Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 1
The Bach Dynasty:
JS Bach’s Forebears
Music by Heinrich, Johann Christoph and Johann Michael Bach
Choir of the AAM . Richard Egarr director & harpsichord
23 September West Road Concert Hall, Cambridge
24 September Wigmore Hall, London
Welcome to tonight’s concert, to the AAM’s
2010-11 season and to The Bach Dynasty — the
series which will be at the heart of our music
making over the coming year.
In The Bach Dynasty we’re celebrating the
masterworks of the incomparable Johann
Sebastian Bach and exploring his family’s
extraordinary musicianship. Johann Sebastian’s
musical roots stretched back to Veit Bach, his
great-great-grandfather, who fled Hungary at
the turn of the sixteenth century and
established his family in Germany. Music
became the family trade, and the Bachs
flourished as performers, composers and
instrument builders for the next three centuries.
JS Bach’s forebears are important in the context
they provide for Johann Sebastian himself. But
tonight’s programme also demonstrates the
extent to which Heinrich, Johann Christoph and
Johann Michael were themselves deeply
impressive composers. Theorbist William Carter
sums it up perfectly: “This is a wonderful
programme. The works which Richard Egarr has
chosen are masterpieces in their own right; they
also shed light on the amazing musical
background from which JS Bach came. This is a
dynasty of talent that makes other 'gifted' family
trees such as the Mozarts, Couperins or Galileis
look tiny in comparison.”
Other performances in The Bach Dynasty feature
artists including Steven Isserlis and the Choir of
King’s College, Cambridge in music ranging from
JS Bach’s St John Passion to CPE Bach’s Cello
Concerto in A major. Turn to the inside back
cover of this programme for details, and be sure
to join us for some wonderful concerts.
We are delighted to acknowledge the generosity
of Richard and Elena Bridges, who have
supported Richard Egarr’s appearance in this
concert, and of Lady Sainsbury of Turville, who
has supported the AAM at a particularly
significant level this year.
AAM online
During the year ahead the AAM will be performing across the world, from the Concertgebouw in
Amsterdam to Perth Concert Hall in Australia. You can keep up to date with all the tour news from the
players’ perspective in the new AAM tour blog: go to http://academyofancientmusic.wordpress.com
to read behind-the-scenes accounts of life on the road.
Also, why not share your opinion on tonight’s performance? You can post your review on our
Facebook page, or email it to [email protected].
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Programme
HEINRICH BACH (1615-1692)
‘Ich danke dir, Gott’
JOHANN MICHAEL BACH (1648-1694)
‘Liebster Jesu, hör mein Flehen’
ANON
‘Es ist g’nug’
CHARMIAN BEDFORD SOPRANO
HEINRICH BACH
Sonata à 5 in F major
JOHANN CHRISTOPH BACH (1642-1703)
‘Die Furcht des Herren’
Interval of 20 minutes
Please check that your mobile phone is
switched off if you used it during the interval.
JOHANN CHRISTOPH BACH
‘Ach, dass ich Wassers gnug hätte’
SUSANNA SPICER ALTO
HEINRICH BACH
Sonata à 5 in C major
The future of ancient music
is in your hands
Every year, the Academy of Ancient Music
enriches the lives of tens of thousands of
music lovers. Its performances are a source
of inspiration and joy: the world would be a
duller place without them.
But the AAM will only continue to thrive
and develop if those who are in a position
to support it do so generously. Income
from ticket sales will fall short of the full cost
of running the orchestra by around
£400,000 this year, and the AAM receives no
regular government funding.
Members of the AAM Society sustain the
orchestra’s work magnificently for the
benefit of us all — but the AAM has an
ambitious vision for the future, and the
need for support is greater than it has ever
been before. The future of ancient music is
in your hands: turn to page 16 to find out
how you can help.
JOHANN CHRISTOPH BACH
‘Meine Freundin, du bist schön’
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 electronic devices which may become
audible are switched off.
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Dr Stephen Rose describes the beginnings of the Bach dynasty
Johann Sebastian Bach was profoundly aware of
his place in a family that had produced
generations of distinguished musicians. As his
Obituary stated, “Johann Sebastian Bach
belongs to a family that seems to have received
a love and aptitude for music as a gift of Nature
to all its members in common.” JS Bach traced
his family’s lineage back to Veit Bach, a
sixteenth-century baker “expelled from Hungary
in the sixteenth century for religious reasons”.
Throughout the seventeenth century, many of
the organists and instrumentalists in the small
towns of central Germany were Bachs. Indeed,
in the province of Thuringia, the name ‘Bach’
was synonymous with the trade of musician.
So important was this lineage to Johann
Sebastian Bach that in 1735 he assembled a
detailed set of genealogical notes on his family.
At about the same time he obtained a set of
manuscripts of vocal compositions by his
forebears, notably Johann Christoph Bach and
Johann Michael Bach. This collection of
manuscripts, dubbed the Altbachisches Archiv,
increasingly preoccupied Bach in the last
decade of his life. He added annotations to the
old manuscripts and performed some of
Johann Christoph’s motets in church services at
Leipzig. Such a fascination with his family’s
music may have stemmed from Johann
Sebastian’s contemplation of his own historical
and artistic significance, as his thoughts turned
increasingly to his own mortality.
The presence of so many musicians within the
Bach family raises many questions about the
relationship between heredity and talent. Some
commentators might be tempted to argue that
the Bachs were genetically predisposed to
music. But it would be more historically
accurate to remember that the Bachs treated
music as a family trade. Boys were trained in
music by their father and were expected to
follow his footsteps in the musical profession.
Moreover, the family acted as a network
through which musical information could
circulate, and younger members could be sent
to a relative for training or work. As the pieces in
tonight’s programme show, the seventeenthcentury Bachs were not only skilled craftsmen,
but also extremely well-informed about wider
musical developments in Europe.
One of the earliest documented members of
the Bach clan was Heinrich Bach (1615–92), the
great-uncle of Johann Sebastian. Heinrich
worked as a town instrumentalist in Erfurt and
then from 1641 as town musician and organist
in Arnstadt. As a musician who spent all his life
in the small towns of central Germany, Heinrich
might be supposed to be a somewhat
provincial figure. Yet his one surviving vocal
work, ‘Ich danke dir, Gott’, shows that he was
in touch with the latest developments in
Venetian church music. The piece is dominated
by its walking bass, giving a constant
momentum over which pairs of voices sing in
rapid declamation. Occasionally the five voices
of the ‘favoriti’ choir are reinforced by a fourvoice vocal ripieno. In its rhythmic verve and
adept handling of polychoral climaxes, Heinrich
Bach’s setting is reminiscent of pieces such as
the ‘Beatus vir’ in Claudio Monteverdi’s Selva
morale e spirituale (1640). Perhaps Heinrich had
encountered Monteverdi’s music at the
Arnstadt court, whose organist had originally
studied in Venice.
