oae programme april – may 2016

30 yearsof breakingthe rules

12 April 2016Mahler: Resurrection

Rattle’s Bruckner

7 MAy 2016Winds of Change

22 aPRIL 2016

FREE PROGRAMME

oae.co.ukorchestraoftheageofenlightenmenttheoaeoae_photos

DESIGN & ART DIRECTION

harrison-agency.com

PHOTOGRAPHY

ericrichmond.net

MAJOR SPONSOR

www.queensgate.org.uk

Queen’s Gate Junior School 125-126 Queen’s Gate London SW7 5LJ

Queen’s Gate Senior School 131-133 Queen’s Gate London SW7 5LE

Independent Day School for Girlsfrom 4-18 years

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

ensures a well rounded education.

A range of Scholarships and means-tested bursaries are available to assist girls.

See our website for details of Open Events for entry in 2017.

For a prospectus, or to make a private visit to the School,call 020 7594 4982 or email [email protected]

TEXT ‘PALM’ TO 70500 TO RECEIVE YOUR FREE PALM OIL GUIDE TO HELP YOU MAKE INFORMED CHOICES.Texts charged at your standard rate. Always get the bill payer’s permission. Please add NO CONTACT (e.g. PALM. NO CONTACT) if you don’t want The Rainforest Foundation UK (reg. charity no. 1138287) to contact you about future campaigns on your mobile.

You may not realise it, but Palm Oil is the hidden destroyer contained in many products including toiletries, cosmetics and your favourite snacks. Be informed and buy wise with the Rainforest Foundation’s Palm Oil guide.

PALM OIL IS IN MANY EVERYDAY PRODUCTS

HOLD ON! IS YOUR DAILY ROUTINE DESTROYING THE RAINFOREST?

38436 Rainforest Foundation UK SMS Adverts Theatre B5 Full Page AW.indd 1 18/02/2016 17:08

EX CATHEDRAJeffrey SkidmoreVocal excellence, made in Birmingham

Saturday 5 December 2015, 7.30pmMilton Court Concert Hall, London

Gaudete!

Ex Cathedra Consort Jeffrey Skidmore conductor

The glorious polyphony and rhythmic verve of Padilla’s Missa ego flos campi

is complemented by stunning, seasonal music from Renaissance Spain and Latin America in the first half of this intimate concert. We return to our roots in the second half

with a selection of ‘most highly favoured’ Christmas music and readings from the 13th to 18th-centuries.

Padilla Missa ego flos campi / Victoria O magnum mysteriumFernandes Xicochi / English 16th century Coventry Carol

Bach In dulci jubilo

Thursday 12 May 2016, 7.30pmMilton Court Concert Hall, London

Arne The Garrick Ode (reconstruction)Beamish A New Ode by Carol Ann Duffy (world première)

Shakespeare Odes

To mark Shakespeare’s 400th anniversary, Ex Cathedra – in partnership with the Shakespeare Birthplace Trust, the Shakespeare Institute, and in association with the Royal Shakespeare Company – has commissioned a new Shakespeare Ode from the Poet Laureate, Carol Ann Duffy, and composer Sally Beamish.

www.excathedra.co.uk /excathedra @excathedrachoir

EXCATH060 Barbican Ad.indd 1 05/08/2015 11:44

EX CATHEDRAJeffrey SkidmoreVocal excellence, made in Birmingham

Saturday 5 December 2015, 7.30pmMilton Court Concert Hall, London

Gaudete!

Ex Cathedra Consort Jeffrey Skidmore conductor

The glorious polyphony and rhythmic verve of Padilla’s Missa ego flos campi

is complemented by stunning, seasonal music from Renaissance Spain and Latin America in the first half of this intimate concert. We return to our roots in the second half

with a selection of ‘most highly favoured’ Christmas music and readings from the 13th to 18th-centuries.

Padilla Missa ego flos campi / Victoria O magnum mysteriumFernandes Xicochi / English 16th century Coventry Carol

Bach In dulci jubilo

Thursday 12 May 2016, 7.30pmMilton Court Concert Hall, London

Arne The Garrick Ode (reconstruction)Beamish A New Ode by Carol Ann Duffy (world première)

Shakespeare Odes

To mark Shakespeare’s 400th anniversary, Ex Cathedra – in partnership with the Shakespeare Birthplace Trust, the Shakespeare Institute, and in association with the Royal Shakespeare Company – has commissioned a new Shakespeare Ode from the Poet Laureate, Carol Ann Duffy, and composer Sally Beamish.

www.excathedra.co.uk /excathedra @excathedrachoir

EXCATH060 Barbican Ad.indd 1 05/08/2015 11:44

Knowing I had the support of Help Musicians UK was incredibly reassuring during a volatile and unpredictable time.

Your support means we can help more musicians like Oli make the transition from student to professional.

Donate at helpmusicians.org.ukor call 020 7239 9100

Backing musicians throughout their career.

Registered charity No. 228089

Help Musicians UK - Oli FP.indd 1 07/03/2016 13:51:57

NOW ON SALE SEASON

NOT ALL ORCHESTRAS ARE THE SAME BOOK NOW southbankcentre.co.uk

O NSALENOW

Contents

Introducing this season 02

Resurrection Tuesday 12 April 2016 03

Rattle’s BrucknerFriday 22 April 2016 15

Winds of ChangeSaturday 7 May 2016 27

OAE Biography 36

The OAE Team 37

Glossary 38

Education 40

News 42

Future Concerts 43

OAE Supporters 44

01

Welcome to this concert with the Orchestra of the Age ofEnlightenment, one of Southbank Centre’s four ResidentOrchestras.

This is our sixth season of offering free programmes and wehope that they’re helping you enjoy our concerts. Thisprogramme covers three different concerts. So if you’recoming to another one, don’t forget to bring it back withyou. You can also download copies of our programmes fromoae.co.uk/programmes.

Some of our concerts this year will be held at St John’sSmith Square. They’re still part of our Southbank Centreresidency, but while the Queen Elizabeth Hall is closed forrefurbishment, they’re taking place at St John’s SmithSquare instead.

At both St John’s Smith Square and Southbank Centre,please do not hesitate to approach our Duty Manager andushers/hosts with any questions you may have. Eating,drinking, shopping? There are numerous cafes, restaurantsand shops around the Southbank Centre site, includinginside the Royal Festival Hall itself. At St John’s SmithSquare the Footstool Restaurant in the Crypt will serveinterval and post-concert refreshments, but please note atboth venues that refreshments will not be allowed in theconcert hall.

If you wish to make a comment following your visit pleasecontact Visitor Experience Team at Southbank Centre,Belvedere Road, London SE1 8XX, phone 020 7960 4250or email [email protected].

We look forward to seeing you again soon.

Spring Concerts 2016

OAEsummer2016AW5:OAE 2006 Prog6 h copy 05/04/2016 15:42 Page 3

02

A small group of period instrument-playing pioneers formed the Orchestraof the Age of Enlightenment 30 years ago. At that point public enthusiasmfor historically performed performance was still relatively recent and the ideaof a player-led period group revolutionary.

A lot has changed since then, but the Orchestra of the Age of Enlightenmentcontinues to ride a wave of adventure and experimentation. This season is nodifferent, and curators Andrew Watts (bassoon) and Cecelia Bruggemeyer(double bass) have put together a series of concerts that includes old, firmfavourites alongside new ground for the Orchestra to tread.

The Old

Cecelia comments on how the Orchestra remains true to its roots thisseason:

One of the primary motivations of OAE was to be player-led rather thandirector-led, and 30 years on that’s still very much at the heart of what wedo now. So you have players like Andy and me curating the season. Youhave players directing concerts – Steve Devine will be directing theopening concert and Matt Truscott directing the Winds of Changeconcert. And you have soloists from within the Orchestra throughout theseason such as Lisa Beznosiuk, Antony Pay, Margaret Faultless, KatiDebretzeni and David Blackadder to name a few.

Andrew adds:

We felt it was important to feature the Baroque and Classical repertoirethat has always been at the heart of the OAE’s work but to bring ourapproach up to date with the latest scholarship and research. So we’redelighted that John Butt is joining us for an all Bach programme. John isone of the leading Bach scholars of our time with a formidable breadth ofknowledge and insight.

The New

2015–2016 also sees the Orchestra venturing into later repertoire. Ceceliasays, ‘We’ve also got Mahler’s Second Symphony to look forward to withJurowski – who would have thought when the OAE started 30 years ago,we would one day be talking about a period instrument performance ofMahler. It’s extraordinary how far we’ve come’

This season we perform with Principal Artists Sir Mark Elder, VladimirJurowski and Sir Simon Rattle and we’re reunited with EmeritusConductor Sir Roger Norrington. But we’ll be forging new relationshipsas well, not least with our new Principal Artist John Butt. Cecelia comments:

I’m so looking forward to working for the first time with PatriciaKopatchinskaja, and hearing what Michael Gordon composes for theclassical bassoon. It will be fascinating to see what the chemistry betweenthem and us will create. I can’t wait to see how David Pountney brings DerFreischütz to the concert platform. And I’m really delighted that we areplaying with Sir András Schiff again. It’s only the second time I’ll haveworked with him and the Orchestra still have such wonderful memories ofthe Haydn and Mozart project we did together.’

Introducingthis season


Mahler Symphony No. 2, Resurrection

Vladimir Jurowski conductor

Adriana Kučerová soprano

Sarah Connollymezzo-soprano

Philharmonia Chorus

This concert will finish at approximately 8.30pmwith no interval.

We are very grateful to the following Patrons fortheir generous support of this concert:An anonymous donorBob and Laura Cory

OAE Extras at 5.45pm, free admissionClore Ballroom, Royal Festival HallWhy Mahler? Dr Robert Samuels (Open University) introducesus to tonight's concert. A discussion with membersof the OAE looking at what period performancecan bring to the music of Mahler.

Aftershow Clore Ballroom, immediately after the concertMahler expert Thomas Kemp, Matthew Truscott(violin) and Martin Lawrence (horn) join NicolaChristie to discuss tonight's performance.

