beethoven’s missa solemnis - orchestra of the age of ...€™s missa solemnis friday 4 november...

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Beethoven’s Missa SolemnisFriday 4 November 20118pmRoyal Festival Hall

BeethovenMass in D,Missa Solemnis

Gianandrea Nosedaconductor

Anne Ellersieksoprano

Michaela Wehrum-Gandenbergeralto

Mark Adlertenor

Patrick Schrammbass

Orchestra of the Age ofEnlightenment

Philharmonia Chorus

Stefan Bevier Chorus Master

Concert given in memory of Sir CharlesMackerras, President of the PhilharmoniaChorus and Emeritus Conductor of theOrchestra of the Age of Enlightenment

The concert will finish at approximately 9.30pmwith no interval

Major Sponsor

The Philharmonia Chorus and Orchestra of theAge of Enlightenment would like to thank thefollowing for their support without which thisconcert would not have been possible

The Derek Butler TrustThe Golden Bottle TrustMichael and Jacqueline GeeMrs Christine CollinsKingsley Manning and Judy DaviesHana Tillerand several anonymous donors

63764 OAE 4 Nov Solemnis_OAE 2006 Prog6 h copy 02/11/2011 14:17 Page 1

Orchestra & Staff listOrchestra of the Age of Enlightenment

First Violins Matthew Truscott Alison Bury Jennifer GodsonMiranda Fulleylove Rachel Isserlis Claire SansomNancy Elan Simon Kodurand Lucy Waterhouse Catherine Ford Jayne Spencer Sarah Streatfeild

Second Violins Kati Debretzeni Roy Mowatt Claire Holden Iona Davies Catherine Weiss Stephen RouseDebbie Diamond James Ellis Susan Carpenter-Jacobs Henrietta Wayne Joanna Lawrence Emilia Benjamin

Violas Tom Dunn Martin Kelly Nicholas LogieOliver WilsonAnnette IsserlisLouise Hogan Katharine HartMark BraithwaitePenny VeryardAmanda Derley

CellosRobin Michael Catherine Rimer Helen Verney Andrew SkidmoreJennifer MorschesJosephine Horder Daisy Vatalaro Gabriel Amherst

Double Basses Chi-chi Nwanoku MBECecelia BruggemeyerAndrew Durban Pippa MacmillanJan ZahourekCarina Cosgrave

Flutes Lisa BeznosiukNeil McLaren

Oboes Anthony RobsonRichard Earle

ClarinetsAntony PayBarnaby Robson

Bassoons Andrew WattsDamian Brasington

ContrabassoonDavid Chatterton

HornsRoger MontgomeryMartin LawrenceGavin EdwardsDavid BentleyUrsula PaludanMonberg

Trumpets David BlackadderJohn Hutchins

Trombones Susan AddisonPeter ThorleyAndrew Lester

Timpani Charles Fullbrook

Organ Steven Devine

Management

Chief ExecutiveStephen Carpenter

Orchestra ManagerPhilippa Brownsword

Projects DirectorCeri Jones

Projects ManagerMegan Russell

Education DirectorCherry Forbes

Education OfficerEllie Cowan

LibrarianColin Kitching

Finance DirectorLisa Sian

Finance OfficerStephen Rock

CommunicationsDirectorWilliam Norris

Press ManagerKaty Bell

Marketing and PressOfficerNatasha Stehr

Digital ContentOfficerZen Grisdale

Director ofDevelopmentClare Norburn

DevelopmentManager, Trusts andFoundations Sally Drew

DevelopmentManager, IndividualGivingIsabelle Tawil

Development OfficerJodie Gilliam

Corporate Relationsand EventsAdministrator Lucy Pilcher

US Administrator,American Friends of the OAESevern Taylor

Graduate InternToby Perkins

Board of DirectorsMartin Smith(Chairman)Martin Kelly(Vice-Chairman)Cecelia BruggemeyerStephen CarpenterJane CarterRobert CorySally JacksonColin KitchingJulian MashAndrew RobertsSusannah SimonsMark WilliamsRosalyn Wilkinson

Development BoardJulian Mash(Chairman)Sally Jackson(Player Member)Christopher CookeJames Flynn QCTheresa LloydDavid MarksAnthony Simpson

Artistic DirectionCommitteeSusie Carpenter-JacobsDebbie DiamondMartin LawrenceHelen Verney

LeadersAlison BuryKati DebretzeniMargaret FaultlessMatthew Truscott

Melgaard OAEYoung ConductorKevin Griffiths

American FriendsBoardJohn BrimCiara BurnhamSarah KettererRichard PzenaKathy ReilandAnthony SimpsonNicholas von Speyr

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

Kings Place, 90 York Way, London, N1 9AGTel: 020 7239 9370Email: [email protected]: oae.co.ukFacebook.com/orchestraoftheageofenlightenment Twitter: twitter.com/theoae

Registered Charity No. 295329Registered Company No. 2040312

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Sir CharlesMackerras and thePhilharmoniaChorus

The Philharmonia Chorus sangunder Sir Charles’ baton manytimes over some 35 years. It was inperformances of Handel that hefirst conducted the Chorus, first in1975 with Messiah in Orange,France, and most memorably, indébut performances at thelegendary Teatro alla Scala inMilan, with Judas Maccabeus.Many memorable performances

followed, (including the MissaSolemnis) and singers would lookforward with keen anticipation tohis rehearsals and concerts. In morerecent years there were notableperformances of Beethoven’s 9thSymphony and Mozart’s Requiemwith the Philharmonia Orchestra,

and a memorable semi-stagedperformance of Weber’s DerFreischützwith the ScottishChamber Orchestra at theEdinburgh International Festival.He was a galvanising presence

on the musical scene, and theChorus was immensely proud tohave him as its President. Typically,he treated it as much more than anhonorary position, for he workedhard and with considerable successto promote the interests of theChorus at every opportunity. Weshall always be grateful to him.

Richard HardingChairmanPhilharmonia Chorus

Photo: Clive Barda


Sir Charles Mackerras was one of thefirst artists to be invited to conduct thefledgling Orchestra of the Age ofEnlightenment (or, ‘Age ofEnlightenment’ as it was known inthose early days). His first concertwith the OAE was in 1987 in aprogramme of all Mozart: theOverture to Don Giovanni, LinzSymphony and the Haffner Serenade.In the book Spirit of the Orchestrawhich was published in 2007 tocoincide with the OAE’s 21stbirthday, Sir Charles rememberedthose early days with the Orchestra,‘Playing a period instrument is likedriving a car and having to double de-clutch. The handicaps that one sufferswith those wind instruments aretremendous. Instruments were builtso your fingers could go over the holes,but the holes were not necessarily inthe best place for ‘just’ intonation.Playing the horn and making thosechromatic notes with your fist, tryingto get the tone consistent, is incrediblyhard – the horn players have to workso much harder to get it in tune,although all the OAE horn players doit extremely well’. But he was neverdiscouraged by the challenges, ‘I never wondered for a momentwhether it was worth it: it was aninspiration. To be able to hear the phrasing, the

sounds – the fact that the notes decayso much more rapidly, it opens up thetexture. And it also answers a wholelot of questions: like the overture toDon Giovanni – the minim in the bassand the crotchet in the top, they arequite similar because of the way thesound decays, in modern times peoplemistakenly sustain it through the bar.It’s taught me a tremendous amount.’After that first concert in 1987, Sir

Charles became a regular guest withthe OAE, appearing in virtually everyseason throughout the past twodecades and becoming an EmeritusConductor in 2007. He was also theconductor with whom the OAE madeits first recordings for Virgin Classics– Schubert Symphonies, with theGreat C major being the first releasein the late 1980s.

