program notes - Academy of Ancient Music

Rise of the concerto
Alina Ibragimova director and violin
23 February
24 February
27 February
29 February
3 March
4 March
Dartington Great Hall, Totnes, UK
Assembly Rooms, Bath, UK
West Road Concert Hall, Cambridge, UK
Wigmore Hall, London, UK
Assembly Rooms, Ludlow, UK
The Apex, Bury St Edmunds, UK
It is a great pleasure to welcome you all to
tonight’s concert, and to welcome the brilliant
Alina Ibragimova for her debut tour with the
AAM. Needless to say, we’re delighted to be
working with her.
Tonight is a night of many firsts: Alina makes not
only her debut with the AAM but also her debut
as play-director of a period-instrument orchestra.
Turn to page 9 to read her personal insights into
the programme, period-performance and what
it’s like to play-direct.
It’s been an exciting start to the year at the
AAM. In January we announced a major new
Association at London’s Barbican Centre. Aside
from being a positive move in terms of securing
the future of the AAM in today’s climate, we’re
excited at the prospect of new collaborative
opportunities, and at the capacity for ever-more
ambitious programming, which will undoubtedly
enrich our concert-giving beyond London.
Do turn to pages 18 and 19 to read in greater
detail about these developments and other
news at the AAM, including a performance of
Handel’s Water Music on the River Thames as part
of Her Majesty The Queen’s Diamond Jubilee
celebrations.
For now, though, I wish you a wonderful evening.
Michael Garvey AAM Chief Executive
Listen again on BBC Radio 3
You can listen again to tonight’s programme
on Saturday 3 March at 10pm, on BBC Radio 3.
The broadcast — as well as the performances
in Ludlow and Bury St Edmunds — has been
chosen by the BBC to form part of ‘Music
Nation’: a UK-wide countdown event for the
London 2012 Festival, and the finale of the
Cultural Olympiad.
www.bbc.co.uk/radio3
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 1
Programme
HEINRICH IGNAZ FRANZ VON BIBER (1644–1704)
Passacaglia in G minor for violin from the Rosary Sonatas (c.1676)
JOHANN SEBASTIAN BACH (1685–1750)
Sonata in E major for violin and harpsichord BWV1016 (1725)
Adagio — Allegro — Adagio ma non tanto — Allegro
JOHANN SEBASTIAN BACH (1685–1750)
Concerto in A minor for violin BWV1041 (c.1730)
Allegro — Andante — Allegro assai
Interval of 20 minutes
Please check that your phone is switched off, especially if you used it during the interval
ANTONIO VIVALDI (1678–1741)
Concerto in D major for violin ‘L’inquietudine’ RV234 (c.1727)
Allegro molto — Larghetto — Allegro
ANTONIO VIVALDI (1678–1741)
Concerto in D minor for two violins and cello from L’estro armonico Op.3 No.11 RV565 (1711)
Allegro — Adagio e spiccato, Allegro — Largo e spiccato — Allegro
HEINRICH IGNAZ FRANZ VON BIBER (1644–1704)
Battalia (1673)
Sonata — Allegro ‘Die liederliche Gesellschaft von allerley Humor’ — Presto — ‘Der Mars’ — Presto — Aria — Die Schlacht — Adagio ‘Lamento der verwundten Musquetir’
JOHANN SEBASTIAN BACH (1685–1750)
Concerto in E major for violin BWV1042 (c.1730)
Allegro — Adagio— Allegro assai
Would patrons please ensure that mobile phones are switched off. Please stifle coughing
as much as possible and ensure that watch alarms and any other devices that may become
audible are switched off.
Tonight’s performance will end at approximately 9.25pm
2 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
Stephen Rose charts the rise of the concerto
The seventeenth century saw dramatic changes
in the role of instruments. Whereas in previous
centuries little instrumental music had been
written down, composers from 1600 onwards
increasingly experimented with the range of
techniques and colours possible on instruments.
Obbligato instrumental parts were introduced
in vocal music as a way to create a variety of
textures and colours. A repertory of instrumental
music (both for ensembles and for soloists)
developed, eventually ranging from solo violin
and solo keyboard music to concertos for
solo instrument and orchestra. Composers
explored the techniques idiomatic to particular
instruments — delicate ornaments on the
cornett, long cantabile melodies on the oboe,
or double-stopping and rapid figuration on the
violin.
musical offerings that evoked solemnity or
wonder at the religious ritual. And concertos
were used at German courts such as those at
Berlin or Cöthen, to amuse and entertain the
noble residents as well as the servants.
The increasing role of instruments in
seventeenth-century music was summarised by
the word ‘concerto’. Baroque writers explained
the etymology of the word in different ways:
some theorists derived the term from the Latin
concertare, meaning ‘to compete or struggle
together’; others pointed to the notion of a
harmonious agreement (concordare). In the
first half of the seventeenth century, the term
‘concerto’ usually referred to vocal music for solo
singers and obbligato instruments. It is used, for
instance, as the title for Claudio Monteverdi’s
Seventh Book of Madrigals (1619), which
contains a multiplicity of scorings for voices and
instruments.
Heinrich Ignaz Franz von Biber (1644–1704)
A central European pioneer of violin playing
was the Bohemian violinist Heinrich Biber. For
most of his life he worked at the Salzburg court,
composing a succession of string sonatas as
well as large-scale vocal works. Best known
among Biber’s output are his Rosary Sonatas
for solo violin. In the manuscript, each of these
fifteen sonatas is preceded by a small engraving
showing one of the mysteries of the Rosary.
Possibly the sonatas were performed as musical
meditations for the Salzburg Confraternity of
the Rosary, which used the same engraved
illustrations in its printed regulations.
By the end of the seventeenth century the term
‘concerto’ increasingly referred to music for
instrumental ensemble which featured a contrast
between a tutti ensemble and soloist (or group
of soloists). Such concertos for instrumental
ensembles became the staple fare of musical life
in the early decades of the eighteenth century.
Concertos were played in theatres, as preludes to
(or interludes in) the dramatic action. They were
performed in Italian churches, as extravagant
Tonight’s concert showcases three of the
composers who around 1700 experimented
with the different ways in which the violin
might interact with other instruments. Starting
with Biber’s Passacaglia where the violinist
accompanies herself, we move to Bach’s
experiments in the varied ways a harpsichordist
could accompany the violin, before hearing
concertos by Vivaldi and Bach. All these pieces
show the musical diversity and heterogeneity
that was essential to the baroque conception of
the concerto.
