musical language. He has made recordings for DG Archiv, CRI,Decca/Oiseau-Lyre, Deutsche Grammophon YellowLabel, ECM, New York Philomusica, Nonesuch,Philips, and SONY Classical. These include thecomplete Bach concertos with Helmuth Rilling aswell as the English Suites and the Well-TemperedClavier for Hänssler’s 172-CD Edition BachAkademie. Other recordings include a Beethovenconcerto cycle with Sir John Eliot Gardiner and theOrchestre Révolutionnaire et Romantique for DGArchiv, and a Mozart concerto cycle with ChristopherHogwood and the Academy of Ancient Music forDecca Oiseau-Lyre.A passionate advocate of new music, Robert Levin

has commissioned and premiered a large number ofworks. He is a renowned chamber musician and a notedtheorist and musicologist. His completions of Mozartfragments are published by Bärenreiter, Breitkopf &Härtel, Carus, Peters, and Wiener Urtext Edition, andrecorded and performed throughout the world. Future highlights include concerts with the

Orchestra of the Age of Enlightenment, OrchestrePhilharmonique de Radio France and Ton Koopman,Philharmonia Baroque and Nicholas McGegan,

Barcelona Symphony and Emmanuel Krivine and aconcert tour with violist Kim Kashkashian. Hecontinues his acclaimed collaboration with StevenIsserlis performing the complete Beethoven cello andpiano music, a recording of which has been made forrelease by Hyperion.

Photo: Ascherman



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BiographyYa-Fei Chuangfortepiano

Ya-Fei Chuang has been acclaimed by critics in theUnited States and abroad for performances ofstunning virtuosity, refinement and communicativepower. She has appeared at numerous internationalfestivals, including the Beethoven Festival Warsawwith Christoph Eschenbach, European Music Festival(Stuttgart), Schleswig-Holstein Festival, BachFestival Leipzig, Shannon Festival (Ireland), and OuluFestival (Finland). Her American festivalperformances include the Gilmore, Oregon Bach,Ravinia, Reno, Sarasota, and Tanglewood Festivals.She has performed annually at the Ruhr Piano Festivalin Germany, which released a CD of her solo recitalthat was included as a premium in the leading Germanmusic magazine Fono Forum. She has performed in the Celebrity Series in

Boston, at the Fromm Foundation concerts atHarvard and in Boston’s Symphony Hall, thePhilharmonic halls of Berlin and Cologne, the BerlinSchauspielhaus, and the Leipzig Gewandhaus. Herrecent engagements include concerts and recordings atthe Spectrum Concerts in Berlin’s Philharmonie, withthe City of Birmingham Symphony Orchestra, theMalaysian Philharmonic, the National Concert Hallin Taipei, the Orchestra of the Teatro Argentino in LaPlata, Argentina as well as numerous appearances inthe US and Europe. She has current and pending CDrecordings with Naxos, New York PhilomusicaRecords and ECM. Ya-Fei Chuang’s mastery of the most challenging

solo repertoire is complemented by extensive activitiesas a chamber musician and duo partner with StevenIsserlis, Kim Kashkashian, and Robert Levin. Hercommitment to contemporary music includes worldpremieres of works by Stanley Walden and ThomasOboe Lee and projects with John Harbison. Ya-Fei Chuang first performed on television in her

native Taiwan at the age of eight and gave her firstpublic recital at age nine. She won first prize at thenationally televised ‘Genius vs. Genius’ Competitionat age ten and first prize at the National Competition(Taiwan) at age eleven. The following year shereceived unprecedented fellowships and scholarshipsfrom several prestigious foundations in Germany andTaiwan that enabled her to pursue studies at theMusikhochschule Freiburg and Cologne. Prizewinnerat the Cologne International Piano Competition atage 18, she finished her studies at the New England

Conservatory in Boston. She serves on the faculties ofthe New England Conservatory and the BostonConservatory and teaches master classes in the US,Europe and Asia, including Tanglewood and theInternational Summer Academy at the Mozarteum inSalzburg. Future engagements include collaborationswith the Orchestra of the Age of Enlightenment andthe Cologne Chamber Orchestra.


