St John Passion. Many thanks indeed to the many of you who contributed towards the project; we look forward to sharing the recording with you next year.

We also recently announced that we will be Resident Ensemble at the National Gallery in London this summer, accompanying the exhibition ‘Vermeer and Music: The Art of Love and Leisure’ with performances on the hour, every hour, Thursday to Saturday. The exhibition runs from 26 June to 8 September; find out more at aam.co.uk. We look forward to seeing you again soon, be it in Cambridge, at the Barbican or at the National Gallery. Until then, I hope you enjoy tonight’s performance.

Michael Garvey Chief Executive

Welcome to an evening programme delving into the music of the night. We are thrilled to be joined for the first time by conductor Nicholas Collon, a leading light in the new generation of conductors who has been praised by The Times for “making an audience hear anew”. Two ‘Notturnos’ summon the sense of freedom and playfulness brought by the night time. Mozart’s Adagio and Fugue takes a different view of darkness; inspired by JS Bach, the music broods solemnly with powerful, rich orchestral depth. The programme is completed with two symphonies, one by each of the featured composers.

The beginning of 2013 has been fabulously busy for the AAM. We have performed live in concert throughout the UK and Europe and made two new recordings, JS Bach’s Orchestral Suites and St John Passion, both of which are due for release in 2014. On this note, it is my pleasure to announce that with your support we more than met our target of £50,000 to finance the recording of JS Bach’s

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Nicholas Collon conductor

14 April West Road Concert Hall, Cambridge18 April Wigmore Hall, London

Nachtmusik: Haydn and Mozart

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WOLFGANG AMAdEUS MOZART (1756–91)Adagio and Fugue in C minor K546 (1788)

WOLFGANG AMAdEUS MOZARTSerenata Notturna in d major K239 (1776) Marcia Menuetto and trio Rondeau JOSEPH HAydN (1732–1809)Symphony No.8 in G major ‘Le soir’ Hob I:8 (1761) Allegro molto Andante Menuetto and trio Presto

JOSEPH HAydNNotturno No.1 in C major Hob II:25 (c.1788) Marcia Allegro Adagio Presto

WOLFGANG AMAdEUS MOZARTSymphony No.27 in G major K199 (1773) Allegro Andantino grazioso Presto

Tonight’s performance will last approximately 1 hour and 45 minutes

Programme

Interval of 20 minutesPlease check that your phone is switched off , especially if you used it during the interval

Would patrons please ensure that mobile phones are switched off . Please stifl e coughing as much as possible and ensure that watch alarms and any other devices that may become distracting are switched off .

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Before 1650 most Europeans regarded the night as a time of menace, inhabited by malefactors, evil spirits and rowdy juveniles. Respectable people should avoid these dangers by retiring at sunset and rising at dawn. In religious thought, the night symbolised a spiritual darkness where the absence of a guiding light might make the soul succumb to temptation. The Spanish mystic St John of the Cross captured this belief in his poem La noche oscura del alma (Dark night of the soul). Many superstitions fl ourished about the nocturnal activities of ghosts, witches and other otherworldly presences: in his novel Simplicissimus (1668–9), Hans Jakob Christoff el von Grimmelshausen described the protagonist’s vivid nightmare of a witches’ sabbath. City dwellers relied on night watchmen to dispel their fears about darkness, and the watchman’s bell or trumpet calls indicated that the unlit streets were being kept safe.

In the late seventeenth century, attitudes to the night started to change, as Craig Koslofsky has shown in his recent book Evening’s Empire: A History of the Night in Early Modern Europe (Cambridge, 2011). The dark hours began to be reclaimed as a time for polite entertainment. Leading this revolution were monarchs and the aristocracy whose courts could aff ord artifi cial illumination. By staging courtly events indoors at night-time, monarchs gave a new exclusivity to their theatrical spectacles. No longer were court rituals played out within the sight of commoners. Symbolising this new attitude to the night was Louis XIV, whose soubriquet ‘The Sun King’ indicated his power to tame darkness. As early as 1653, Louis XIV took the role of the sun in a court entertainment, the Ballet de la nuit; against a nocturnal background, Louis’s royal radiance shone the more brightly.