Biber’s Mystery Sonatas conclude with his
Passacaglia, one of the first surviving pieces
for unaccompanied violin. It too is preceded by
an illustration, this time showing the Guardian
Angel holding the hand of a child (see page 6).
The piece is built over a constantly repeating
bass theme of four descending notes, whose
constant presence may symbolise the unending
watchfulness of the Guardian Angel. Biber
masterfully controls the ebb and flow of musical
tension, repeatedly building the texture to imply
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 3
Biber: the musical revolutionary
In 1789, Charles Burney, the English music historian and composer, wrote
that “of all the violin players of the last century Biber seems to have been
the best, and his solos are the most difficult and most fanciful of any I have
seen of the period.” But as well as his reputation as the violin virtuoso of
his time, Biber pushed boundaries in his writing for instruments — for the
violin in particular.
The work that opens the concert tonight — his famous Passacaglia for
solo violin — is not only thought to be the first work for solo violin, but
ends the Mystery Sonatas, which remain the most extensive example of
scordatura, whereby the strings are tuned differently from their usual
G-D-A-E tuning. The technique opens up a whole new spectrum of
harmonic possibilities, and requires the performer to embody the idea of mystery; the scordatura score
bewilders any visual sense of the music for the player, so that the musical meaning becomes entirely
dependent on the sensory act of performing it. Indeed this reflects a belief in the counter-reformation
that the spiritual is evoked by sensory engagement; the constant watchfulness of the Guardian Angel
represented by and embodied in the ostinato of the final Passacaglia is a case in point. (An ostinato is a
musical pattern which is repeated perpetually as other things change around it.)
Biber’s Battalia spells out his experimental verve unmistakably. It is unique not only as a pioneering
work of ‘programme’ music (music which attempts to represent non-musical ideas without using
words — here, a battle scene), but it also uses a vivid array of extended techniques we tend to
associate with the 20th century avant-garde. Biber asks string players to pluck the strings with both left
and right hands and to play ‘col legno’ (literally ‘with the wood’) giving a dry, staccato effect, and asks
the cellists and double bass player to use ‘snap’ pizzicato, imitating battle cannons..
But perhaps the most aurally striking of these techniques is the tonal cacophony we hear in the
second movement of Battalia: the so-called ‘quodlibet’ imitates “the dissolute horde of musketeers”
by simultaneously sounding eight popular songs in several keys. Biber gives the instruction, “here it is
dissonant everywhere, for thus are the drunks accustomed to bellow with different songs”.
multiple lines from the single instrument, before
reducing the texture to the unadorned bass.
Throughout his output, Biber shows a love
of pictorial effects that was characteristic of
seventeenth-century German violinists. As
Johann Joachim Quantz commented in 1752,
in former times German instrumentalists “were
more intent upon recreating the songs of birds,
for example those of the cuckoo, the nightingale,
the hen, the quail etc., than upon imitating the
human voice”. Indeed, one of Biber’s violin pieces,
the Sonata violino solo representativa, incorporates
4 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
bird-calls and the sounds of farmyard animals.
Tonight we hear his Battalia, a light-hearted
depiction of a military confrontation. Such a
topic might seem like an obvious excuse to use
trumpets, yet Biber confines himself to a string
orchestra, getting the string players to imitate the
repeated notes of the military signals. Another
section of the piece depicts the song of the
soldiers — a collage of different melodies, all out
of tune — and the piece ends with a tongue-incheek lament, as wounded musketeers sink to
the ground in agony.
Antonio Vivaldi (1678–1741)
Around 1700 Italian innovations in violin
playing were spearheaded by Antonio Vivaldi.
Best known today are Vivaldi’s concertos for
solo violin, where he combined his showy
and passionate technique as a player with the
conventions of dramatic writing used at the
Venetian opera. He also pioneered the use of the
ritornello (a repeating musical section) to hold
together these otherwise often quirky or quixotic
pieces. Many of Vivaldi’s concertos were written
for the Pietà delle Ospedale, the girls’ orphanage
in Venice where he worked as a violin teacher.
At the orphanage chapel the girls performed
concerts from behind a metal grille, in order to
protect their modesty, and it is easy to see how
Vivaldi’s dramatic style of composition evolved
partly to engage and enrapture an audience
who could not see the players.
Vivaldi’s showy and dramatic style of
composition is exemplified by his Concerto
in D major for violin ‘L’inquietudine’
RV234. As the title implies, this piece seeks to
portray a turbulent emotional state through
its tumultuous figuration and unpredictable
harmonies. The first movement consists of
continuous rollicking figuration for the soloist,
playing sometimes alone and sometimes in
unison with the other strings. Vivaldi maintains
the same chord for several bars at a time,
building tension in listeners who may expect
a faster harmonic rhythm. The central Largo
offers a brief moment of stately splendour
via its dotted rhythms and upbeat flourishes
reminiscent of the French overture. The finale is
a series of harmonic shocks, with the opening
figuration in D major followed suddenly by a
dissonant chord on E major, and later diversions
to other unexpected and foreign keys.
A different side to Vivaldi is heard in his
Concerto in D minor for two violins and
cello from L’estro armonico RV565. This piece
uses the same scoring as Arcangelo Corelli’s
concerti grossi, with a concertino group of two
violins and cello heard in relief against the full
string orchestra. Compared to Corelli, Vivaldi
writes much more virtuosic lines for the soloists,
notably in the driving semiquaver figuration.
Unusually for Vivaldi, the concerto is in more
than three movements. It opens with just the
solo instruments playing non-stop figuration
that iterates the home key of D minor. Following
a series of slow and dramatic chords, the whole
orchestra plays a fast-paced fugue; this has some
of the incisiveness of Corelli’s counterpoint, but
also is driven forward by Vivaldi’s inimitable
figuration. The penultimate movement (Largo e
spiccato) is an elegant siciliano, with the two solo
violins soaring in duet over the accompaniment
of the orchestral upper strings. The two solo
violins again dominate the finale, sometimes
playing in parallel thirds, sometimes clashing
against each other in angry dissonance.