Also included in tonight’s concert are two
Sonatas ascribed to Heinrich Bach. The sonatas
are attributed to Heinrich Bach in a 1662
manuscript copied by the Gotha musician
Jakob Ludwig, but in other sources they are
ascribed to the Viennese court musicians
Antonio Bertali or Johann Heinrich Schmelzer.
Whoever was the composer, these pieces
contain an array of contrasting sections that
make dramatic use of the full range of the
stringed instruments. The Sonata in C starts
beguilingly, with rocking triple-time figures that
rise steadily to the top of the ensemble’s
register. Subsequent passages contain fanfare-
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like figures and rhythmically vigorous writing,
before a concluding section of echo phrases.
The Sonata in F offers a memorable succession
of distinctive ideas: the opening Presto uses a
tattoo of repeated notes in a long descending
sequence; then, for the rest of the piece, short
yet languishing cadences alternate with
vigorous fanfare-like figures.
Heinrich Bach’s second son was Johann Michael
Bach (1648–94), who began his career in his
father’s homeplace of Arnstadt as organist at
the castle chapel. From 1673 Johann Michael
held the posts of organist and town clerk in
Gehren, a small town in the Thuringian forest.
His youngest daughter, Maria Barbara, married
Johann Sebastian in October 1707. In Gehren,
Johann Michael was characterised as “quiet,
withdrawn and artistically well-versed”, while
the family tree assembled by Johann Sebastian
describes him as “an able composer”. Most of
Johann Michael’s compositional output consists
of motets for eight-voice choir, a form of church
music traditional in Thuringia. Indeed, the music
theorist Friedrich Erhardt Niedt cheekily
associated the motet with “Thuringian peasants”
and “farmers’ daughters... [who] inherit their
boots from their ancestors”.
A handful of more ambitious pieces survive
from Johann Michael Bach, including the
dialogue ‘Liebster Jesu, hör mein Flehen’ for
the Second Sunday in Lent. The dialogue
dramatises the Gospel story of Jesus and the
woman of Canaan (Matthew 15.21–28). The
woman cries for Jesus’ mercy, but the disciples
(represented by a three-voice chorus) try to
send her away. Both the woman and the
disciples sing simple rhymed texts, set to short,
regular phrases of a somewhat winsome nature.
Jesus’ words, however, are sung by a bass soloist
whose extended phrases reflect the liberating
power of his message: “Ich bin nicht gesandt
denn nur zu den Verlornen vom Hause Israel...
Doch, Weib, dein Glaub’ ist groß” (“I am not sent
only unto the lost sheep of the house of Israel...
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Surely, woman, thy faith is great”). The piece
ends with a verse from the 1530 chorale ‘Wie
sich ein Vat’r erbarmet’. It is unlikely that Johann
Michael ever visited an opera house; but his
dialogue shows how he brought a sense of
theatre to his church compositions.
Whereas Johann Michael led a quiet and
respectable life in Gehren, his elder brother
Johann Christoph Bach (1642–1703) had a fiery
and stubborn personality. For most of his life,
Johann Christoph held the dual post of town
organist and court keyboardist in Eisenach. His
time here was marred by frequent quarrels with
the town council, which he felt did not provide
adequate financial recompense for his talent.
Yet Johann Christoph was also highly respected
as a composer, “strong in the invention of
beautiful ideas as well as in the expression of
the meaning of the words” (to quote the
Obituary of Johann Sebastian). Certainly Johann
Sebastian identified strongly with Johann
Christoph’s output and may have even seen
him as some kind of artistic model; of the
manuscripts in the Altbachisches Archiv, it is
mainly those of Johann Christoph’s motets that
bear Johann Sebastian’s annotations.
The large-scale cantata ‘Die Furcht des
Herren’, written for the election of the Arnstadt
town council, is often ascribed to Johann
Christoph Bach, although recent research has
suggested that it may be by his brother Johann
Michael. Each of the vocal parts has symbolic
significance: soprano 1 is the allegorical figure
of Wisdom; other soloists represent the old and
new chamberlains and burgomasters; and the
four-part choir represents “the whole town
council”. In a whimsical touch, the organ part
represents the town clerk; this may be a
reference to Johann Michael, who as mentioned
above combined his musical duties with those
of town clerk. Wisdom dispenses her advice in
solo sections, which alternate with prayers and
proclamations from the other vocalists. The fivepart string ensemble provides a rich and
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 5
harmonically adventurous accompaniment.
One of Johann Christoph’s most expressive
pieces is the poignant lament ‘Ach, dass ich
Wassers gnug hätte’. The penitential text is
drawn from the Psalms and Lamentations of
Jeremiah: “O that I had water enough in my
head.” Bach’s harmonic language evokes the
Phrygian mode, associated with death and pain
in the seventeenth century, and he uses highly
remote and unusual chords. The voice swoops
searingly through awkward intervals, closely
imitated by the violin as if to show the
inexorability of suffering. The piece was possibly
written for one of the days of penance held in
Eisenach in Advent, on which all artisans had to
put down their tools, all animals be kept in their
stalls, and all traffic had to stop in the streets.
Thus the entire town’s attention would have
been focused on this musical prayer of
repentance.
Alongside their sacred compositions of praise
and penitence, there was another side to the
Bach family: their love of family gatherings,
lubricated by ample alcohol and raucous
humour. As Johann Nicholas Forkel explained in
his 1802 biography of Johann Sebastian, the
Bach clan held an annual reunion, usually in
Erfurt, Eisenach or Arnstadt, which consisted
entirely of musical amusements. “As the
company wholly consisted of cantors, organists
and town musicians, who had all to do with the
Church... the first thing they did when they
were assembled was to sing a chorale. From this
pious commencement they proceeded to
drolleries which often made a very great
contrast with it. They sang popular songs, the
contents of which were partly comic and partly
obscene, all together and extempore, but in
such a manner that the several parts thus
extemporised made a kind of harmony
together.”
