aam 2011-12 season brochure

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“ One of the world’s greatest pioneering period-instrument bands” THE HERALD, 2010

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London & Cambridge 2011–2012

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9 Musical Revolutions: 20 September 2011 19 September 2011Birth of the symphony

11 Musical Revolutions: 10 October 2011 12 October 2011Awakening of the Romantic hero

13 Witches and devils 31 October 2011 2 November 2011

15 Sumi Jo sings Mozart 25 November 2011

17 Handel’s Messiah 14 December 2011

19 Musical Revolutions: 27 February 2012 29 February 2012Rise of the concerto

21 JS Bach’s St Matthew Passion 3 April 2012

23 Musical Revolutions: 28 April 2012 26 April 2012Dawn of the cantata

25 Musical Revolutions: 26 June 2012 27 June 2012Age of the French baroque

Visit www.aam.co.uk to find out more about all of our concerts, and to watch and listen to the AAM

The Academy of Ancient Music gives performances ofbaroque and classical music which JS Bach, Handeland Mozart would recognise, stripping away centuriesof convention and getting back to the notes andsounds these composers originally envisaged.

What’s different? The size of the orchestra is true tocomposers’ intentions, restoring the balance betweenthe instruments and allowing the sound of each toshine through. We play on original instruments, orfaithful copies of them: gut strings, not steel; trumpetswithout valves; cellos without spikes. The way we playand sing is based on the style of the period when themusic was written. Often there’s no conductor —instead, the band is directed from the harpsichord or violin.

In everything we do, we aim to get back to theintimacy, passion and vitality of music when it was firstwritten. We love the results, and we think you will too.

“ a benchmark of veracity and authority in gettingcomposers’ music played as it was intended to beplayed: free of accretions, stripped of varnish, andas straight and true as an arrow”THE HERALD, 2010

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Richard Egarr

Music Director

“ the Bernstein of Early Music” USA NATIONAL PUBLIC RADIO

Christopher Hogwood

Emeritus Director

“ a byword for excellence”BBC MUSIC MAGAZINE

A few of our guest artists, past and present... A selection from our acclaimed discography... Worldwide venues, ancient to modern...

MusiciansWho we are Recordings Global performances The AAM’s celebrated discography of over 300 CDsincludes Brit- and Grammy-award-winning recordings ofthe great baroque masterpieces; opera releases starringCecilia Bartoli, Dame Emma Kirkby and Dame JoanSutherland; and pioneering cycles of the Mozart andBeethoven symphonies.

In 2011 the AAM breaks new ground with the world-premiere recording of music by Christopher Gibbons,featuring the acclaimed Choir of the AAM.

Since 1973 the AAM has touched the lives of millions ofmusic lovers with thousands of concerts across everycontinent except Antarctica. It has been crowned “one ofthe world’s great orchestras” in China and praised forgiving “giddy shivers of delight” in the USA.

International highlights in 2011-12 include a majorEuropean tour performing Handel’s Royal Music atvenues including Luxembourg’s Philharmonie,Birmingham’s Symphony Hall, Edinburgh’s Usher Hall,Château de Versailles in France and the GrafeneggFestival in Austria.

Elizabeth Watts

sopranoSteven Isserlis

celloDame Emma Kirkby

sopranoIan Bostridge

tenorSabratha, Libya Concertgebouw,

Amsterdam

Esterházy Palace, Austria

Giuliano Carmignola

violinDame Joan Sutherland

sopranoMasaaki Suzuki

directorRobert Levin

piano

Handel Messiah

Haydn Symphonies

Beethoven Symphonies

Vivaldi Gloria

JS Bach Brandenburg

Concertos

Purcell Dido andAeneas

Mozart Piano Concertos

Handel Rinaldo Carnegie Hall, New York Sydney Opera House NCPA, Beijing

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Musical RevolutionsThe course of musical history has been defined by astonishingly short and intense periods of innovation.In Musical Revolutions we explore the moments — from the dawn of the baroque to the beginning of theRomantic era — which gave birth to the concerto and the symphony, produced the glories of the Frenchbaroque and the Italian cantata, and inspired the earliest passions of the Romantic era.

The works of great composers are writ large on our musical landscape, and there are plenty of them inMusical Revolutions — from JS Bach’s concertos to Beethoven’s ‘Eroica’, Monteverdi’s madrigals to Haydn’s

symphonies. But cutting-edge music also sprang from the interaction between these composers as they inspired — andchallenged — one another. It was the dynamic interplay between composers which revolutionised traditional soundworlds, and each of the five programmes in this series showcases a different, ground-breaking musical culture.