We last saw Sir Charles on 12 Junelast year which, although no-oneknew it at the time, was to be his finalpublic performance. It was the last ofhis run of seven performances of Cosifan tutte at Glyndebourne to which,despite his failing health, he broughtan energy and commitment thatwould have been remarkable in aperson half his age. That’s exactlyhow we wish to remember thisremarkable person: as a musician ontop of his game and sharing the joy ofmusic-making with all those aroundhim.Any concert or opera performance

conducted by Sir Charles was an eventthat every musician in the OAElooked forward to and enjoyed. TheOAE players, board and managementstaff had the highest respect and lovefor Sir Charles and we are grateful forthe many happy musical memoriesthat he gave to us and to audiencesthroughout the world; memories thatwill thankfully live on through hisextensive recorded legacy, and whichwe celebrate tonight in this specialconcert in his honour.

Stephen CarpenterChief ExecutiveOrchestra of the Age ofEnlightenment

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Sir CharlesMackerras and the Orchestra of the Ageof Enlightenment


‘The day on which a High Mass*composed by me will be performedduring the ceremonies solemnisedfor your Imperial Highness will bethe most glorious day of my life.’Beethoven had already begun tosketch a new Mass when he wroteoptimistically to his benefactor andone-time pupil Archduke Rudolphin June 1819. By then he hadsubstantially sketched the Kyrie andGloria of what would become theMissa Solemnis. Later that summerhis factotum Anton Schindlervisited Beethoven at the house hewas renting in Mödling, outsideVienna, and found the composersinging, howling and stamping atthe piano as he hewed out the ‘Etvitam venturi’ fugue* in the Credo(though the notoriously unreliableSchindler may have confused thiswith the fugue at the end of theGloria). True to form, though, Beethoven

was nowhere near finishing thework in time for Rudolph’senthronement as Archbishop ofOlmütz (now Olomouc) in CologneCathedral in March 1820. Indeed,the Missa Solemniswould occupyhim for another two and a half years,interleaved with the composition of,inter alia, the Diabelli Variations andthe final three piano sonatas*, Opp.109, 110 and 111. We have noreason to doubt Schindler when hewrites that ‘from the beginning ofhis work on the Mass, Beethoven’swhole personality seemed to assumea different quality, as his olderfriends, especially, noticed. Neverbefore or since have I seen him insuch a state of rapt absorption,oblivious to everything earthly.’Before embarking on the Missa

SolemnisBeethoven had written outthe Latin text and its Germantranslation, annotating copiously ashe pondered the precise significanceof each word and clause. When hecompleted the work in draft in thelate summer of 1822 everymovement had grown to anunforeseen scale as Beethoven

chiselled, revised and (in the ‘Donanobis pacem’, especially) expanded.Long before he received his owndedicatory copy in March 1823,Rudolph realised that the Mass hadassumed dimensions that made afull liturgical performance virtuallyimpossible. Indeed, in a letter to hisfriend Franz Brentano, Beethovenimplies that the Archdukeencouraged him to delay publishingthe Mass. The composer,characteristically, ignored Rudolph’sadvice, selling copies by subscriptionand, not for the only time, engagingin less than transparent dealingswith several publisherssimultaneously in order to securemaximum financial reward.After finishing the work he

regarded as his greatest, Beethovenwrote to another friend, AndreasStreicher: ‘My chief aim was toawaken and permanently instilreligious feelings not only into thesingers but also into the listeners.’Although it sets the Catholicliturgy, the Mass is not confined to asingle creed. Like Schubert,Beethoven had no truck with thedogma of orthodox Catholicism andits rigid hierarchies. It may berevealing, for instance, that he skipsrapidly, albeit with magnificentrhythmic impetus, through thedoctrinal clauses towards the end ofthe Credo - though it can also beargued that these clauses areunsuited to detailed musicaltreatment. Beethoven seems to haveretained his instinctive belief in anomnipotent, all-loving Father, ashymned in the finale of the NinthSymphony. But his faith waspersonal and heterodox, questioningrather than submissive, andcoloured by Enlightenment deism,Romantic pantheism (heworshipped nature with aWordsworthian reverence) andImmanuel Kant’s conception ofmorality governed by reason. InApril 1823 he expressed hisrecurrent religious doubts to hisfriend Karl Peters, who sought to

Programme Notes

Ludwig van Beethoven(1770–1827)Missa Solemnis, Op.123KyrieGloriaCredoSanctus – Osanna – Praeludium -BenedictusAgnus Dei

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*Words indicated by an asteriskare explained on page 20..


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Programme Notes

reassure him in the ConversationBook: ‘Granted that you don’tbelieve in it, you will be glorified,because your music isreligion….You will arise with mefrom the dead – because you must.Religion is constant, only man ischangeable.’ Aware that the Mass’s scale ruled

out normal liturgical use, Beethovenstressed to publishers that it couldbe performed as an oratorio*. Whenthe Kyrie, Credo and Agnus Deiwere first heard (sung in German)in Vienna, in the famous benefitconcert of 7 May 1824 that alsoincluded the premiere of the NinthSymphony, they were billed, at thebehest of the ecclesiastical censors,as ‘Three Grand Hymns withsoloists and chorus’. As in theSymphony, Beethoven beat time ashe turned the pages of the score,while Kapellmeister Ignaz Umlaufheld the performance together,warning the choir and orchestra toignore the virtually stone-deafcomposer.At once crowning and

transcending the classical Austrianmass tradition epitomised byHaydn’s late masses andBeethoven’s own Mass in C, theMissa Solemnis colours and –crucially – dramatises the text in anunprecedented way. In the majesticKyrie the repeated choral cries areimmediately answered by a singlesoloist: a supplicatory individualemerging from the crowd.Beethoven enhances the sense ofurgent entreaty by beginning eachchoral entry on a weak beat andthen reinforcing the strong beatswith trumpets and timpani. In theCredo, built on the graniticfoundation of its opening ‘motto’,‘Omnipotens’ is more ecstaticallyjubilant, ‘et invisibilium’ morearrestingly hushed, ‘descendit’ moreprecipitate, than in any previousmass setting. With breathtaking

compositional sophistication,Beethoven welds the work’s

extreme, often violent, contrasts,prompted by his individual responseto the text, into a series of quasi-symphonic designs, each sectionflowing logically into the next. LikeBach in the B minor Mass, he alsocreated a work of encyclopedicscope that seems to sum up thewhole Western tradition of sacredmusic as Beethoven knew it. Yetsuch were the power of histechnique and the boldness of hisimagination and intellectual reachthat he succeeded in fusing diversestylistic influences into amonumental whole.During the composition of the