A piece for such a family gathering is Johann
Christoph Bach’s nuptial dialogue ‘Meine
Freundin, du bist schön’. It was possibly
written for the 1679 wedding of another
member of the Bach clan, the Arnstadt town
musician also called Johann Christoph
(1645–1693). The piece may then have been
reprised at the wedding of Johann Sebastian
and Maria Barbara in 1707. Most of the text
comes from the Song of Songs, which was a
staple of German composers for wedding
motets and also for allegorical visions of the
relationship of Christ and the believer. But
Johann Christoph introduces a new element in
the long central chaconne, where the soprano
combines with a solo violin for a sultry
depiction of the intoxication of love: “Seine
Linke lieget unter meinem Haupt, und seine
Rechte herzet mich...denn ich bin krank vor
Liebe” (“His left hand is under my head, and his
right hand doth embrace me...For I am sick with
love.”) The manuscript of this piece has detailed
annotations by Johann Ambrosius Bach,
explaining the erotic narrative. Written for
performance at the occasions when the Bach
dynasty regenerated itself, this wedding
dialogue held a special place in the family’s
history.
Stephen Rose © 2010
Dr Stephen Rose is Lecturer in Music at Royal
Holloway, University of London
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Texts and translations
Heinrich Bach
‘Ich danke dir, Gott’
Ich danke dir, Gott,
daß ich wunderbarlich gemacht bin.
Herr mein Gott, wunderbarlich sind deine Werk,
und das erkennet meine Seele wohl.
I thank thee, O God,
that I am wondrously created.
O Lord God, marvellous are thy works,
as my soul doth know full well.
PSALM 139.14
REPRINTED BY KIND PERMISSION OF DEUTSCHE
GRAMMOPHON GMBH, HAMBURG
Johann Michael Bach
‘Liebster Jesu, hör mein Flehen’
Liebster Jesu, hör mein Flehen,
nimm doch meine Seufzer an,
laß mich hilflos nicht weggehen,
du bist ja mein Helfersmann,
meine Tochter wird genagt,
und vom Satan sehr geplagt.
Canaanite women’s prayer to Jesus
Dearest Jesu, hear my supplication,
receive my sighs, and let me not
go hence without thy help,
for thou art my support:
my daughter is beset
and by Satan sore tormented.
Laß sie, Jesu, doch von dir,
Jesu, tu dich ihr erbarmen,
denn sie schreiet für und für:
“Jesu, Jesu, hilf mir Armen!”
Intercession of the disciples
Jesu, let her yet be thine:
have pity on her, Jesu,
for constantly she cries,
“Jesu, Jesu, help me in my distress!”
Ich bin nicht gesandt, denn nur zu den Verlornen
vom Hause Israel, die hab ich mir erkoren,
die sind mein Eigentum und meine Schäfelein,
die führ ich all zurecht, wenn sie verirret sein.
Christ’s answer
I am not sent only to the lost sheep
of the house of Israel, whom I have chosen,
who are mine own, my little lambs,
whom I lead into righteousness when they have
gone astray.
Laß sie, Jesu, doch von dir,
Jesu, tu dich ihr erbarmen,
denn sie schreiet für und für:
“Jesu, Jesu, hilf mir Armen!”
Intercession of the disciples
Jesu, let her yet be thine:
have pity on her, Jesu,
for constantly she cries,
“Jesu, Jesu, help me in my distress!”
Nimmt man der Kinder Brot
und gibet es den Hunden
und lässt sie leiden Not,
so wird’s nicht fein befunden.
The Saviour’s second answer
To take the children’s bread
and give it to the dogs,
leaving them to suffer want,
is not deemed meet.
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Jesu, laß mich Gnaden finden,
Jesu, ach, erbarm dich mein,
hilf mein’m Kinde überwinden;
essen doch die Hündelein
von den Broten, die für alln
von des Herren Tische falln.
The woman’s constancy
Jesu, let me find grace:
ah, Jesu, have mercy on me,
help my child to prevail;
the dogs still eat
of the bread which falls for all
from their master’s table.
Doch, Weib, dein Glaub’ ist groß,
die Hoffnung fest gericht’t,
so weich’ von deinem Kind,
o Weib, der Bösewicht!
The Saviour’s blessing
Surely, woman, thy faith is great,
thy hope firmly rooted;
so, woman, let the fiend
depart from thy daughter!
Wie sich ein Vat’r erbarmet
üb’r seine jungen Kindlein klein:
So tut der Herr uns Armen,
so wir ihn kindlich fürchten rein.
Er kennt das arm’ Gemächte,
er weiß, wir sind nur Staub.
Gleich wie das Gras vom Reche,
ein’ Blum’ und fallend Laub,
der Wind nur drüber wehet,
so ist es nimmer da:
also der Mensch vergehet,
sein End’, das ist ihm nah.
Chorale
As a father takes pity
on his little young children,
so, if we rightly fear him as children,
doth the Lord take pity on our plight.
He perceives his lowly handiwork,
he knows we are but dust.
Like grass from the rake,
a flower and a falling leaf
that the wind but blows about,
so that it is never there,
so doth man pass away;
his end is nigh.
ADAPTED FROM MATTHEW 15.21–28; CHORALE: JOHANN
GRAMANN
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GRAMMOPHON GMBH, HAMBURG
Anon
‘Es ist g’nug’
Es ist g’nug, Herr.
So nimm nun, Herr, meine Seele.
Ich bin nicht besser denn meine Väter.
It is enough, Lord.
O Lord, take my soul.
I am no better than my fathers.
FRANZ JOACHIM BURMEISTER AFTER 1 KINGS 19:4
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Johann Christoph Bach
‘Die Furcht des Herren’
Die Furcht des Herren ist der Weisheit Anfang,
das ist eine feine Klugheit, wer darnach tut,
des Lobt bleibt ewig.
The fear of the Lord is the beginning of wisdom:
a good understanding have all they that do
thereafter:
the praise of it endureth for ever.
O Gott meiner Väter und Herr aller Güte,
der du alle Dinge durch dein Wort gemacht,
und den Menschen durch deine Weisheit bereitet
hast
daß er die Welt regieren soll mit Heiligkeit und
Gerechtigkeit
und mit rechtem Herzen richten:
gib mir die Weisheit die stets um deinen Thron ist.
O God of my fathers and Lord of loving-kindness,
who hast made all things through thy Word
and hast prepared man in thy wisdom
Durch mich regieren die Könige
und die Ratsherrn setz das Recht.
(Gib mir die Weisheit die stets um deinen Thron ist.)
Durch mich herrschen die Fürsten
und alle Regenten auf Erden.
Ich Weisheit wohne bei dem Witze,
und weiss guten Rat zugeben.
By me, kings reign
and princes decree justice.
(Give me the wisdom that ever surrounds thy
throne.)
By me princes rule, and nobles,
even all the judges of the earth.
I, Wisdom, dwell with prudence,
and find out knowledge of witty inventions.