Johann Sebastian Bach (1685–1750)
Johann Sebastian Bach’s style as a concerto
composer was heavily influenced by the
example of Antonio Vivaldi. Bach came from a
central German family of organists and town
musicians that had had relatively little exposure
to the dramatic styles of Italian string music.
But in 1713, during Bach’s time as organist
at the court of Weimar, one of his patrons
brought copies of Vivaldi’s concertos back from
Amsterdam. Bach eagerly transcribed these
pieces (including the Concerto in D minor for
two violins and cello) for performance on the
harpsichord or organ. In his earlier compositions
Bach had delighted in elaborate fingerwork on
the keyboard, so it is easy to see why he was
attracted to the exuberant figuration of Vivaldi’s
music. More importantly, Vivaldi’s concertos
showed him how to pace his harmonies and
to create a clear structure through use of a
ritornello. No longer would Bach write pieces
that rambled through page upon page of
figuration. Instead, as Bach’s first biographer
Johann Nikolaus Forkel wrote, Vivaldi’s music
taught Bach “how to think musically”, showing
him how to organise and connect his ideas.
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 5
A page from Biber’s carefully-prepared and beautifully-preserved presentation manuscript of the Rosary Sonatas, dating c.1674. The
Passacaglia forms the sixteenth and final movement. Each of the first fifteen movements is headed by a small engraving of the mysteries
of the rosary, with the Guardian Angel heading the sixteenth.
6 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
Throughout his output Bach pushed the
boundaries of what was considered possible
on instruments. He experimented with newlyinvented instruments, whether woodwind such
as the oboe d’amore and oboe da caccia, or
keyboard instruments such as the fortepiano and
a hybrid lute-harpsichord (Lautenwerk). Equally
ground-breaking is his solo violin music. Bach’s
unaccompanied Violin Sonatas and Partitas take
the tradition of unaccompanied violin music
already established by Biber to new heights,
with movements of unprecedented length
and complexity. Bach also wrote accompanied
sonatas for violin; here the keyboard becomes
an equal partner to the stringed soloist, with the
keyboardist’s right hand in melodic dialogue
with the violin.
Bach’s Sonata in E major for violin and
harpsichord BWV1016 shows the many ways
in which a violinist can interact with his or her
chamber partner at the keyboard. The piece is
in four movements, slow—fast—slow—fast, in
the manner of the Italian sonata da chiesa. In
the opening Adagio the violin takes the lead,
with its florid melody soaring over a chordal
accompaniment on the harpsichord. Yet in the
ensuing Allegro the instruments are made equal:
this movement is a fugue in three parts, with the
theme heard first in the keyboardist’s right hand,
then in the violin, then in the keyboardist’s left
hand. The third movement is built on a repeating
bass theme (the same technique encountered
in Biber’s Passacaglia, but here with a more
elaborate theme); initially the harpsichordist
accompanies the unfurling melody in the violin,
but later the relationship is reversed, with the
same melody in the keyboardist’s right hand
while the violinist accompanies with doublestopping. The finale is in an uncomplicated trio
texture, with a moto perpetuum theme bubbling
away in the violin and in both hands of the
keyboard part.
around 1730 at the Collegium Musicum that
he directed. Although these pieces come from
relatively late in his career, they still show the
strong influence of Vivaldi. In the Concerto in A
minor for violin BWV1041, the first movement
draws on the rhythmic energy of Vivaldi’s
music, giving it a characteristically Bachian twist
by ensuring constant rhythmic momentum
wherever possible. The upbeat pattern of the
initial theme is elaborated in the solo violin
part, creating a sense of similarity between all
the themes of the movement. Bach frequently
pushes the music to a climax, marked by
chromatic harmonies and the use of instruments
at the extremes of their register. In the Andante
the soloist spins a lyrical melody, while the
continuo interjects regularly with a rhythmic
figure in various keys. All the interest is in the
outer parts, and the other instruments merely
fill out the harmony. The finale is a fugal gigue;
later the solo part becomes flashier, culminating
in figuration over an expectant pedal before
a pause; and then the fugal opening returns,
adorned by solo bariolage.
Bach’s Concerto in E major for violin BWV1042
opens with a ritornello that can be easily
recognised whenever it occurs, thanks to its
forthright triadic shape. In the subsequent
semiquavers there is also a Vivaldian drive to
the dissonant chord on the main beat. Yet the
first movement is also influenced by vocal
music, being structured in a da capo form
like an operatic aria. Vocal analogies are again
relevant for the Adagio, where the solo melody
is decorated with tuneful sweetness. The finale,
however, is in the realm of instrumental music
pure and simple, being a triple-time dance built
from phrases of elegant symmetry.
Stephen Rose © 2012
Dr Stephen Rose is Lecturer in Music at
Royal Holloway, University of London
Bach probably wrote his violin concertos during
his time in Leipzig, possibly for performance
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 7
Alina Ibragimova director & violin
© Sussie Ahlburg
conductors including Sir Charles Mackerras,
Sir John Eliot Gardiner, Sir Mark Elder, Richard
Hickox, Carlo Rizzi, Yannick Nézet-Séguin and
Gianandrea Noseda.
In recital and chamber music Alina has appeared
at venues including London’s Wigmore Hall
(where she and her regular recital partner
Cédric Tiberghien have recently performed
the complete Beethoven Violin Sonatas),
Amsterdam’s Concertgebouw, Salzburg’s
Mozarteum, Vienna’s Musikverein, and Brussel’s
Palais des Beaux Arts.
The Times has written that Alina Ibragimova
performs with “a mixture of total abandonment
and total control that is in no way contradictory”
and that she is “destined to be a force in the
classical music firmament for decades to come”.
Born in Russia in 1985, Alina is a former pupil
of the Moscow Gnesin and Yehudi Menuhin
schools, and of the Royal College of Music in
London.
Performing music from the baroque to new
commissions on both modern and period
instruments, Alina Ibragimova has appeared
with, among others, the London Symphony
Orchestra, BBC Symphony Orchestra,
Konzerthausorchester Berlin, Stuttgart Radio
Symphony and the Philharmonia, with
Alina records for Hyperion Records. The New
York Times said of her recording of JS Bach’s
Sonatas and Partitas that her “combination of
intelligence and intuition, vulnerability and
steel will surely prove revelatory”; and she has
recorded concertos by Hartmann and Roslavets,
and sonatas by Szymanowski and Beethoven
with Cédric Tiberghien.