Glossary

AllegroUsed chiefly as musical direction, itindicated a quick, lively tempo, usuallyconsidered to be faster than allegrettobut slower than presto.

BourréeA fast and carefree French dancecommon in Spain in the 17th century.

ConcertinoThe term used to describe a shortconcerto or the small group of soloistsin a concerto grosso.

Concerto formLike many musical terminologies, theword ‘concerto’ differs in its meaningacross musical history. The Classicalform to which these notes refer usedthe following basic structure: a firstmovement, usually composed in sonataform* (see below), a slower, quietersecond movement, and a third fasterand more virtuosic movement to endthe piece.

Concerto grossoA form of baroque music in which themusical material is passed between asmall group of soloists (the concertino)and full orchestra (the ripieno).The form developed in the late

seventeenth century, although thename was not used at first. Two distinctforms of the concerto grosso exist: theconcerto da chiesa (church concert) andthe concerto da camera (chamberconcert). The concerto da chiesaalternated slow and fast movements;the concerto da camera had the characterof a suite, being introduced by a preludeand incorporating popular danceforms. These distinctions blurred overtime.

MovementA separate section of a largercomposition.

MusetteA soft pastoral air that imitates bagpipemusic.

OratorioAn extended musical setting of a sacredtext made up of dramatic, narrative andcontemplative elements. Except for agreater emphasis on the chorusthroughout much of its history, themusical forms and styles of the oratoriotend to approximate to those of operain any given period, and the normalmanner of performance is that of aconcert (without scenery, costumes oraction). The oratorio was mostextensively cultivated in the 18th and19th centuries but has continued to bea significant genre.

OvertureAn instrumental composition plannedespecially as an introduction to anextended work, such as an opera ororatorio. The earliest Italian operaovertures were simply pieces oforchestral music and were called‘sinfonie’ , later the overture begun toforeshadow the themes and melodicstrands of the subsequent larger workand in the 19th and 20th Centuries theoverture became a potpourri of thework’s preceding tunes, played as ateaser.

PassepiedA spirited dance, popular in France andEngland in the 17th and 18thcenturies.

QuartetIn music, a quartet is a method ofinstrumentation (or a medium), used toperform a musical composition, andconsisting of four parts.

RipienoThe full Orchestra, as opposed to justthe soloists.

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Glossary

SforzandoA written notation in music to indicatea forceful accent, abbreviated as sf, sfzor fz. There is often confusionsurrounding these markings andwhether or not there is any differencein the degree of accent.

Sonata FormSonata form refers to the standard layoutof an entire work, or more specifically tothe standardised form of the firstmovement of a work. The basic modelconsists of an exposition, where the mainthematic material is introduced; thisthen goes on to be explored harmonicallyand texturally in the development.Following on from this is therecapitulation, in which the thematicmaterial returns in the tonic, or home,key before the piece or movement endswith a coda.

SymphonyAn extended musical composition inWestern classical music, scored almostalways for orchestra. ‘Symphony’ doesnot necessarily imply a specific form,though most are composed accordingto the sonata principle. Manysymphonies are tonal works in fourmovements with the first in sonataform, which is often described by musictheorists as the structure of a classicalsymphony, although many symphoniesby the acknowledged classical mastersof the form, Joseph Haydn, WolfgangAmadeus Mozart, and Ludwig vanBeethoven do not conform to thismodel.

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25th October to 10th November

PASSIONInfo & brochure

www.bremf.org.uk or 01273 833746

Tickets www.bremf.org.uk

or 01273 709709

Brighton Early Music Festival 2013 explores Passion in all its guises and moods. Highlights include Emma Kirkby and Jacob Heringman, Bach’s St John Passion led by Alison Bury, and Kati Debretzeni’s Trio Goya performing chamber music by Haydn and Beethoven.