In European cities, too, the night was tamed through the installation of street lighting from the late seventeenth century onwards. With the benefi t of oil lamps, city streets became places

where law and order could be enforced. Rather than being terrorised by unruly teenagers, the streets became suitable for legitimate leisure activities such as polite promenading or evening visits to coff ee houses. As a 1667 report in Paris proclaimed: ‘The night will be lit up as bright as day, in every street.’ The rhetoric of taming the night was also borrowed by eighteenth-century philosophers to symbolise their newly rationalist approach to the world. Jean-Baptiste dubos (1670–1742) saluted ‘the Enlightenment (les lumières) that the philosophical spirit has spread throughout our century’.

By the mid eighteenth century, these changing attitudes to the dark led to the development of a musical repertory intended for nocturnal outdoor entertainments. One such genre was the serenade, which Johann Gottfried Walther defi ned in 1732 as ‘an evening piece...usually performed on quiet and pleasant nights’. A subgenre of the serenade was the notturno, typically performed outdoors

Stephen Rose on Nachtmusik

Joseph Haydn (1732–1809). Portrait (1791) by Thomas Hardy (1757–c.1805).

6.30pm — Pre-concert talk

BBC Radio 3’s Sara Mohr-Pietsch hosts a pre-concert talk, in discussion with Nicholas Collon (conductor) and Bojan Čičić (violin). The talk will be available to download as a podcast from the AAM website from Friday 19 April. Visit aam.co.uk/Explore.

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at around 11pm. At courts, these outdoor performances sometimes featured wind-bands (Harmoniemusik); in towns, they might include ensembles of stringed instruments, possibly performed by university students seeking to entertain each other or to impress visiting nobility.

The sonic charm of night-music is epitomised by Wolfgang Amadeus Mozart’s Serenata Notturna in D major K239. dating from January 1776, this was among the considerable number of serenades and divertimentos that Mozart wrote at Salzburg for occasions such as the name-days or weddings of local worthies. This three-movement work is scored like a concerto grosso, with a solo group of two violins, viola and double bass contrasted against the sound of full strings and timpani. The opening movement is a march, albeit one where Mozart delights in detailed dynamic nuance and subtle echo effects between the solo and tutti ensemble. There follows a minuet (scored for full ensemble) and trio (scored for solo quartet). The closing rondo has a rustic mood: its exuberant opening theme has crushed-note ornaments suggestive of peasant instrumentalists, and a later episode mimics the simple harmonies of folk dance-tunes.

A more symphonic conception of night-music is heard in Joseph Haydn’s Notturno No.1 in C major Hob II:25. This was one of a set of nine notturni that Haydn wrote for Ferdinand IV of Naples in 1788–90. The notturni were originally scored for two lire organizzate, two clarinets, two horns, two violas and bass. The lira organizzata was a type of hurdy-gurdy briefly popular in the second half of the eighteenth century, being played by Ferdinand IV of Naples; it had organ-pipes as well as strings. Combined with the clarinets and horns, the lire organizzate added a new colour to the typical wind-band scoring of many serenades.

Haydn subsequently rescored most of his notturni for performance in London during 1791–2, replacing the lire organizzate with flute and oboe, and using two violins instead of the two clarinets. Like Mozart’s Serenata notturna, Haydn’s Notturno begins with a march, in this case with strong dotted rhythms and detached articulation. The march acts as an introduction to the following Allegro, where the long-breathed phrases give a symphonic breadth and a sense of development. The third movement is an expansive Adagio, in which delicately ornamented melodies (originally played by the lire organizzate) are heard over an oscillating viola accompaniment. The concluding Presto combines 6–8 dance rhythms with hunting-calls in the horns.

Exuberance and elegance are combined in Mozart’s Symphony No.27 in G major K199.

Written at Salzburg in April 1773, this piece looks back to earlier traditions of orchestral writing. Like many symphonies of the 1760s, the Allegro summons the audience’s attention with repeated chords and drumming bass notes; in the middle of the movement, these repeated chords are developed into a dialogue that incorporates new thematic ideas. The Andantino grazioso begins with the hushed sound of muted violins playing over pizzicato lower strings. Mozart plays with the effect of repetition, initially with a descending scalic motif in the opening phrase, and later by repeatedly stating the bold dissonance of an augmented sixth chord. The finale has a transparent contrapuntal texture, with the first violins stating a theme in long notes against a helter-skelter counter-subject in the second violins.