Gib mir die Weisheit, denn ich bin zu gering
im Verstand des Rechts und Gesetzes.
Give me wisdom, for I am too weak
in my understanding of justice and the law.
Mein ist beide Rat und Tat,
ich habe Verstand und Macht.
Counsel is mine, and deeds.
I am understanding; I have strength.
Gib mir die Weisheit die stets um deinen Thron ist.
Give me the wisdom that ever surrounds thy throne.
COMPILATION OF VERSES FROM PSALMS, PROVERBS AND
WISDOM OF SOLOMON
© CHARLES JOHNSTON; REPRODUCED BY KIND PERMISSION
OF HARMONIA MUNDI FRANCE © 2010
to rule the world with righteousness and justice
and to judge with an upright heart:
give me the wisdom that ever surrounds thy throne.
Johann Christoph Bach
‘Ach, dass ich Wassers gnug hätte’
Ach, daß ich Wassers gnug hätte in meinem Haupte
und meine Augen Tränenquellen warren,
daß ich Tag und Nacht beweinnen könnte meine
Sünde!
Meine Sünden gehen über mein Haupt.
Wie eine schwere Last sind sie mir zu schwer
worden,
darum weine ich so,
und meine beiden Augen fließen mit Wasser.
Meines Seufzens ist viel, und mein Herz ist betrübet,
den der Herr hat mich voll Jammers gemacht
am Tage seines grimmigen Zorns.
O that I had water enough in my head
and that my eyes were wells of tears,
so that I might bemoan my sins day and night!
COMPILATION OF VERSES FROM PSALMS AND
LAMENTATIONS OF JEREMIAH
© CHARLES JOHNSTON; REPRODUCED BY KIND PERMISSION
OF HARMONIA MUNDI FRANCE © 2010
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My sins rise higher than my head.
Like a heavy burden, they have become too onerous
for me,
therefore do I weep so,
and my eyes flow with water.
Great are my sighs, and my heart is afflicted,
for the Lord has made me full of woe
in the day of his terrible wrath.
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Johann Christoph Bach
‘Meine Freundin, du bist schön’
Meine Freundin, du bist schön, wende deine Augen
von mir,
denn sie machen mich brünstig.
Behold, thou art fair, my love. Turn away thy eyes
from me,
for they make me lustful.
O daß ich dich mien Bruder draußen finde,
und dich küssen müßte, daß mich niemand höhnete.
Mein Freund komme, in seinen Garten.
O, that I might find thee outside, my brother,
that I may kiss thee with the kisses of my mouth.
Let my beloved come into his garden.
Ich komm, meine Schwester, liebe Braut, in meinem
Garten.
I am come into my garden, my sister, my spouse.
Mein Freund ist mein und ich bin sein,
der unter den Rosen weidet,
und er hält sich auch zu mir.
Seine Linke lieget unter meinem Haupt;
und seine Rechte herzet mich;
Er erquickt mich mit Blumen,
und labet mich mit Äpfeln;
denn, ich bin krank vor Liebe.
My beloved is mine and I am his;
he feedeth among the lilies,
and he lingers also with me.
His left hand is under my head,
and his right hand doth embrace me.
He stays me with flagons
and comforts me with apples,
for I am sick with love.
Wo ist dein Freund hingegangen,
o du schönste unter den Weibern,
wo hat sich dein Freund hingewandt, wohin?
Whither is thy beloved gone,
O thou fairest among women,
whither is thy beloved turned aside, whither?
Mein Freund ist hinabgangen, in seinen Garten,
zu den Würzgärtlein,
daß er sich weide unter dem Garten und Rosen
breche.
My beloved is gone down into his garden,
to the beds of spices,
to feed in the gardens, and to gather lilies.
So wollen wir mit dir ihn suchen.
Then shall we seek him with thee.
Ich habe meine Myrrhen, samt meinem Würzen
abgebrochen,
Ich habe mienes Seims samt meinem Honige gesen,
Ich habe meines Weins, samt meiner Milch
getrunken.
I have gathered my myrrh with my spice,
Esset meine Lieben und trinket meine Freunde.
So sehe ich nun das für gut an, daß es fein sei,
wenn man isset und trinket und gut’s Mut’s ist,
denn das ist eine Gabe Gottes.
Esset miene Lieben und trinket meine Freunde
und werdet trunken, denn es ist eine Gabe Gottes.
Das gratias, das singen wir,
Herr Gott Vater, wir danken dir,
daß du uns reichlich hast gespeist,
dein Lieb’ und Treu’ an uns beweist,
gib uns auch das Gedeihen darzu,
unserm Leib Gesundheit und Ruh,
wer das begehrt, sprech’ Amen darzu.
Eat, my dear ones, and drink, my friends.
Now I think it a good and a fine thing
when men eat and drink and are of good cheer,
for that is a gift of God.
Eat, my dear ones, and drink, my friends,
and become inebriated, for that is a gift of God.
Now we sing our grace,
Lord God our Father, and we thank thee
that thou hast fed us richly,
and shown us thy love and devotion.
Now give us also prosperity,
good health for our bodies, and peace.
Whoever desires the same, let him say Amen.
ADAPTED FROM SONG OF SOLOMON
© CHARLES JOHNSTON; REPRODUCED BY KIND PERMISSION
OF HARMONIA MUNDI FRANCE © 2010
I have eaten my honeycomb with my honey,
I have drunk my wine with my milk.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 9
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 10
JS Bach’s forebears: the Bach family until Johann Sebastian
Veit Bach (died before 1578)
An amateur cittern player; a
Protestant, he moved to Thuringia
from Hungary to escape the
staunchly Roman Catholic Hapsburgs
Johannes Hans Bach (1550–1626)
Known as ‘der Spielmann’ (‘the
player’); became the first professional
musician of the family after starting
out, like his father, as a baker
Christoph Bach
(1613–1661)
Johann Sebastian’s
grandfather; a court
musician in Wechmar
Heinrich Bach (1615–1692)
Town instrumentalist in Erfurt before becoming
organist of Arnstadt; described in his funeral
eulogy as “an organist who touched the heart...