Welcome to Southbank Centre, we hope you enjoy your visit.

We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO!Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete andFeng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and the HaywardGallery.

If you wish to make a comment following your visit please contact the Visitor Experience Team at SouthbankCentre, Belvedere Road, London SE1 8XX, phone 020 7960 4250 or email [email protected]

We look forward to seeing you again soon.

Programme EditorMatthew Grindon

Design Harrison and co design

Artwork Heather Kenmure Graphic Design

Season Photography Eric Richmond

Printed by Cantate

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Adrian Bending (Principal Timpani): Credit Eric Richmond/Harrison & Co.


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Just over two decades ago, a group of inquisitive London musicians took a long hard lookat that curious institution we call the Orchestra, and decided to start again from scratch.They began by throwing out the rulebook. Put a single conductor in charge? No way.Specialise in repertoire of a particular era? Too restricting. Perfect a work and then moveon? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get

a foothold, it made a promise to itself. It vowed to keep questioning, adapting andinventing as long as it lived. Those original instruments became just one element of itsquest for authenticity. Baroque and Classical music became just one strand of itsrepertoire. Every time the musical establishment thought it had a handle on what theOAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastiquehere, some conductor-less Bach there. All the while, the Orchestra’s players called theshots. At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t.

Somehow, the OAE survived to a year. Then to two. Then to five. It began to makebenchmark recordings and attract the finest conductors. It became the toast of theEuropean touring circuit. It bagged distinguished residencies at the Southbank Centreand Glyndebourne Festival Opera. It began, before long, to thrive. And then came the real challenge. Eccentric idealists the ensemble’s musicians were

branded. And that they were determined to remain. In the face of the music industry’sbig guns, the OAE kept its head. It got organised but remained experimentalist. Itsustained its founding drive but welcomed new talent. It kept on exploring performanceformats, rehearsal approaches and musical techniques. It searched for the right repertoire,instruments and approaches with even greater resolve. It kept true to its founding vow. In some small way, the OAE changed the classical music world too. It challenged

those distinguished partner organisations and brought the very best from them, too.Symphony and opera orchestras began to ask it for advice. Existing period instrumentgroups started to vary their conductors and repertoire. New ones popped up all overEurope and America. And so the story continues, with ever more momentum and vision. The OAE’s series

of nocturnal Night Shiftperformances have redefined concert parameters. Its home atLondon’s Kings Place has fostered further diversity of planning and music-making.Great performances now become recordings on the Orchestra’s in-house CD label, OAEReleased.The ensemble has formed the bedrock for some of Glyndebourne’s mostgroundbreaking recent productions. It travels as much abroad as to the UK regions: NewYork and Amsterdam court it, Birmingham and Bristol cherish it. Remarkable people are behind it. Simon Rattle, the young conductor in whom the

OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, thevisionary who punted some of his most individual musical ideas on the young orchestra,continues to challenge it. Mark Elder still mines for luminosity, shade and line. VladimirJurowski, the podium technician with an insatiable appetite for creative renewal, hasdrawn from it some of the most revelatory noises of recent years. All four share the titlePrincipal Artist.Of the instrumentalists, many remain from those brave first days; many have come

since. All seem as eager and hungry as ever. They’re offered ever greater respect, butcontinue only to question themselves. Because still, they pride themselves on sitting everso slightly outside the box. They wouldn’t want it any other way.

© Andrew Mellor, 2011

‘For thisremarkableensemble, it’s allabout the music’Independent on Sunday

Orchestra of the Age of Enlightenment

Principal ArtistsSir Mark ElderIván FischerVladimir JurowskiSir Simon Rattle

Emeritus ConductorsFrans BrüggenSir Roger Norrington


photo: Anna d’Emilio

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Welcome to another season in OAE Education!