Alina has been a member of the BBC New
Generation Artists Scheme, a recipient of a
Borletti-Buitoni Trust award, and winner of a
Classical BRIT Award. She performs on a 1738
Pietro Guarneri of Venice violin kindly provided
by Georg von Opel. In May 2011 Alina won the
Young Artist Award at the RPS Music Awards.
These performances with the AAM represent
Alina’s debut with the orchestra, and are also
the first time that she has directed a periodinstrument orchestra.
Alina’s recording of JS Bach’s Sonatas & Partitas
is an absolutely compelling set of performances, the kind that
“ This
have you on the edge of your seat wondering at the freshness of it
all and what she might do next. Every phrase in these familiar works
seems newly minted, every bar totally alive.
”
Alina will be signing copies of the CD after the concerts in London,
THE GUARDIAN, 2009
Cambridge, Ludlow and Bury St Edmunds. Please ask any member of staff at
these venues for details.
8 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
In conversation with Alina Ibragimova
Here are a few of the best bits from a conversation
we had with Alina a few months ago. Listen to the
full interview at www.aam.co.uk/resources.
Tell us a little about the programme…
“I think with any music it’s important to find a
way to programme it that brings out its special
elements. The pieces in this programme all
have special characters that are contrasting and
that help each other come out. They’re not just
the birth of something, it’s incredible music in
itself — it fills all the spectrum of colours and
emotions; everything that music is about, really.
“I’m going to start with the Biber Passacaglia,
which is a piece for solo violin — I like the
idea of starting with just one person and then
expanding into a larger group.
“For me, Vivaldi is one of the most exciting
composers that ever lived. I never get bored of
his music. I’ve heard people complain that the
Four Seasons are played too often, but for me
it always stays fresh… It has so much character
and humour. There’s a lot of showing off,
emotional moments, beautiful lyrical melodies…
It’s really incredible music.”
What’s it like to tackle such well-known repertoire —
do you feel pressure to do something new?
“I always try to approach music from a clean
score, so to speak; I try not to listen to recordings,
just because once you hear something —
whether you love it or you hate it — it’s going to
be there in the back of your mind. I like to think
that I can start from nothing. I don’t really believe
in doing something to try and make it different
or trying to make it ‘new again’. I think music
speaks for itself.“
Why play on period instruments?
“For me, it’s a beautiful sound-world — it’s
something completely different from modern
instruments. It’s to do with resonance, it’s to do
with articulation, and the freedom that you can
find within it. It’s a completely different world of
music-making.”
What’s it like directing from the violin, as opposed to
being a soloist?
“I guess I’ll have to show things more — I’ll have
to be a little more active. But in the end, it’s the
same as playing in a string quartet — it’s all
chamber music. It’s all about communication and
reacting to each other and being spontaneous.“
me period instruments make a
“ Forbeautiful
sound-world — it’s to do with
resonance, articulation, and the freedom
you can find within it.
”
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 9
Academy of Ancient Music: our ethos
The history of the AAM is the history of a
revolution. When Christopher Hogwood
founded the orchestra almost forty years ago, he
rejected the decades-old convention of playing
old music in a modern style. Hogwood and the
AAM were inspired by original performances
and, along with musicians across Europe, were
beginning to discover the sound worlds which
Bach, Handel and Haydn would have known.
These bold initial steps would lead to a radical
transformation in musical performance, allowing
baroque and classical masterworks to be heard
anew from that day to this.
So what’s different about the AAM? Partly it’s
the instruments, which are originals (or faithful
copies of them). The stringed instruments
have strings made of animal gut, not steel;
the trumpets have no valves; the violins and
violas don’t have chin-rests, and the cellists grip
their instruments between their legs rather
than resting them on the floor. The result
is a sound which is bright, immediate and
striking. Additionally, the size of the orchestra
is often smaller, meaning that every instrument
shines through and the original balance of
sound is restored; and where possible we
play from first edition scores, stripping away
the later additions and annotations of editors
and getting back to composers’ initial notes,
markings and ideas.
There’s also a difference in the way we approach
our music making. Composers prized the
creativity of musicians, expecting them to make
the music come alive and to communicate its
thrill to the audience — an ethos we place at
the heart of all that we do. Very often we don’t
have a conductor, but are directed by one of
the musicians, making for spontaneous, sparky
and engaged performances. It’s not just about
researching the past; it’s about being creative in
the ­present.
“a band that, for nearly 40 years, has
consistently established a benchmark
of veracity and authority in getting
composers’ music played as it was
intended to be played: free of accretions,
stripped of varnish, and as straight and
true as an arrow”
G L A S G O W H E R A L D, 2010
In everything we do, we aim to recapture the
intimacy, passion and vitality of music when it
was first composed. The result? Performances
which are full of energy and vibrancy, the
superb artistry and musical imagination of our
players combined with a deep understanding
of the music’s original context.
NEW IMAGE HERE
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10 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
Academy of Ancient Music: our past, present and future
The AAM was founded in 1973 by Christopher
Hogwood, under whose leadership the
orchestra developed the global reputation for
inspirational music making which continues
today. In its first three decades the AAM
performed live to music lovers on every
continent except Antarctica, and millions more
heard the orchestra through its astonishing
catalogue of over 300 CDs: Brit- and GrammyAward-winning recordings of Handel operas,
pioneering accounts of the Beethoven, Mozart
and Haydn symphonies, and revelatory discs
which championed neglected c­ omposers.
This artistic excellence was fostered by a
stunning roster of guest artists: singers Dame
Emma Kirkby, Dame Joan Sutherland and Cecilia
Bartoli and pianist Robert Levin were among
those performing regularly with the AAM. A
range of collaborations continue to inspire the
group with new ideas and fresh approaches.
The current relationship with the Choir of King’s
College, Cambridge recently produced the
world’s first live classical cinecast, with Handel’s
Messiah streamed live into hundreds of cinemas
across the globe; and ongoing work with the
likes of soprano Elizabeth Watts, tenor Andrew
Kennedy and cellist Steven Isserlis lies at the
heart of the AAM’s present-day artistic success.