Missa SolemnisBeethoven made anintensive study of the ancientEcclesiastical modes* and the so-called ‘Palestrina Style*’. The fruitscan be heard in the mystical ‘Etincarnatus est’, composed in theDorian mode*, with the HolySpirit, likened in the Bible to adove, appearing in the form of awarbling flute high above thehushed voices and strings: at oncethe most naïve and the mosttouching of the many musicalsymbols in the Mass. After thisotherworldliness, the humanwarmth of ‘Et homo factus est’ is allthe more moving. There is anarchaic, modal flavour, too, at theopening of the Sanctus, where thesense of awed devotion (the polaropposite of Bach’s ceremonialsplendour here) is enhanced by thecrepuscular sonorities of lowwoodwind and divided violas andcellos. At the furthest extreme from

this inwardness are movements oftorrential, Dionysian energy: theouter sections of the Gloria, and theeuphoric affirmation of ‘Pleni suntcoeli’ and ‘Osanna’ in the Sanctus,all of which seem to refract Handelat his most extrovert through theprism of Beethoven’s late style. Inthe delirious upward rush of scalesat the opening of the Gloria, it is asif the whole cosmos is rejoicing(‘like the ringing of all the bells in


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Christendom’ was musicologistDonald Tovey’s memorabledescription). The Gloria culminatesin a gargantuan fugue (‘In gloriaDei Patris’) that combines a robustHandelian cast, given a personalstamp by the pervasive sforzando*accents, with a Bachiancontrapuntal* density. The elementof frenzied excess here, while notsanctioned liturgically, expresses acrucial aspect of Beethoven’spersonality that has parallels in thefinale of the near-contemporary‘Hammerklavier’ Sonata, Op. 106,and the Grosse Fuge.The seraphic violin solo of the

Benedictus, emerging magicallyfrom the subdued and (again)archaic-sounding Praeludium(representing the organimprovisation customary at thispoint in the mass), introduces shadesof the concerto*, even the operaticaria*. This was traditionally the mostlyrical and reposeful portion of themass. But Beethoven, as he wassurely aware, outdid all predecessorsin songful beauty and timeless,transcendent peace as the violinfloats its ethereal lines against thediscourse of the soloists and solemn

choral chants. In its mood andswaying 12/8 metre*, the Benedictusprefigures both the final variation ofthe Ninth Symphony’s Adagio, andthe sublime Adagio in the late E flatString Quartet, Op. 127. Uninhibitedly theatrical are the

two apocalyptic ‘war’ episodes thatshatter the lilting pastoral serenityof the ‘Dona nobis pacem’, thesecond one incorporating snatchesof frenetic fugato based on distortedechoes of the ‘Dona’ themes. Nearlythree decades earlier, Haydn hadgraphically evoked the approachingFrench army in the Agnus Dei ofhis Missa in tempore belli.Beethoven, typically, goes thatmuch further in disruptive violenceand terribilità.Martial echoes still linger in the

distant timpani rolls that intrude onthe chorus’s whispered final ‘pacem’.And the abiding impression of thisawesome, intensely personal work(‘From the heart – may it return tothe heart’, Beethoven wrote on thetitle page of the score) is of faithachieved after a titanic struggle, yetto the end edged with disquiet.

© Richard Wigmore

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Programme Notes


Lord, have mercy.Christ, have mercy.Lord, have mercy.

Glory be to God in the highest.And in earth peaceto men of good will.

We praise Thee; we bless Thee;we worship Thee; we glorify Thee.

We give thanks to Theefor Thy great glory.

O Lord God, Heavenly King,God the Father Almighty.O Lord Jesus Christ, the only begotten Son.Lord God, Lamb of God,Son of the Father.

Thou that take away the sins of the world,have mercy upon us.Thou that take away the sins of the world,receive our prayer.

Thou that sit at the right hand of the Father,have mercy upon us.

For thou only art holy,thou only art the Lord,thou only art the most high, Jesus Christ.

Together with the Holy Ghostin the glory of God the Father.Amen.

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KyrieKyrie eleison.Christe eleison.Kyrie eleison.

GloriaGloria in excelsis Deo.Et in terra paxhominibus bonæ voluntatis.

Laudamus te; benedicimus te;adoramus te; glorificamus te.

Gratias agimus tibipropter magnam gloriam tuam.

Domine Deus, Rex coelestis,Deus Pater omnipotens.Domine Fili unigenite Jesu Christe.Domine Deus, Agnus Dei,Filius Patris.

Qui tollis peccata mundi,miserere nobis.Qui tollis peccata mundi,suscipe deprecationem nostram.

Qui sedes ad dextram Patris,O miserere nobis.

Quoniam tu solus Sanctus,tu solus Dominus,tu solus Altissimus, Jesu Christe.

Cum Sancto Spirituin gloria Dei Patris.Amen.

We would like to thank the following groups for attending this evening:

Mr Bruce Harris and the Garrick Club


CredoCredo in unum Deum;Patrem omnipotentem,factorem coeli et terrae,visibilium omnium et invisibilium.

Credo in unum Dominum Jesum Christum,Filium Dei unigenitum,Et ex Patre natum ante omnia sæcula.Deum de Deo, lumen de lumine,Deum verum de Deo vero,Genitum non factum,consubstantialem Patri:per quem omnia facta sunt.Qui propter nos homines,et propter nostram salutemdescendit de coelis.Et incarnatus est de Spiritu Sanctoex Maria Virgine: et homo factus est.

Crucifixus etiam pro nobissub Pontio Pilato,passus et sepultus est.

Et resurrexit tertia diesecundum Scripturas.Et ascendit in coelum:sedet ad dexteram Patris.Et iterum venturus est cum gloria,judicare vivos et mortuos:cujus regni non erit finis.

Credo in Spiritum Sanctum,Dominum, et vivificantem:qui ex Patre Filioque procedit.Qui cum Patre et Filio simuladoratur et conglorificatur:qui locutus est per Prophetas.Credo in unam sanctamcatholicam et apostolicam Ecclesiam.

Confiteor unum baptisma,in remissionem peccatorum.

Et expecto resurrectionem mortuorumet vitam venturi sæculi.Amen.

I believe in one God;the Father almighty,maker of heaven and earth,and of all things visible and invisible.

And in one Lord Jesus Christ,the only begotten Son of God,begotten of the Father before all worlds;God of God, light of light,true God of true God,begotten not made;being of one substance with the Father,by Whom all things were made.Who for us menand for our salvationdescended from heaven;and was incarnate by the Holy Ghost,of the Virgin Mary, and was made man.