a musician famous for his art”
Johann Christoph
Bach (1642–1703)
A hugely successful
and popular
composer and
musician in
Eisenach, but
plagued by debt
and quarrels with
the town council;
Johann Sebastian
held his music in
high esteem
Johann Michael
Bach (1648–1694)
A timid, gentle
character; became a
composer,
performer and
instrument maker
after a stint as
organist in Arnstadt
castle’s chapel
Johann Ambrosius
Bach (1645–1695)
A trumpeter and
violinist; duties in
Eisenach included
twice-daily
performances of
cantatas from the
tower of the town
hall
Maria Elisabeth
Lämmerheit
(1644–1694)
Daughter of a
furrier; aunt of
composer and
lexicographer
Johann Gottfried
Walther
Johann Christoph
Bach (1645–1693)
A court and town
musician in
Arnstadt; Johann
Ambrosius’ twin
brother
Johann Nicolaus
Bach (1669–1753)
Harpsichord-maker,
composer and
organist; spent time
in Italy and in the
Danish army
Maria Barbara
Bach (1684–1720)
Johann Sebastian’s
wife and second
cousin; died
unexpectedly at the
age of 36, having
borne two children
(CPE and WF Bach)
Johann Sebastian
Bach (1685–1750)
Anna Magdalena
Wilcke
(1701–1760)
A professional
singer, from a
musical family;
helped Johann
Sebastian transcribe
his work; they had
13 children, seven of
whom died at a
young age
Johann Jacob Bach
(1682–1722)
An oboist and
flautist; served in the
military band of
King Charles XII of
Sweden’s army
10 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 11
Richard Egarr director & harpsichord
In 2006 Richard established the Choir of the
AAM, and operas and oratorios lie at the heart of
his repertoire more generally. He regularly
appears at the Concertgebouw in Amsterdam
with, among others, the Netherlands Opera
Company; and in summer 2010 he conducted
Handel’s Saul with the Britten-Pears Baroque
Orchestra at Snape Maltings.
Richard Egarr brings a joyful sense of adventure
and a keen, enquiring mind to all his music
making. A brilliant harpsichordist and equally
skilled on the organ, fortepiano and modern
piano, Richard’s many roles include directing
from the keyboard, playing concertos, giving
solo recitals and playing chamber music. He is
also an accomplished conductor, and relishes
the chance to talk about music at every
opportunity.
Richard trained as a choirboy at York Minster, at
Chetham’s School of Music in Manchester and as
organ scholar at Clare College, Cambridge. His
studies with Gustav and Marie Leonhardt further
inspired his work in the field of historical
performance.
Since being appointed Music Director of the
AAM in 2006, Richard has directed the orchestra
in concerts around the world and in a number
of acclaimed recordings. Richard is also involved
with a number of other period ensembles. This
season he appears in America with the Handel
and Haydn Society, Tafelmusik and Portland
Baroque; and he has performed as a soloist with
The English Concert, the Orchestra of the Age
of Enlightenment and the Orchestra of the
18th Century.
Richard is also increasingly sought-after by nonperiod orchestras. This season he makes his
debuts as conductor with the Rotterdam
Philharmonic, the BBC National Orchestra of
Wales, the Swedish Chamber Orchestra and the
Dallas Symphony; and he appears annually with
the Scottish Chamber Orchestra.
“The Bernstein of Early Music”
U S A N AT I O N A L P U B L I C R A D I O
Richard has performed as a soloist throughout
Europe, Japan and the USA, and his solo
recording output comprises works by
Frescobaldi, Orlando Gibbons, Couperin, Purcell,
Froberger, Mozart and JS Bach. For many years
he formed an “unequalled duo for violin and
keyboard” (Gramophone) with violinist Andrew
Manze, which resulted in acclaimed concerts
and award-winning recordings of music from
Stylus Phantasticus to Mozart and Schubert.
Richard records exclusively for Harmonia Mundi
USA. He has directed the AAM in recordings by
JS Bach, including the Brandenburg Concertos;
and in a complete cycle of Handel’s Opp.1-7
instrumental music which has won the MIDEM,
Edison and Gramophone Awards.
Richard lives in Amsterdam with his wife and
daughter.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 11
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 12
Academy of Ancient Music
Back in 1973, most orchestras played old music
in a modern style. Centuries of change had
eroded the sound-worlds known to Bach,
Handel, Haydn and Mozart: the instruments were
different; the pitch was different; the number of
players was different; the very essence and spirit
of performances was different.
But change was in the air. Wouldn’t it be
wonderful, people asked, if we could turn the
clock back; if we could find out more about
composers’ original intentions and get closer to
the style in which music was originally
performed? This was the spirit in which
Christopher Hogwood founded the AAM. It was
revolutionary. Centuries of convention were cut
away and baroque and classical masterworks
were heard anew. The stringed instruments in
Hogwood’s new orchestra had strings made of
animal gut, not steel. The trumpets have no
valves. The violins and violas didn’t have chinrests, and the cellists gripped their instruments
between their legs rather than resting them on
the floor. It wasn’t just the instruments or the
sound of the music which changed, though; it
was how it felt. AAM performances were full of
energy and passion and joy.
From these beginnings, one of the world’s great
orchestras was born. Over the next three
decades the AAM’s fame spread to every corner
of the globe as it built up a celebrated
discography of well over 250 CDs — Brit- and
Grammy-award-winning recordings of the great
baroque masterworks; opera releases starring
Cecilia Bartoli, Dame Emma Kirkby and Dame
Joan Sutherland; pioneering cycles of the Mozart
and Beethoven symphonies. It performed live
on every continent except Antarctica, inspiring
music lovers worldwide with the passion and the
power of its music-making.
Richard Egarr — a leading light in the next
generation of early music specialists —
succeeded Hogwood in 2006. In his first four
years as Music Director his recordings with the
orchestra have won the Edison, Gramophone
12 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
and MIDEM Awards; and he has directed
hundreds of performances across four
continents. The orchestra continues to work
with a roster of guest directors including Pavlo
Beznosiuk, Giuliano Carmignola, Paul Goodwin,
Stephen Layton and Masaaki Suzuki, ensuring
that new ideas and approaches continually
inspire the group. In 2009 the AAM made history
with the world’s first-ever live choral “cinecast”: its
performance of Handel’s Messiah was beamed in
real time from the King’s College Chapel,
Cambridge to tens of thousands of people in
over 250 cities around the globe.
“The ultimate raspberry to anyone who
says baroque music is predictable”
T H E I N D E P E N D E N T, 2 0 0 9
Today, the AAM’s concert series in London and
Cambridge lies at the heart of its work. This
season’s programme is based around The Bach
Dynasty — a major new concert series exploring
the music of JS Bach and his many composerrelatives. Other highlights include Mozart’s early
opera La Finta Giardiniera at the Barbican, and an
intriguing programme showcasing the littleknown baroque and classical music of South
America. The orchestra will collaborate with the
likes of Bernard Labadie, acclaimed director of
Les Violons du Roy, singers James Gilchrist,
Rosemary Joshua, Andrew Kennedy and
Elizabeth Watts, cellist Steven Isserlis, and the
Choir of King’s College, Cambridge.