The concept of Nachtmusik included not only music intended for nocturnal performance but also pieces that sought to express aspects of the night, such as Haydn’s Symphony No.8 ‘Le soir’ (‘Evening’). Haydn wrote this symphony in 1761, shortly after entering the service of the Esterházy family. It is the final instalment of a trilogy that includes Symphony No.6 Le matin (Morning) and Symphony No.7 Le midi (Midday). According to Haydn’s biographer A. C. dies, his patron Prince Paul Anton ‘gave Haydn the times of day as a theme for a composition’. Indeed, aspects of Le soir might be regarded as programmatic, but the symphony also has concertante lines that showcased the skills of Haydn’s colleagues in the Esterházy court orchestra, such as the violinist Luigi Tomasini, the cellist Joseph Weigl, and the flautist Franz Sigl.

The symphony opens with an Allegro molto whose lively theme quotes a song from Gluck’s opera Le diable à quatre (1759) that was popular in Vienna at the time. A stately poise returns in the Adagio, where the bassoonist, cellist and two of the violinists have solo parts. In the

Minuet and Trio, the bassoonist and double-bass player briefly take solo turns. The symphony concludes with an overtly pictorial movement, a Presto entitled La Tempesta (The Storm). Here the semiquavers in the strings may suggest raindrops or rumbling thunder, while the falling arpeggios for the flute probably depict bolts of lightning.

As the night gradually became tamed in eighteenth-century Europe, the notion of darkness increasingly entered aesthetic discussion, as a way to disparage music that lacked the lucid textures and clear melodies favoured by galant taste. Contrapuntal pieces such as the fugues of Johann Sebastian Bach were regarded as esoteric relics of a dark, unenlightened world. In 1745, Johann Adolph Scheibe — originally a pupil of Bach and later one of his fiercest critics — complained about musicians ‘who see it as an honour to be able to compose incomprehensible and unnatural music. They pile up musical figures. They make unusual embellishments... Are these not truly musical Goths?’ Later, in 1790 Ernst Ludwig Gerber wrote about the ‘Gothic age of dark contrapuntal music’. For the Enlightenment mentality, the earlier era of Baroque counterpoint (epitomised by the music of Bach) symbolised a dark and even horrifying world.

In 1782 Mozart encountered the esoteric sound-world of Bach’s counterpoint, via copies of the Well-Tempered Clavier in the Viennese library of Baron van Swieten. (Van Swieten had served as the Austrian ambassador in Berlin, and during this diplomatic stint he obtained manuscripts from the circle of Bach enthusiasts in that city.) Subsequently Mozart transcribed several Bach fugues for strings, and he also composed his own fugues for keyboard. One such piece was a Fugue in C minor for two keyboards K426, completed in december 1783. Five years later, Mozart arranged this fugue for string quartet, prefaced with a new slow introduction, as his Adagio and Fugue in C minor K546. The

Wolfgang Amadeus Mozart (1690–1768). Posthumous portrait (1819) by Barbara Kraft (1764–1825).

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Adagio has jagged lines and dotted rhythms redolent of a French overture, yet also an intensity created by quiet repeated notes that build from one instrument to dominate the entire texture. The fugue theme evokes the counterpoint of Bach and Handel, with the prominent interval of a falling diminished seventh; Mozart subsequently used the same interval in the Kyrie of his Requiem. during the fugue, Mozart shows his contrapuntal skill by

Wigmore Hall 36 Wigmore Street, London W1U 2BPdirector: 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.