He was crucified also for us,suffered under Pontius Pilate,and was buried.

And on the third day He rose againaccording to the Scriptures:and ascended into heaven.He sits at the right hand of the Father;and He shall come again with gloryto judge the living and the dead;and His kingdom shall have no end.

I believe in the Holy Ghost,the Lord and giver of life,Who proceeds from the Father and the Son,Who with the Father and the Son togetheris worshipped and glorified;who spoke by the Prophets.And I believe in one holycatholic and apostolic Church.

I acknowledge one baptismfor the remission of sins.

And I await the resurrection of the deadand the life of the world to come.Amen.

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SanctusSanctus, Sanctus, Sanctus,Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua.

Osanna in excelsis.

BenedictusBenedictus qui venitin nomine Domini.

Osanna in excelsis.

Agnus DeiAgnus Dei,qui tollis peccata mundi,miserere nobis.Agnus Dei.

Dona nobis pacem.

Holy, Holy, Holy,Lord God of Hosts.

Heaven and earth are full of Thy glory.

Hosanna in the highest.

Blessed is He that comesin the name of the Lord.

Hosanna in the highest.

Lamb of God,Who takes away the sins of the world,have mercy upon us.Lamb of God.

Grant us peace.

Hearevery note

Are you hard of hearing or do you use a hearing aid? Did you know Royal Festival Hall, Queen Elizabeth Hall and Purcell Room all have free-of-charge equipment available to help you get the most out of the music you may be missing?

Visit the relevant cloakroom up to one hour before the performance to collect the equipment and learn how to use it effectively.

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BiographyGianandrea Nosedaconductor

Gianandrea Noseda is considered among the mostsought-after conductors of our time serving as MusicDirector of the Teatro Regio Torino, Chief GuestConductor of the Israel Philharmonic and LaureateConductor of the BBC Philharmonic in Manchester.Since 2001 he has been Artistic Director of the StresaFestival, one of the legendary Italian Music festivals. Tostress the importance of his relationship with thePittsburgh Symphony Orchestra, he was appointedVictor De Sabata Guest Conductor. GianandreaNoseda became the first foreign Principal GuestConductor at the Mariinsky Theatre in 1997 and hasbeen the Principal Guest Conductor of the RotterdamPhilharmonic and of the Orchestra Sinfonica Nazionaledella RAI. Born in Milan, Gianandrea Noseda regularly

conducts many of the leading orchestras including theChicago Symphony, New York Philharmonic, LondonSymphony Orchestra, Philadelphia Orchestra, SwedishRadio Symphony Orchestra, Oslo Philharmonic, DSOBerlin, Frankfurt Radio Symphony Orchestra,Orchestre National de France, Orchestre de Paris andthe NHK Symphony Orchestra. His magnificentinterpretation of Britten’s War Requiem at the BarbicanCentre with the London Symphony Orchestra andChorus has received unanimous acclaim from the criticsand the public as recently as October 2011.As Music Director of the Teatro Regio Torino,

Gianandrea Noseda has conducted many operaproductions including Salome directed by RobertCarsen, Massenet’s Thaïs (available on Arthaus DVD),Verdi’s La traviata directed by Laurent Pelly andMussorgsky’s Boris Godunov directed by AndreiKonchalovsky (Opus Arte DVD). In summer 2010 heled the Teatro Regio forces in their first-ever residency inJapan and China and in May 2011 he toured them inSpain and at the Théâtre des Champs Elysées in Paris. Gianandrea Noseda’s privileged relationship with the

Metropolitan Opera began in 2002 with Prokofiev’s Warand Peace and has continued to this day with La forza deldestino (2006), Un ballo in maschera (2007) and with newproductions of Il trovatore (2009) and La traviata(2010). In June 2011 he conducted Lucia di Lammermooron the Met’s Japan tour.Gianandrea Noseda’s intense collaboration with the

BBC Philharmonic continues with studio recordings,subscription concerts at the Bridgewater Hall and the

annual appearance at the Proms in London. Liveperformances of Beethoven’s complete symphonies fromthe Bridgewater Hall, Manchester by the BBCPhilharmonic conducted by Gianandrea Noseda in2005 have attracted the historical figure of 1.4 milliondownload requests in a BBC trial which was offered aspart of Radio 3’s The Beethoven Experience. An exclusive Chandos artist since 2002, his

discography includes Prokofiev, Karlowitz, Dvořák,Smetana, Shostakovich, Liszt’s Symphonic works,Rachmaninoff (the operas and the symphonies), Mahlerand Bartok. An extensive survey of the music of theItalian composers of the 20th-century has includedRespighi, Dallapiccola, Wolf-Ferrari (Diapason d’or inFrance) and Casella. He has also recorded for DeutscheGrammophon conducting the Vienna PhilharmonicOrchestra in Anna Netrebko’s debut album and theTeatro Regio Torino Orchestra for a Mozart albumfeaturing Ildebrando D’Arcangelo.Gianandrea Noseda is very involved with the next

generation of musicians through his tireless work withyouth orchestras such as the Orchestra of the RoyalCollege of Music in London, the National YouthOrchestra of United Kingdom and the OrchestraGiovanile Italiana. In summer 2010 he toured with theEuropean Union Youth Orchestra throughout Europe. Gianandrea Noseda holds the honour of ‘Cavaliere

Ufficiale al Merito della Repubblica Italiana’.


Anne Ellersiek was born in Kaiserslautern. Her firstmusical experiences were with at Gerda Ramirez atMannheim and Steffi Sieber in Heidelberg. From2003-2008, she studied voice at the Hochschule fürMusik in Würzburg with Prof. Leandra Overmann.In the summer of 2008 she graduated from her studieswith a concert and opera diploma. In 2004 she wasprizewinner at the Armin-Knab Song ContestWürzburg and 2009 finalist at the castle Haldenstein.For several years she has worked as a popular concertsinger in the German-speaking countries and hasperformed with orchestras such as the SWRSymphony Orchestra Freiburg / Baden-Baden, theDüsseldorf Symphony, the Hamburg SymphonyOrchestra, the Munich Bach Soloists, Musica AltaRipa and the Rheinische Philharmonie. She has alsoperformed at the opening of the Bad HersfeldFestival, the Weilburg Palace Concerts in theLaeiszhalle Hamburg, at the Alte Oper Frankfurt andthe Tonhalle in Düsseldorf.Her first experiences on the operatic stage included

parts such as Romilda in Handel’s Serse, Micaëla inBizet’s Carmen and Donna Anna in Mozart’s Don Giovanni. In the Baroque Festival HannoverHerrenhausen she also sung in Purcell’s opera The Fairy Queen.As a guest, she sang at the Staatsoper Hannover in

Nono’s Gran Al Sole, Wagner’s Die Walküre asOrtlinde, at the Alley Theatre Hamburg as Pamina inEurydice, at the Theatre of Würzburg as Woglinde inDas Rheingold and at the Aachen Theatre in Wagner’sParsifal as Flower Girl and Pamina.Since the 2008/2009 season, she has been involved

with the Theatre Lübeck, where she was Pamina inThe Magic Flute, Countess Zedlau in Vienna Blood,Marie (The Bartered Bride), Oscar (Un ballo inmaschera), Miranda in The Tempest and Liù inTurandot.From 2010, she has been an ensemble member at

the Theatre Lübeck and has performed as Gretel inHansel and Gretel, Liù in Turandot, Nanetta in Falstaffand Micaëla inCarmen.