03

ResurrectionTuesday 12 April 20167pmRoyal Festival Hall

Resurrection Tuesday 12 April 2016


Violin I Matthew TruscottJennifer GodsonKati DebretzeniJulia KuhnRodolfo RichterHed Jaron Mayersohn*Miranda FulleyloveDeclan DalyMadeleine EastonSophie BarberKathryn TemplemanLeonie CurtinAlice EvansSimon KodurandLucy WaterhouseAnna CurzonPersephone Gibbs

Violin II Ken AisoRoy MowattAndrew RobertsHuw DanielNancy ElanLucia Veintimilla*James TollIona DaviesStephen RouseJayne SpencerColin CallowDebbie DiamondGeorge CliffordCatherine FordChristiane Eidsten DahlDavina ClarkeFlora Curzon

ViolasTimur YakubovMax MandelNicholas LogieMartin KellyKate HellerMarina AschersonIan RathboneLisa CochranePenny VeryardThomas KirbyChristopher BeckettElisabeth Sordia*Nigel Goodwin

CellosLuise BuchbergerCatherine RimerAndrew SkidmoreHelen VerneyRichard TunnicliffeJosh SalterJonny ByersGeorge RossPenny DriverAnnabeth Shirley*Poppy WalshawBianca RiesnerSarah Butcher

Double bassesChi-chi Nwanoku MBECecelia BruggemeyerAndrei Mihailescu Christine SticherPippa MacmillanAdam WynterKate AldridgeJohn-Henry BakerHeather BirdJacqui DossorHannah Turnbull*

Flutes/piccolosLisa BeznosiukKaty BircherNeil McLarenJudith Treggor

OboesDaniel BatesHenry ClayLeo Duarte (+ cor anglais)Matthew Draper(+ cor anglais)

ClarinetsAntony PaySarah ThurlowKatherine Spencer (+ Eb clarinet)Mark Withers (+ bass clarinet)

Eb clarinetTimothy Lines

BassoonsJane GowerRebecca HammondChristopher RawleyDavid Chatterton (+contrabassoon)

HornsRoger Montgomery Martin LawrenceNicholas BenzChristopher LarkinJoseph WaltersMartin HobbsFinlay Bain

Offstage hornsPhillip EastopLauren Reeve-RawlingsAnneke ScottAlex Wide

TrumpetsDavid BlackadderPhillip BainbridgeMatthew Wells John HutchinsNeil BroughSimon GabrielSimon Munday

Offstage trumpetsPaul SharpRoss BrownAnthony CrossPeter Mankarious

TrombonesPhilip DaleEmily WhitePatrick JackmanAdrian France

TubaJames Anderson

TimpaniAdrian BendingMarney O’Sullivan

PercussionJeremy CornesGlyn MatthewsMatthew DickinsonElsa BradleyKeith Millar

Offstage percussionDonna-MariaLandowskiJude CarltonGeorge Barton

HarpsAlison MartinTanya Houghton

OrganJames Johnstone

*OAE Experience scheme

Assistant Conductor Tim Murray

04


05

Concert in context

‘I demand that everythingmust be heard exactly as itsounds in my inner ear.’Gustav Mahler

The OAE performed and recordedthe first movement of Mahler’sSecond Symphony, Totenfeier, withVladimir Jurowski in 2011. Thesuccess of this project convincedthe Orchestra its 30th birthdayseason was the time for one of itsbiggest and most ambitiousconcerts to date – a very rareperformance of the entire SecondSymphony on the 19th centuryinstruments for which Mahlercomposed. Mahler saw his Second

Symphony as growing out of thenarrative and ideas he put forwardin his First Symphony, and thecomposition of Totenfeierwasstarted almost immediately afterthe First Symphony’s completionin 1888. The rest of the movementsfor the Second, however, were notcompleted until six years later in1894, when Mahler finally had hismusical epiphany for the Finalewhile attending the funeral of hisclose personal friend andconductor, Hans von Bülow. At this early stage in his career

Mahler was better known as anoperatic conductor than as acomposer. Like many conductorsof the time, Mahler added his ownRetuschen (amendments to thescores, instrumentation and so on)in order to create the best possibleperformance of a work. Whilemany conductors used theirRetuschen to to make the worksmore emotive and impactful,Mahler primarily used his to helpreflect what he believed to be theintentions of the composer. Forexample, Mahler frequently editedBeethoven’s works. He justifiedthese amendments by stating thatin doing so he was makingBeethoven’s intentions clearer. Inupdating other composers’ works,

Mahler was attempting to embodythe mind of the composer andperform the works as he believedthey would have wanted.It seems logical, therefore, to

consider what Mahler would havewanted when performing hisworks today. He once stated: ‘Idemand that everything must beheard exactly as it sounds in myinner ear. To achieve this, I exploitall available means to the utmost…It doesn’t do, in these matters, tohave preconceived ideals whichsimply do not correspond withreality.’ In rehearsals for his works

Mahler was notoriously specificabout how he wanted his musicperformed, and he commentedspecifically that he would neverdare leave the interpretation of hismusic up to the performers.Tonight the OAE is giving us theopportunity to hear Mahler’sSecond as Mahler himself mighthave heard it when it was firstperformed.



06

Programme Notes

Gustav Mahler(1860–1911)Symphony No. 2,Resurrection(c.1888–1894)

I Allegro maestosoII Andante moderatoIII In ruhig fliessender BewegungIV UrlichtV In Tempo des Scherzos

The Story of the Second

The Second Symphony isn’t just a piece of music – it tells a distinct storythrough each of its five movements.

I . Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck (With complete gravity and solemnity of expression)

The first movement of the Second Symphony, Totenfeier, was originallycomposed as an independent symphonic poem, and it is thought thatMahler considered it to be a continuation to the story of the hero in hisfirst symphony, Titan. The movement opens in C minor, a key longassociated with music of a sinister or tragic quality, with the double bassflurries of sixteenth notes creating an atmosphere of intense agitation. The movement follows Sonata form structure, with the restless C minorstrings making up the first theme, and a contrasting lyric section in Emajor constituting the second theme. Through these contrasting subjectsMahler enables us to feel, on the one hand, the frustration, resentment andpain of our protagonist as he grapples at the questions of existence andsearches for an escape from the mortality of life, and a lyrical tranquillity ashe thinks back to the moments of love, tenderness and joy that heexperienced in this world. The movement is a painful cry at life, a funeralmarch that crashes into the concert hall in a relentless and awe-inspiringdepiction of the struggles and tortures of humanity.

As Mahler described it: ‘What did you live for? Why did you suffer? Is itall only a vast, terrifying joke? – We have to answer these questionssomehow if we are to go on living – indeed, even if we are to go on dying!The person in whose life this call has resounded, even if it was only theonce, must give an answer.’

II Andante moderato. Sehr gemächlich. Nie eilen. (Very leisurely. Never rush.)

The second movement is a relaxed waltz, and it is a nostalgic recollectionof lost love. In contrast to the dramatic conclusion of Totenfeier, it openswith the elegant string writing of a lilting, romantic waltz. However,Mahler counteracts this with passages of rich minor melodic material,vastly different to the gleefully reminiscent air found in the previoussection. Following one of these passages of darker reminiscence, Mahlerreprises the opening theme in light, delicate pizzicato, depicting the ease ofreconciliation and the youthful, playful agility of the young loversfollowing these moments of tension. Here Mahler is able to depict boththe highs and lows of young love: its fond, heart-warming nostalgia, andthe dramatic throws of adolescent youth.

III In ruhig fließender Bewegung (With quietly flowing movement)

The Scherzo is an arrangement of one of Mahler’s earlier songs ‘DesAntonius von Padua Fischpredigt,’ taken from his Des Knaben Wunderhorncycle. The song describes a preacher, St Anthony, who after finishing his


07

Programme Notes

sermon at the church realises that it has emptied and decides instead to godown to the river and preach to the fishes. The story solemnly concludeswith the moral that although the fish enjoyed the sermon, they remainunchanged as the preacher remains in another world, one not understoodby them. The piece lilts between playful folk storytelling and sardonicdance-like romanticism, with flowing melodies of sixteenth notesconstantly passing between the instruments, propelling the work forwardand mimicking the current of the water or the relentless swimming of thefish. Mahler’s commentary on the work asks us to imagine the followingimage: ‘At a distance, you watch a dance through a window, without beingable to hear the music, then the turning and twisting movement of thecouples seems senseless, because you are not catching the rhythm that iskey to it all. You must imagine that to one who has lost his identity and hishappiness, the world looks like this – distorted and crazy.’ The Scherzoends with the crashing of the ‘Death Shriek’, which Mahler described asthe ‘appalling shriek of this tortured soul,’ as our protagonist cries out inanguish and despair for his lost happiness, lost identity, and his inevitableisolation on this earth.

IV Urlicht (Primeval Light). Sehr feierlich, aber schlicht (Very solemn, but simple)

In stark contrast to the movements that surround it, Urlicht is anotherWunderhorn song rearranged for an isolated moment of tranquillity andreflection, and a plea for immortality. The voice leads us into themovement followed by a gentle brass chorale, setting the tone for thesacred and heavenly context in which the singer tells of how shetranscended to heaven, yet was turned away by an angel and sent back toearth. The movement resounds with the notion of ones striving to returnto this primal light, and a turn from the bitterness of death to hope forreaching the sanctity of the afterlife.

V Im Tempo des Scherzos (In the tempo of the scherzo)

The final movement bursts through the serenity of Urlicht, with the ‘DeathShriek’ that concluded the Scherzo, throwing us into a barren and apocalypticlandscape in which the dead souls of the earth are making the pilgrimage to bereborn. In this movement Mahler intended to confront the questions that wereraised in Totenfeier and depict the day of eternal judgement and the call fromthe soul for eternal salvation. Mahler skilfully demonstrates his prowess as anorchestrator in this movement; he incorporates offstage trumpet calls whichecho around us as if calling to us from the beyond, and the crashing percussionand erratic shrieking melodies found throughout contribute in our depictionof the marching procession of the spirits of the earth. Yet, as ever with Mahler,he layers in contrasting textures and passages that maintain a trulytranscendental quality, intended to encapsulate the listener in a musical spherethat touches on the otherworldly, the spiritual, and the joy of salvation thataccompanies ones acceptance into the afterlife. Following the ‘Last Trump’ callfrom the offstage brass, an eerie silence hangs in the air after the flutes, the ‘birdof death’, sing out into the night, calling forth for the chorus to lead us on.

Programme notes © Genevieve Arkle



08

Texts and Translations

O Röschen rot!Der Mensch liegt in größter Not!Der Mensch liegt in größter Pein!Je lieber möcht’ich im Himmel sein.Da kam ich auf einen breiten Weg:Da kam ein Engelein und wollt’mich abweisen.Ach nein! Ich ließ mich nicht abweisen!Ich bin von Gott und will wieder zu Gott!Der liebe Gott wird mir ein Lichtchen geben,Wird leuchten mir bis in das ewig selig Leben!

Red rose!Man lies in greatest need!Man lies in greatest sorrow!How I would rather be in heaven. Then I came across a broad pathThen came a little angel and wanted to turn me away.Ah no! I would not let myself be turned away!I am from God and I want to return to God!The beloved God will grant me a little light,Which will light me into that eternal blissful life!

Aufersteh’n, ja aufersteh’nWirst du, Mein Staub,Nach kurzer Ruh’!Unsterblich Leben! Unsterblich LebenWird der dich rief dir geben!

Wieder aufzublüh’n wirst du gesät!Der Herr der Ernte gehtUnd sammelt GarbenUns ein, die starben!

O glaube, mein Herz, o glaube:Es geht dir nichts verloren!Dein ist, ja dein, was du gesehnt!Dein, was du geliebt,Was du gestritten!O glaubeDu wardst nicht umsonst geboren!Hast nicht umsonst gelebt, gelitten!Was enstanden istDas muß vergehen!Was vergangen, auferstehen!Hör auf zu beben!Bereite dich zu leben!O Schmerz! Du Alldurchdringer!Dir bin ich entrungen!O Tod! Du Allbezwinger!Nun bist du bezwungen!Mit Flügeln, die ich mir errungen,In heißem Liebesstreben,Wed’ich enschwebenZum Licht, zu dem kein Aug’ gedrungen!Sterben werd’ich, um zu leben!Aufersteh’n, ja aufersteh’nWirst du, mein Herz, in einem Nu!Was du geschlagenZu Gott wird es dich tragen!

Arise, yes, arise,Will you My dustAfter a brief rest!Immortal life! Immortal life!Will he who called you, give you!

To bloom again were you sown!The Lord of the harvest goesAnd gathers in the sheaves,For us, who died!

O believe, my heart, O believe:Nothing to you is lost! Yours is, yes yours, is what you desiredYours, what you have lovedWhat you have fought for!O believeYou were not born for nothing!Have not for nothing, lived, suffered!What was createdMust decay,What decayed, rise again!Cease your trembling!Prepare yourself to live!O Pain! You piercer of all things,From you, I have escaped!O Death, you conqueror of all things,Now, are you conquered!With wings which I have won for myself,Passionately striving for love,I shall soar upwardsTo the light which no eye has reached!Die shall I in order to live!Rise again, yes, rise again,Will, you my heart, in an instant!That which you have sufferedTo God it shall carry you!