Academy of Ancient MusicLondon and Cambridge season 2013–14

monteverdi’s L’OrfeoThe birth of Western opera28 September 2013, 7.30pm, London

alina ibragimova directsMusic by Haydn and Mozart23 October 2013, 7.30pm, Cambridge24 October 2013, 7.30pm, London

an english golden ageGems of the baroque with Anna Prohaska21 November 2013, 7.30pm, London

Handel’s MessiahCelebrating Christmas with a festive masterpiece17 december 2013, 7.00pm, London18 december 2013, 7.00pm, Cambridge

andreas scholl sings PergolesiThe star counter-tenor returns31 January 2014, 7.30pm, London

Richard Tognetti directsVivaldi, Bach and the world’s fi nest orchestra26 February 2014, 7.30pm, Cambridge27 Febuary 2014, 7.30pm, London

angelika Kirchschlager singsArias and lieder by Haydn and Mozart24 March 2014, 7.30pm, Cambridge26 March 2014, 7.30pm, London

celebrating Js BachRichard Egarr directs concertos and suites24 May 2014, 7.30pm, Cambridge27 May 2014, 7.30pm, London

Three last symphoniesMozart, Haydn and Beethoven21 June 2014, 7.00pm, London

Full listings at aam.co.uk/concerts

Who paid for your seat tonight?When you bought your tickets for tonight’s concert, you only paid for a third of your seat.

How is that? Who paid for the other two thirds?

Even if this performance is sold out, ticket income will fall far short of the full cost of getting the AAM on stage to perform. About two thirds of the cost is covered by generous donations from the orchestra’s supporters — indeed this year the AAM must raise £700,000 to support its work.

Turn to page 12 to fi nd out how you can help us meet this target and pay for the rest of your seat.

turning the theme upside down and by using the eff ect of stretto (where the fugal entries overlap between the instruments). Even in the Enlightened world of 1780s Vienna, the darkness of Baroque-style counterpoint continued to appeal to Mozart.

Stephen Rose © 2013dr Stephen Rose is Lecturer in Music

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250th anniversary of the composer’s death, and the world-premiere recording of music by seventeenth-century English composer Christopher Gibbons. In June 2012 the AAM was invited to perform at the Thames diamond Jubilee Pageant, and in december The Observer named the AAM’s performance of JS Bach’s The Art of Fugue at the BBC Proms as one of the top ten concerts of the year.

The future is just as bright. From September 2013 the AAM will mark its 40th anniversary with a season of concerts featuring the full range of the orchestra’s music-making from Monteverdi’s L’Orfeo (1607) to Beethoven’s Symphony No.9 (1824). International plans include a major tour of Australia as well as performances at Amsterdam’s Concertgebouw, the Palais des Beaux-Arts in Brussels and the Théâtre des Champs-Elysées in Paris.

The AAM is Associate Ensemble at London’s Barbican Centre and Orchestra-in-Residence at the University of Cambridge. In summer 2013 it will be Resident Ensemble at the National Gallery.

At aam.co.uk...

➤ Browse our 2013–14 London and Cambridge season➤ Listen to our recordings on the AAMplayer

Academy of Ancient Music: our past, present and future

The AAM was founded in 1973 by Christopher Hogwood, under whose leadership the orchestra developed the global reputation for inspirational music making which continues today. Over the past forty years the AAM has performed live on every continent except Antarctica, and millions of music lovers have heard the orchestra through its catalogue of over 300 Cds: Brit- and Grammy-Award-winning recordings of Handel operas, pioneering accounts of the Beethoven, Mozart and Haydn symphonies, and discs which champion neglected composers.

This artistic excellence has been fostered by a stunning roster of guest artists. Singers Emma Kirkby, Joan Sutherland and Cecilia Bartoli were among those performing with the AAM in the early days, and a range of collaborations with artists including david daniels, Alina Ibragimova and Angelika Kirchschlager continue to inspire the group with new ideas and fresh approaches.

In 2006 Richard Egarr succeeded Hogwood as Music director. Over the past seven years he has led the orchestra on tours throughout Europe, the USA and the Far East, and in 2007 he founded the Choir of the AAM. Recent recordings include a complete cycle of Handel’s Opp.1–7 instrumental music, released to celebrate the

RICHARd EGARR dIRECTS THE AAM dURING A RECORdING SESSION OF BACH’S ST JOHN PASSION IN ST JUdE’S CHURCH, LONdON. VIS IT AAM.CO.UK/PASSION TO FOLLOW THE PROGRESS OF THIS LANdMARK PROJECT.

we play from first edition scores, stripping away the later additions and annotations of editors and getting back to composers’ initial notes, markings and ideas.