In 2006 Richard Egarr succeeded Hogwood as
Music Director, and the orchestra continues
its tradition of enthralling audiences old and
new. Already Egarr has directed the first-ever
performances in China of Purcell’s Dido and
Aeneas and JS Bach’s complete Brandenburg
Concertos, and has led tours throughout
Europe and to Australia, America and the Far
East. Recent recordings, including a complete
cycle of Handel’s instrumental music Opp.1-7,
have won MIDEM, Edison and Gramophone
Awards. In 2007 Egarr founded the Choir of the
AAM, which a year later was awarded the title of
‘Choir of the Year’ at the Beijing Classical ­Elites.
The future is just as bright. Performances in
2011–12 feature music from Monteverdi to
Beethoven, with outstanding artists including
Alina Ibragimova and Anna Prohaska making
their AAM debuts. From September 2012, the
AAM will become Associate Ensemble at the
Barbican Centre in London.
Meanwhile the AAMplify new generation scheme
continues to flourish: hundreds of young music
lovers will be welcomed to AAM concerts this
season, and the musicians of the future will
rehearse and perform side by side with the
orchestra in Cambridge and, for the first time, in
London.
Visit www.aam.co.uk to find out more, or pick
up a season brochure tonight.
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 11
Academy of Ancient Music
Dawn of the cantata
Programme includes:
B MARINI Sonata sopra fuggi dolente (1655)
MONTEVERDI Act 1 scene 2 from Il ritorno di Ulisse in patria (1640)
ZANETTI Saltarello della Battaglia (1645)
MONTEVERDI Il combattimento di Tancredi e Clorinda (1624)
“
Musicke so delectable, so rare, so admirable, so superexcellent, that it did even ravish and stupifie all those
strangers that had never heard the like
”
Anna Prohaska
soprano
James Gilchrist
tenor
Benjamin Hulett
tenor
Jonathan Cohen
director & keyboards
THoMAs CoRyATe, eNGLIsH TRAVeLLeR To VeNICe, 1608
LONDON
CAMBRIDGE
Thursday 26 April 2012
7.30pm Wigmore Hall
Saturday 28 April 2012
7.30pm West Road Concert Hall
Tickets £18–£32
020 7935 2141
www.wigmore-hall.org.uk
Tickets £14–£27
01223 503333
www.aam.co.uk/concerts
Free pre-concert discussions with Jonathan Cohen and
BBC Radio 3’s sara Mohr-Pietsch at 6.30pm
12 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
www.aam.co.uk
Academy of Ancient Music
Violin I
Rodolfo Richter *
Bojan Čičić
Liz MacCarthy
Pierre Joubert
Violin II
William Thorp
Rebecca Livermore
Persephone Gibbs
Joanna Lawrence
Viola
Jane Rogers
Marina Ascherson*
Cello
Joseph Crouch*
Imogen Seth-Smith*
Theorbo
William Carter
Harpsichord
Alastair Ross
Double bass
Judith Evans *Sponsored ­chairs
Leader
Lord and Lady ­Magan
Principal cello
Dr Christopher and
Lady Juliet ­Tadgell
Principal flute
Christopher and Phillida ­Purvis
Sub-­principal viola
Sir Nicholas and Lady G
­ oodison
Sub-­principal cello
Newby Trust ­Ltd
Joseph Crouch cello
“
It’s not cool to love Vivaldi’s L’estro armonico concertos: they’re
altogether too popular, too ‘likable’. But, while I may have played
them at more gigs than you can shake a stick at, I love them
every time. I am still struck by their irrepressible and infectious joy,
just as I was when I first heard them on a record at home. That
LP featured AAM with soloists Monica Huggett and Catherine
Mackintosh who, fifteen years later, became two of the most
important inspirations in my gradual shift from over-enthusiastic
music student to over-enthusiastic professional cellist.
”
Board of ­Directors
Adam ­Broadbent
Kay Brock LVO ­DL
John ­Everett
Matthew ­Ferrey
James Golob
John ­Grieves
Heather ­Jarman
Christopher Purvis CBE
(Chairman)
John Reeve
Terence Sinclair
Dr Christopher ­Tadgell
Development ­Board
Adam ­Broadbent
Kay Brock LVO D
­L
Delia ­Broke
Elizabeth de Friend
Kate Donaghy
John ­Everett
Matthew ­Ferrey
James Golob
John ­Grieves
Madelaine ­Gunders
Annie ­Norton
Christopher Purvis C
­ BE
John Reeve
Chris ­Rocker
Terence Sinclair (Chairman)
Dr Christopher ­Tadgell
Madeleine ­Tattersall
Sarah Miles ­Williams
Alison ­Wisbeach
Music ­Director
Richard ­Egarr
Communications Officer
Anna Goldbeck-Wood
Emeritus ­Director
Christopher Hogwood
­CBE
External Relations Manager: ­
Development
Oriel Williams
Chief ­Executive
Michael ­Garvey
Concerts & Administration
­Manager
Samantha ­Fryer
Orchestra ­Manager
Andrew ­Moore
Head of External ­ Relations
Simon ­Fairclough
Finance ­Manager
Elaine ­Hendrie
Concerts & Administration
­Trainee
Graham Sale
External Relations Manager: ­
Communications
Toby ­Chadd
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 13
Supporting the Academy of Ancient M
­ usic
Having fun, getting closer to the music and
securing the future of a great tradition. That’s
what supporting the Academy of Ancient Music
is all about.
The music we are enjoying tonight only
ever came into being through a tradition of
patronage. JS Bach composed his instrumental
masterpieces at the courts of Weimar and
Köthen; Haydn enjoyed the backing of the
Esterházy family; Mozart’s patrons included the
Archbishop of Salzburg and Emperor Joseph II.
The AAM exists to keep this music alive — but
income from ticket sales covers only a third of
the cost of staging concerts like tonight’s. Just
like the composers of old, the orchestra relies
on generous support from those who value its
work and care about its future.
Over the next few years the AAM will be
doing more than ever to develop the
audiences, musicians and arts managers of the
future through its AAMplify new generation
programme, to bring baroque and classical
music to a global audience through recordings
and online work, and to enrich people’s lives
through its concerts. In order to do so it must
raise a total of £2.8 million by 2015. Through
the generosity of individual philanthropists,
Arts Council England and other funders and
supporters £1.3 million has already been
secured. £1.5 million remains to be raised.
The future of ancient music is in our hands.
Read on to find out how you can help.
Join the AAM Society
The AAM Society is the AAM’s core group of
regular supporters. Members’ annual gifts
provide the vital ongoing support without
which the orchestra would be unable to
continue to perform.