We’re delighted to be welcoming some inspiring musicians for Musical Revolutions. Alina Ibragimova makes her AAMdebut directing a programme charting the earliest days and some of the greatest achievements of the concerto;Jonathan Cohen joins us for the first time to direct a collection of deliciously sensual early Italian cantatas; and ShunskéSato is the soloist in Paganini’s virtuosic Violin concerto No.2 — the first performance in recenttimes on period instruments.

Musical Revolutions is a celebration of composers who refused to accept the limitations oftradition and redefined the boundaries of music. It’s going to be thrilling; I hope you’ll join us.

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1614 Monteverdi Falconieri Castello Zanetti Strozzi Marini 1655 1718 JS Bach Handel FX Richter J Stamitz Mozart J Haydn 1768 1804 Beethoven Weber Paganini 18261674 Biber Vivaldi JS Bach 17301683 Lully Charpentier M Marais 1692

Dawn of the cantata Age of the French baroque Rise of the concerto Birth of the symphony Awakening of the Romantic hero

Richard Egarr Music Director

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Birth of the symphony

LONDONMonday 19 September 2011

7.30pm Wigmore Hall

CAMBRIDGETuesday 20 September 2011

7.30pm West Road Concert Hall

Pre-concert talks with Richard Egarr at 6.30pm

TURN TO PAGE 30 FOR BOOKING INFORMATION‰

HANDEL Sinfonia from Saul (1738)

FX RICHTER Symphony No.4 in C major (1744)

MOZART Symphony No.1 in E flat major (1764)

JS BACH Sinfonia from Cantata No.42 (1718)

J STAMITZ Sinfonia à 4 in D major (c.1750)

J HAYDN Symphony No.49 in F minor ‘Lapassione’ (1768)

Defining an eighteenth-century ‘symphony’ is nigh-on impossible, sodiverse were the uses, structures and sizes of these works — from thesinfonias employed as introductions by JS Bach and Handel, to Haydn andMozart’s self-contained classical symphonies.

But as well as paving the way for Beethoven and Mahler, this 50-year periodof confusion and experimentation produced startlingly cutting-edge anddynamic music. Six composers, including the eight-year-old Mozart and theneglected Franz Richter, were at the centre of it all, and their symphoniescourse with the thrill of the new.

“ In the symphony one should see the sadness, fright andconsternation that a fatal catastrophe inspires, or the joy,happiness and ecstasy to which charming and happyevents give birth”

The rage for symphoniesFrom Finland to North Carolina, the eighteenth-century saw an explosion ofsymphonies — some 13,000 by one estimate. The great composers of theday devoted themselves to this new form, and Stamitz specifically fashionedhis orchestra to perform symphonies. These works became a culturalphenomenon, too: initially performed at the beginning and end of concertsand secondary to the business of socialising and card-playing, Haydn’sworks achieved such a stature that they were eventually placed in primeposition at the start of the second half. Symphonies have never looked back.

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Awakening of the Romantic hero

CAMBRIDGEMonday 10 October 2011


LONDONWednesday 12 October 2011

7.30pm Cadogan Hall



WEBER Overture to Der Freischütz (1821)

PAGANINI Violin concerto No.2 in B minor (1826)

BEETHOVEN Symphony No.3 in E flat major 'Eroica'(1804)

Heroes are forged through the trials they endure. For Max, the gamekeeper atthe centre of Weber’s Die Freischütz, it is magic bullets and supernatural evilwhich must be overcome. For Paganini, a brilliant violinist obsessed with thevirtuosic, the soloist emerges as hero after the sternest musical test.

Beethoven’s ‘Eroica’ was originally dedicated to Napoleon Bonaparte, thegreatest hero of the day — but its importance is not only throughassociation. The work’s unprecedented scale, grand climaxes andcompositional ingenuity broke the shackles of tradition to herald a newage. Beethoven’s heroism would revolutionise musical history.