There’s also a difference in the way we approach our music making. Composers prized the creativity of musicians, expecting them to make the music come alive and to communicate its thrill to the audience — an ethos we place at the heart of all that we do. Very often we don’t have a conductor, but are directed by one of the musicians, making for spontaneous, sparky and engaged performances. It’s not just about researching the past; it’s about being creative in the present.

In everything we do, we aim to recapture the intimacy, passion and vitality of music when it was first composed. The result? Performances which are full of energy and vibrancy, the superb artistry and musical imagination of our players combined with a deep understanding of the music’s original context.

Academy of Ancient Music: our ethos

The history of the AAM is the history of a revolution. When Christopher Hogwood founded the orchestra almost forty years ago, he rejected the decades-old convention of playing old music in a modern style. Hogwood and the AAM were inspired by original performances and, along with musicians across Europe, were beginning to discover the sound worlds which Bach, Handel and Haydn would have known. These bold initial steps would lead to a radical transformation in musical performance, allowing baroque and classical masterworks to be heard anew from that day to this.

So what’s different about the AAM? Partly it’s the instruments, which are originals (or faithful copies of them). The stringed instruments have strings made of animal gut, not steel; the trumpets have no valves; the violins and violas don’t have chin-rests, and the cellists cradle their instruments between their legs rather than resting them on the floor. The result is a sound which is bright, immediate and striking. Additionally, the size of the orchestra is often smaller, meaning that every instrument shines through and the original balance of sound is restored; and where possible

“Transmitting the kick of an energy drink”F i n a n c i a l T i m e s , 2012

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Nicholas Collon conductor

Nicholas Collon is establishing an enviable reputation as a commanding and inspirational interpreter in an exceptionally wide range of music. As founder and principal conductor of Aurora Orchestra he has promoted imaginative programming that integrates challenging repertoire from the twentieth and twenty-first centuries with masterworks of the classical and romantic eras. He received the 2012 Critics’ Circle Award for Exceptional young Talent.

Having made his debut at the BBC Proms in 2010, Nicholas was invited back in 2011 and 2012 with the Aurora Orchestra, the London Sinfonietta and the Birmingham Contemporary Music Group. With Aurora Nicholas leads the New Moves series, a unique three-year cross-arts residency at LSO St Luke’s which has included critically-acclaimed collaborations with capoeira, film, theatre, tango, and literature. With innovative programming, one recent concert, Jealous Guy, juxtaposed composers Purcell, Piazzolla, Lennon, Mahler and Bernstein.

Nicholas and Aurora were part of the Mozart Unwrapped season at Kings Place and Brahms Unwrapped in 2012. Also at Kings Place, a concert featuring the works of Nico Muhly launched the Cd Seeing is Believing on decca to critical acclaim. Nicholas and Aurora recently collaborated with Ian Bostridge and Angelika Kirchschlager in performances of Satie’s Socrate and Britten’s Phaedra at the Wigmore Hall.

Last season Nicholas made his debuts with the London Philharmonic Orchestra, the Philharmonia Orchestra, London Mozart Players, Northern Sinfonia and the Munich Chamber Orchestra at the Munich Biennale. With London Sinfonietta Nicholas conducted works by George Benjamin and Ligeti and he made his concert debut with the BBC Scottish Symphony Orchestra in a programme of Philip Glass and Richard Strauss.

In the 2012–13 season he has invitations to the London Philharmonic, Philharmonia Orchestra, London Mozart Players, the Royal Philharmonic Orchestra and Northern Sinfonia and will make further debuts with the City of Birmingham Symphony Orchestra, the BBC Philharmonic, Spanish National Orchestra, Orchestre National d’Île de France, Bournemouth Symphony Orchestra, BBC National Orchestra of Wales, Auckland Philharmonia and Ensemble InterContemporain.

Nicholas will make his debut with Glyndebourne on Tour in the autumn of 2013. Other operatic highlights include a special project at Glyndebourne conducting a new work, Julian Phillips’ The Knight Crew, which featured in a major BBC Two series. With the Opera Group he has conducted the first performances of Elena Langer’s The Lion’s Face and Luke Bedford’s Seven Angels (the latter with Birmingham Contemporary Music Group) including performances at the Linbury Theatre at the Royal Opera House.