The AAM’s international touring schedule in
2010-11 is as wide-ranging as it has ever been.
Among this year’s highlights are performances of
JS Bach’s Brandenburg Concertos and Haydn’s
The Creation at the Shanghai Concert Hall and in
Perth; concerts with the star Korean soprano
Sumi Jo at the National Centre for the
Performing Arts in Beijing and around Singapore,
South Korea and Taiwan; and performances in
leading European venues including the
Concertgebouw in Amsterdam and the Théatre
des Champs-Elysées in Paris.
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 13
Academy of Ancient Music
Violin
Pavlo Beznosiuk*
Rebecca Livermore
Viola
Rachel Byrt
William Thorp*
Cello
Joseph Crouch*
Theorbo
William Carter
Organ
Stephen Farr
*Sponsored chairs
Soprano
Charmian Bedford
Philippa Hyde
Leah Jackson
Katie Thomas
Leader
Mr and Mrs George Magan
Principal cello
Dr Christopher and
Lady Juliet Tadgell
Alto
Jacqueline Connell
Susanna Spicer
Principal flute
Christopher and
Phillida Purvis
Tenor
Julian Forbes
Edmund Hastings
Sub-principal viola
Sir Nicholas and
Lady Goodison
Bass
Richard Latham
Philip Tebb
Sub-principal cello
Newby Trust Ltd
In profile: William Carter theorbo
William Carter was born in Florida, and trained initially as a modern
guitarist. He soon fell in love with period instruments, though, and a
Fulbright scholarship brought him to the UK. Since then he has
performed all over the world and appeared on numerous CDs, both
with the AAM and as a soloist. His most recent recording, ‘Fernando Sor,
Early Works’, was featured on BBC Radio 3 and picked as Editor’s Choice
in Gramophone. He is Professor of Baroque Studies and Lute at The
Guildhall School of Music and Drama.
Board of Directors
Adam Broadbent
Kay Brock LVO DL
John Everett
Matthew Ferrey
John Grieves
Christopher Hogwood
CBE
Heather Jarman
Christopher Purvis CBE
(Chairman)
Dr Christopher Tadgell
Sarah Miles Williams
Development Board
Adam Broadbent
Kay Brock LVO DL
Delia Broke
John Everett
Matthew Ferrey
John Grieves
Madelaine Gunders
Elizabeth Hartley-Brewer
Annie Norton
Christopher Purvis CBE
Chris Rocker
Dr Christopher Tadgell
Madeleine Tattersall
Sarah Miles Williams
Alison Wisbeach
Music Director
Richard Egarr
Emeritus Director
Christopher Hogwood
CBE
External Relations
Manager
Toby Chadd
Administration Manager
Samantha Fryer
Chief Executive
Michael Garvey
Finance Manager
Elaine Hendrie
Orchestra Manager
Andrew Moore
Arts Management
Trainee
Sarah Reid
Head of External
Relations
Simon Fairclough
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 13
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 14
The Bach Dynasty:
Brandenburg Concertos
Tuesday 19 October
Cadogan Hall, London
Pre-concert talk with Richard Egarr at 6.30pm
See inside back cover for details of how to book
The AAM and Richard Egarr bring their distinctive interpretation of JS Bach’s
Brandenburg Concertos to Cadogan Hall on the heels of a celebrated new
recording and a 14-concert tour of the USA. The Brandenburg story is well known. Having been penned in the 1710s, the
concertos were presented by Bach to the Margrave of Brandenburg in a
concerted but ultimately unsuccessful attempt to gain princely patronage;
and in the Margrave’s library they languished, unperformed, unnoticed and
seemingly forgotten even by Bach’s closest family — until they were
rediscovered many years after his death. Happily for the music lovers of today, these works, replete with vibrant
contrast and glittering instrumental virtuosity, were quickly recognized as
some of the most masterful music of the baroque period. In the words of
Richard Egarr, “these six concertos represent one of the glories of the
instrumental repertoire — and arguably some of the best chamber music
ever penned”.
“
The Egarr-AAM Brandenburgs really blow. In a
good way. They blow centuries of library dust off
these pieces, and they blow fantastic horn and
trumpet lines. Egarr & co are in it to win it! Whew!
The first disc hardly played 10 seconds when I was
grabbing for the remote control to play again the
most amazing horn parts I have ever heard —
wild, outdoorsy, jazzy, almost bepop. As the six
concertos unfolded, there was no sense of
letdown, just continuing pleasant surprises...
So, yes, a very strong recommendation...
STEREOPHILE MAGAZINE, JUNE 2009
14 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
”
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 15
South American
connections
Music by South American composers and
their European contemporaries
Wednesday 24 November
Thursday 25 November
West Road Concert Hall, Cambridge
Wigmore Hall, London
Pre-concert talks with Dr Alexander Samson (UCL) at 6.30pm in Cambridge and London
See inside back cover for details of how to book
Growing up in Brazil, Rodolfo Richter
— like generations of young musicians
before him — had no access to the rich
musical heritage of South America,
created (and then destroyed) by the
complex and extensive cultural
interchange with Europe in the
sixteenth and seventeenth centuries.
Much of the music is still undiscovered,
lying neglected in churches and private
collections. Putting this programme
together, then, has been a labour of
love. Velasco’s Desvelado dueño mio will
be heard for the first time in centuries
after Rodolfo persuaded a secretive
collector to allow him to play it. Then,
while lying in his hospital bed
recovering from heart surgery, Rodolfo
found a horn part from Bolivia which
fitted exactly the Brazilian Sonata
Chiquitana. Where the paths of these
two works crossed, and whether
directly or by a common influence, is
unclear; they are reunited in this
programme. Meanwhile the Cachua, a
sort of folk tune, will — true to its roots
— form the centre of what Rodolfo
describes as “a jamming session”.
Join us for a journey of musical
discovery as Rodolfo and Juanita
explore the music of their homeland.
Rodolfo Richter director & violin
Rodolfo Richter was born and
brought up in Brazil, and
studied the violin with Klaus
Wusthoff and Pinchas
Zuckermann and composition
with Pierre Boulez. He won the
Antonio Vivaldi International
Violin Competition in 2001,
and has performed with
orchestras across the world
in repertoire from Vivaldi’s
concertos to music by
John Cage.
Juanita Lascarro soprano
Colombian soprano Juanita
Lascarro began her studies in
biology in Bogotá, before
moving to Cologne to pursue
her singing career. Since then
performances with Sir Simon
Rattle, Vladimir Ashkenazy and
Antonio Pappano, as well as
numerous recitals, have
confirmed Juanita’s status as
one of the music world’s
brightest talents.