Members enjoy a close and ongoing
involvement with the life of the orchestra: they
dine with the musicians after performances
in London; they receive regular invitations
to open rehearsals, private recitals and other
special events; and at least once each year they
are invited to travel with the orchestra on tour
internationally.
Membership starts from £250 per annum (£100
for young supporters aged up to 40) and goes
up to £20,000+. Gifts can be made annually or
by regular standing order. Those giving over
£1,000 receive invitations to regular recitals and
other special events held in the homes of fellow
members. Those giving over £5,000 have the
opportunity to sponsor a specific position in the
14 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
“The AAM’s Porto-Lisbon trip was memorable.
We socialised with the players, heard
wonderful music twice over with soprano
Carolyn Sampson, had an exclusive tour and
tasting of Graham’s Port, and were introduced
to Porto’s extraordinary churches by an expert
— with an optional trip to the Gulbenkian
thrown in. All smoothly organised, relaxed
and with the bonus of excellent company,
meals and wine”.
Elizab e th d e F ri e nd A A M S ociety member
orchestra, and are invited to join the Council of
Benefactors which meets annually to receive
an update on the orchestra’s performance from
the Chief Executive and Chairman.
To join the AAM Society, please either
contact the AAM or complete and return the
membership form on page 21.
Support a special project
From time to time, syndicates are formed to
support special artistic projects. Members enjoy
a particularly close involvement with the work
they are supporting. It’s not too late to get
involved with Musical Revolutions, the concert
series at the heart of the AAM’s 2011–12
London and Cambridge season. Please contact
the AAM to find out more.
Invest in the AAM Tomorrow Fund
The AAM Tomorrow Fund has been established
for those who want to invest at a substantial
level in the long-term future of the orchestra.
Support from the Fund is making major
strategic initiatives possible, including the
development of the AAMplify new generation
Leave a legacy
Over the last four decades the AAM has
brought joy and inspiration to millions of
people. Our aim over the next is to begin to
build an endowment which will ultimately
enable it to do so in perpetuity.
programme and the revitalisation of the
AAM’s recording programme. The Fund was
established by a generous leading gift from
Lady Sainsbury of Turville, and major gifts
have subsequently been received from other
individual and institutional supporters.
Leaving a legacy is one of the most enduring
ways in which you can support our work: gifts
of any size have a real impact in enabling the
AAM to keep baroque and classical music alive
for generations to come. By supporting our
work in this way you may also be able to reduce
the overall tax liability due on your estate.
Tax-efficient giving
Generous tax incentives exist for UK taxpayers
supporting charities like the AAM. Under the
Gift Aid scheme the eventual cost of making a
gift to the AAM could be as little as half of its
To find out more
• Contact Simon Fairclough, Head of External
Relations, on 01223 341096 or s.fairclough@
aam.co.uk
• Visit www.aam.co.uk and click
“Support the AAM”
value to the AAM — and for donors who make
gifts of shares the cost could be lower still.
Further information is available from the AAM.
“We love the AAM’s excellent performances,
academic depth and innovative programming,
and as AAM Society members we share the
musical life of this superb ensemble project by
project. The AAM is as welcoming and friendly
as it is enlightening, and as professional behind
the scenes as it is on stage!”
R ichard and El e na B ridg e s A A M S ociety members
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 15
AAM Funders & Supporters
The AAM is indebted to the following trusts, companies, public
bodies and individuals for their support of the orchestra’s work:
AAM Business Club
Cambridge University P
­ ress
Kleinwort ­Benson
Royal Bank of Canada
Public funders
Arts Council England
Orchestras ­Live
Cambridge City ­Council
Trusts and foundations
CHK Charities L­ td
Dunard ­Fund
John Ellerman F­ oundation
Esmée Fairbairn F­ oundation
Fidelity UK F­ oundation
Gatsby Charitable Foundation
Newby Trust ­Ltd
Sir Siegmund Warburg’s Voluntary ­Settlement
Constance Travis Charitable T­ rust
Garfield Weston ­Foundation
J Paul Getty Jnr Charitable ­Trust
and other anonymous trusts and foundations
The AAM ­Society
Special gifts
The Academy of Ancient Music extends its
grateful thanks to Lady Sainsbury of Turville,
who has supported the orchestra’s work at a
particularly significant level this y­ ear.
The Chairman’s C
­ ircle
(Donations £20,000–£49,999 per annum)
Matthew ­Ferrey
CHK Charities ­Ltd
Dunard ­Fund
The Hogwood C
­ ircle
(Donations £10,000 - £19,999 per annum)
Lord and Lady ­Magan
Christopher and Phillida Purvis *
Mrs Julia R
­ osier
Dr Christopher and Lady Juliet ­Tadgell
Lady Linda Wong Davies (KT Wong Foundation)
Principal ­Patrons
(Donations £5,000 –­ £9,999 per annum)
Richard and Elena Bridges
Christopher Hogwood CBE *
Mrs Sheila M
­ itchell
Newby Trust Ltd *
Chris Rocker and Alison ­Wisbeach
Terence and Sian Sinclair
and other anonymous Principal P
­ atrons
Patrons
(Donations £2,500 – £4,999 per annum)
Adam and Sara B
­ roadbent
Richard and Elizabeth de Friend
Mr and Mrs JE ­Everett
Mr and Mrs James G
­ olob
Sir Nicholas and Lady Goodison *
John and Ann G
­ rieves
Graham and Amanda Hutton
Mark and Liza ­Loveday
John and Joyce Reeve
Mark West
and other anonymous ­Patrons
Principal ­Benefactors
(Donations £1,000 – £2,499 per annum)
Lady Alexander of ­Weedon
George and Kay B
­ rock
Mrs D B
­ roke
Mr and Mrs Graham Brown
Clive and Helena B
­ utler
Jo and Keren ­Butler
Sir Charles ­Chadwyck-­Healey ­Bt
Peter Stormonth Darling
Kate Donaghy
The Hon Simon ­Eccles
Elma Hawkins and Charles R
­ ichter
Professor Sean ­Hilton
Lord Hindlip
John McFadden and Lisa Kabnick *
David and Linda Lakhdhir
Steven Larcombe and Sonya Leydecker
Mr and Mrs C N
­ orton
Lionel and Lynn ­Persey
Nigel and Hilary Pye *
Mr and Mrs Charles R
­ awlinson
Sir Konrad and Lady Schiemann *
JG ­Stanford
Mr Michael Stump
John and Madeleine ­Tattersall
Marcellus and Katharine Taylor-­Jones
Stephen Thomas
Sarah and Andrew ­Williams
Mrs R Wilson ­Stephens
Charles ­Woodward
and other anonymous Principal B
­ enefactors
Benefactors
(Donations £500 – £999)
Dr Aileen Adams ­CBE
Bill and Sue ­Blyth
Claire Brisby and John Brisby QC *
Mr and Mrs Edward Davies-­Gilbert
Charles Dumas
Mr and Mrs J­ ean-­Marie ­Eveillard
Simon Fairclough
Marshall ­Field
Michael and Michele Foot CBE
Andrew and Wendy ­Gairdner
Hon William ­Gibson
The Hon Mr and Mrs Philip H
­ avers
Dr and Mrs G and W Hoffman
Heather Jarman *
Susan ­Latham
Tessa ­Mayhew
Mr and Mrs Hideto Nakahara
Rodney and Kusum Nelson-­Jones
Nick and Margaret ­Parker
Bruno Schroder and ­Family
Peter ­Thomson
Robin ­Vousden
Pippa Wicks
16 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
Oriel Williams
Peter and Margaret ­Wynn
Julia Yorke
and other anonymous ­Benefactors
Donors
(Donations £250 – £499)
Angela and Roderick Ashby-­Johnson
Elisabeth and Bob Boas *
Mrs Nicky Brown
Jeremy J ­Bunting