The OAE Gamechangers concerts have inspired usto develop a programme of events ‘A place for change’in OAE Education this year – during 2013-14 will seea year of projects in our residency cities exploringopera, variations, oratorios, odes, symphonies, carols,concertos and overtures

2013-14 will see us working with thousands of peoplefrom ‘Tots to Teenagers to Thoroughbreds’ inLondon, York, Chesterfield, Sussex, Norfolk,Plymouth and the South West

This year we will also be working in partnership withthe Southbankcentre, The Wiltshire Music Centre,Orchestras Live, The National Centre for EarlyMusic, Spitalfields Festival, Camden Music, MusicFirst, Wandsworth Music Service, Merton MusicFoundation, Chesterfield Borough Council,Plymouth Music Zone, Universities across thecountry and the Brighton Early Music Festival.

As always, we are off to a busy start in the EducationDepartment and during the Autumn term we havethe following projects as well as preparing for a busyyear of schools concerts in the New Year:

Rameau Dance project - Vows and Victims An education project with Glyndebourne Educationand the OAE, Vows and Victims is a is an alternativecontemporary take on the French composerRameau. This unique performance is the culminationof a series of creative music, dance and designworkshops inspired by Glyndebourne/OAEproduction of Rameau’s Hippoyte et Aricie. It bringstogether dancers and musicians from East Sussex in astaged event as part of the Brighton Early MusicFestival on the 5th October that will entertain,puzzle and delight.

Chesterfield Residency Geminiani’s La Follia will provide the inspiration forcreative composition work with four Chesterfieldprimary schools and GCSE students from NewboldSecondary School leading up to a performance as partof a schools concert at the Winding Wheel at the endof October. Students will work on ground bass andvariations and will look at instruments of the baroqueperiod and how music was constructed. The project isa creative association with Chesterfield in partnershipwith the OAE, Orchestras Live and the ChesterfieldBorough Council.

St Laurence Acis and Galatea Opera Project,Bradford on Avon Our annual collaboration with St Laurence School inBradford on Avon continues at the beginning ofOctober this year where we will rework Handel’s Acisand Galateawith 270 year 7 students as well as Giftedand talented musicians, dancers and drama students.Led by Composer and Animateur James Redwoodand members of the OAE, students will create theirown opera, inspired by Handel’s masterpiece, toperform to local Wiltshire Primary School children.


Guardian Big DrawOn the 12th October the Guardian Newspaper run ahost of art based activities for families at Kings Place.For this event we run a workshop, asking twomusicians to play and then we get the children to drawwhat they hear often with lovely and surprising results.

Guardian Newspaper DaysAs part of a very successful on going partnership,classes from our partner schools receive a workshop atthe Guardian Education Centre where they interviewan OAE musician and then write a newspaper articleabout them.

OAE clubs Our weekly string club in local schools continue thisyear with opportunities for local young people to learnviolin, cello and bass with OAE musicians.

Primary Christmas Project - Autumn 2013 Andrew Watts (OAE principal Bassoon) and OAEplayers will deliver a project for nine primary schools inour four London partner boroughs to explore theorigins of Christmas songs. Schools will receive in-school workshops from OAE players which willinvolve singing, playing and creating before all joiningtogether for a massed culmination in December.

South West Music School composition workshopsDuring September, OAE players and animateurs ScottStroman and James Redwood worked with studentsfrom the South West Music School to drawinspiration from Baroque and Classical music to createnew music.

York Baroque Strings Project Sept 2013 – July 2014This project, in collaboration with the National Centrefor Early Music (NCEM) has four strands to helpdevelop the teaching of baroque music. Following onfrom a very successful teacher training session forperipatetic teachers with members of the OAE andRachel Podger at the end of last academic year, thisterm, young string players from York Arts AcademyChamber Orchestra will have the opportunity to workand perform with members of the Orchestra of theAge of Enlightenment.