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Violin IRodolfo Richter*Colin ScobieIwona MuszynskaPierre Joubert

Violin IIBojan ČičićRebecca LivermoreWilliam ThorpPersephone Gibbs

ViolaJane RogersRicardo Cuende Isuskiza*

CelloJoseph Crouch*Imogen Seth-Smith*

Double BassJudith Evans

FluteRachel BrownGuy Williams

OboeJosep domenechLars Henriksson

BassoonUrsula Leveaux

HornGavin Edwardsdavid Bentley

TimpaniBenedict Hoffnung

Iwona Muszynska violinMusical scores: you would expect it to be music in written form, wouldn’t you? The longer I play, the more I think that perhaps it’s just a map of an unknown city. In the early days these maps were not very detailed. Dynamics, articulation and even tempi often not marked, composers relying on performers’ skill and knowledge. With time, composers got picky and instructed not only where to go but also precisely how to get there — a full traffic report with roadworks and weather. Sometimes you get four different signs over one note, yet interpretations vary wildly; critics rage and audiences give standing ovations or walk out. That’s what makes it fascinating. There are endless possibilities, with wonders round every corner.

*Sponsored chairs

Leader Lord and Lady Magan

Principal cello dr Christopher and Lady Juliet Tadgell

Principal fluteChristopher and Phillida Purvis

Sub- principal violaSir Nicholas and Lady Goodison

Sub- principal celloNewby Trust Ltd

“

Academy of Ancient Music

”Board of TrusteesRichard BridgesKay Brock LVO dLJohn EverettMatthew FerreyJames GolobJohn GrievesHeather JarmanChristopher Purvis CBE (Chairman)John ReeveTerence Sinclairdr Christopher TadgellJanet Unwin

CouncilRichard Bridges *Adam BroadbentKay Brock LVO dL *delia Broke *Elizabeth de Friend *Kate donaghy *John Everett *Matthew Ferrey *Andrew Gairdner MBE *James Golob *John Grieves *Linda Lakhdhir *Annie Norton *Christopher Purvis CBE *John Reeve *Chris Rocker and Alison Wisbeach *Sir Konrad SchiemannTerence Sinclair (chairman) *Madeleine Tattersall *Janet Unwin *

*development board member

Music Director Richard Egarr

Emeritus DirectorChristopher Hogwood CBE

Chief ExecutiveMichael Garvey

Head of Projects & Administration

Samantha Martin

Head of Concerts & Artistic PlanningAndrew Moore

Concerts & Administration Assistant

Ceri Humphries

Head of CommunicationsToby Chadd Communications AssistantTom McNeill

PR ConsultantRebecca driver

Head of Finance Elaine Hendrie

Head of Fundraising Simon Fairclough

Fundraising Manager Oriel Williams

Fundraising OfficerBrittany Wellner-James

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The AAM Society

On 17 September 1973, 23 musicians gathered in Richmond to record Arne’s Eight Overtures under the young director Christopher Hogwood.

Nobody travelling to the church that morning could have begun to imagine that the Academy of Ancient Music (as Hogwood had christened the group) would be in flourishing health 40 years later.

Funded by decca the AAM began to build a pioneering discography. Over the next 25 years it released more recordings than any other period instrument orchestra in the world, and gave thousands of performances at the finest concert halls on every continent.

By the late 1990s, when Hogwood began to plan for the appointment of his successor, the world was changing. The record industry was in decline, and financial pressures facing international concert halls meant that the generous performing fees of old were no longer available. Putting down roots at home in the UK had become a pressing priority.

In 2000, founder-members of the AAM Society contributed £10,000 to fund the orchestra’s first London season. It was AAM Society members too who financed the establishment of the orchestra’s residency at Cambridge, and who provided the support needed to appoint Richard Egarr as Hogwood’s successor. Over the last decade, the generosity of an ever-expanding group of supporters has transformed the AAM from a private enterprise directed by Hogwood into a major charitable institution

which continues his work beyond his active involvement.