“ Bliss was it in that dawn to be aliveBut to be young was very heaven!”WILLIAM WORDSWORTH, 1805

A world in turmoilAt the turn of the nineteenth century Europe stood on the brink of a newage. The French Revolution and the resulting decades of war had sparkedradical political upheaval. In literature, Goethe and Wordsworth wereamong those leading the way in emphasising the importance of theemotions; Turner, Goya and Friedrich found a new freedom andexpressiveness in their painting; and everywhere the parameters ofthought were shifting “from exact truth to a way of feeling”, as Baudelaireput it. The air was rife with uncertainty — but also with opportunity.

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Richard Egarr conductor

Shunské Sato violinAAM DEBUT Japanese violinist Shunské Sato first came to Richard Egarr’s attention as a major prize-winner at the 2010 Leipzig BachCompetition. Since his debut with The Philadelphia Orchestra at the age of ten he has given virtuosic performances of repertoire fromthe seventeenth to the twenty-first centuries, including the world-premiere recording of Paganini’s 24 Caprices on a period violin.

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Witches and devils

CAMBRIDGEMonday 31 October 2011


LONDONWednesday 2 November 2011

7.30pm Wigmore Hall

Pre-concert talks with Pavlo Beznosiuk at 6.30pm


TELEMANN Concerto in A major ‘The frogs’(c.1720)

HANDEL Vocal and instrumental excerpts fromAlcina (1735)

TARTINI Sonata in G minor for violin and bassocontinuo ‘Devil’s trill’ (1713)

M-A CHARPENTIER Scenes from Act 3 of Médée(1693)

So runs Tartini’s account of the composition of his revered ‘Devil’s trill’sonata, a work combining beguiling lyricism with fiendish virtuosity.Unusual inspiration has long produced extraordinary art: Telemann’s dailylife as a devoted church musician seems worlds away when he calls onviolins to imitate croaking frogs, whilst Handel and Charpentier’s masterlyskills of characterisation are given a sinister edge when turned to thesorceress Alcina and the crazed Medea.

A spell over EuropeSuspicion constantly surrounded Giuseppe Tartini’s occult tendencies, buthe was not alone in his fascination with magic. Across Europe writers wereexploring the power of rhetoric to miraculously transform reality, andCharpentier was one of many of authors and composers who foundinspiration in the ancient Greek figure of Medea. But in the eyes of the law atleast the occult was losing its power: an English ruling of 1735 withdrew allpenalties for practising witchcraft, arguing that it was an “impossible crime”.

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Rebecca Bottone sopranoAAM DEBUT “Once seen and heard, never forgotten.” So wrote The Times after Rebecca’s recent performance as the cricket inJonathan Dove’s The Adventures of Pinocchio. Her ability to bring to life unusual roles across the widest repertoire has metwith considerable acclaim, and her numerous baroque — and particularly Handelian — performances have caught the earof audiences and critics alike.

“ One night in the year 1713 I dreamt I had made a pact with thedevil for my soul. I gave him my violin to see if he could play. How great was my astonishment on hearing a sonata sowonderful and so beautiful, as I had never conceived even in my boldest flights of fantasy.”

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Sumi Jo sings Mozart

LONDONFriday 25 November 2011

7.30pm Cadogan Hall

Pre-concert talk with Richard Egarr at 6.30pm


MOZART Overture to Le nozze di Figaro (1786)

MOZART ‘Martern aller Arten’ from DieEntführung aus dem Serail (1782)

MOZART Entr’actes from Thamos, König in Ägypten(1773)

MOZART ‘Vorrei spiegarvi, oh Dio’ (1783)

MOZART Maurerische Trauermusik (1785)

MOZART ‘Se il padre perdei’ from Idomeneo (1781)

MOZART Symphony No.31 in D major ‘Paris’ (1778)

MOZART ‘No, che non sei capace’ (1783)

Few composers share Mozart’s truly international outlook, which began atan early age with his European travels. It’s hardly surprising, then, that herecreates a diverse range of cultures within his music.

Following a seven-concert tour of the Far East with the AAM, South Koreansoprano Sumi Jo joins us once again to perform arias brimming withatmosphere from Greek myths to Turkish palaces. But it wasn’t only with thevoice that Mozart could conjure foreign flavours: the programme alsofeatures Viennese Masonic funeral music and the ‘Paris’ symphony, whichbursts into life with the so-called ‘Mannheim rocket’.