V Im Tempo des Scherzos (In the tempo of the scherzo)

IV Urlicht (Primeval Light). Sehr feierlich, aber schlicht (Very solemn, but simple)


09

Boffin’s Corner Mahler and the Programmatic Issue

For a composer who was adamant that performances of his music should be, “exactly how it sounds in hisinner ear”, Mahler had surprising difficulties with his programme notes. In fact, he decided to abandonthem entirely later in his career.

For the Second there are in fact three versions of ‘programme notes’, or rather, three different commentariesfrom Mahler regarding what he believed his Symphony to be about. The first set comes from 1896 from theRecollections of Natalie Bauer-Lechner, Mahler’s close personal friend who documented much of his lifeand compositional process. The second set were drafted in a letter to his friend Max Marschalk, also in1896, and the final set were official Programme Notes that were written for the Dresden Performance ofthe work in 1901.

In each version Mahler diverges slightly and brings in new ideas or metaphors to help the listener interprethis work. For example, in the Bauer-Lechner notes for Totenfeier,’ he states: ‘The first movement depicts thetitanic struggles of a mighty being still caught in the toils of the world; grappling with life and the fate towhich he must succumb - his death.’ In this version it is apparent that Mahler’s protagonist is very muchalive but is struggling with life and inevitably must come to terms with his future fate. However, in theDresden notes of 1901, Mahler’s protagonist it seems is already dead and we are instead recapping his lifethrough the music: ‘We stand by the coffin of a well-loved person. His life, struggles, passions andaspirations once more, for the last time, pass before our mind’s eye.’

The differences between the programme notes convey Mahler’s own confusion as he attempted to followthe conventions of the time, however it seems that he struggled greatly in settling on one concrete story thatoutlined the Second. In a letter to Max Kalbeck Mahler proclaimed: ‘And so once again: Down with everyprogram! After all, one has to bring along ears and a heart and, last but not least, be willing to give oneself tothe rhapsodist. A remnant of mystery always remains – even for the creator!’

© Genevieve Arkle



10

BiographyVladimir Jurowskiconductor

Photo: Vera Zhurasleva

One of today’s most sought-after conductors,acclaimed worldwide for his incisive musicianship andadventurous artistic commitment, Vladimir Jurowskiwas born in Moscow in 1972 and completed the firstpart of his musical studies at the Music College of theMoscow Conservatory. In 1990 he relocated with hisfamily to Germany, continuing his studies at theMusikhochschule of Dresden and Berlin, studyingconducting with Rolf Reuter and vocal coaching withSemion Skigin. In 1995 he made his internationaldebut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debutat the Royal Opera House Covent Garden withNabucco.Vladimir Jurowski was appointed Principal Guest

Conductor of the London Philharmonic Orchestra in2003, becoming the Orchestra’s Principal Conductorin September 2007. He also holds the titles of PrincipalArtist of the Orchestra of the Age of Enlightenmentand Artistic Director of the Russian State AcademicSymphony Orchestra. He has previously held thepositions of First Kapellmeister of the Komische OperBerlin (1997-2001), Principal Guest Conductor of theTeatro Comunale di Bologna (2000-2003), PrincipalGuest Conductor of the Russian National Orchestra(2005-2009) and Music Director of GlyndebourneFestival Opera (2001-2013).Recent highlights include performances of Boris

Godunov, uniting the Orchestra of the Age ofEnlightenment with the orchestra of the MikhailovskyTheatre in St Petersburg, appearances with the MahlerChamber Orchestra at the Lucerne Festival and aunique project with the London Sinfonietta inMoscow to celebrate the Anglo-Russian Year ofCultural Exchange. With the State AcademicSymphony of Russia he has developed a highlyindividual and celebrated profile in Moscow with astrong focus on contemporary repertoire, and curatedprojects, most recently a series of concerts exploringmusic from the 1930s and 1940s across all sides of theEuropean political and wartime spectrum.Highlights of the 2015–2016 season and beyond

include his return visits to the New York Philharmonic,Boston Symphony, Cleveland, Royal Concertgebouwand Philadelphia Orchestras, his debut at the SalzburgEaster Festival at the helm of the StaatskapelleDresden, and performances at the Vienna Musikvereinand Konzerthaus with the Vienna Symphony

Orchestra. He will bring together the LondonPhilharmonic and State Academic Symphony ofRussia to perform Schoenberg’s Gurrelieder at theMoscow Rostropovich Festival, tour with the StateAcademic Symphony to major European capitals andsummer festivals, and among the highlights of his workwith the London Philharmonic he will leadperformances of Das Rheingold, Mahler’s Seventh andEighth symphonies and the world premiere ofAlexander Raskatov’s Green Mass.


11

BiographyAdriana Kučerovásoprano

The young Slovakian soprano Adriana Kučerovástudied at the Academy of Performing Arts inBratislava and the Conservatoire Supérieur demusique et de danse de Lyon.In 2005 she won first prize at the International

Hans Gabor Belvedere Competition in Vienna andshe was supported by, amongst many others, theGulbenkian Foundation and the Teatro alla Scala inMilan.At the Ravenna Festival she sang Mozart’s Vesperae

solennes de confessore and Exsultate jubilate conductedby Riccardo Muti. The same year she went to theSalzburg Mozart Wochen and at the Salzburg Festivaland performed Serpetta in La Finta Giardinieraconducted by Ivor Bolton. At the Teatro alla Scala shesang Frasquita in Carmen under the baton of DanielBarenboim. She sang a new production of Werther at the

Munich State Opera conducted by Ivor Bolton,Ninetta in a new production of La finta semplice inVienna as well as Adina and Nanetta in FalstaffwithGlyndebourne Festival Opera. She also has made herGretel debut at Glyndebourne, conducted by KazushiOno. The Sunday Times wrote: ‘It’s AdrianaKučerová’s irrepressibly hyperactive Gretel who stealsevery scene.’Adriana sang Anne Trulove in a new production of

The Rake’s Progress conducted by NikolausHarnoncourt at the Theater an der Wien, Sophie inWerther at Paris Opera. With Vladimir Jurowskiconducting she sang Lauretta in Gianni Schicchiwiththe Santa Cecilia in Rome and the title role of theCunning Little Vixen at the Paris Opera.Her recent successes were Susanna in Le nozze di

Figaro at the Maggio Musicale Fiorentino, TeatroReal Madrid and the Houston Grand Opera, Adina atDeutsche Staatsoper Berlin and Rosina and Adina atthe Vienna State Opera.

Photo: Jakub Gulyas



12

BiographySarah Connollymezzo-soprano

Born in County Durham, mezzo-soprano SarahConnolly studied piano and singing at the RoyalCollege of Music, of which she is now a Fellow. Shewas made CBE in the 2010 New Year’s Honours List.In 2011 she was honoured by the Incorporated Societyof Musicians and presented with the DistinguishedMusician Award. She is the recipient of the the RoyalPhilharmonic Society’s 2012 Singer Award.Highlights in her 2015–2016 season include Fricka

in Das Rheingold& Die Walküre at BayreutherFestspiele, Brangäne in Tristan und Isolde atFestspielhaus Baden-Baden and in concert with theBerlin Philharmonic Orchestra. She also plays the titlerole in Ariodante for Netherlands Opera, Wood Dovein Gurre-Lieder at Paris Opera and Jocaste in Enescu’sŒdipe at Covent Garden.Past highlights have included Fricka and Brangäne atCovent Garden; Komponist in Ariadne auf Naxos andClairon in Capriccio at the Metropolitan Opera; thetitle role in Giulio Cesare at Glyndebourne; and thetitle role in Ariodante at Festival d’Aix-en-Provence. A favourite at the English National Opera, her

many roles for the company have included Octavian,the title roles in Charpentier’s Medée, Handel’sAgrippina, Xerxes and Ariodante, and The Rape ofLucretia. She was nominated for an Olivier Award forOutstanding Achievement in Opera for her Sesto inLa clemenza di Tito. The future sees her return to the Metropolitan

Opera, Covent Garden, English National Opera,Gran Teatro del Liceu and Glyndebourne, and makemajor debuts at the Teatro Réal in Madrid and at theVienna State Opera.She has appeared in recital in London, New York,

Boston, Paris, Amsterdam, Rotterdam, Stuttgart andat the Aldeburgh, Cheltenham, Edinburgh andOxford Lieder Festivals and her many concertengagements include appearances at the Lucerne,Salzburg, Tanglewood and Three Choirs Festivals andat the BBC Proms where, in 2009, she was amemorable guest soloist at The Last Night.Committed to promoting new music, her world

premiere performances include Judith Bingham’s TheColour of Fire; Torsten Rasch’s A Welsh Night; GarethFarr’s Relict Furies; Jonathan Harvey’s Songs of Li Poand Sir John Tavener’s Tribute to Cavafy and Gnosis.

Photo: Peter Warren


13

BiographyPhilharmonia Chorus

Patron: HRH The Prince of WalesPresident: Jeffrey Tate CBEChorus Master: Stefan Bevier

An independent symphony chorus based in London,the Philharmonia Chorus was founded in 1957 andquickly established itself as one of Europe’s leadingsymphony choruses. In a highly distinguished career,the Chorus has performed with nearly all the leadingconductors of the age.

Last year included performances of Beethoven’sSymphony No.9 ‘Choral’ with the PhilharmoniaOrchestra at the Royal Festival Hall, London, Verdi’sMessa da Requiem at the Sheldonian Theatre, Oxford,Act 3 of Wagner’s Parsifal with the Orquesta deValencia conducted by Yaron Traub, and performancesof Brahms’ Nänie and Rossini’s Stabat Mater at theEaster at King’s Festival in Cambridge conducted byStephen Cleobury, broadcast live on BBC Radio 3. InMay the Chorus returned to Spain for performances ofMahler’s Second Symphony, in June they took part inshowings of Breakfast at Tiffany’s with the PhilharmoniaFilm Orchestra conducted by Justin Freer at RoyalAlbert Hall, London, and in September performedMozart’s Requiem at the Royal Festival Hall with theEnglish Chamber Orchestra. In December theyreturned to Spain for a complete performance ofHandel’s Messiah with the Orquesta de Valenciaconducted by Stefan Bevier, with all soloists drawn fromthe Chorus’s Professional Singer Scheme. Theperformance was recorded by Spain’s Radio Clásica forfuture transmission.

So far in 2016 the Chorus has returned to Spain fora performance of Rossini’s Stabat Mater conducted by

Yaron Traub, and last month it gave the world premièreof A Prussian Requiem by film composer John Powellwith the Philharmonia Orchestra conducted by JoséSerebrier at the Royal Festival Hall. Future plansinclude Orff ’s Carmina Burana with the RoyalPhilharmonic Orchestra conducted by Charles Dutoit,a showing of the film Amadeus with live music at theRoyal Albert Hall with the Academy of St Martin’s inthe Fields, and tours to France, Spain and Germany.