OAE TOTSThis year, the OAE’s highly successful TOTS concertsreturn to the Purcell Room, Queen Elizabeth Hall forthree newly created events. Presented by OAE players,these 45 minute long concerts provide lots of fun forchildren under 5 and their parents, grandparents,carers and friends. Inspired by the music andinstruments of the OAE these delightful programmesweave songs that we all know and love into magicaladventures through the music of Purcell, Handel andBiber to name but a few. We start in November with ajourney through Purcell’s Fairy Queen with its vibrantmusic, dances of Fairies and Green Men and abeautiful story of the seasons. Our first TOTS concertof the season is Story Time! onSaturday 30 Novemberat 9.30 and 11am.

Check out what’s on in OAE Education on ourwebsite www.oae.co.uk/education or contact the officeon 0207 239 9371

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New Faces

You might notice a few additions to the OAE team oflate and we’re delighted to announce the appointmentof new staff in the OAE office, including our newDeputy Director of Development Harriet Lawrence,Communications Trainee Hannah Obasaju,Development Trainee Lucy Meechan and FinanceOfficer Daniel Coelho Antão da Silva.

Symphonie Fantastique

The tail end of the summer saw us reunited with ourEmeritus Conductor Sir Roger Norrington for a veryspecial project – a 3 concert tour of Berlioz’sSymphonie Fantastique. As you can imagine, this isnot a piece the OAE performs very frequently. In factthe last time we played it was back in 2000, with SirSimon Rattle. So we were thrilled to be able to tackle itagain, in the company of Chopin’s first PianoConcerto with soloist Nikolai Demidenko andBeethoven’s Egmont Overture.Of course, one of the reasons we so infrequently

perform this piece is the (for the OAE) vast size of theOrchestra. On this occasion this necessitated the use ofour very own charter aircraft, as, with this manypeople, this became the most economical way totransport the Orchestra between the three cities on thetour – Brussels, Warsaw and, a first for us, Helsinki.We were excited to be met with a very warm

reception in each venue – with local press in Helsinkiremarking that while the reserved concert-goingpublic there had not got to their feet for the RoyalConcertegouw or Berliner Philharmoniker, they hadfor us! The concert in Helsinki marked the end of the3-date tour, and at a drinks reception afterwards wewere secretly thrilled when the director of the festivaltold us we had made modern orchestras interpretationsof the piece seem ‘boring’! The Helsinki date marked not just the end of the

tour but the last concert for two long-standing andmuch loved members of the OAE – both viola players –Katharine Hart and Jan Schlapp. So smiles were mixedwith tears and many reflected that they could not havemarked the end of their OAE careers in a finer way.Watch out for more about Jan and Katharine in

future programmes and on our blog.

Music to Your Beers

After the success of our last pub tour we decided totake our late-night series The Night Shift out of theauditorium and back into the ale houses with a tour ofBritain’s finest watering holes. Stopping at pubs inLondon, Bristol and Brighton, The Night Shift pubtour has been totally crowd funded by fans of theevent and newcomers keen to hear some Haydn intheir local. Adding a new twist to the tour, inassociation with Sound and Music, we commissionedthree young new composers, each with a brief to comeup with a new piece of music especially for a pubatmosphere. So far the pubs have been packed andwith three more stops left on the of the tour, it’s timefor Camden, Bristol and Brighton to experience thehedonistic side of Haydn.Visit oae.co.uk/thenightshift for more information.

Get Attitude

We know that for students, seeing great music andsaving money don’t always go hand. So with ourAttitude scheme we’re offering students the chance tosign up to our mailing list and receive unique studentoffers to see live Orchestral performances for as littleas £4. We won’t sell your info to anyone else and you’llbe the first to hear about all things OAE. On top ofthat we’ll even throw in a free beer at our SouthbankNight Shift events. For students wanting to gainexperience in the music industry there’s also theopportunity to become an Attitude Rep. In return foryour help in promoting our concerts and studentdeals, you’ll get great experience for your CV, chancesto meet players and conductors, the opportunity tovisit the office and see what goes on behind the scenesand free tickets to selected concerts.Visit oae.co.uk/attitude for more information.