“ All our endeavour to confine ourselves to what issimple and limited was lost when Mozart appeared.Die Entführung aus dem Serail conquered all.” JOHANN WOLFGANG VON GOETHE, 1787

An international cityMozart began his famous European travels at the tender age of seven. But Vienna itself, where he lived for many years and wrote several of theworks in this programme, bursted with different national influences. A population boom, increased industrialisation and extensive building workmade it an economic and cultural hub of Europe during the composer’slifetime; and the preceding centuries of invasion by various countries hadensured that the city’s identity was always in flux. For cosmopolitaninfluence, Mozart need have looked no further than his doorstep.

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Sumi Jo sopranoAAM UK DEBUT After a European debut which left Herbert von Karajan enthralled, Sumi Jo was alwaysdestined for great things. Celebrated performances at all of the world’s great concert halls have characterisedher remarkable career, and singing at the 2008 Olympic Games confirmed her status as a global superstar.

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Handel’s Messiah

LONDONWednesday 14 December 2011

7.00pm Barbican Concert Hall

Pre-concert talk with Richard Egarr at 6.00pm


HANDEL Messiah (1742)Does Messiah need any introduction? No piece of music is so well knownand yet so deeply loved — but then few works invite the audience sodeeply into the heart of their drama. When George II was inspired to rise tohis feet during the ‘Hallelujah’ chorus, unwittingly establishing a traditionthat continues today, he embodied the irresistibly moving nature ofHandel’s masterpiece, seamless combination of the lyrical beauty of Italianopera and the dramatic immediacy of the church liturgy. At its premiere thechurch authorities worried about the implications of this potent mix;centuries later it ensures that Messiah never grows old.

Multiple MessiahsEver the pragmatist, Handel repeatedly modified Messiah to suit changingcircumstances. The AAM has made two acclaimed recordings of Handel’sfinest arrangements: in 1980 Christopher Hogwood conducted the 1754version for Covent Garden and the Foundling Hospital; and in 2006 weteamed up with Edward Higginbottom and the Choir of New College,Oxford for the only modern recording of the 1751 version, which usestrebles in both the choruses and arias.

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ClareWilkinsonmezzo- soprano

Ben Johnson tenor

Stephan Loges baritone

Choir of the AAM Richard Egarrdirector &harpsichord

“ The Sublime, the Grand, and the Tender, adapted to themost elevated, majestic and moving Words, conspired totransport and charm the ravished Heart and Ear”THE DUBLIN JOURNAL, APRIL 1742

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Rise of the concerto

CAMBRIDGEMonday 27 February 2012


LONDONWednesday 29 February 2012

7.30pm Wigmore Hall

Pre-concert talks with Alina Ibragimova at 6.30pm


BIBER Passacaglia in G minor for violin from theRosary Sonatas (c.1674)

JS BACH Sonata in E major for violin and harpsichordBWV1016 (c.1725)

JS BACH Concerto in A minor for violin BWV1041(c.1730)

VIVALDI Concerto in D major for violin 'L'inquietudine'RV234 (c.1727)

VIVALDI Concerto in D minor for two violins and cellofrom L’estro armonico RV565 (1711)

BIBER Battalia (1673)

JS BACH Concerto in E major for violin BWV1042(c.1730)

Alina Ibragimova makes her AAM debut in a programme which vividly chartsgroundbreaking innovations in the role of the violin, from Biber’s Passacaglia(thought to be the first solo work for the instrument) to the summit of thebaroque concerto.

The juxtaposition of soloist and accompaniment has endless variations:Biber’s Passacaglia calls on the violinist to accompany herself; a playfuldialogue ensues as JS Bach introduces a harpsichord; finally the stage bustleswith action as JS Bach and Vivaldi explore the interaction between orchestraand soloist, full of harmony and conversation, contrast and opposition.

“ These works aren’t just the start of something. They formtheir own world, with the full spectrum of colour andemotion — everything that music is about, in fact” ALINA IBRAGIMOVA, 2011

The birth of the virtuosoAs exposed solo lines became more prominent, so the skill demanded ofmusicians increased. Biber was partly motivated to write for solo violin in order totest his own musical ability: one eighteenth-century writer described him as“the best of all the violin players of the last century”. Whereas the sonata had anessentially egalitarian nature, the concerto distinguished between the advanced,salaried soloists and the rank-and-file, hired members of the orchestra. This was arevolution not only within the music itself but across the business of performing.

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Alina Ibragimova director & violinAAM DEBUT These concerts mark Alina’s debut with the AAM, and her first performances directing a period-instrument ensemble. Russian by birthbut English in her education, Alina counts Yehudi Menuhin among her musical mentors. Her discography includes award-winning discs of Bach,Beethoven and Schubert — but also hidden corners including Szymanowski and Roslavets.