BiographyAnne Ellersieksoprano

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The German mezzo-soprano, Michaela Wehrum,studied singing at the Musikhochschule Köln withProfessor Liselotte Hammes. During her studies sheworked at various productions at the opera school.Particularly noteworthy are the roles of Hänsel in thefairy-tale opera Hänsel und Gretel by EngelbertHumperdinck, Nancy in Albert Herring by BenjaminBritten, as well as Frau Reich in Die lustigen Weiber vonWindsor by O. Nicolai. She graduated with honoursand successfully completed her subsequent studies.She has participated in several master-classes withProfessor Kerstin Meyer in Salzburg andProfessor Tom Krause in Cologne, Germany. Shestudied successfully in the Lied class of ProfessorJürgen Glauß, and worked on roles withProfessor Hedwig Fassbender.She was the winner and finalist of different

competitions including the Mozart Competition inWürzburg and the Nuremberg Master SingerCompetition.Michaela Wehrum’s opera career led her to the

Staatstheater Wiesbaden, where she was heard asMercedes in Carmen, as Page in Salome and asOrlofsky in Die Fledermaus. Other stations were at theBremer Theater (Flora in La traviata), theLandestheater in Detmold (Charlotte in Werther) andthe Stadttheater Gießen (Madeleine in MadamePompadour and the second woman in Dido andAeneas). In free opera productions she recently sangthe Sorceress in Purcell’s opera Dido and Aeneas andHänsel in E. Humperdinck‘s opera Hänsel und Gretel.As Mercedes, she also appeared at the theatres ofBremen, Darmstadt and Münster.Michaela Wehrum now has an extensive concert

repertoire and has developed as a soloist in majorconcert choirs, singing in concerts in Italy andSwitzerland. Her concert activities led to the Kölnerand Berliner Philharmonie, to Brazil withthe Weihnachts-Oratorium (BWV 248) by J.S. Bach, tothe Bad Hersfelder Festspielen withMozart’s Requiem and to Verona with Elias by FelixMendelssohn. Next year she will give her debut withVerdi’s Requiem in Bern, Switzerland.Since 2005 she has taught singing at the musical

faculty of the University of Giessen.

BiographyMichaela Wehrum-Gandenbergeralto


Mark Adler completed his vocal studies at theUniversity of the Arts in his hometown of BerlinDietmar Hackel. In 1997 he moved to the ‘HannsEisler’ Hochschule für Musik in Berlin and continuedhis studies with Scot Weir. While still a student, hebegan performing in guest appearances at theNeukölln Opera in Berlin and the new opera house inBerlin.In 1999, the singer gave his debut as Tamino at the

Festival d’Art Lyrique d’Aix-en-Provence. With thisrole he also sang at the Opéra de Lausanne, at theTeatro La Fenice in Venice, at the Opéra Lyon, at theEdinburgh International Festival and the Opéra deRouen.From 1999-2005 Mark Adler was involved in

musical theatre at the Revier in Gelsenkirche, takingon roles such as Tamino, Fenton in Falstaff, Nemorinoin L’elisir d’amore and Ferrando in Cosi fan tutte. Thetenor has performed at the Théâtre de la Monnaie inBrussels in Monteverdi’s Il ritorno d’Ulisse, under themusical direction of Philippe Pierlot. With thisproduction, he was also heard at Lincoln Center inNew York, at the theatres in Caen and Luxembourgand at the festival in Melbourne. The singer also hadgreat success as Ernesto in Don Pasquale at theCologne Opera.From 2005-2010 Mark Adler was an ensemble

member of Staatstheater Darmstadt, appearing inGounod’s Faust and as the bride and as Tassilo inCountess Maritza. With the latter role he hasperformed very successfully at the State Theatre inInnsbruck. Furthermore, Mark Adler debuted inautumn 2010 as Narraboth in Salome at TheaterBielefeld and sang a much acclaimed Matteo atTheater Aachen.Future performances include the count Zedlau in

Wiener Blut, Count René in Madame Pompadour at theVienna Volksoper and Dr Caius in Falstaff at thespecial request of Brigitte Fassbaender in her farewellpresentation at the State Theatre in Innsbruck.

BiographyMark Adlertenor

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The young German Bass, Patrick Schramm, studiedat the Conservatory in Mannheim with Prof. RudolfPiernay and took masterclasses with Cornelius Reid(New York), Mikael Eliasen (Curtis InstitutePhiladelphia) and Claudia Eder. At the moment histeacher is Carol Meyer-Brütting.Patrick Schramm was a finalist of the

Bundeswettbewerb Gesang 2002 and prize winnerof the International competition KammeroperSchloss Rheinsberg, where he made his debut asSarastro in Mozart’s Die Zauberflöte in 2004. In2005 Patrick Schramm was chosen to representGermany in the renowned competition BBCCardiff Singer of the World.He made his opera debut at the Nationaltheater

Mannheim and the Stadttheater Heidelberg. In pastseasons he interpreted the role of Sancho Panza inMassenet’s Don Quichotte as well as a Monk in Teaby Tan Dun at the Nederlandse Opera inAmsterdam and at the Opera of Tokyo. During theseason 2005/2006 Patrick Schramm was a memberof the ensemble of the Staatstheater Darmstadtwhere he performed the roles of: Caronte inMonteverdi’s Orfeo, Seneca in Monteverdi’sL�incoronazione di Poppea, Pistola in Verdi’s Falstaffand Superintendent in Britten’s Albert Herring. Hemade his debut at the Staatsoper Berlin as Angelotiin Puccini’s Tosca as well as Otto inFrühlingserwachen at the Théàtre Royale de laMonnaie in Brussels. He sang Dottore Grenvil in La Traviata at the Nationaltheater Mannheim andthe role of Julian Pinelli in Die Gezeichneten at theNederlandse Opera.Recent engagements have included, 2nd Soldier

in Salome at La Monnaie in Brussels, 1st Soldier inStrauss’ Salome at the Liceu in Barcelona, 1stHandwerksbursch in Wozzeck at the Opera Bastillein Paris, Otto in Frühlingserwachen at the OperaNational du Rhin in Strasbourg, Montano in Verdi’sOtello with the Saturday Matinée Series of theConcertgebouw in Amsterdam, Littore & Tribunein Monteverdi’s L’incoronazione di Poppea at theGlyndebourne Festival and the Badger in TheCunning Little Vixen, 2nd Soldier in Strauss’ Salome,Jim Larkens in Puccini’s La Fanciulla de West and2nd Sentinelle in Berlioz’ Les Troyens all with theNederlandse Opera in Amsterdam.