The strength of support offered by Society members and other funders has enabled the AAM to develop an ambitious vision for the next stage of its development. It recently established the AAMplify new generation programme to nurture the audiences, performers and arts managers of the future; in January 2012 it was appointed as Associate Ensemble at the Barbican Centre; and it is now working to establish its own record label.

The orchestra’s supporters have risen magnificently to the challenge of funding the initial costs of these developments, and the greatest priority now is to make the step-change permanent. you can help us to do so by joining their number.

Because the AAM is a charity it can claim Gift Aid on donations, boosting their value by 25%. Even better, the orchestra has received a generous challenge grant which means that every pound donated by a new Society member will be matched.

We would be thrilled to welcome you as a member — and your support would enable us to enrich more lives than ever before with our music.

To find out more please contact Oriel Williams, our Fundraising Manager, on 01223 341093 or o.williams@aam.co.uk.

We love the AAM’s excellent performances, academic depth and innovative programming, and as AAM Society members we share the musical life of this superb ensemble project by project. The AAM is as welcoming and friendly as it is enlightening, and as professional behind the scenes as it is on stage! RICHARd ANd ELENA BRIdGES AAM SOCIETY MEMBERS

Why we support the AAM

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membership level The Chairman’s Circle £20,000+ Principal Benefactor £1,000–£2,499

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Please return this form to:Oriel Williams, Academy of Ancient Music, 11b King’s Parade, Cambridge CB2 1SJ

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 2 – 2 01 3 S E A S O N A C A d E M y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N 15

Join us for 9 very special days of music inspired by and celebrating nature in all its forms

Highlights include Enrico Onofri’s IMAGINARIUM Ensemble Pavlo Beznosiuk and Friends · Andreas StaierGabrieli Consort & Players and Paul McCreesh

Freiburg Baroque Orchestra with Carolyn Sampson The Choir of Westminster Abbey · James O’Donnell

Richard Mabey and more!

“Every year the Lufthansa Festival finds a fresh new angle on Baroque music.” The Telegraph

For more Festival information visit www.lufthansafestival.org.uk Online booking: www.sjss.org.uk | Box Office: 020 7222 1061 Follow us on and

Lufthansa Festival of Baroque Music 2013

’Tis Nature’s Voice London | 10–18 May | St John’s Smith Square | St Peter’s Eaton Square | Westminster Abbey

in association with Rolls-Royce plc

Membership from just £2.50 per month

Join the Friends of the AAM today

Glimpse orchestral life behind the scenesBenefi t from priority booking

Meet the musiciansSupport the music you love

HOW TO JOINPick up a leafl et in the foyer tonight

Visit aam.co.uk/support

London open rehearsal 4 June 2013, 4.00pm

The Warehouse, London

A chance to watch the orchestra as itprepares repertoire for its

London concert series

Cambridge Gold Friends open rehearsal13 June 2013, 4.30pm

West Road Concert Hall, Cambridge

Gold Friends are invited to glimpse the orchestra in action behind the scenes. Following the concert, all Friends of the AAM are invited

to join us later for a drinks reception.

Academy of Ancient Music

Hogwood conducts Handel’s ImeneoHandel’s “farewell to Italian opera”, starring Handel’s “farewell to Italian opera”, starring counter-tenor david danielscounter-tenor david daniels

29 MAY 2013

7.30pm Barbican Hall

Tickets £8–£35barbican.org.uk/aam | 0845 120 7500

Rebecca Bottone RosmeneLucy Crowe ClomiriDavid Daniels TirintoVittorio Prato ImeneoStephan Loges ArgenioChristopher Hogwood conductor

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Thank you

AAM Business ClubCambridge University PressKleinwort BensonRoyal Bank of Canada

Public fundersArts Council EnglandOrchestras LiveCambridge City Council

The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work:

The AAM Society

Trusts and foundationsThe Backstage TrustCHK Charities Ltddunard FundJohn Ellerman FoundationEsmée Fairbairn FoundationFidelity UK FoundationGatsby Charitable FoundationJ Paul Getty Jnr Charitable TrustNewby Trust LtdSir Siegmund Warburg’s Voluntary SettlementConstance Travis Charitable TrustGarfield Weston Foundationand other anonymous trusts and foundations

Special giftsThe Academy of Ancient Music extends its grateful thanks to Richard and Elena Bridges, Matthew Ferrey and Lady Sainsbury of Turville, who have supported the orchestra’s work at a particularly significant level this year.