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JS Bach’s St Matthew Passion

CAMBRIDGETuesday 3 April 2012

5.30pm King’s College Chapel


JS BACH St Matthew Passion (1729)The first 45 years of JS Bach’s musical life culminated in the St MatthewPassion. He had mastered instrumental writing during his time in Cöthen;since his arrival in Leipzig he had composed a collection of church cantatasof astounding invention. Both skills, and much more besides, were broughttogether with ingenious coherence in the in this new work — his mostambitious yet..

Employing a choir and orchestra of unprecedented size, Bach conjuredbrilliant musical expression in the work’s majestic climaxes and smallestdetails. Little wonder, then, that he returned to the St Matthew Passionthroughout his life: no other work contains so much of his musical essence.

“ In the St Matthew Passion, Bach compiled virtually every possible musical form available”JOHN BUT T, FORMER KING’S COLLEGE ORGAN SCHOLAR AND FELLOW

The European traditionFor a while after his death in 1750, it seemed that JS Bach’s work would bechampioned only by his sons. But gradually his fame spread until, on 11 March 1829, Mendelssohn conducted the first performance of the St Matthew Passion since the composer’s lifetime. Churches around Germanyquickly followed suit; and by the time that the London Bach Society had beenfounded in 1849 to introduce the work to the British public, the St MatthewPassion had become firmly rooted in Europe’s musical consciousness.

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Anna Prohaska soprano

James Gilchrist tenor

Robert Murray tenor

Jonathan Cohen director & keyboardsAAM DEBUT Few directors have had such all-embracing, on-the-ground training asJonathan Cohen. Expertise as an orchestral and chamber cellist has been followed bysignificant acclaim as a director, with a particular passion for early baroque vocal music. 23

Dawn of the cantata

LONDONThursday 26 April 2012

7.30pm Wigmore Hall

CAMBRIDGESaturday 28 April 2012


Pre-concert talks with Jonathan Cohen at 6.30pm


FALCONIERI Ciaccona in G major (c.1616)

MONTEVERDI ‘Zefiro torna’ from Madrigali ecanzonette a due e tre voci (1614)

MONTEVERDI ‘Se vittore si belle’ from Madrigaliguerrieri et amorosi (1638)

STROZZI ‘Udite, amanti’ (1651)

MONTEVERDI ‘Ardo e scoprir’ from Madrigali guerrieriet amorosi (1638)

B MARINI Sonata sopra fuggi dolente (1655)

CASTELLO Sonata No.15 à 4 from Sonate Concertate inStile Moderno Libro Secondo (1621)

MONTEVERDI Act 1 Scene 2 of Il ritorno di Ulisse inpatria (1640)

MONTEVERDI ‘Ohimé ch’io cado’ (1624)

ZANETTI Saltarello della Battaglia (1645)

MONTEVERDI Il combattimento di Tancredi e Clorinda(1624)

At the heart of the first Italian cantatas was a new and astonishingemphasis on the voice. This was a revolution built on theory andscholarship, but above all on deeply-felt emotions laid bare through thismost human of instruments — whether Monteverdi’s joyous celebration ofspring in ‘Zefiro torna’ or Strozzi’s lovelorn lament ‘Udite, amanti’.

Instrumental music of thrilling inventiveness intersperses the programme,which culminates in Monteverdi’s Il combattimento di Tancredi e Clorinda.Here love and war collide to startling dramatic and musical effect, and anage-old tale is brought vividly to life through this freshly-minted form.

“ Musicke so delectable, so rare, so admirable, so super-excellent, that it did even ravish and stupifie all thosestrangers that had never heard the like” THOMAS CORYATE, ENGLISH TRAVELLER TO VENICE, 1608

Never to be repeated?The circumstances which gave rise to these extraordinary cantatas wereunparalleled, then and now: a close intertwining of poetry and music; aculture of patronage which allowed unrivalled artistic grandeur andexperimentation; a succession of remarkably inventive composers; and, atthe heart of it all, the genius of Monteverdi. His use of new techniques in Ilcombattimento to evoke passion so shocked his players that they initiallyrefused to perform the work. This was not his only innovation with whichthe rest of the musical world took generations to catch up.