“The Colombian soprano Juanita Lascarro —
petite, knowing, and utterly irresistible —
becomes the convincing focus of everyone’s
desire. The singing is first class.”
(THE INDEPENDENT 2009).
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 15
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 16
Supporting the Academy of Ancient Music
We live in a world of worthy causes. Why
support an orchestra like the AAM?
to support from the wealthy which enabled
them to realise their potential.
For centuries, people have understood the
importance of culture. The arts enrich society and
change lives. They help to make life worth living.
Over the centuries, successive generations of
philanthropists created and sustained the
orchestras and choirs which kept this music alive.
It is their legacy which we inherit today.
For centuries, people have also understood that
culture is costly, and that it can only thrive if
those who are in a position to sustain it do so
generously. The music which the AAM performs
only ever came into being because of a culture
of patronage: Monteverdi was supported for
much of his career by the Duke of Mantua; JS
Bach composed many of his instrumental
masterpieces while employed at the courts of
Weimar and Köthen; and Haydn’s 104
symphonies may never have been written had
he not enjoyed the backing of the Esterházy
family. The music of these great composers —
and of many others besides — stands as
testament not only to individual genius, but also
For a time, it seemed that the future of the arts in
Britain would be taken care of by the state; that
the need for support from generous individuals
was a thing of the past. For better or worse,
those days are long gone. The Academy of
Ancient Music does not receive any regular
public funding, and income from ticket sales
will fall short of covering the full cost of
sustaining the orchestra by at least £400,000
this year.
The future of ancient music lies in the hands of a
new generation of philanthropists.
The AAM Society
The AAM Society is the orchestra’s closest group
of regular supporters. Membership ranges from
£250–£20,000+ per annum — or from £100 per
annum for Young Supporters — given either as a
lump sum or by regular donations. Members’
contributions provide the vital core funding
required if the orchestra is to continue to
perform.
Society members enjoy a very close involvement
with the life of the AAM. After performances in
London, members dine with the director, soloists
and AAM musicians. They have a chance to
become a part of orchestral life behind the
scenes by sitting in on rehearsals for concerts and
recordings. At least once each year they have the
opportunity to accompany the orchestra on an
international tour — next month, for example,
forty will travel with the AAM and the Choir of
King’s College, Cambridge on a tour of The
Netherlands.
16 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
Those gving over £1,000 per year receive
invitations to regular recitals and other special
events held at the homes of fellow members.
Those giving over £5,000 per year have the
opportunity to sponsor a specific position in the
orchestra, and are invited to join the Council of
Benefactors, a forum which will meet annually to
receive an update on the orchestra’s performance
from the Chief Executive and Chairman.
Tax efficient giving
Because the AAM is a charity, gifts from UK
taxpayers can be made in a tax efficient manner
under the Giftaid scheme.The cost of a gift to the
donor can be as little as half of its value to the
AAM. The orchestra can claim back from the
HMRC the basic rate tax already paid by the
donor, and higher and additional rate taxpayers
can claim tax relief on the difference between the
basic rate and the applicable rate of income tax:
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 17
Membership
level
Minimum
donation
Value of donation
to AAM after
Giftaid
Final cost to
additional rate
(50%) taxpayer
after tax relief
Final cost to
higher rate (40%)
taxpayer
after tax relief
Equivalent
monthly
donation
Young Supporter
(under 40 only)
Donor
Benefactor
Principal Benefactor
Patron
Principal Patron
The Hogwood Circle
The Chairman’s Circle
£100
£125
£62.50
£75
£8.33
£250
£500
£1,000
£2,500
£5,000
£10,000
£20,000
£312.50
£625
£1,250
£3,125
£6,250
£12,500
£25,000
£156.25
£312.50
£625
£1,562.50
£3,125
£6,250
£12,500
£187.50
£375
£750
£1,875
£3,750
£7,500
£15,000
£20.83
£41.67
£83.33
£208.33
£416.67
£833.33
£1,666.67
Gifts of shares
Donors are encouraged to consider covering
the cost of their AAM Society membership by
making gifts of shares. Generous tax incentives
are available to individuals who support
charities in this manner. Donors are able to
claim income tax relief on the value of shares
and securities donated, and are also exempt
from any tax on capital gains that would have
arisen if the shares had been sold. In some
Leaving a legacy
Over the last four decades the Academy of
Ancient Music has brought joy and inspiration
to millions of people. Our aim over the next is
to begin to build up an endowment fund
which will enable the orchestra to do so in
perpetuity.
Leaving a legacy is one of the most important
and enduring ways in which you can support
the AAM. Every gift, whatever its value, will
help the orchestra to plan for its future with
confidence. Whether you give £5,000 to
endow one pre-concert talk each year or £5
million to endow the AAM’s entire London
season, your bequest will have a real impact
in enabling the AAM to keep the music of the
baroque and classical periods alive, and to
enrich the lives of music lovers for
generations to come.
circumstances the cost of the gift could be
under 50% of the eventual value to the AAM.
More information is available from the Head of
External Relations, Simon Fairclough, on 01223
301509 or [email protected].
How to join
To join the AAM Society, please complete and
return the form on page 19 of this booklet.
Legacies are highly tax efficient: the AAM’s
charitable status means that gifts are exempt
from Inheritance Tax, and any legacy you
bequeath may also reduce the overall tax
liability due on your estate.
Should you find yourself a beneficiary under a
will, you may also wish to consider
transferring part of your inheritance to the
AAM using a Deed of Variation. Amounts
transferred in this manner become freed of
any Inheritance Tax otherwise due, affording
the opportunity for the AAM to benefit from
your generosity during your lifetime.
The Head of External Relations, Simon
Fairclough, is always happy to talk informally
and in confidence with anyone considering
making provision for the AAM in their will. He
can be contacted on 01223 301509 or
[email protected].
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 17
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 18
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 Press
Kleinwort Benson
Amberstone Trust
CHK Charities Ltd
Dunard Fund
John Ellerman Foundation
Esmée Fairbairn Foundation
Fidelity UK Foundation
Goldsmiths’ Company Charity
The Idlewild Trust
The Michael Marks Charitable Trust
Anthony Travis Charitable Trust
Arts Council England through the
Sustain programme
Orchestras Live
Cambridge City Council
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 year.