The Chairman’s Circle(Donations £20,000–£49,999 per annum)Matthew FerreyCHK Charities Ltd

The Hogwood Circle(Donations £10,000 - £19,999 per annum)Lord and Lady MaganChristopher and Phillida Purvis *Mrs Julia Rosierdr Christopher and Lady Juliet TadgellLady Linda Wong davies (KT Wong Foundation)

Principal Patrons (Donations £5,000 – £9,999 per annum)Richard and Elena BridgesChristopher Hogwood CBE *Mrs Sheila MitchellNewby Trust Ltd *Chris and Ali RockerTerence and Sian Sinclairand other anonymous Principal Patrons

Patrons (Donations £2,500 – £4,999 per annum)Lady Alexander of WeedonAdam and Sara BroadbentClive and Helena ButlerRichard and Elizabeth de FriendMr and Mrs JE EverettMr and Mrs James GolobSir Nicholas and Lady Goodison *John and Ann GrievesGraham and Amanda Huttondavid and Linda LakhdhirMark and Liza LovedayNigel and Hilary Pye *John and Joyce ReeveMark Westand other anonymous Patrons

Principal Benefactors (Donations £1,000 – £2,499 per annum)John and Gilly BakerGeorge and Kay BrockMrs d Broke

Mr and Mrs Graham BrownJo and Keren ButlerSir Charles Chadwyck- Healey BtPeter Stormonth darlingKate donaghyThe Hon Simon Eccles Malcolm Gammie CBE QCThe Hon William GibsonElma Hawkins and Charles RichterLord HindlipJohn McFadden and Lisa Kabnick * Steven Larcombe and Sonya LeydeckerMr and Mrs C NortonLionel and Lynn PerseyMr and Mrs Charles Rawlinson Mark and Elizabeth RidleySimon RobeySir Konrad and Lady Schiemann *JG StanfordMr Michael StumpJohn and Madeleine TattersallMarcellus and Katharine Taylor- JonesStephen ThomasSarah WilliamsMrs R Wilson StephensCharles Woodwardand other anonymous Principal Benefactors

Benefactors (Donations £500 – £999)dr Aileen Adams CBEBill and Sue BlythClaire Brisby and John Brisby QC *Mr and Mrs Edward davies- GilbertCharles dumasMr and Mrs Jean- Marie EveillardSimon FaircloughMarshall FieldMichael and Michele Foot CBEWendy and Andrew Gairdner MBEHon William GibsonBeatrice and Charles GoldieThe Hon Mr and Mrs Philip HaversProfessor Sean Hiltondr and Mrs G and W HoffmanHeather Jarman *Susan LathamTessa MayhewMr and Mrs Hideto NakaharaNick and Margaret ParkerBruno Schroder and familyVictoria SharpPeter Thomson

Janet UnwinPippa WicksOriel WilliamsPeter and Margaret WynnJulia yorkeand other anonymous Benefactors

Donors (Donations £250 – £499)Angela and Roderick Ashby- JohnsonElisabeth and Bob Boas *Mrs Nicky BrownJeremy J BuntingMr Alexander Chadddr and Mrs S Challahdavid and Elizabeth ChallenCottisford TrustStephen and debbie dance derek and Mary draperSteven and Madelaine GundersGemma and Lewis Morris HallMrs Helen HiggsLord and Lady Jenkin of RodingAlison KnockerRichard LockwoodAnnie Middlemissyvonne de la PraudièreJane Rabagliati and Raymond CrossRobin and Jane RawMartin RandallArthur L Rebell and Susan B Cohendenys RobinsonMr and Mrs Timothy RobinsonMichael and Giustina RyanAlison Salt and david MackinlayMiss E M SchlossmannMichael SmithRt Hon Sir Murray Stuart- Smith * Marina VaizeyRobin VousdenPaul F. Wilkinson and Associates Inc.Tony and Jackie yates-Watsonand other anonymous donors* denotes founder member