Stefan Bevier originally studied singing and doublebass at the Hochschule der Künste, Berlin, andobtained a scholarship from the Herbert von KarajanFoundation. He was a member of the OrchestraAcademy of the Berlin Philharmonic Orchestra as wellas a regular deputy for them under Herbert vonKarajan. He studied singing with Dietrich Fischer-Dieskau, Schuch-Tovini and Aribert Reimann, andconducting with the former Chief Conductor of theBerlin Philharmonic, Sergiu Celibidache. He hasworked closely with many conductors of internationalstature, including Herbert von Karajan, Eugen Jochum,Karl Böhm, Leonard Bernstein, Charles Dutoit, LorinMaazel, Colin Davis, Riccardo Muti, Claudio Abbado,Sir Simon Rattle, Christoph von Dohnányi, VladimirAshkenazy, Gianandrea Noseda, Eliahu Inbal, LeonardSlatkin, Esa–Pekka Salonen, Danielle Gatti, VasilyPetrenko, Daniel Harding, Yaron Traub, DavidRobertson, Jeffrey Tate and Andris Nelsons. He hasconducted more than 170 different orchestras andchoirs around the world, and he conducts about 80concerts a year.

www.philharmoniachorus.co.uk



14

SopranosKatherine AdamsCatherine AndrewsBogna BargielGill BeachPamela BennettFleur BrayElizabeth CasseltonImogen CawrseSofia CelenzaPeyee ChenMimi DoultonRachel FaragoSheila FitzgeraldFarah GhadialiElina GofaMarina GoodmanKate HarrisViki HartAnn HeavensRebecca HenningCharlotte HewettLindsey JamesAneta KoltonSarah LambieJackie LeachRuth LovettDilys MorganLaurel NeighbourRosslyn PanattiLinda ParkSarah RichardsEmily RichterAyano Sasaki-CrawleySarah SeeemullerBrenda Smith JohnsonBryony SoothillDenise SquiresAlexandra StensonElisabeth SwedlundLorna SwiftElizabeth ThomasRachel ToynbeeAlice UsherJoanna VidalShirley WadhamSophie WalbyRosalind West

AltosVictoria AindowElizabeth AlbumJoanna ArnoldJenifer BallClaire Barnett-JonesSally BrienAnneliese CollettUrsula DaviesCaroline DaviesLara de BelderSue DoddRachel DreeceNaomi DunstanEllie EdmondsMilda FontanettiJaime Jo HallamJudy JonesEmma LewisNelli OrlovaPamela PearceLindsay RosserHelen RotchellIveta RozlapaMuriel ScottMaija SirenSue SmithSilvia StrebelEmilie TarideDanny ThomasHana TillerLeila ZanetteDagmar Zeromska

TenorsSimon BainbridgeKeith BennettChristopher BeynonWilliam BouvelChristian ForssanderEdmund HendersonChristopher HollisJames HutchingsDavid LesterSimon MarshAndrew MartinJon MeredithWilliam MorganGrégoire MourichouxLaurence PanterDavid PhillipsJames RhoadsMichael RidleyBen SmithPaul ThirerKieran WhiteAnthony Yates

BassesShaun AquilinaStephen BensonDavid BryantSherman CarrollGeoffrey ChangJames CorriganPhillip DangerfieldMike DayChristopher DollinsDaniel D’SouzaNeville FilarAlexandre GarziglilaRichard GaskellNigel GeeRichard HardingOliver HoggPeter KirbyStuart LakinSamuel LomGeoffrey MaddockSam PoppletonAndré RefigStephen RosserKenneth RyanBenjamin SchilperoortJames ShirrasAlistair SutherlandGareth ThomasStephen WilmotJonathan WoodDavid Wright

Philharmonia Chorus


BrahmsTragic Overture

Rott Scherzo from Symphony No. 1

Interval

Bruckner Symphony No. 6

Sir Simon Rattle conductor

This concert will finish at approximately 9pm,including an interval of 20 minutes.

We are very grateful to Sir Martin and Lady Smith fortheir support of this concert.

OAE Extras at 5.45pm, free admissionRoyal Festival Hall1880 –With all three pieces in tonight’s concertwritten in the year 1880 we examine the social andpolitical context of them, with Dr Ben Winters(Open University).

15

Rattle’s BrucknerFriday 22 April 20167pmRoyal Festival Hall

Rattle’s Bruckner Friday 22 April 2016

This concert is being recorded by BBC Radio 3,to be broadcast at a future date.


16

Violin IKati DebretzeniJennifer GodsonRodolfo RichterJulia KuhnMiranda FulleyloveAndrew RobertsMaya MagubRoy MowattJudith TemplemanHuw DanielRachel IsserlisAndrej Kapor*Simon KodurandAlice EvansStephen Rouse

Violin II Matthew TruscottColin ScobieIona DaviesClaire HoldenNancy ElanJayne SpencerPaula MuldoonOliver Cave*George CliffordDeclan DalyCatherine FordClare HoffmanAnna Curzon

ViolasMax Mandel Nicholas LogieMartin KellyAnnette IsserlisMarina AschersonIan RathboneChristopher BeckettThomas KirbyPenny VeryardElisabeth Sordia*Luba Tunnicliffe

CellosLuise BuchbergerAndrew SkidmoreHelen VerneyCatherine RimerJennifer MorschesPenny DriverRichard TunnicliffeCarla Rovirosa Guals*Eric de Wit

Double bassesChi-chi Nwanoku MBECecelia BruggemeyerAndrei MihailescuMatthew GibsonPippa MacmillanAdam WynterKate AldridgeShuko Sugama*

FlutesLisa BeznosiukKaty Bircher

PiccoloNeil McLaren

OboesJosep DomenechLeo Duarte

ClarinetsAntony PaySarah Thurlow

BassoonsPeter WhelanSally Jackson

ContrabassoonDavid Chatterton

HornsRoger MontgomeryMartin LawrenceGavin EdwardsDavid BentleyNicholas Benz

TrumpetsDavid BlackadderPhillip BainbridgeMatthew WellsJohn Hutchins

TrombonesPhilip DaleMartyn SandersonStephen SaundersHilary Belsey

TubaJames Anderson

TimpaniAdrian Bending

PercussionNicholas Ormrod

*OAE Experience scheme


Tonight’s concert provides afascinating snapshot of Austro-German orchestral music at thedawn of the 1880s. Aged only 47,but already on the verge of aperceivable ‘late’ period, JohannesBrahms stood four-square to theworld – an indomitable creativeforce whose inspiration seemed toflow directly from Bach andBeethoven. Although Brucknerwas by now in his mid-fifties, hewas still considered a relativelyminor figure by comparison withthe mighty Brahms and operasupremo Richard Wagner. Thiswould all change with the premiereof Bruckner’s Fourth Symphony in1881, the year he completed theSixth we hear played tonight. HansRott, then aged 22 and Bruckner’smost gifted pupil, was on the vergeof making a major breakthroughwith his First Symphony, fromwhich we hear the scherzo thirdmovement. Sadly, Rott’s struggleswith mental health issues madehim extremely vulnerable tocriticism, and it was Brahms’s lessthan tactful remarks about this verysymphony that ultimately sent himover the edge.

Concert in context

17



The searing intensity of Brahms’sTragic Overture acted as anemotional safety valve during hisconcurrent work on a piece ofstartlingly different hue: theAcademic Festival Overture, whichhe dismissed in a letter as ‘a veryjolly potpourri on student songs àla Suppé.’ Although it was notuncommon for Brahms tocompose two emotionallyopposing works in close proximity– the volatile First and pastoralSecond Symphonies, for example –none takes this tendency to suchextremes. As Brahms himself putit: ‘One laughs, the other weeps’.In a letter to his publisher of

September 1880, Brahms reported:‘On this occasion I could not denymy melancholy frame of mind andhave composed an Overture to aTragedy’. This has led somecommentators to deduce thatBrahms had some sort ofprogramme in mind, especially ashe had recently considered writingsome music to accompany a stagedproduction of Goethe’s Faust. Thelatest evidence appears tocontradict this, however, as theearliest known sketches for theoverture include clear indicationsfor an exposition repeat, indicatingthat it may have begun life as oneof Brahms’s many abandonedsymphonic projects. Set in motion by two hammer-

blows of fate, the Tragic Overturerages indomitably until plaintivecalls from the solo oboe and horns,accompanied by a gentle oscillatingfigure in the strings, momentarilysoothe the music’s troubledsurfaces. One of Brahms’s mostheart-felt melodies follows in theviolins, though no sooner has it gotunderway than it too is sweptaside. The haunting middle sectionis dominated by a ghostly, subduedmarch that all-too-briefly resolvesinto the luxuriant melody oncemore (led this time by the violas),before dark forces drive the musicrelentlessly towards a doom-ladenapotheosis.

Programme Notes

Johannes Brahms(1833–1897)

Tragic Overture, Op. 81 (1880)

18


Programme Notes

Hans Rott (1858–1884)

Scherzo fromSymphony No. 1 in Emajor (1878–1880)

19

On paper Hans Rott seemed tohave everything going for him.Born the son of a well-knowncomic actor, he showed exceptionalmusical ability from an early ageand subsequently won ascholarship to study at the ViennaConservatory. His fellow studentsthere included Hugo Wolf andGustav Mahler, with whom heshared digs for a time, while hisorgan professor turned out to benone other than Anton Bruckner,who would later declare Rott his‘favourite pupil’. Rott’s problems began in 1878

when he submitted the firstmovement of an intendedsymphony to an expert panel who(apart from Bruckner) wereresolutely unseduced by the music’srefreshing take on establishedprocedures. Undeterred, two yearslater Rott expanded it into a four-movement symphony that Mahlerdeclared a work of ‘genius’ and theharbinger of a ‘new style’. Theoutdoor exuberance and ‘ländler’-like peasant gait of the scherzo inparticular can be heard resonatingthroughout Mahler’s ownsymphonies (most especially theFifth). Convinced that he had a

masterpiece on his hands, Rott ill-advisedly showed the score toBrahms, who had no time forBruckner (and by extension hisstudents) or the conservatory oranything overtly new. This helpsexplain why he dismissed such ahighly accomplished score asshowing little promise, with thesuggestion that Rott shouldconsider giving up composing.Utterly devastated, Rott neverrecovered from the shock of thisencounter and a few months later,

while journeying by train to takeup a new appointment, threateneda fellow-passenger with a gunwhen he attempted to light a cigar– Rott claimed that Brahms hadlined the carriage with dynamiteand that it might thereforeexplode. Diagnosed withhallucinatory persecution mania,Rott spent the rest of his days in anasylum, where he died oftuberculosis in June 1884 followingseveral suicide attempts.


INTERVAL


Although Bruckner is now widelyrecognised as one of the mostimportant symphonists in theAustro-German tradition, duringhis lifetime his groundbreakingideas were slow to gainrecognition. Brahms certainly hadlittle time for Bruckner, dismissinghim as ‘a swindle that will beforgotten in a few years’ and hismajestic late masterpieces as‘symphonic boa constrictors.’ Partof the reason Bruckner’ssymphonies took so long to achievea wide audience is their unhurried,indomitable pacing. His is ahypnotic, profoundly spiritual artthat refuses to be rushed. Hisstructures unwind gradually andwith awesome precision,unleashing an all-engulfingemotional power unlike anythingelse in western music.Recognition of Bruckner’s

profound creative genius was along time coming, however. Hisfirst three numbered symphonieswere met by almost universalindifference by the Viennese. TheFirst was dismissed as ‘wild‘, theSecond as ‘nonsense’ and thetrailblazing Third as‘unperformable’. The latter waspremiered in 1877 by the ViennaPhilharmonic under Brucknerhimself to the sounds of jeers andcatcalls from an audience whichhad dwindled to a mere 25(including the teenage Mahler) bythe end, leaving the orchestra tomake a rapid exit. Such was theinauspicious start for thecomposer‘s first indisputablesymphonic masterpiece.Following the abject failure of

his first three symphonies,Bruckner’s Fourth (the so-called‘Romantic’) was accorded arapturous welcome at its premierein 1881 under Hans Richter. Itseemed as though his reputation asa composer was finally secure, yetthe fate of his next two symphonieswas if anything more ignominiousthan anything he had so far

endured. The Fifth of 1876 had towait until two years afterBruckner’s death before receivingits premiere in a much-alteredversion by one of his favouritepupils, Franz Schalk. At least theSixth had two of its movementsperformed during his lifetime, butonly received its first ‘complete’performance in 1899 under thedistinguished composer-conductor(and Bruckner devotee) GustavMahler, who took it upon himselfto cut the score by around a thirdand ‘buff up’ the orchestration inplaces. Yet despite such set-backsthe composer’s faith remainedimmutable: ‘Out of thousands,God gave talent to me,’ heobserved. ‘How would the Fatherin Heaven judge me if I followedothers and not Him?’By Bruckner’s standards, the

Sixth Symphony, composed in thewake of the Third’s disastrouspremiere, is structured with almostclassical concision. Those familiarwith the archetypes established bythe Fourth Symphony are oftentaken aback on first acquaintanceby the Sixth’s lack of a mysterious,tremolando opening and itstendency to avoid long-rangecrescendos and reflectiveinterludes. This is music ofsupreme confidence that hurtlesthe listener immediately into theaction with an insistent tripletfigure of excited anticipation andforward momentum that crownsthe opening movement in a blazeof thrilling affirmation. This least typical of Bruckner’s

mature symphonies continues withan unusually tender Adagio(marked to be played ‘verysolemnly’), whose lyricalexpansiveness is crowned by anindelible passage in which cellosand violins entwine in noblyrestrained ecstasy. The no-nonsense scherzo states its casewith the utmost economy, settingup a central trio whose unusualmusical juxtapositions – including

Programme Notes

Anton Bruckner(1824–1896)

Symphony No.6 in A major, WAB 106(1879–81)I Maestoso II Adagio: Sehr feierlich III Scherzo: Nicht Schnell –

Trio: LangsamIV Finale: Bewegt, doch nicht zu

schnell

UK premiere of the Anton Bruckner UrtextComplete Edition, edited by Benjamin-Gunnar Cohrs.