Mr Alexander Chadd
Dr and Mrs S C
­ hallah
David and Elizabeth ­Challen
Stephen and Debbie ­Dance
Derek and Mary Draper
Beatrice and Charles ­Goldie
Steven and Madelaine ­Gunders
Gemma and Lewis Morris H
­ all
Mrs Helen ­Higgs
Lord and Lady Jenkin of R
­ oding
Alison ­Knocker
Richard ­Lockwood
Yvonne de la Praudière
Jane Rabagliati and Raymond Cross
Robin and Jane ­Raw
Annabel and Martin ­Randall
Arthur L Rebell and Susan B C
­ ohen
Denys ­Robinson
Mr and Mrs Timothy Robinson
Michael and Giustina ­Ryan
Miss E M ­Schlossmann
Michael Smith
Rt Hon Sir Murray ­Stuart-­Smith *
Janet ­Unwin
Paul F. Wilkinson and Associates I­nc.
and other anonymous ­Donors
* denotes founder ­member
Musical ­Revolutionaries
Hilary Barton
Cottisford Trust
Hon William Gibson
Heather Jarman
Mark and Lisa Loveday
Mrs Sheila Mitchell
Mr and Mrs Charles R
­ awlinson
Michael and Giustina Ryan
Robin Vousden
Mr Charles ­Woodward
and other anonymous Musical Revolutionaries
Join the AAM Society
I would like to join the AAM Society
I would like to give membership of the AAM Society to
someone else as a gift
Your details
Name: ........................................................................................................................................
Address: ....................................................................................................................................
........................................................................................................................................................
Telephone: .............................................................................................................................
Email: ..........................................................................................................................................
Gift membership — member’s details
Please complete this section only if you are giving Society
membership to someone else as a gift.
Member’s name: ................................................................................................................
Member’s address: ............................................................................................................
........................................................................................................................................................
Member’s telephone: ......................................................................................................
Member’s email: .................................................................................................................
Membership level
The Chairman’s Circle
The Hogwood Circle
Principal Patron
Patron
Principal Benefactor
Benefactor
Donor
Young Supporter (under 40 only)
£20,000+
£10,000–£19,999
£5,000–£9,999
£2,500–£4,999
£1,000–£2,499
£500–£999
£250–£499
£100–£249
Date of birth: ..................................................................................................................
Three-year pledge
By pledging to support the AAM over a three-year period, you can
help the orchestra to plan for the future with confidence.
Please tick here if you are able to pledge to support the
orchestra at this level for three years.
Leaving a legacy
Please tick here if you would be willing to receive information
about remembering the AAM in your will.
Matched giving
My firm operates a matched giving policy. Please contact me
to discuss this further.
Gift Aid declaration
Please complete this section if you pay UK income tax and/
or capital gains tax at least equal to the tax which the AAM will
reclaim on your donations in the appropriate tax year.
Please treat this donation and all donations that I make from the
date of this declaration until I notify you otherwise as Gift Aid
donations.
Signed: .....................................................................................................................................
Date: ...........................................................................................................................................
Donations made by standing order
Please complete this section if you would like to make your
donation to the AAM by standing order.
Name of bank: .....................................................................................................................
Bank address: ........................................................................................................................
........................................................................................................................................................
Account number: ...............................................................................................................
Sort code: ................................................................................................................................
Acknowledgement
Please acknowledge my gift using the following form of
wording
Please pay Academy of Ancient Music, Lloyds TSB, Gonville
Place Branch, Cambridge, sort code 30-13-55, Account number
02768172 the sum of
.......................................................................................................................................................
£......................................................................................................................................................
I would prefer to remain anonymous
Payment details
I would like to make my donation by
I enclose a cheque for £................................
(please make payable to ‘AAM’)
I enclose a CAF cheque for £................................
(please make payable to ‘AAM’)
I would like to pay by standing order
(please complete the standing order section below)
I would like to make a gift of shares (please contact the AAM)
per
month
quarter
year
starting on: .............................................................................................................................
Signed: ......................................................................................................................................
Date: ...........................................................................................................................................
Full name: ...............................................................................................................................
Please return your completed form to:
Simon Fairclough
Head of External Relations
Academy of Ancient Music
32 Newnham Road
Cambridge CB3 9EY
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 17
Latest news at the AAM
AAM to perform at Thames Diamond Jubilee Pageant
We are proud to announce that the AAM will play
a leading role in this summer’s celebrations for Her
Majesty The Queen’s Diamond Jubilee. On Sunday
3 June, we’ll perform Handel’s Music for the Royal
Fireworks and Water Music on ‘The Edwardian’, the
second of ten musical herald barges which will
intersperse the Thames Pageant.
glorious music back at the heart of national life,
bringing it out of the concert hall and into the
public arena for which it was written.” The Pageant,
which will be broadcast live to a global audience
of millions, is expected to be “bigger than the
Olympics”, according to Mayor of London Boris
Johnson.