OAE News


50

MAJOR SPONSOR

CORPORATEBENEFACTORSAmerican Express Services Europe LtdArtemis Fund ManagementApax PartnersCommerzbank AGLazardLubbock Fine Chartered AccountantsParabola LandVision Capital

CORPORATE PATRONSLindtMacfarlanesRoger NeillSwan TurtonWaterloo Wine

BUSINESS CLUB MEMBERSGreen & FortuneLubbock Fine Chartered AccountantsParabola LandSt Pancras Renaissance Hotel

INDIVIDUAL BUSINESS CLUB MEMBER Stephen & Angela JordanStephen Moss (The Guardian)

OAE Futures is the long term artistic developmentprogramme of the OAE and was established in 2006 with asubstantial lead donation from The Smith Challenge Fund.The OAE is grateful to Martin and Elise Smith for thisgenerous and imaginative support. OAE Futures comprisesprojects grouped under three headings: Future Orchestra,Future Performers and Future Audiences, and offers aspecial opportunity for donors to be involved in thedevelopment of the Orchestra’s artistic strategy at thehighest level. The Orchestra thanks for the following fortheir support of OAE Futures:

OAE Futures Funders Robert & Laura Cory The Smith Challenge Fund

Ann & Peter Law OAE Experience Scheme Ann & Peter Law

Melgaard OAE Young Conductor Scheme Greg & Gail Melgaard

For further details about becoming an OAE Futures Funderplease contact Clare Norburn, Director of Development:[email protected]

Our SupportersThe OAE continues to grow and thrive through the generosity of our supporters. We are very grateful toour sponsors and patrons and hope you will consider joining them. We offer a close involvement in thelife of the Orchestra with many opportunities to meet players, attend rehearsals and even accompanyus on tour. For further information please call Katie Grocott on 020 7239 9382.

IMPRESARIO CIRCLENigel Jones & Françoise Valat JonesSelina & David Marks

BENEFACTORSJulian & Annette ArmstrongRobert & Laura CoryBruce HarrisJulian & Camilla MashPhilip & Rosalyn Wilkinson

CHAIR PATRONSSir Martin & Lady Smith LeaderMark, Rosamund, Benedict & Emily Williams Violin ChairHugh & Michelle Arthur Violin ChairSir Vernon & Lady Ellis Co-Principal ViolaDominic & Ali Wallis Continuo CelloFraser and Ute Partridge Sub-Principal Oboe/Cor anglaisPeter & Leanda Englander Principal ClarinetRoger & Pam Stubbs Sub-Principal ClarinetProfessor Richard Portes CBE FBA Co-Principal BassoonJohn & Rosemary Shannon Principal HornSir Timothy & Lady Lloyd Co-Principal KeyboardFranz & Regina Etz Lute/TheorboJames Flynn QC Lute/TheorboMrs Nicola Armitage Education ManagerGary & Nina Moss

EDUCATION PATRONSJohn & Sue Edwards (Principal Education Patrons)Mrs Nicola ArmitageVenetia HoareProfessor Richard Portes CBE FBA

The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses


51

FRIENDS OF THE OAESupport the OAE from just £50 a year.

IDOMENEO GROUPAnonymous donor x 1Michael AllenChristopher & Lesley CookeMichael & Jacqueline GeeProfessor David Graham QCIrina KnasterMr & Mrs Michael MallinsonDavid Mildon in memory ofLesley MildonTim & Jenny MorrisonAndrew NurnbergHaakon & Imogen OverliAnn & Barry ScruttonShelley von StrunckelEric Tomsett

GOLD FRIENDSNoël & Caroline AnnesleyGerard ClearyMr & Mrs C Cochin de BillyMichael & Harriet MaunsellMr Giles Newby Vincent Mr J Westwood