The Chairman’s Circle
(Donations £20,000–£49,999 per annum)
CHK Charities Ltd
Dunard Fund
The Hogwood Circle
(Donations £10,000 - £19,999 per annum)
Matthew Ferrey
Mr and Mrs George Magan
Christopher and Phillida Purvis *
Mrs Julia Rosier
Dr Christopher and Lady Juliet Tadgell
Principal Patrons
(Donations £5,000 – £9,999 per annum)
Lady Alexander of Weedon
Sir Nicholas and Lady Goodison *
Richard and Elena Bridges
Christopher Hogwood CBE *
Mrs Sheila Mitchell
Newby Trust Ltd *
Chris Rocker and Alison Wisbeach
and other anonymous Principal Patrons
Patrons
(Donations £2,500 – £4,999 per annum)
Adam and Sara Broadbent
Mr and Mrs Graham Brown
Mr and Mrs JE Everett
John and Ann Grieves
Mark and Liza Loveday
John and Joyce Reeve
Mark West
Sarah and Andrew Williams
SVG Capital
and other anonymous Patrons
Principal Benefactors
(Donations £1,000 – £2,499 per annum)
George and Kay Brock
Mrs D Broke
Clive and Helena Butler
Jo and Keren Butler
Sir Charles Chadwyck-Healey Bt
Kate Donaghy
The Hon Simon Eccles
Elizabeth Hartley-Brewer
Elma Hawkins and Charles Richter
Lord Hindlip
John McFadden and Lisa Kabnick *
Mr and Mrs C Norton
Lionel and Lynn Persey
Nigel and Hilary Pye *
Mr and Mrs Charles Rawlinson
Sir Konrad and Lady Schiemann *
JG Stanford
John and Madeleine Tattersall
Marcellus and Katharine Taylor-Jones
Stephen Thomas
Mrs R Wilson Stephens
Charles Woodward
and other anonymous Principal Benefactors
Benefactors
(Donations £500 – £999)
Maureen Acland OBE *
Dr Aileen Adams CBE
Bill and Sue Blyth
Elisabeth and Bob Boas *
Claire Brisby and John Brisby QC *
Mr and Mrs Edward Davies-Gilbert
Charles Dumas
Mr and Mrs Jean-Marie Eveillard
Simon Fairclough
Marshall Field
Andrew and Wendy Gairdner
William Gibson
The Hon Mr and Mrs Philip Havers
Professor Sean Hilton
Dr and Mrs G and W Hoffman
Heather Jarman *
David and Linda Lakhdhir
Susan Latham
Tessa Mayhew
Mr and Mrs Hideto Nakahara
Rodney and Kusum Nelson-Jones
Nick and Margaret Parker
Timothy and Maren Robinson
Bruno Schroder and Family
Peter Thomson
Peter & Margaret Wynn
Julia Yorke
and other anonymous Benefactors
Donors
(Donations £250 – £499)
Angela and Roderick Ashby-Johnson
Mrs Nicky Brown
18 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
Dr and Mrs S Challah
David and Elizabeth Challen
The Cottisford Trust
Derek and Mary Draper
Beatrice and Charles Goldie
Steven and Madelaine Gunders
Gemma and Lewis Morris Hall
Mrs Helen Higgs
Lord and Lady Jenkin of Roding
Richard Lockwood
Yvonne de la Praudière
Robin and Jane Raw
Annabel and Martin Randall
Arthur L Rebell and Susan B Cohen
Michael and Giustina Ryan
Miss E M Schlossmann
Tom Siebens and Mimi Parsons
Rt Hon Sir Murray Stuart-Smith *
Robin Vousden
Pippa Wicks
Paul F. Wilkinson and Associates Inc.
and other anonymous Donors
* denotes founder member
Members of the AAM Bach Patrons
Lady Alexander of Weedon
Richard and Elena Bridges
Mr and Mrs Graham Brown
Jo and Keren Butler
CHK Charities Ltd
Matthew Ferrey
Dunard Fund
Elizabeth Hartley-Brewer
The Hon Simon Eccles
Graham and Amanda Hutton
Mark and Lisa Loveday
Mrs Sheila Mitchell
Mr and Mrs Charles Rawlinson
John and Joyce Reeve
Dr Christopher and Lady Juliet Tadgell
John and Madeleine Tattersall
Stephen Thomas
Mark West
Charles Woodward
Cambridge Bach Supporters
Cambridge Bach Friends
and other anonymous AAM Bach Patrons
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 19
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: ................................................................................................................
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.
Giftaid 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.
Member’s address: ............................................................................................................
........................................................................................................................................................
Please treat this donation and all donations that I make from the
date of this declaration until I notify you otherwise as Giftaid
donations.
Member’s telephone: ......................................................................................................
Signed: .....................................................................................................................................
Member’s email: .................................................................................................................
Date: ...........................................................................................................................................
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
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: ........................................................................................................................
........................................................................................................................................................
Date of birth: ..................................................................................................................
Account number: ...............................................................................................................
Acknowledgement
Please acknowledge my gift using the following form of
wording
.......................................................................................................................................................
I would prefer to remain anonymous
Sort code: ................................................................................................................................
Please pay Academy of Ancient Music, Lloyds TSB, Gonville Place
Branch, Cambridge, sort code 30-13-5, Account number 02768172
the sum of
£......................................................................................................................................................
per
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’)
month
quarter
year
starting on: .............................................................................................................................
Signed: ......................................................................................................................................
Date: ...........................................................................................................................................
I would like to pay by standing order
(please complete the standing order section below)
Full name: ...............................................................................................................................
I would like to make a gift of shares (please contact the AAM)
Please return your completed form to:
Simon Fairclough
Head of External Relations
Academy of Ancient Music
32 Newnham Road
Cambridge CB3 9EY
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 19
Programme SEPT10_AAM programme Sept 2010 14/09/2010 18:57 Page 20
Genius of Britannia’s isle
an anniversary celebration of Thomas Arne
Alfred the Great (1753 version)
7 & 9 October, 7.30 pm
Artaxerxes Insight Evening
8 October, 7.30pm
The Classical Opera Company celebrates Arne’s 300th birthday with two concert performances of
Alfred, presenting a rare opportunity to hear “Rule, Britannia” in its original context, and an insight
evening exploring Arne’s masterpiece, Artaxerxes, in advance of the company’s eagerly-awaited
new recording of the work.
£11.50 - £34.50: www.kingsplace.co.uk / 020 7520 1490 (savings apply to on-line bookings)
www.classicalopera.co.uk
Wigmore Hall
36 Wigmore Street
London W1U 2BP
Director: John Gilhooly
The Wigmore Hall Trust
Registered Charity No.1024838
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:
Please contact House Management
for full details.
20 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N