Future engagements include 2nd Soldier inSalome at La Monnaie in Brussels and Littore inL’incoronazione di Poppea at L’Opéra de Dijon.

BiographyPatrick Schrammbass


January, 1957. The great Otto Klemperer is recording theBeethoven symphonies with the Philharmonia Orchestra inLondon. For the Ninth, he needs a chorus. A standardBritish choral society won’t do: too polite; too prim. SoKlemperer and his producer Walter Legge call on WilhelmPitz, chorus master of the Wagner festival in Bayreuth. Theyask for a disciplined but hearty choir – dramatically coloured,with home-grown voices but a distinctly European sound.Pitz gets to work. It’s now November. The orchestra is churning its way

through Beethoven’s Adagio under Klemperer’s baton. Apause, and then the finale. Pitz’s chorus sings its first notes inpublic. Hesitant? Certainly not. Clipped and ordered? Sortof. Thrusting, emotional, textured, gripping? Absolutely.Unusual? Completely. The Philharmonia Chorus is born. Seven more chorus masters follow; each works on the

sound. There are hundreds of memorable concerts – with thefinest orchestras and in the most prestigious venues. Thereare high-profile foreign tours. There are challenging operas –in concert and fully staged. Over 80 recordings are pressed. January, 2010. Now Stefan Bevier arrives – a former

Berlin Philharmonic player and Fischer-Dieskau pupil witha direct link to the Klemperer tradition. He’suncompromising and he has a vision. He sets about re-imagining the choir’s sound, and invites apprenticeprofessionals to join its ranks. It’s now April. The Orchestra of the Age of

Enlightenment is etching its way through Beethoven’sAdagio. A pause, and then the finale. The PhilharmoniaChorus sings its first notes in public since Bevier’sappointment, and immediately there’s a new excitement,weight and confidence in the sound. The thrust and colourKlemperer first asked for. ‘A chorus reborn’, declares TheTimes. ‘Vibrancy, bite and panache’ snaps the Independent. And so it goes on. The Chorus marks the 75th birthday

of the De La Warr Pavilion with a memorable CarminaBurana. It broadcasts a rare performance of Frank Martin’sGolgotha live from the chapel of King’s College inCambridge. It declaims Mahler’s Symphony of a Thousandunder Lorin Maazel. And once again, at this year’s Proms, ittriumphs in that signature symphony by Beethoven.Now, the mighty Missa Solemnis. A recording of Mahler’s

Second Symphony is immiment, along with Requiems byBritten and Brahms. The Philharmonia Chorus journeycontinues – with more excitement and urgency than ever.

Andrew Mellor

BiographiesPhilharmonia Chorus Stefan Bevier

chorus master

17Photo: Grugel

Stefan Bevier studied singing and double bass atthe Hochschule der Künste, Berlin, and obtained ascholarship from the Herbert von KarajanFoundation. He was a member of the OrchestraAcademy of the Berlin Philharmonic Orchestra aswell as a regular deputy for them under Herbertvon Karajan. He studied singing with DietrichFischer-Dieskau, Schuch-Tovini and AribertReimann, and conducting with the former ChiefConductor of the Berlin Philharmonic, SergiuCelibidache. He has worked closely with manyconductors of international stature, includingHerbert von Karajan, Eugen Jochum, Karl Böhm,Leonard Bernstein, Lorin Maazel, Colin Davis,Ricardo Muti, Claudio Abbado and Sir SimonRattle.He is the Chief Conductor of the Festival

Orchestra Berlin, the Baroque Orchestra Berlin,and is the founder and conductor of the EuropeanVocal Soloists. He is active in giving masterclasses, singing lessons and conducting courses,and he provides musical instruments from hisextensive private collection to young musicians.He started working with the Philharmonia

Chorus in 1999, and was appointed ChorusMaster in 2010.


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Philharmonia Chorus

Sopranos

Fleur BrayCarol CapperElizabeth CasseltonRosa Conrad-HurtJudy DaviesNoelle Davies-BrockJudy DixeySusanna FairbairnSheila FitzgeraldAnnie HardingViki HartRebecca HenningElisabeth HinzeFelicity HopeJennifer JenkinsLouise JudgeVivien KaramBridget KerrisonCarolyn KillenJuliet King-SmithJackie LeachDonna LennardFrancesca LetchSiân MaddockSilva McQueenDilys MorganJo NicholsonRosslyn PanattiLinda ParkRachel PittCatherine PopeKaren RichmondHarriet SasadaAyano Sasaki-CrawleyDenise SquiresSarah StylesLorna SwiftGeraldine WillfordHelen Winter

Altos

Elizabeth AlbumJenifer BallAnne-Maria BrennanSally BrienJean BrookerFelicity BucklandAnneliese CollettSheena CormackUrsula DaviesSue DoddClaire EadingtonHelen FordElizabeth HarniessCelia KentAino KonkkaAurore LacabeKsynia LoefflerPamela PearceNerys PipeAlison RiepleDanielle RochmanLindsay RosserHelen SadlerMuriel ScottSue SmithSilvia StrebelSylvia SubanDanny ThomasHana TillerAnne van der LeeEmma Watkinson

Tenors

Richard AshdownChristopher BeynonOliver BrignallAlastair CareyHarvey EaglesChristian ForssanderTim FreemanRobert GearyMatthew HaleEdmund HendersonChristopher HollisPeter KirkDavid LesterSimon LoweAndrew MartinPeter MatherJon MeredithWilliam MorganDavid PhillipsNick PritchardMichael RidleyMichael Savino

Basses

Stephen BensonTony BrewerDavid BryantPhillip DangerfieldMalcolm DaviesMichael DayStewart EastonRichard GaskellNigel GeeJulian GuideraDavid HansfordRichard HardingOliver HoggMatthew JelfSteffan JonesPeter KirbyRichard LaneHector MacandrewGeoffrey MaddockBarnaby MasonAziz PanniPeter QuintrellDavid ReganDavid RipponStephen RosserDon RowlandsVictor SgarbiJames ShirrasTom StoddartDavid Wright