SILVER FRIENDSFelix Appelbe & Lisa Bolgar-SmithMrs A BoettcherMichael BrecknellGeoffrey CollensMichael A. ConlonMr P Foote Michael & Barbara GwinnellPatricia HerrmannLady HeseltinePeter & Sally HilliarRupert & Alice KingMarsh Christian TrustRoger Mears & Joanie SpeersSabine & Norbert Reis Her Honour Suzanne Stewart

BRONZE FRIENDSAnonymous donor x 1Keith BartonProfessor John BirksThe Revd Brian BlackshawDan BurtTony Burt Anthony & Jo Diamond Gary & Ella DiamondMrs S M EdgeAuriel HillMrs AM Hone Professor John IrvingDr & Mrs Robert LintonJohn & Shirley LloydProfessor Ingrid LuntJohn RansomMichael & Frances Rose Ruth & David SamuelsMichael Sternberg QC FRSA Derek SugdenGillian ThrelfallMr & Mrs Tony Timms Dr Trilby JohnsonMrs Joy WhitbyMr Paul WillansDr & Mrs Christopher Williams

In memory of Oliver Heaton

THE AMERICANFRIENDS OF THE OAE A US-based 501(c)(3) charitableorganisation. Contributionsreceived qualify for an InternalRevenue Service tax deduction.

Wendy Brooks (chair) & Tim MedlandJohn & Elena BrimCiara A BurnhamMatthew & Kimberly CantorMark D & Catherine J ConeJohn & Michelle FreiseMr Donald JohnsonSarah KettererRichard & Lynn LandyDavid Moldenhauer & Julia LichtblauLinda MirelsThe Pzena Family FoundationWilliam & Kathleen ReilandMs Denise SimonMr & Mrs Nicholas von SpeyrJack and Kristalina Taylor

Our SupportersTRUSTS, FOUNDATIONS AND OTHER SUPPORTERSAndor Charitable Trust The Angus Allnatt Charitable Trust Aquarius Charitable Foundation Apax FoundationBrian Mitchell Charitable Settlement The Charles Peel Charitable TrustCoutts Charitable Trust Ernest Cook TrustEsmée Fairbairn Foundation Foyle Foundation Garfield Weston Foundation Garrick Charitable Trust The Golden Bottle Trust The Gurney Charitable Trust Margaret and Richard Merrell FoundationMarsh Christian TrustThe Mercers’ Company Michael Marks Charitable Trust The Nugee Foundation Orchestras LiveThe Patrick Rowland Foundation The Rayne Foundation The RK Charitable TrustThe Roger and Ingrid Pilkington Charitable TrustThe Thistle Trust


Thursday 7 November 2013Queen Elizabeth HallThe Works

The Works is the OAE's uniqueseries that gives audiences a guidedtour of selected masterpieces, withQ&A's followed by aperformance.

Beethoven Symphony No.8 in F

Margaret Faultless director/violinHannah Conway presenter

Sunday 15 December 2013Royal Festival HallOffenbach’s Fantasio:Kings of Fools

Offenbach Fantasio

Sir Mark Elder conductorMarlis Petersen Elsbeth (La Princesse)Sarah Connolly FantasioVictoria Simmonds FlamelRobert Murray MarinoniRussell Braun Le PrinceNeal Davies SparckBrindley Sherratt Le RoiOpera Rara Chorus

Thursday 30 January 2014 Queen Elizabeth HallGamechangers: A Forgotten Revolutionary

CPE Bach Symphony in E flat, Wq 179Symphony in B minor, Wq 182,No. 5Concerto for Harpsichord andFortepiano in E flat, Wq 47Symphony in A, Wq 182, No. 4Symphony in D, Wq 183, No. 1Symphony in F, Wq 183, No. 3