20


mysterious string pizzicato andWeber-like horn roulades – neverallow the music to truly settle.Tellingly Bruckner marks theroller-coaster finale to be playedwith the sensation of ‘movingonwards, but not too fast’. Musicalideas are exchanged betweenorchestral families with a dazzling,fast-cutting vitality that propelsthe listener along irresistiblytowards the final, brass-saturatederuption of sound.

Programme Notes© Julian Haylock

Programme Notes

21

Boffin’s Corner Dr. Benjamin-Gunnar Cohrs gives us thelowdown on his new edition of Bruckner’s Sixth Symphony, whichreceives its world premiere at tonight’s concert.

In comparison with other composers, Bruckner’s own manuscripts contain very few errors in the musical text.Nevertheless, they present particular problems in terms of performance practice, because dynamic markings,articulation, or tempi were often added during the final stages of work on a composition. The complex sourcematerial demands that, in addition to the original autograph manuscripts, the first copies, manuscript sets ofparts, first editions and corresponding galley proofs have also to be taken in consideration. This is where thenew Anton Bruckner Urtext Complete Edition comes into play. All sources have been thoroughly examinedas a whole for the first time and are newly presented together. Bruckner’s Sixth remains one of the least played of his symphonies. It is also a symphony where the

performance practice up to the present day has been distorted by misunderstandings of tempo and structure,not least because of the enduring legacy of the much-altered first edition of Josef Schalk (1899). Comparedwith Schalk’s earlier piano arrangement, it becomes apparent that he essentially transferred most of his ownarbitrary performance directives into the orchestral score. He also interfered in the instrumentation. Theresulting discrepancies between parts, score and piano version were so egregious that in 1919 the conductorGeorg Göhler was among the first to call for a critical new edition of the symphony according to theautograph. In 1935 was this demand fulfilled in an edition by Robert Haas. For its time this was an innovate edition of

the original version, but viewed with modern eyes, curious discrepancies become apparent. On the one hand,the score and critical report give the impression of the highest scholarly precision extending to an almostabsurd attention to detail. On the other hand, one finds carelessness: Haas decided wherever possible toeliminate unused staves in order to save space, and in separating the flute and clarinet parts Haas repeatedlymade mistakes (especially overlooking performance directives for the second instrument). In 1952 LeopoldNowak brought out a revised new edition of the Haas score and in several respects arrived at differentconclusions, however, leaving fundamental issues of it unchanged. As I re-examined the sources for this new edition, a mass of previously misunderstood or overlooked details

came to light. Repeated comparison with the manuscript brought numerous improvements in precision withregard to playing directives and articulation, as well as corrections and conjectures in the notation. A numberof oversights by Bruckner or Haas respectively were already corrected by Nowak. However, some discrepanciesrequiring correction have remain undiscovered till now. At certain points conjectures were required, especiallywhere Bruckner had lapses: at page breaks in the autograph, where doubling parts subsequently underwentcorrections in only one of them, as well as apparently minor mistakes.



22

BiographySir Simon Rattleconductor

Sir Simon Rattle was born in Liverpool and studied atthe Royal Academy of Music. From 1980 to 1998, Rattle was Principal

Conductor and Artistic Adviser of the City ofBirmingham Symphony Orchestra and was appointedMusic Director in 1990. In 2002 he took up hiscurrent position of Artistic Director and ChiefConductor of the Berliner Philharmoniker where hewill remain until 2018. From the 2017–2018 season hewill become Music Director of the London SymphonyOrchestra.Rattle has made over 70 recordings for EMI record

label (now Warner Classics), and has receivednumerous prestigious international awards for hisrecordings on various labels. Releases on EMI includeStravinsky’s Symphony of Psalms (which received the2009 Grammy Award for Best Choral Performance)Berlioz’s Symphonie fantastique, Ravel L’enfant et lessortileges, Tchaikovsky Nutcracker, Mahler SymphonyNo. 2, Stravinsky’s Rite of Spring and in August 2013Warner Classics released Rachmaninov The Bells andSymphonic Dances, all recorded with the BerlinerPhilharmoniker. Rattle’s most recent releases (theSibelius Symphonies, Bach Passions and SchumannSymphonies) have been for Berliner PhilharmonikerRecordings – the orchestra’s new in-house label,established in early 2014.As well as fulfilling a taxing concert schedule in

Berlin, Rattle and the Berliner Philharmonikerregularly tour within Europe, North America andAsia. The partnership has also broken new groundwith the education programme Zukunft@Bphil,earning the Comenius Prize in 2004, the SchillerSpecial Prize from the city of Mannheim in May2005, the Golden Camera and the Urania Medal inSpring 2007. He and the Berliner Philharmonikerwere also appointed International UNICEFAmbassadors in the same year – the first time thishonour has been conferred on an artistic ensemble. Simon Rattle has strong longstanding relationships

with the leading orchestras in London, Europe andthe USA; initially working closely with the LosAngeles Philharmonic Orchestra and BostonSymphony Orchestras, and more recently with ThePhiladelphia Orchestra. He regularly conducts theWiener Philharmoniker, with which he has recordedthe complete Beethoven symphonies and pianoconcertos (with Alfred Brendel) and is a Principal

Artist of the Orchestra of the Age of Enlightenmentand Founding Patron of Birmingham ContemporaryMusic Group.Simon Rattle was knighted in 1994 and in the New

Year’s Honours of 2014 he received the Order of Meritfrom Her Majesty the Queen. He will be a CarnegieHall ‘Perspectives’ artist through the 2015–2016 and2016–2017 seasons.

photo: Johann Sebastian Hanel


MOZART Symphony No. 39, K.543BRUCKNER Symphony No. 4, Romantic

HERBERT BLOMSTEDT CONDUCTOR

S u n d a y 2 4 A p r i l 2 0 1 6 , 7 . 3 0 p mR o y a l F e s t i v a l H a l l , L o n d o n

Tickets £50-11 (transaction fees apply)philharmonia.co.uk | Freephone 0800 652 6717southbankcentre.co.uk | 0844 847 9921

Imag

e ©

Mar

tin

U.K

. Len

gem

ann

MozartSymphony No. 33

Michael GordonObservations on Air (world premiere tour)

Interval

MozartSymphony No. 1

MozartClarinet Concerto

Matthew Truscott director

Peter Whelan bassoon

Antony Pay clarinet

This concert will finish as approximately 9pm,including an interval of 20 minutes.

We are very grateful to the Mark Williams Foundationfor their generous support of this concert.

OAE Extras at 5.45pm, free admissionSt John’s Smith Square An introduction to Michael Gordon’s new piece forbassoon and orchestra.

27

Winds of ChangeSaturday 7 May 20167pmSt John’s Smith SquareSt John’s Smith Square, London SW1P 3HABox Office 0207 222 1061 sjss.org.uk

ViolinsMatthew TruscottAlison BuryHuw DanielIona DaviesChristiane Eidsten DahlClaire HoldenJulia KuhnRoy MowattStephen PedderColin ScobieJayne Spencer

ViolasMax MandelNicholas LogieMartin KellyKate Heller

CellosRobin MichaelCatherine RimerHelen VerneyJennifer Morsches

Double bassesChi-chi Nwanoku MBECecelia Bruggemeyer

FlutesLisa BeznosiukNeil McLaren

OboesRachel ChaplinRichard Earle

BassoonsAndrew WattsSally Jackson

HornsPhillip EastopMartin Lawrence

Winds of Change Saturday 7 May 2016


London, Paris…no, not New York,but Mannheim, Salzburg and Vienna.Mozart lived in all five cities – forlonger in some than in others –cultural centres thatwere responsible,in one way or another, for the musicwe hear tonight. Mozart hated Paris,found love inMannheim, wasapparently ambivalent when it cameto London and simply wanted out ofSalzburg, his hometown, as quickly aspossible. Vienna…well, Vienna wascomplicated. But each city taught Mozart

valuable lessons. In London, he heardthe newfangled ‘symphonies’ byJohann Christian Bach and CarlFriedrich Abel. From them, he got toknow how a composermightmaintain an audience’s interest duringa long symphony by alternating loudand soft passages, using rapid up-down scales and forthrightinstrumental unisons (and far morebesides). We hear about that in thecomposer’s first ever symphony. Fifteen years later, those gestures

were woven into Mozart’ssophisticated symphonic arguments

as second nature. By the time of hissymphony numbered 33, Mozart hadlearnt about orchestral virtuosity fromthe wickedly thrilling orchestra inMannheim (not least from its ablewinds). That, and Parisian musicaltrends had reminded Mozart aboutthe value of confidently and clearlystating his musical themes – catchingthe audience’s attention, you mightsay. Eventually, of course, Mozart

settled in Vienna. It was there that hemet one of the greatest wind players ofhis age, Anton Stadler, who inspiredthe composer to write the concerto wehear tonight. Perhaps that piece bestdemonstrates that Mozart’s particularbrand of genius was one that couldn’tbe learnt or picked-up anywhere; itsimple existed inside him. Mozartfinished his concerto in October1791, two months before he died inVienna, pretty much destitute. Stadlerwent on to perform the concerto inPrague – one city Mozart really didadore, and which appeared to adorehim back.

Concert in context

28

Such is the supreme quality of Bach’sepic Mass in B minor BWV 232 thatthe four shorter Lutheran masses hecompleted in the decade between1737 and 1747 have tended to beoverlooked. Another importantfactor in their relative neglect is thefact that when collating his materialsBach borrowed heavily from (or‘parodied’) ten existing cantatasdating from the mid-1720s. In thecase of BWV 235 the openingmovement was adapted from CantataNo.102, the second from No.72 andthe remainder from No.187. Practical as ever, bearing in mind

that his sacred cantatas were time-specific and could only be performedon one particuar day of the year, byadapting carefully selectedmovements in the form of a Mass,Bach was potentially able to givesome of his finest choral music a moreregular airing. The juxtaposition of

the varous movements and emotionalpacing was also carefully considered,so that far from being merely cobbledtogether to save time and effort, eachMass possesses its own uniquecreative flavour and sense of structuralnarrative.As was common procedure at the

time, Bach reduced the five mainsections of the full Roman Ordinary –Kyrie, Gloria, Credo, Sanctus andAgnus Dei – to just the opening two.He further sub-divided the Gloriainto two pairs of contrapuntally-intricate choruses – Gloria in excelsisand Cum sancto Spiritu – and soloarias – Gratias agimus tibi for the bassand the tenor-led Qui tollis – placedsymmetrically around a central altoaria (Domine Fili unigenite). Thelatter provides a sublime oasis ofmajor-key calm in the second half of awork otherwise most striking for itsminor-key intensity.