ChairmanRichard Harding

Chorus Master Stefan Bevier

Accompanist Stephen Rose


Just over two decades ago, a group of inquisitive London musicians took a long hardlook at that curious institution we call the Orchestra, and decided to start again fromscratch. They began by throwing out the rulebook. Put a single conductor in charge?No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work andthen move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this outfit with the funny name began to get a foothold, it made a promise

to itself. It vowed to keep questioning, adapting and inventing as long as it lived.Playing on period-specific instruments became just one element of its quest forauthenticity. Baroque and Classical music became just one strand of its repertoire.Every time the musical establishment thought it had a handle on what the OAE wasall about, the ensemble pulled out another shocker: a Symphonie Fantastique here,some conductor-less Bach there. All the while, the orchestra’s players called the shots. In the early days, it seemed a minor miracle. Ideas and talent were plentiful; money

wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It developedown-terms relationships with record labels, broadcasters and conductors. It crept intothe opera house. It became the toast of the European touring circuit. It bagged aresidency at London’s most prominent arts centre. It began, before long, to thrive. Only then came the real challenge. Eccentric and naïve idealists the ensemble’s

musicians were branded. And that they were determined to remain – despite growingrelationships with the Glyndebourne festival, Virgin Records and the SouthbankCentre. Mercifully, they remained just that. In the face of the industry’s big guns, theOAE kept its head. It got organised but remained experimentalist. It sustained itsfounding drive but welcomed new talent. It kept on exploring performance formats,rehearsal approaches and musical techniques. It examined instruments and repertoirewith greater resolve. It kept true to its founding vow. And in some small way, the OAE changed the classical music world for good. It

challenged those distinguished partner organisations and brought the very best fromthem, too. Symphony and opera orchestras began to ask it for advice. Existing periodinstrument groups started to vary their conductors and repertoire. New ones poppedup all over Europe and America. And so the story continues, with ever more momentum and vision. The OAE’s

recent series of nocturnal Night Shift performances have redefined concertparameters. The ensemble has formed the bedrock for some of Glyndebourne’s mostgroundbreaking recent productions. It travels as much abroad as to the UK regions:New York and Amsterdam court it, Birmingham and Bristol cherish it. Remarkable people are behind it. Simon Rattle, the young conductor in whom the

OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, thevisionary who punted some of his most individual musical ideas on the youngorchestra, continues to challenge it. Vladimir Jurowski, the podium technician withan insatiable appetite for creative renewal, has drawn from it some of the mostrevelatory noises of recent years. All three share the title Principal Artist. Of the instrumentalists, many remain from those brave first days; many have come

since. All seem as eager and hungry as ever. They’re offered ever greater respect, butcontinue only to question themselves. Because still – and even as they moved into theirbeautiful new purpose-built home at Kings Place in 2009 – they pride themselves onsitting ever so slightly outside the box. They wouldn’t want it any other way.

© Andrew Mellor, 2009

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

Orchestra of the Age of Enlightenment

Principal ArtistsIván FischerVladimir JurowskiSir Simon Rattle

Emeritus ConductorsFrans BrüggenSir Roger Norrington

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Glossary

Aria From the Italian word meaning ‘air’. Anymelody or song performed usually, but notalways, by a singer, now used almostexclusively to describe a self-contained piecefor one voice, at times duets, usually withorchestral accompaniment. The mostcommon context for arias is opera, howeverthere are also many arias that form crucialmovements of oratorios and cantatas.

ConcertoLike many musical terminologies, the word‘concerto’ differs in its meaning across musicalhistory. The Classical form to which thesenotes refer used the following basic structure:a first movement, a slower, quieter secondmovement, and a third faster and morevirtuosic movement to end the piece.

ContrapuntalSince the Renaissance period in Europeanmusic, much music which is consideredcontrapuntal has been written in imitativecounterpoint. In imitative counterpoint, twoor more voices enter at different times, and(especially when entering) each voice repeatssome version of the same melodic element.

Dorian modeDorian is the second mode in the modernscales of natural notes.

Ecclesiastical modes(Also known as church or traditional modes) A mode generally refers to types of musicalscales. Therefore, an ecclesiastical system ofmodes e.g. Gregorian chanting up until 1600,differs from modern major and minor scalesin its disposition of tones and semi-tones andmelodic patterns.

FugueFrom the Latin meaning flight –the fugue is acomposition written for several independentparts. It begins with the main theme afterwhich the other parts are gradually introducedand build and are layered on ‘top’ of oneanother.

MassA form of sacred musical choral compositionthat sets the invariable portions of theEucharistic liturgy (principally that of theRoman Catholic Church, the AnglicanCommunion, and the Lutheran Church) tomusic. Most Masses are settings of the liturgyin Latin, the traditional language of theRoman Catholic Church, but there are asignificant number written in the languages ofnon-Catholic countries where vernacularworship has long been the norm.

MetreMetre or meter is a concept related to adivision of time characteristic of westernmusic. It involves a rhythmical pattern, whichis usually two to four beats long, (duple, triple,quadruple), and each beat can be divided intotwo or three basic subdivisions (simple,compound). Most classical music before the20th century tended to stick to relativelystraightforward meters such as 4/4, 3/4 and6/8, creating a regular pulse.

OratorioA musical composition for voice andorchestra. Similar to that of an opera but onlyperformed as a concert piece without stagingand costumes and usually concerned withsacred texts rather than love, war ormythology.

Palestrina StyleVocal music as written by 16th century ItalianGiovanni Pierluigi de Palestrina.Characterised by sacred music, masses,madrigals and hymns, its influence impactedon the development of church music and isseen to represent the height of Renaissancepolyphony (many voices working together).

Piano sonataA sonata written for a solo piano. Pianosonatas are usually written in three or fourmovements, although some piano sonatashave been written with a single movement(Scarlatti, Scriabin), two movements(Beethoven, Haydn), five (Brahms’ ThirdPiano Sonata) or even more movements.

SforzandoIn Italian literally meaning ‘with force’, asforzanda is a notation or instruction to play anote with sudden and forceful impact.

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Interested?Go to www.philharmoniachorus.co.uk for more details, or you can call Celia Kent on 07833 188 876

We are always looking for good

amateur singers, so if you like what

you hear this evening and would like

to be part of it, why not apply for an

audition? We rehearse in central

London. There is no membership fee

and all music is provided.

We also invite applications from

professional singers in the first 10

years of their careers to join our

professional singers scheme.

Recent highlights

Frank Martin Golgotha in King’s College, Cambridge,

Easter Festival, live on Radio 3

Beethoven Ninth Symphony at the Proms

Mahler Eighth Symphony

To come

Dvořák Te Deum in the Royal Albert Hall at Christmas

with the Choir of King’s College, Cambridge

Recording of Mahler’s Second SymphonyBrahms Ein deutsches RequiemBritten War Requiem

Steven Devine, OAE Co-Principal Keyboard. Photo: Eric Richmond /Harrison & Co


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MAJOR SPONSOR

CORPORATEBENEFACTORSAmbrose Appelbe SolicitorsAmerican Express Services Europe LtdApax PartnersCommerzbankLazardLubbock Fine Chartered AccountantsParabola LandVision Capital

CORPORATE PATRONSKYP ServicesLindtMacfarlanesRoger NeillSwan Turton

BUSINESS CLUB MEMBERSGoodenough CollegeGreen & FortuneLubbock Fine Chartered AccountantsParabola Land

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

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

OAE Futures Funders Bob & Laura Cory The Smith Challenge Fund

Ann & Peter Law OAE Experience Scheme Ann & Peter Law

Melgaard OAE Young Conductor Scheme Greg & Gail Melgaard

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

Orchestra of the Age of Enlightenment SupportersThe OAE continues to grow and thrive through the generosity of our supporters. We are very grateful toour sponsors and patrons and hope you will consider joining them. We offer a close involvement in thelife of the Orchestra with many opportunities to meet players, attend rehearsals and even accompanyus on tour. For further information please call Isabelle Tawil on 020 7239 9380.