Rebecca Miller conductorMahan Esfahani harpsichordDanny Driver fortepiano

Thursday 20 February 2014 Queen Elizabeth Hall French Fancies

Debussy (arr Schoenberg) Préludeà l’après-midi d’un faune Ravel Mother Goose Suite (originalversion for piano duet)IbertDivertissement Ravel Introduction and Allegro Saint-SaënsCarnival of theAnimals

Katia and Marielle LabèquepianosSoloists from the OAE

Tuesday 25 March 2014 Queen Elizabeth HallGamechangers: A Forgotten Cello

Corelli Concerto Grosso in B flatOp. 6, No. 11Vivaldi Concerto for Violoncelloda Spalla in D, RV404 Bach Concerto for Two Violins in D BachBrandenburg Concerto No. 6 in B flat Vivaldi La folliaBach Brandenburg Concerto No. 3 in G

Sigiswald Kuijkendirector/violoncello da spallaViolin soloist from the OAE

Tuesday 8 April 2014 Royal Festival HallGamechangers: Symphonic Greats

Beethoven SymphonyNo. 7 in A Schubert Symphony No. 9 in C, Great

Semyon Bychkov conductor

52

2013-2014 Southbank CentreConcerts

Booking Information

Southbank CentreTicket Office 0844 847 9922southbankcentre.co.uk/oae

Tickets: £9, £24 & £38 unlessotherwise indicated.

Premium seats available for selected concerts.

All concerts start at 7pm unlessotherwise indicated and arepreceded by a free pre-concert OAE Extras event at 5.45pm.

Free programmes are available atevery concert.

You can find more informationabout the OAE at:

Email: [email protected]

Website: oae.co.uk

orchestraoftheageofenlightenment

theoae


KEEPING THE MUSIC ALIVE

Being a chorister at St Paul’s Cathedral is the experience of a lifetimeSt Paul’s choristers sing in one of the most famous and beautiful buildings in the world, perform in concerts around the globe, and receive a � rst-class academic education at the Cathedral School. Boys are not expected to have fully-developed voices or much formal singing experience – enthusiasm, intelligence and musical potential are the keys.

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If your son is aged 6–8 and shows musical promise, do get in touch. Visits and informal auditions can be arranged at any time.

For more information please contact:Clare Morgan, Registrar, St Paul’s Cathedral020 7248 [email protected]

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Queen’s Gate School offers girls a warm, supportive environment, where individuality is nurtured, academic standards are high and

where a broad based curriculum ensures a well rounded education.

Scholarships and means-tested bursaries, worth up to 100% of fees, are available to assist girls to

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See our website for dates of Autumn Term Open Events in the Senior and Junior Schools

For a prospectus, or to make a private visit to the School, please contact the Registrar,

Miss Janette Micklewright, on 020 7594 4982 or email: [email protected].

Queen’s Gate Junior School125-126 Queen’s Gate

London SW7 5LJ

Queen’s Gate Senior School131-133 Queen’s Gate

London SW7 5LE

www.queensgate.org.uk

QUEENS GATE SCHOOL_12_9_13-30_6_13_B5HPV_252524.indd 1 19/06/2013 13:52ORCH CONSORT_25_9_13_81350.indd 6 20/09/2013 10:11

Lubbock Fine is proud to be associated with The Orchestra of the Age of Enlightenment and wishes it every success.

LF Creative, the dedicated arts and music division of Lubbock Fine, provides specialist accounting and tax advice for musicians.

Contact Clive [email protected]

Russell [email protected]

020 7549 2333

Member of Russell Bedford International - with affiliated

offices worldwidewww.lfcreative.co.uk

Russell Bedford House, City Forum, 250 City Road, London EC1V 2QQ


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NOT ALL ORCHESTRAS

ARE THE SAME

theoae orchestraoftheageofenlightenment

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theoae orchestraoftheageofenlightenment 2013-2014 … · S E theoae orchestraoftheageofenlightenment oae.co.uk DESIGN & ART DIRECTION harrisonandco.com PHOTOGRAPHY ericrichmond.net