Programme Notes

Wolfgang AmadeusMozart (1756-1791)

Symphony No. 33 inB flat, K. 319 (1779)I Allegro assaiII Andante moderatoIII MenuettoIV Allegro assai


29

Programme Notes

Michael GordonObservations on AirFor Michael Gordon Observations on Air, see insert.

It was in London, moving betweenChelsea and Soho, that the eight-year-old Mozart wrote his earliestsurviving symphony. How manysymphonies he wrote before andafter it, we don’t know for sure.What’s certain is that Mozart, morethan anyone, established thesymphony as a sonic journey inwhich the final movement wasn’tsimply that which happened to comelast, but a philosophical and musicalsummation of all that had gonebefore. Perhaps we heard theslightest hint of that in the pieceheard earlier tonight. Can we recognize any of those

features in this little piece from theAutumn of 1764? Not really.Mozart’s chief models at the timewould have been symphonies by theLondon composers Johann ChristianBach and Carl Friedrich Abel. Fromthem, he would have taken on boardthe little tricks of alternating loudand soft passages, using rapid scalesand tremolos, deploying forthright

instrumental unisons and writing fastrepeating notes to inject variety intothe musical canvass. But as always with Mozart, there

are extra wonders at work even in anearly piece like this. First, there’s theimposing nature of its fanfareopening, followed immediately by asuccession of melting chords overeight bars. The horn’s suddeninterjection on a dissonance calls usto attention once more; later in themovement, Mozart uses a gentlesyncopation to create a sense of flow,of momentum. After that first movement, we

hear a brief Andante with the feel ofan opera aria; Mozart’s use ofsustaining winds and triplets (thosethree-into-two notes heard in theprevious symphony heard tonight) inthe upper strings creates a sort ofgentle nocturnal feel. To end, a newfanfare announces the jig-like finalesuggesting the insatiable spirit thatwould soon bubble-up in Mozart’slife and work.

Wolfgang AmadeusMozart

Symphony No 1 in E flat, K. 16(1764–65)

I Molto allegroII AndanteIII Presto


INTERVAL


30

Once again, we are reminded thatMozart’s time in Mannheim wasn’twithout its valuable experiences. Itwas in the town that the composertruly fell for the sound of theclarinet. ‘If only we hadclarinets…’, Mozart wrote to hisfather from the city, ‘you wouldn’tguess the majestic effect of asymphony with clarinets.’ Clarinets were still relatively

rare, as Mozart’s words from 1777suggest. But soon enough, thecomposer got to know one of thefinest clarinettists of his agepersonally. Anton Stadler was amusician from rural Austria whomoved to Vienna in 1781, the yearafter Mozart had. He played in theImperial Wind Band and CourtOrchestra. But vitally, Stadler wasa member of the same masoniclodge as Mozart. Both mencollaborated on the provision ofmusic for masonic rituals, and theybecame close friends. Stadler pioneered an adapted

clarinet known as the basset; itsrange stretched a major third lowerthan that of a standard clarinet andthe instrument was longer andheavier. It was for Stadler and thatinstrument in particular thatMozart wrote his celebratedClarinet Concerto of 1791 (andthe Clarinet Quintet written twoyears earlier). When he finished work on the

concerto, Mozart was less thaneight weeks from death. In theyears previously, the composer’smusic had been characterised by amore direct expression, what mightbe called a sophisticated simplicity.But Mozart’s process of expressivedistillation reached new heightswith the concerto. In thisextraordinarily unfussy music, thecomposer might appear at his mostpensive and whimsical. But there’san underlying poignancy to thepiece too; a sense of resignationthat carries the hallmarks of anartist at his creative dusk, whetherhe was aware of the fact or not.

For the concerto’s apparent easeof utterance, we have to thank theclarinet (and perhaps Stadler’splaying of it) itself. Mozart appearsto relish and capitalise upon theinstrument’s varied characteristicsacross its broad range: its warm,rounded low notes, its smokymiddle range and its piercing andbright top end. Mirth andmelancholy are as easily combinedin this instrument as they are in thebest music Mozart wrote, in anyscoring. That sentiment is to the fore in

the concerto’s final movement, inwhich a cheerful disposition issomehow lined with sadness.Before that, Mozart’s Adagio iscast in the famously bright,celebratory key of D major yetremains deeply pensive. Theopening Allegro reveals Mozart’slove for the instrument and hisunderstanding of it in full,spanning its whole range andmoving from gracious lyricism toforthright acrobatics with no hintof awkwardness. ‘Such anabundance of beauty almost tiresthe soul’, wrote one reviewer afterthe first performance of the piece,in Prague, on 16 October 1791.But in truth, it’s likely Mozart’sconcerto will never tire.

Programme Notes

Wolfgang AmadeusMozart

Clarinet Concerto in A, K. 622 (1791)I AllegroII AdagioIII Rondo: Allegro


Boffin’s Corner Mozart and The Golden Snake

According to his diary, Mozart finished the Clarinet Concerto’s final movement after enjoying ‘someparticularly fine coffee and tobacco’ at his local pub, The Golden Snake, conveniently located adjacent to hislodgings in Vienna. Accordingly, Mozart was no stranger to the tavern and soon got to know its landlord,Joseph Deiner. His writings also refer to Primus, perhaps one of the waiters at the hostelry (though it wasJoseph himself who served the aforementioned coffee).

Deiner’s would have been a friendly face for Mozart in a city that might have looked like it was rapidlyturning its back on the composer. In the winter of 1790-91, Mozart and his wife Constanze weredesperately short of money. One evening Deiner passed the couple in their lodgings and, noticing themdancing, asked if Wolfgang was teaching Constanze some new steps. The composer replied that they weremoving, entwined, to keep warm; they had run out of fuel for the fire. Deiner dashed over to the Snake andbrought some wood to the Mozart’s, the composer promising to pay him at a later date. If Carlsberg didlandlords…

Deiner’s generosity couldn’t save Mozart, who died in those very lodgings a year later during the night of 5December, 1791. But the publican was among the first to hear of Mozart’s death. At 5am on the morning of6 December, Mozart’s maid Elise rung vigorously on the doorbell of The Golden Snake, summoning Deinerto help dress the dead composer for the undertakers.

© Andrew Mellor

31



Why does the Orchestra of the Age of Enlightenmentcommission new pieces?

Matthew Truscott, director and OAE Leader

The idea of a period instrument group commissioning new pieces, like MichaelGordon's Observations on Air, is for some rather counter-intuitive. For the OAE though,the importance of being involved with contemporary music has over the years becomeobvious and vital. The orchestra’s chief artistic mission is to make old music new, to usecontext and investigation to render music with as much vitality, clarity andunderstanding as possible. Experiencing the birth of a new piece of music, apart frombeing a privilege in itself, is key to this mission. We learn much through the process andare enriched by the engagement with living composers. Inevitable and fascinatingdiscussions ensue regarding the compositional process, notation, attitudes to urtext, theimportance of practical solutions, the role of the performer and above all, context.

We are sadly no longer in the position of our forbears for whom contemporary classicalmusic was the most relevant and popular. Indeed, to be worthy of an outing, old pieceshad to be updated; witness Mozart’s version of theMessiah or Mendelssohn’s of theMatthew Passion. We do have the opportunity though, through playing new music, to bepart of a creative process for which the context is undeniably the here and now; a peculiarthrill for a period orchestra, a glimpse of true authenticity!

Right up until the 20th century the complete musician would have been a composer/performer, engaged with all aspects of the creative process. We are grateful on thisoccasion to Michael Gordon for his detailed consultation and engagement withindividual players of the OAE in the effort to produce a piece which not only fits thesonorities and peculiarities of our particular set of instruments but of which we can takefull possession, and make our own.

32


33

BiographyMatthew Truscottdirector

Matthew Truscott is a versatile violinist who shares histime between period instrument and ‘modern’performance, appearing with some of the finestmusicians in both fields. One of the leaders of theOrchestra of the Age of Enlightenment since 2007, hehas recently been appointed concertmaster of theMahler Chamber Orchestra, dual roles which herelishes equally.In demand as a guest leader, engagements in this

capacity have included projects with The EnglishConcert, Le Concert d’Astrée,The King’s Consort,Arcangelo, Budapest Festival Orchestra, EnglishNational Opera, Dutch National Opera and theNetherlands Chamber Orchestra.He is also leader ofSt James’ Baroque, Classical Opera and theMagdalena Consort.A keen chamber musician, recent recordings have

included a set of Purcell Trio Sonatas with RetrospectTrio, a disc of Bach chamber music with TrevorPinnock, Emmanuel Pahud and Jonathan Manson,and one of Haydn Piano Trios with Richard Lesterand Simon Crawford-Phillips.Matthew teaches baroque violin at the Royal

Academy of Music in London.



34

BiographyPeter Whelanbassoon

Irish-born Peter Whelan is one of Europe’s mostversatile musicians, with a diverse repertoire spanningover 400 years. He is in constant demand as abassoonist, director, chamber musician and teacher.Equally at home on historical and modern

instruments, Peter holds the position of principalbassoon in both the Scottish Chamber Orchestra andthe Mahler Chamber Orchestra. He has been describedas a ‘phenomenon on the baroque bassoon’ (CrescendoMagazine, Germany), whose performances feature‘jaw-dropping dexterous virtuosity’ (Gramophone).Peter is the founder and artistic director of

Ensemble Marsyas. Directing from the harpsichord,Peter has led Ensemble Marsyas in performances at theWigmore Hall and on the upcoming LINN release ofHandel’s Apollo and Daphne.As director, Peter has a particular passion for

exploring and championing neglected and forgottenmusic of the baroque era. Recent projects funded byThe Arts Council (Ireland) and Creative Scotlandinvolved recreating from the manuscripts and staging inlive performance choral and symphonic music fromeighteenth-century Dublin and Edinburgh.As a concerto soloist, Peter has performed in many

of the world’s most prestigious venues, including theMusikverein (Vienna), the Lincoln Centre (NY) andthe Wigmore Hall (London- broadcast live on BBCradio).As a chamber musician, Peter has collaborated with

the Belcea Quartet, Francois Leleux, Robert Levin,Kris Bezuidenhout, Anthony Marwood and MonicaHuggett, and he appears with Tori Amos in her albumNight of Hunters (Deutsche Grammophon, 2011). Peter has an extensive discography, including the

Weber bassoon concerto (LINN, 2015) with theScottish ChamberOrchestra, and the Mozart Concertoand Haydn Sinfonia Concertante (Hyperion, 2015)with Arcangelo. With Ensemble Marsyas, Peter’srecording of the Sonatas of Zelenka (LINN, 2012) anda second disc of the music of Fasch (LINN, 2014) wereboth awarded a Pizzicato-Supersonic Award and werehighlighted as BBC Music Magazine’s ‘Editor’sChoice’.Peter is committed to the development of the next

generation of performing musicians, and is professor atthe Guildhall School of Music and Drama, at the RoyalNorthern College of Music and at the Royal ScottishConservatoire.