BENEFACTORSFelix Appelbe & Lisa Bolgar SmithJulian & Annette ArmstrongChristopher & Lesley CookeRobert & Laura CoryNigel Jones & Françoise Valat JonesDavid & Selina MarksJulian & Camilla MashAnthony Simpson & Susan BosterPhilip & Rosalyn Wilkinson

CHAIR PATRONSMartin & Elise Smith LeaderMark, Rosamund, Benedict & Emily Williams Violin ChairHugh & Michelle Arthur Violin ChairBruce Harris Viola ChairSir Vernon & Lady Ellis Co-Principal ViolaDominic & Ali Wallis Continuo CelloMichael and Licia Crystal Principal Double BassChristopher & Dame Judith Mayhew Jonas Principal OboePeter & Leanda Englander Principal ClarinetRoger & Pam Stubbs Sub-principal ClarinetProfessor Richard Portes CBE FBA Principal BassoonJohn & Rosemary Shannon Co-Principal HornSir Timothy & Lady Lloyd KeyboardFranz & Regina Etz Lute/TheorboJames Flynn QC Lute/TheorboSteve & Joyce Davis Orchestra ManagerMrs Nicola Armitage Education Manager

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

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


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

IDOMENEO GROUPMichael & Jacqueline GeeProfessor David Graham QCIrina KnasterTim & Jenny MorrisonGary & Nina MossAndrew NurnbergHaakon & Imogen OverliShelley von StrunckelEric Tomsett

GOLD FRIENDSNoël & Caroline AnnesleyGerard ClearyMr & Mrs C Cochin de BillyMichael & Barbara GwinnellMr & Mrs Michael MallinsonMichael & Harriet MaunsellDavid & Lesley Mildon

SILVER FRIENDSMrs A BoettcherMichael BrecknellGeoffrey CollensMr & Mrs Michael CooperPatricia HerrmannLady HeseltinePeter & Sally HilliarMrs Hilary JordanRupert & Alice KingMrs Urszula KingJohn D & Dorothy H LeonardMarsh Christian TrustRoger Mears & Joanie SpeersSabine & Norbert ReisHer Honour Suzanne StewartMr J WestwoodDr Christina Williams

BRONZE FRIENDS

Keith BartonThe Revd Brian BlackshawSue & Bill BlythDan BurtAndrew & Laetitia CollenderMichael A. ConlonAnthony & Jo Diamond Gary & Ella DiamondMrs S M EdgeMr P FooteMr & Mrs James GolobOliver HeatonMichael & Morven HellerAuriel HillMrs A HoneProfessor John IrvingMr & Mrs F JonasMr & Mrs J W LloydProfessor Ingrid LuntThe Laurence McGowanAppreciation SocietyDr Trilby JohnsonMrs Joy WhitbyElena Wilkinson

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

AMERICANBENEFACTORSCiara A BurnhamMark D & Catherine J ConeSarah KettererThe Pzena Family FoundationWilliam & Kathleen Reiland

AMERICAN PATRONSJohn and Elena BrimMs Denise SimonMr & Mrs Nicholas von SpeyrMr Donald Johnson

Orchestra of the Age of Enlightenment Supporters

TRUSTS, FOUNDATIONS AND OTHER SUPPORTERSApax FoundationAquarius Charitable FoundationArts Council EnglandThe Paul Bassham Charitable Trust R & S Cohen FoundationThe Comninos Charitable TrustThe Coutts Charitable TrustThe Drapers’ Charitable FundEdgar E Lawley FoundationThe Ernest Cook TrustEsmée Fairbairn FoundationThe Foyle FoundationThe Golden Bottle TrustJ Paul Getty Jnr Charitable TrustJohn Lyon’s CharityThe Joyce Fletcher Charitable TrustMargaret & Richard Merrell FoundationMarsh Christian TrustMayor’s Music Education FundMichael Marks Charitable TrustMichael Tippett Musical FoundationThe Nugee FoundationOrchestras Live The Charles Peel Charitable TrustThe Austin & Hope Pilkington Trust The Prince’s Foundation for Children & The ArtsPRS For Music FoundationThe Radcliffe TrustThe RK Charitable TrustSalomon Oppenheimer Philanthropic Foundation


Tuesday 6 December 2011Royal Festival Hall

HandelMessiah

Laurence Cummings directorElizabeth Watts sopranoTim Mead counter-tenorNicholas Mulroy tenorLisandro Abadie baritoneChoir of the Enlightenment

Tickets £6-£70

Friday 13 January 2012Queen Elizabeth HallThe Glory of Venice

Music by Gabrieli, Fontana,Grandi, Monteverdi andMarini

Robert Howarth directorJulia Doyle sopranoChoir of the Enlightenment

Friday 10 February 2012 Queen Elizabeth HallAn Olympic Thread

TelemannOverture, Les NationsHandel Aria Figlio d’Altre SperanzaLocatelli Concerto Grosso Op 7No 6, Il pianto d’AriannaSally Beamish Spinal Chords(world premiere)Handel Cantata, Delirio amoroso

Matthew Truscott directorRoberta Invernizzi sopranoNarrator tbc

Sunday 12 February 2012Purcell Room at Queen Elizabeth Hall10.30am and 2pm Study Day

Berlioz’s Romeo et Juliette

Ahead of the OAE’s performanceof Berlioz’s mammoth Romeo etJuliette on 18 February this studyday gives you a chance to find outmore about this unique piece.

Tickets £12 per session£6 concessions£4 full time students

Saturday 18 February 2012Royal Festival HallRomeo and Juliet

Berlioz Romeo et Juliette

Sir Mark Elder conductorSonia Ganassimezzo-sopranoJohn Mark Ainsley tenorOrlin Anastassov bassSchola CantorumBBC Symphony Chorus

Tickets £6-£70

Sunday 4 March 2012Queen Elizabeth Hall

Baroque Giants: Bach

Bach Suite No.3 in DBachViolin Concerto in E majorBachBrandenburg Concerto No.5 in DBach Suite No.4 in D

Laurence Cummings directorMatthew Truscott violinLisa Beznosiuk flute

2011-2012Southbank CentreConcerts

Booking Information

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

Tickets £6-£60 unless otherwise indicated.

All concerts start at 7pm and arepreceded by a free pre-concertOAE Extras event at 5.45pm. Free programmes are available atevery concert.

You can find more informationabout the OAE at:

Email: [email protected]: oae.co.ukFacebook.com/orchestraoftheageofenlightenment Twitter: twitter.com/theoae

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beethoven’s missa solemnis - orchestra of the age of ...€™s missa solemnis friday 4 november...

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