“ Always thrilling, and always veering into newemotional territory. Superb.” THE GUARDIAN, 2011

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Age of the French baroque

CAMBRIDGETuesday 26 June 2012


LONDONWednesday 27 June 2012

7.30pm Wigmore Hall



J-B LULLY De profundis (1683)

M-A CHARPENTIER Sonate à huit (c.1690)

LULLY Regina coeli laetare (1684)

LULLY Salve Regina (1684)

M MARAIS Suite from Sonatas pour le Coucherdu Roy (1692)

LULLY Dies Irae (1683)

Jean-Baptiste Lully was best known in his lifetime for his deft dancing andhis revolutionary ballet and opera scores. But he was never afraid to bringhis developments in these fields to bear on his few compositions for thechurch, and Lully’s four works in this programme forged a new direction inEuropean sacred music with their bold instrumental lines and innovativebalance of solo and choral voices.

Lully’s work is complemented by instrumental pieces of huge ingenuity bytwo of his contemporaries. The simultaneous creative outpourings of thesecomposers, the competition between them encouraging ever greatersuccess, were at the heart of an astonishingly vibrant musical culture.

“ The language Lully forged could leave no one indifferent,with its power, clarity, equilibrium, coherence, poetry andexquisite sensitivity”

The Sun KingLate seventeenth-century France brimmed with culture. At the centre of it allstood Louis XIV, the ‘Sun King’, whose patronage and love of the arts usheredin a golden age for music, literature, visual arts and architecture. As well asbeing a fine dancer himself, he was patron to Molière and Racine, restoredthe Louvre and turned Versailles from a hunting lodge into one of the largestpalaces in the world. Lully, Charpentier and Marais all worked in differentcapacities for him, producing much of their best work in the King’s service.

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GROVE DICTIONARY OF MUSIC AND MUSICIANS

Pre-concerttalks

Want to find out more about our performances from themusicians themselves? Shortly before most of our concertsin London and Cambridge, the director discusses theevening’s music in a free 30-minute pre-concert talk. There’sno ticket required — just turn up! And, if you’ve missed anyof the talks or want to listen again, you can download themfor free from iTunes: search for ‘AAM pre-concert talk’.

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“ Sitting side by side with the AAM in anAAMplify workshop was absolutely thebest experience of my musical life”HELEN ROCHE

AAMPLIFY MEMBER

AAM online

Our AAMplify programme brings a new generation of musiclovers to the heart of the AAM’s work through three strands:

• AAMplify audiences: £3 tickets to many AAM performances in London and Cambridge

• AAMplify artists: opportunities to play side-by-side with the orchestra

• AAMplify arts managers: chances to gain experience behind the scenes with the AAM

If you’re under 26, visit www.aam.co.uk and click on ‘AAMplify’to find out more and to join for free.

Visit the AAM’s recently re-launched website to discover moreabout our music and musicians, access all the features youneed to get the most from our performances, and watch andlisten to the AAM from wherever you are in the world.

www.aam.co.uk

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AAM Funders and SupportersRBC Wealth ManagementKleinwort Benson

CHK Charities LtdDunard FundFidelity UK FoundationThe Michael Marks Charitable TrustNewby Trust LtdAnthony Travis Charitable TrustSir Siegmund Warburg’s Voluntary SettlementKT Wong Foundation and Lady Linda Wong Daviesand other anonymous trusts and foundations

From April 2012, the AAM will be part of Arts CouncilEngland’s National Portfolio of funded organisations

Members of the AAM Society AAM Musical Revolutionaries

Supporting the AAMSince 1973, millions of lives have been enriched by the musical excellence of the AAM. Last year we playedfor over 25,000 people worldwide, we reached hundreds of young people with our AAMplify newgeneration programme, and we touched the lives of millions more through our recordings and broadcasts.

As we approach our 40th anniversary we are seeking to develop our traditions of excellence andinnovation for the music lovers of the future — but we can only do so with your support. In the next fiveyears we need to raise £5.8 million, £1.8 million of which remains to be raised. Here are some of the waysyou can help:

• Join the AAM Society, our core group of regular supporters, from just £21 per month. Members enjoy aclose and ongoing involvement with the life of the orchestra, attending rehearsals, dining with themusicians after London performances, and travelling with the band on international tours.

• Become a Musical Revolutionary by supporting our Musical Revolutions concert series. Givingopportunities start from £250 and include supporting the AAM debuts of Jonathan Cohen, AlinaIbragimova and Shunské Sato, and appearances from soloists including James Gilchrist and Anna Prohaska.