35

BiographyAntony Payclarinet

Antony Pay was born in London, studied at the RoyalAcademy of Music and read Mathematics atCambridge University. He has been PrincipalClarinet of the Royal Philharmonic Orchestra, theLondon Sinfonietta (of which he was a foundermember) and the Academy of St. Martin-in-the-Fields, and a member of several chamber ensembles,including the Nash Ensemble, the Tuckwell WindQuintet, the Academy of St. Martin-in-the-FieldsChamber Ensemble, and Hausmusik.Since 1984 he has expanded his solo career,

recording the Spohr and Mozart Concertos for Deccaand the Weber and Crusell Concertos for VirginClassics. He has conducted the Academy of St.Martin-in-the-Fields in Germany, Austria andHolland, the London Sinfonietta throughout Europe,and other orchestras in Scandinavia, Italy and theUnited States.He currently plays in the Academy of Ancient

Music and the Orchestra of the Age ofEnlightenment.

photo: Eric Richmond



36

Three decades ago, a group of inquisitive London musicians took a long hard look at thatcurious institution we call the Orchestra, and decided to start again from scratch. Theybegan by throwing out the rulebook. Put a single conductor in charge? No way. Specialisein repertoire of a particular era? Too restricting. Perfect a work and then move on? Toolazy. 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 Shift performances 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. John Butt, theintellectual powerhouse, pushes for well-researched period performance excellence. All five share the title Principal 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, 2014

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

Orchestra of the Age of Enlightenment

Principal ArtistsJohn ButtSir Mark ElderIván FischerVladimir JurowskiSir Simon Rattle

Emeritus ConductorsSir Roger NorringtonWilliam Christie


Chief ExecutiveCrispin Woodhead

Projects ManagerLaura Sheldon

Projects OfficerSarah Irving

Orchestra ManagerPhilippa Brownsword

LibrarianColin Kitching

Director of Financeand OperationsIvan Rockey

Finance OfficerDaniel da Silva

Education DirectorCherry Forbes

Education OfficerLouise Malijenovsky

Director of PressKaty Bell

Director of Marketingand AudienceDevelopmentJohn Holmes

Digital ContentOfficerZen Grisdale

Marketing andPress OfficerCharles Lewis

Development DirectorEmily Stubbs

Head of IndividualGivingAlex Madgwick

Development OfficerJo Harvey

Development Manager Catherine Kinsler

OAE TraineeAlex Crick

Development TraineeDanielle Robson

Board of DirectorsSir Martin Smith(Chairman)Cecelia Bruggemeyer(Vice-Chair)Lisa BeznosiukLuise BuchbergerRobert CoryNigel JonesRoger MontgomeryOlivia Roberts Susannah SimonsMatthew TruscottMark WilliamsCrispin Woodhead

OAE TrustSir Martin Smith(Chair)Edward Bonham CarterRobert CoryDavid MarksJulian MashImogen OverliRupert Sebag-MontefioreDiane Segalen

LeadersKati DebretzeniMargaret FaultlessMatthew Truscott

Players’ ArtisticCommitteeCecelia BruggemeyerLisa BeznosiukLuise BuchbergerRoger MontgomeryMatthew Truscott

The OAE teamOrchestra of the Age of Enlightenment

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

orchestraoftheageofenlightenment

theoae

Registered Charity No. 295329Registered Company No. 2040312

37

Programme EditorCharles Lewis

Design Harrison

Artwork Heather Kenmure

Season Photography Eric Richmond

Printed by Cantate


Glossary

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

AndanteSlower than allegro, andante tempo is oftendescribed as ‘at a walking pace,’ between 76- 108 beats per minute.

CodaFrom the Italian word meaning ‘tail’, theCoda is a passage which brings amovement, or piece, to a conclusionthrough prolongation of musical material.Originally consisting of just simple chords,the coda gradually developed into anelaborate and independent form.

DynamicIn music, dynamics normally refers tothe volume of a sound or note, but can alsorefer to every aspect of the execution of agiven piece, either stylistic (staccato, legatoetc.) or functional (velocity).

KeyA common use is to speak of music as beingin a specific key, such as in the key of C or inthe key of F-sharp. Sometimes the terms‘major’ or ‘minor’ are appended, as in the keyof A minor or in the key of B-flat major.Although the concept of musical key can bea complicated subject when examinedclosely, broadly speaking the phrase in keyof C means that C is the music’s harmoniccenter or tonic.

Manuscripts are handwritten sources ofmusic. Generally speaking, they can bewritten on paper or parchment. If themanuscript contains the composer’shandwriting it is called an autograph.Music manuscripts can contain musicalnotation as well as texts and images. Thereexists a wide variety of types from sketchesand fragments, to compositional scores andpresentation copies of musical work.

MovementA separate section of a larger composition.

OvertureAn instrumental composition plannedespecially as an introduction to an extendedwork, such as an opera or oratorio. Theearliest Italian opera overtures were simplypieces of orchestral music and were called‘sinfonie’ , later the overture begun toforeshadow the themes and melodic strandsof the subsequent larger work and in the19th and 20th Centuries the overturebecame a potpourri of the work’sproceeding tunes, played as a teaser.

PizzicatoFrom the Italian word meaning to pluck.Pizzicato is a style of playing / instructionsdirecting performers to play certain notes byplucking rather than bowing thestrings/keys. This produces a very differentsound, short, pronounced and rapid ratherthan the sustained sound produced bybowing.

ScherzoFrom the Italian word meaning joke. AScherzo is a name given to a piece of musicor a movement from a larger work such as asymphony. The scherzo developed from theminuet, and gradually came to replace it asthe third (sometimes second) movement insymphonies, sonatas and other similar worksIt denotes various types of composition,

primarily one that is quick, lively and dancelike. Although not necessarily light heartedin tone, it usually presents surprises in therhythmic or melodic material.

Sonata FormSonata form refers to the standard layout ofan entire work, or more specifically to thestandardised form of the first movement ofa work. The basic model consists of anexposition, where the main thematicmaterial is introduced; this then goes on tobe explored harmonically and texturally inthe development. Following on from this isthe recapitulation, in which the thematicmaterial returns in the tonic, or home, keybefore the piece or movement ends with acoda.

38


Glossary

TonalityA system of music in which specifichierarchical pitch relationships are based ona key “center” or tonic. Today the term ismost often used to refer to Major-Minortonality (also called diatonic tonality,common practice tonality, or functionaltonality), the system of musical organizationof the common practice period, and ofWestern-influenced popular musicthroughout much of the world today.

39


40

OAE TOTS0-5 year olds –Camden & Brent Early YearsOur Early Years programme has seen a hugeexpansion in the last year with six new schools inBrent being added to our existing Camden nurseryprogramme. Children and staff have explored theTudor era through music and stories about Kings &Queens. In April over 800 under 5s will join us for aseries of concerts in King’s Place and Brent to meetstring, wind and brass players from the OAE.

Why not come and join us for our next OAE TOTSconcert? Classical TOTS Royal Festival Hall –Sunday 1 May 10.30am and 12.00pmWe will be exploring the music of Mozart and if

you’d like to be one of the few people to sing on theRoyal Festival Hall stage this might just be yourchance. We’d love to see you there!

OAE Education - Music for EveryoneAs we move into Spring we continue to offer a rangeof projects for the youngest of music lovers, schoolpupils, special needs students and our OAEExperience students.

First of all, a thank youWe would like to thank everyone who has beeninvolved in the Watercycle project for the past twoyears and everyone who has helped in raisingawareness and money for WaterAid. Over 2000 children performed with us the

Watercycle song on Monday 21st March at the RoyalAlbert Hall as part of the 10th Anniversary CamdenMusic Festival. What a fantastic performance to markthe end of our two year Watercycle project. The soundwas simply breathtaking!


41

OAE SCHOOLS7 -11 year oldsKing Arthur’s Quest will be our next KS2 adventurefor pupils in King’s Lynn and London. Hazel Gould iswriting a new adventure that will include two singersand the OAE and will involve over 3000 pupilssinging and playing with us in concerts at King’s Placeand the Corn Exchange in King’s Lynn.

String ClubTwenty violinists, cellists and bassists join us for 10lessons per term and also for project based after schoolactivity. This term we will be working on acomposition project with composer Anthony Baileywhich will culminate in a performance in May.

11-18 year oldsMusic & Science – Sleeping SenseThis stimulating project is taking shape withsecondary students starting to compose pieces forOAE musicians inspired by Bach’s GoldbergVariations. Primary pupils are busy collecting dataabout their sleep patterns and activity levels and alsocomposing pieces reflecting different patterns insleep. We are looking forward to the culmination ofthis work which will be showcased at the SheldonianTheatre in Oxford on Thursday 9 June.

OAE SPECIAL NEEDSMaking our BandProjects in Plymouth, Merton and Wandsworth areflourishing with students composing and performingwith OAE players. Inspired by music, instrumentsand players of the OAE, these projects provide aplatform where everyone can achieve their potentialoften with humbling results. Our new partnershipwith the Princess Alice Hospice in Esher has alsostarted with music sessions for staff in their well-being week. A programme of events including roomvisits, informal concerts and family events are beingplanned over the next few months.

OAE NURTURING TALENT18+OAE Experience in Music & ScienceOAE Experience players will be joining our SleepingSense team and will work with animateur MarkWithers, scientists from Oxford University andOAE players. They will be composing materialinspired by Bach’s Goldberg Variations and will jointhe secondary students from Oxford for theculmination of the project. As part of the Experiencescheme we are delighted to offer students the chanceto participate in OAE Education projectsthroughout the year.

At the OAE we believe that Music is for Everyoneand through OAE Education we try to open as manydoors as possible.

With very best wishes from the Education team.


42

Extra Concert for 2016-17

Great news for fans of Haydn, and fans of cellos. Cellolegend Stephen Isserlis will be performing Haydn’sCello Concerto in C at the Royal Festival Hall onMonday 20 March, 2017, in a late addition to our2016-17 season. Tickets are on sale now.

Back to the Pub

Our rule-breaking late night series The Night Shift isback in pubs across London every month throughout2016. We reckon we’re the first UK orchestra tocommit to playing pubs on such a regular basis. Thefirst gig was at The George Tavern in Shadwell onTuesday 29 March. Despite the torrential rain, a largecrowd turned out to see an oboe-led set featuringmusic by Mozart, Haydn, Purcell and EnnioMorricone.

OAE News

On the RPS Shortlist

We’re really chuffed that our Watercycle project hasbeen shortlisted for an RPS Award in the Learning &Participation Category.

Part of the OAE Education programme, it involvedthree-day residencies in nine towns and cities aroundthe country, before a performance at the Royal AlbertHall in March 2016.

As well as training and workshops for teachers andmusicians, residencies included schools concerts,community concerts and performances in unusualplaces. We even played Vivaldi on a ferry!

We’ll find out if we’ve won at the RPS Music Awardsceremony on Tuesday 10 May. Then hear all about iton a special programme on BBC Radio 3 on Tuesday11 May at 7.30pm.

Introducing Alex Madgwick

We have a new Head of Individual Giving, AlexMadgwick. Alex joins us from the Royal College ofMusic and looks after our Patrons programme, amongmany other things. If you’d like to support theOrchestra, contact Alex at or call 020 7239 9380.