The music which we will perform is particularly
fitting. The Water Music was composed for a similar
royal procession which King George I took along
the Thames in 1717; and the Music for the Royal
Fireworks was commissioned by King George II in
1749 for a national celebration in Green Park to
mark the end of European war.
Throughout the summer we will tour major
venues across Europe performing this music, as
well as the Coronation Anthems and excerpts from
Messiah. The tour includes Château de Versailles in
Paris, Symphony Hall in Birmingham, Edinburgh’s
Usher Hall and Luxembourg’s Philharmonie. You
can catch the performances at London’s Barbican
Hall on 26 September, and at Corn Exchange,
Cambridge on 27 September; booking is now
open for both of these performances.
Richard Egarr, AAM Music Director, commented
that he was “relishing the chance to put Handel’s
CANALETTO’S FAMOUS PAINTING OF A SIMILAR THAMES PAGEANT ON LORD MAYOR’S DAY, C.1747
18 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
2012–13 AAM London & Cambridge season
announced
AAM becomes Associate Ensemble at the
Barbican
Full details of our 2012–13 London & Cambridge
season have been announced online, and you
can browse all of the concerts at
www.aam.co.uk/concerts.
From September 2013 the AAM will become
Associate Ensemble at London’s Barbican Centre.
Working in collaboration with the Barbican, we
will produce ever-more ambitious performances
in London, which we will subsequently bring
to venues around the UK and the world —
including to our regular season in Cambridge.
The Association begins in September with a
performance of some of Handel’s most jubilant
music, including the Coronation Anthems and
Music for the Royal Fireworks, and continues in the
2012–13 season with performances of
JS Bach’s St John Passion and Handel’s Italian
opera Imeneo.
Highlights of the season include a programme
of Italian baroque music with soprano Bernarda
Fink; a Good Friday performance of JS Bach’s
St John Passion at the Barbican with Elizabeth
Watts, Sarah Connolly and James Gilchrist;
concerts with sopranos Lucy Crowe and Sophie
Junker exploring Handel’s years in Italy; and a
welcome return for AAM founder and Emeritus
Director Christopher Hogwood to conduct
Handel’s opera Imeneo.
Booking for performances at Wigmore Hall and
West Road Concert Hall opens later in 2012,
and you can book now for performances at
the Barbican. To receive a copy of our 2012–13
season brochure by post, just email us at
info@aam.co.uk or sign up at the CD sales desk
at concerts in Cambridge and London.
AAM Chief Executive Michael Garvey
commented that “the Association at the Barbican
and our appearance as part of the Jubilee
celebrations will crown a spectacular year for us.
From April 2012 we will also receive regular Arts
Council funding for the first time — a wonderful
testimony to the orchestra’s artistic excellence
and vision for the future.”
A new member of staff
Listen again
We’re delighted to welcome Graham Sale to the
team as our new Concerts and Administration
Trainee. The AAM’s traineeship forms part of
AAMplify, the AAM’s new generation scheme
that aims to bring the audiences, musicians and
arts managers of tomorrow to the heart of the
orchestra’s work. Graham replaces our previous
Arts Management Trainee Anna GoldbeckWood, who remains with us in the new position
of Communications Officer.
The pre-concert discussions with Alina
Ibragimova and BBC Radio 3’s Sara Mohr-Pietsch
will be available as a podcast from 28 February.
Just head to www.aam.co.uk/resources, or search
for ‘AAM pre-concert talk’ in iTunes.
To read more about opportunities offered
through the AAMplify new generation scheme,
visit www.aam.co.uk/AAMplify.
New offices....
You can also listen again to tonight’s concert,
which will be broadcast by BBC Radio 3 on
Saturday 3 March. Turn to page 1 for more details.
On Friday 17 February we relocated to King’s
Parade, opposite King’s College Chapel and
directly above Primavera art gallery. Our new
address is 11b King’s Parade, Cambridge CB1 7SJ.
A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n 19
Classical Opera at Cadogan Hall
Mozart: Lucio Silla
8 March, 7.30 pm
The first UK performance since 1998 of the grandest and arguably the greatest of Mozart’s early operas.
A superb young cast, headed by Natalya Romaniw and Rowan Hellier, is conducted by Ian Page.
Mozart: Apollo et Hyacinthus
14 May, 7.30 pm
A rare performance of Mozart’s astonishing first opera, with an outstanding cast including Klara Ek, Lawrence
Zazzo and Andrew Kennedy, to coincide with the launch of Classical Opera’s new recording on Linn Records.
www.classicalopera.co.uk
Cadogan Hall, London SW1
Bookings 020 7730 4500
www.cadoganhall.com
AAM.indd 1
2/13/2012 9:39:00 PM
Wigmore Hall 36 Wigmore Street
London W1U 2BP
Director: John Gilhooly
The Wigmore Hall Trust
Registered Charity No.1024838
Mark Padmore brings
all his artistry to this
Viennese programme of
beguiling song including
Mahler’s captivating
Rückert-Lieder.
Wigmore Hall is a no-smoking venue.
No recording or photographic equipment may be taken into the
auditorium, nor used in any other part of the Hall without the
prior written permission of the Hall Management.
Wigmore Hall is equipped with a ’Loop’ to help hearing aid users
receive clear sound without background noise. Patrons can use
the facility by switching their hearing aids over to ’T’.
In accordance with the requirements of City of Westminster,
persons shall not be permitted to stand or sit in any of the
gangways intersecting the seating, or to sit in any of the other
gangways. If standing is permitted in the gangways at the
sides and rear of the seating, it shall be limited to the numbers
indicated in the notices exhibited in those positions.
Facilities for Disabled People:
Padmore
sings Mahler
Cambridge
London
West Road Concert Hall
Southbank Centre’s
Queen Elizabeth Hall
Wednesday 16 May 2012, 7.30pm
Box Office: 01223 357851
www.brittensinfonia.com
Please contact House Management for full details.
20 A cad e m y o f A nci e nt M u s ic , 2 0 1 1 - 2 01 2 S e a s o n
Thursday 17 May 2012, 7.30pm
Box Office: 0844 847 9910
www.southbankcentre.co.uk