• Leave a legacy. Over the next decade we aim to begin to build up an endowment fund which willenable the AAM to enrich people’s lives for generations to come. By remembering the AAM in your willyou could strengthen the orchestra’s position for the long term while also potentially reducing the overalltax liability due on your estate.

Generous tax incentives are on offer to those who choose to support charities like the AAM. In somecircumstances the cost of making a gift to the orchestra could be well under half its eventual value to us.

To find out more, please visit www.aam.co.uk and click ‘Support the AAM’, or contact Simon Fairclough,Head of External Relations, on [email protected] or 01223 341096.

BARBICAN CONCERT HALLSilk Street, London EC2Y 8DS

Tickets £10, £15, £25, £35, £ 45 (AAMplify members £3 — find out more on page 27)

Booking now open

WAYS TO BOOK• By telephone on 020 7638 8891

Monday–Saturday 10am–8pmSunday 11am–8pmThere is a £3.50 administration fee for telephonebookings, which includes the delivery of yourtickets by first class post

• Online at www.barbican.org.ukThere is a £2 administration fee for online bookings

• In person at the Advance box office, Silk Street entranceMonday–Saturday 10am–9pmSunday 12noon–9pm

3130

WEST ROAD CONCERT HALL11 West Road, Cambridge CB3 9DP

Tickets £14, £20, £ 27including a free programme(AAMplify members £3 — find out more on page 27)

General booking opens on 22 July 2011via Cambridge Arts Theatre box office

WAYS TO BOOK• By telephone on 01223 503333

Monday–Saturday 12noon–8pm • Online at www.aam.co.uk/cambridge

There is a 70p administration fee for online bookings• In person at the Cambridge Arts Theatre

Monday–Saturday 12noon–8pm

WIGMORE HALL36 Wigmore Street, London W1U 2BP

Tickets £18, £24, £28, £ 32including a free programme(AAMplify members £3 — find out more on page 27)

Booking opens on 19 May 2011


Daily 10am–7pmDays without an evening concert 10am–5pmThere is a £2 administration fee for all telephonebookings, which includes the delivery of your tickets bypost if time permits

• Online at www.wigmore- hall.org.ukThere is a £1 administration fee for online bookings,which includes the delivery of your tickets by post iftime permits

• In person at the Wigmore Hall box officeDaily 10am–8.30pmDays without an evening concert 10am–5pmNo advance booking in the half hour prior to a concert

Facilities for disabled people

For full details please contact House Management on 020 7730 8210 or housemanagers@wigmore- hall.org.uk

Director John GilhoolyThe Wigmore Hall TrustRegistered charity number 1024838

CADOGAN HALL5 Sloane Terrace, London SW1X 9DQ

Tickets £10, £17, £25, £32, £ 35including a free programme(AAMplify members £3 — find out more on page 27)

Booking now open


Monday–Saturday 10am–8pm Sunday (concert days only) 3pm–8pmThere is a £2.50 administration fee for alltelephone bookings

• Online at www.cadoganhall.comThere is a £2.50 administration fee for all online bookings

• In person at the Cadogan Hall box officeMonday–Saturday 10am–8pm Sunday (concert days only) 3pm – 8pm

Booking information

Subscription bookingcloses 20 July 2011 at 5pm

Book for all five concerts in the West RoadConcert Hall series through the AAMsubscriptions office and receive a 15% discount

Ways to book subscription tickets• By telephone on 01223 301509

Monday–Friday 9am–5.30pm • By email on [email protected]• At the subscription booking desk at the

West Road concert on 19 July

KING’S COLLEGE CHAPELKing’s College, Cambridge CB2 1ST

Tickets £7.50–£ 50

Booking opens on 16 January 2012 via The Shop at King’s

WAYS TO BOOK• By telephone on 01223 769342

Monday–Saturday 9.30am–5.30pmSunday 9.30am–4.30pm

• In person at The Shop at King’sMonday–Saturday 9.30am–5.30pmSunday 9.30am–4.30pm

Academy ofAncient Music

Music Director Richard Egarr

Emeritus Director Christopher Hogwood CBE

32 Newnham Road, Cambridge CB3 9EY

+44 (0)1223 301509

[email protected]

www.aam.co.uk

Registered charity number 1085485

Design: www.theoakstudio.co.uk

aam 2011-12 season brochure

Documents

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