Tuesday 26th April 2016Old Queen’s Head,IslingtonThe Night Shift Monthly8.30pm

£10 adults/ £5 studentsTickets:www.oae.co.uk/thenightshift

Saturday 30th April 2016Insight Morning: Mahler & BrucknerLevel 5 Function Room, Royal Festival Hall10am

£12/ £6 concs/ £4 studentsTickets:www.southbankcentre.co.uk/oae

Sunday 1st May 2016Royal Festival HallClassical TOTS10.30am & 12pm

Tickets: £1 TOTS, £9 adults

Tuesday 31st May 2016CLF Art Café, PeckhamThe Night Shift Monthly8.30pm

£10 adults/ £5 studentsTickets:www.oae.co.uk/thenightshift

Tuesday 7th June 2016Royal Festival Hall, London30th Birthday Gala Concert: Sir Mark Elder conducts Der Freischutz

Weber Der Freischutz(semi-dramatised performance,sung in German with Englishnarration by David Pountney)7pm

£10 to £75Tickets:www.southbankcentre.co.uk/oae

43

2015–2016 Events

You can find more informationabout the OAE at:

Email: [email protected]

Website: oae.co.uk

orchestraoftheageofenlightenment

theoae


BEST OF EARLY MUSIC

Handel SolomonFriday 28 May 7.30pm

Stephen Layton conductorHolst SingersMusic for Awhile

Soloists: Alex Po�er, Anna Dennis, Sophie Junker, Gwilym Bowen, and Ma�hew Brook

Haydn The SeasonsThursday 16 June 7.30pm

Paul McCreesh conductorGabrieli Consort

Soloists: Carolyn Sampson, Jeremey Ovenden, Andrew Foster-Williams

Box Office 020 7222 1061 sjss.org.ukPatron HRH The Duchess of Cornwall

Tickets £45, £35, £25, £15


The OAE on camera

This summer, photographer Eric Richmond celebrates 21 years of working with the Orchestra in an exhibition at theRoyal Festival Hall.

‘When I was first commissioned by the OAE I never dreamed that it would turn into a marriage of such longduration. The length and breadth of the collaboration has lasted over twenty years now, and long may it continue!It has afforded me the opportunity to get to know many of the players, which as time passes allows for anintimacy and a trust that is very rare in photography, a profession that, like the proverbial shark, requires constantforward movement. Some of the musicians have been in front of the camera since the very first shoot back in1996, some have retired, and as these things go, there have been many newcomers to get to know. I’ve been able towatch and listen to this wonderful orchestra for a long time, and it never ceases to amaze me when all thesepeople that I photograph and have gotten to know on a personal basis, upon entering the concert hall, shed theirfriend status, and perform so magnificently and passionately as consummate performers.

‘For the longest time I’ve avoided looking at the work as part of a whole… each year has brought a newassignment, a new challenge, a new concept. The occasion of the OAE’s 30th anniversary made me realize, thatlooked at in its entirety, my work with them is a pictorial history that has both reflected their spirit and helpedshape their identity. I say this with pride, but also with humility…pride because it has also helped shaped my ownidentity as a photographer, and humility because I am constantly in awe of the art and intelligence thesemusicians bring to their craft…they are truly a group of inspirational people.’

Eric Richmond

Eric’s exhibition will run in the Royal Festival Hall, 4 to 8 June 2016.

45


46

OAE Thirty CircleThe OAE is particularly grateful to the following membersof the Thirty Circle who have so generously contributed tothe re-financing of the Orchestra through the OAE Trust

THIRTY CIRCLE PATRONSBob & Laura CorySir Martin Smith & Lady Smith OBE

THIRTY CIRCLE MEMBERSVictoria & Edward Bonham CarterNigel Jones & Françoise Valat JonesSelina & David MarksJulian & Camilla MashMark & Rosamund Williams

Our SupportersANN & PETER LAW OAE EXPERIENCE SCHEMEAnn & Peter Law

MAJOR SPONSOR

CORPORATE PARTNERSApax PartnersE.S.J.G. LimitedLindtLubbock Fine Chartered AccountantsMacfarlanesParabola LandSwan TurtonThe Lant Street Wine Company

SEASON PATRONSBob & Laura CoryAdrian FrostBruce HarrisNigel Jones & Françoise Valat JonesSelina & David MarksSir Martin Smith & Lady Smith OBEMark & Rosamund Williams

Support UsThe OAE continues to grow and thrive through the generosity of our supporters. We are very gratefulto our sponsors and patrons and hope you will consider joining them. We offer a close involvement inthe life of the Orchestra with many opportunities to meet players, attend rehearsals and evenaccompany us on tour.

PROJECT PATRONSJulian & Annette ArmstrongPhilip & Rosalyn Wilkinson

ARIA PATRONSDenys & Victoria FirthJohn & Martha GrahamJMS Advisory LimitedGary & Nina Moss Andrew NurnbergRupert Sebag-MontefioreEric Tomsett

CHAIR PATRONSMrs Nicola Armitage Education DirectorHugh & Michelle ArthurViolinVictoria & Edward Bonham CarterPrincipal TrumpetAnthony & Celia Edwards Principal OboeSir Vernon & Lady Ellis Co-Principal ViolaFranz & Regina Etz Principal Double BassJames Flynn QC Co-Principal Lute/TheorboPaul FormanCo-Principal CelloSir Timothy & Lady LloydCo-Principal KeyboardThe Mark Williams Foundation Co-Principal BassoonHaakon & Imogen OverliCo-Principal CelloJonathan Parker Charitable Trust Co-Principal Cello Professor Richard Portes CBE FBA Co-Principal BassoonOlivia Roberts Violin John & Rosemary Shannon Principal HornRoger & Pam Stubbs Sub-Principal ClarinetCrispin Woodhead & Christine Rice Principal Timpani

EDUCATION PATRONSJohn & Sue Edwards (Principal Education Patrons)Mrs Nicola ArmitagePatricia & Stephen CrewVenetia HoareRory and Louise LandmanProfessor Richard Portes CBE FBA

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


47

ASSOCIATE PATRONSMichael AllenFelix Appelbe & Lisa Bolgar Smith

Josh Bell & Adam PileMrs A BoettcherMarius & Anna CarboniChristopher & Lesley Cooke John & Jennifer CromptonDavid EmmersonStanley LowyMichael & Harriet MaunsellDavid Mildon in memory of Lesley Mildon

Tim & Jenny MorrisonNorth Street TrustAndrew & Cindy PeckMichael & Giustina RyanIvor Samuels & Gerry WakelinEmily Stubbs & Stephen McCrum

Shelley von StrunckelRev.d John Wates, OBE & Carol Wates

THE AMERICANFRIENDS OF THE OAE Jane AttiasWendy Brooks & Tim MedlandSteve and Joyce DavisJerome and Joan KarterAndrew Wilson

Our Supporters

GOLD FRIENDSNoël & Caroline AnnesleyMr & Mrs C Cochin de BillyGeoffrey CollensHugh CourtsSimon Edelsten Kitty SageMr J Westwood

SILVER FRIENDSHaylee & Michael BowsherMichael BrecknellChristopher CampbellMr & Mrs Michael CooperRay & Liz HarsantPatricia HerrmannPeter & Sally HilliarRupert & Alice KingWilliam NorrisMarsh Christian TrustRoger Mears & Joanie SpeersStephen & Roberta RosefieldSusannah SimonsHer Honour Suzanne StewartDavid Swanson

BRONZE FRIENDSKeith BartonDennis BaldryDan BurtTony Burt Michael A. Conlon Anthony & Jo Diamond Mrs S M EdgeMarianne EdwardsMrs Mary FyshMichael & Barbara GwinnellAuriel HillProfessor John IrvingProfessor Ingrid LuntNigel MackintoshHugh & Eleanor PagetAlan SainerRuth & David SamuelsGillian ThrelfallMr & Mrs Tony Timms Dr Trilby JohnsonDavid & Margaret WalkerMrs Joy WhitbyMr Paul WillansDavid & Vivienne WoolfTony & Jackie Yates-Watson

We are also very grateful to our anonymoussupporters and OAE Friends for their ongoinggenerosity and enthusiasm.

For more information on supporting the OAEplease contact Emily Stubbs, DevelopmentDirector [email protected] 020 7239 9381.

TRUSTS AND FOUNDATIONSAngus Allnatt Charitable FoundationApax FoundationArts Council England Catalyst FundArts Council England Small Capital GrantsArts Council England Strategic Touring FundAustin and Hope Pilkington TrustBrian Mitchell Charitable Settlement The Charles Peel Charitable TrustComninos Charitable TrustThe D’Oyly Carte Charitable TrustDunard FundEsmée Fairbairn Foundation Fenton Arts TrustFoyle Foundation The Golden Bottle Trust Goldsmiths’ Company CharityThe Helen Hamlyn TrustThe Hinrichsen FoundationIdlewild TrustJack Lane Charitable TrustJMCMRJ Sorrell FoundationJohn Lyon’s CharityLing TrustThe Liz and Terry Bramall FoundationLord and Lady Lurgan TrustThe Mark Williams FoundationMarsh Christian TrustNational Foundation for Youth MusicThe Nugee Foundation Orchestras LivePatrick Rowland FoundationSchroder Charity TrustRadcliffe TrustThe Rayne Foundation The RK Charitable TrustThe Thistle TrustValentine Charitable Trust


Lubbock Fine is proud of its ongoing association with the Orchestra of the Age of Enlightenment and wishes it every success in its 30th birthday season.

We have a dedicated creative and music team which provides specialist accounting and tax advice.

Member of Russell Bedford International

Paternoster House, 65 St Paul’s Churchyard,London EC4M 8AB

T. 020 7490 7766

www.lubbockfine.co.uk

Discover Excellence, a little taste of luxuryOur richly sophisticated, intense dark chocolate Lindt Master Chocolatier since 1845


HH Dance Ad Priority Filler B5.indd 1 11/03/2016 11:25

AvAilAble from AAM records Js BAcH St mAtthew pASSion (1727) Js BAcH orCheStrAl SUiteS Js BAcH St john pASSion (1724) BirtH of tHe syMpHony hAndel to hAydnFor more information visit aam.co.uk/recordings

*Plus booking fee: £3 online, £4 by telephone, no fee when tickets are booked in person

Lenten And pAssiontide cAntAtAs 24 march 2016 Milton Court, London

ViVALdi in dresden 13 April 2016 Milton Court, London

HAndeL’s Acis And GAlAteA 21 may 2016 Milton Court, London

tHe BAcH fAMiLy 18 june 2016 Barbican Hall, London

London season Spring/Summer 2016

Tickets £10-£35* (£3 for AAMplify members)Book at barbican.org.uk or call 020 7638 8891For more information visit aam.co.uk/concerts

15-11 BBC SO.indd 1 09/12/2015 17:05:56

Tickets Now Availablewww.westgreenhouseopera.co.uk

Tel: 01252 848676Thackhams Lane, Hartley Wintney, Hants RG27 8JB

We are on Facebook and Twitter

Fully professional new productions in intimate covered auditoria set in award winning gardens, just 40 miles from London

Green Theatre performances:‘La Traviata’ with Jessica Rose Cambio as Violetta July 23rd/24th

‘Cosí fan tutte’ directed by Victoria Newlyn July 30th/31stSir Thomas Allen in conversation and concert July 29th

Lakefield Pavilion performances'The Glory of the Garden' with Rebecca Bottone, Alan Titchmarsh and Richard Sisson July 27th

'La Colombe' in a new English version written and directed by Simon Butteriss July 28th/July 30thRodgers Revealed with Edward Seckerson, Anna Francolini and Jason Carr July 26th

Midday Music - concerts for all the family July 24th/July 31st

Fine dining by Mosimanns, Beautiful Raj Tents for picnicsCocktails from the Lakefield Bar

Ticket prices £25 - £125

DISCOVER West Green House OperaJuly 23rd - July 31st 2016

'West Green House is my favourite of all the country house opera venues'Michael White - Opera Magazine

If future seasons are at this level, then the other major country-house outfits – the Three Gs – had better look to their laurels.

Warwick Thomson July 2015

34442 wgh_Advert 167x239 SOP 16/03/2016 15:06 Page 1

30 yearsof breakingthe rules

12 April 2016Mahler: Resurrection

Rattle’s Bruckner

7 MAy 2016Winds of Change

22 aPRIL 2016

FREE PROGRAMME

oae.co.ukorchestraoftheageofenlightenmenttheoaeoae_photos

DESIGN & ART DIRECTION

harrison-agency.com

PHOTOGRAPHY

ericrichmond.net

MAJOR SPONSOR

oae programme april – may 2016

Documents