Professional Documents
Culture Documents
Written for a small congregation in mid-Germany the stalls cloakroom (level -1) or you can give
almost three hundred years ago, Bach’s St John online; more details can be found on the insert
Passion is a testimony to the power of music to in this programme. My sincere thanks to all those
transcend time and place. This music still moves who have already contributed — and in particular
us, draws us together through its passion and to our principal donors Richard and Elena Bridges,
drama, and provides us with a powerful shared without whose generosity this project would not
experience. We’re extremely happy to perform it for have been possible.
you this afternoon.
There are many other exciting musical treats
Next week we go into the recording studio to in store over the next few months. We will be
make our first-ever recording of this work, featuring Resident Ensemble at the National Gallery from
the cast you hear today. It’s a project that is very July to September 2013, accompanying the
close to our hearts — but we need your help to summer exhibition ‘Vermeer and Music: The Art of
make it happen. Love and Leisure’ with performances on the hour,
every hour, three days a week. Then in September
In January we asked fellow Bach-lovers to give we launch our 40th anniversary season with a
from just £10 each to help raise the remaining performance of Monteverdi’s L’Orfeo here at the
£5,000 needed to fund the St John Passion Barbican. To find out more about all out latest
recording. We have been deeply touched that so news and forthcoming concerts, visit aam.co.uk.
far over 100 people have between them donated
£4,095 — leaving just £905 still to raise before We wish you and your families a very joyful Easter.
next week. We would be very grateful for any
contribution, large or small, you would like to give
towards the project. You can make a donation
today by visiting the ‘Share our Passion’ desk near
Richard Egarr
Music Director
Please turn off watch alarms, phones, pagers, etc. during the performance. Taking photographs,
capturing images or using recording devices during a performance is strictly prohibited.
If anything limits your enjoyment please let us know during your visit. Additional feedback can be given
online, as well as via feedback forms or the pods located around the foyers.
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 1
JS Bach St John Passion BWV245 (1724 version)
PART ONE Chorus Chorus
Jesum von Nazareth. Jesus of Nazareth.
Chorus Chorus
Herr, unser Herrscher, dessen Ruhm in allen Landen Lord, our Redeemer, whose glory is in all the world, Evangelist Evangelist
herrlich ist! show us in this thy Passion Jesus antwortete: Jesus answered:
Zeig uns durch deine Passion, that thou, the true Son of God,
daß du, der wahre Gottessohn, hast conquered death and tribulation. Jesus Jesus
zu aller Zeit, auch in der größten Niedrigkeit, Ich habs euch gesagt, daß ichs sei, suchet ihr denn I have told you that I am he; if therefore ye seek me,
verherrlicht worden bist! mich, so lasset diese gehen! let these go their way.
Evangelist Evangelist
Sie aber sprachen: And they said:
2 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 3
Aria (alto) Aria (alto) Tempel, da alle Juden zusammenkommen, und habe always resort; and in secret have I said nothing. Why
Von den Stricken meiner Sünden From the bondage of transgression nichts im Verborgnen geredt. Was fragest du mich askest thou me? ask them which heard me, what I
mich zu entbinden, my holy Saviour frees me, darum? Frage die darum, die gehöret haben, was ich have said unto them: behold, they know what I said.
wird mein Heil gebunden. from all taint of deadly sickness zu ihnen geredet habe! Siehe, dieselbigen wissen,
Mich von allen Lasterbeulen fully heals me, was ich gesaget habe.
völlig zu heilen, läßt er sich verwunden. bearing himself the grievous wound.
Evangelist Evangelist
Evangelist Evangelist Als er aber solches redete, gab der Diener einer, die And when he had thus spoken, one of the officers
Simon Petrus aber folgete Jesu nach und ein ander And Simon Peter followed Jesus, and so did another dabeistunden, Jesu einen Bakkenstreich und sprach: which stood by struck Jesus with the palm of his
Jünger. disciple. hand, saying,
4 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 5
Peter Peter Richthaus, auf daß sie nicht unrein würden, sondern went not into the judgment hall, lest they should be
Ich bins nicht. I am not. Ostern essen möchten. Da ging Pilatus zu ihnen defiled; but that they might eat the passover. Pilate
heraus und sprach: then went out unto them, and said:
Evangelist Evangelist
Spricht des Hohenpriesters Knecht’ einer, ein One of the servants of the high priest, being his Pilate Pilate
Gefreundter des, dem Petrus das Ohr abgehauen kinsman whose ear Peter cut off, saith: Was bringet ihr für Klage wider diesen Menschen? What accusation bring ye against this man?
hatte:
Evangelist Evangelist
Servant Servant Sie antworteten und sprachen zu ihm: They answered and said unto him:
Sahe ich dich nicht im Garten bei ihm? Did not I see thee in the garden with him?
Chorus Chorus
Evangelist Evangelist Wäre dieser nicht ein Übeltäter, wir hätten dir ihn If he were not a wrong-doer, we would not have
Da verleugnete Petrus abermal, und alsobald krähete Peter then denied again: and immediately the cock nicht überantwortet. delivered him up unto thee.
der Hahn. Da gedachte Petrus an die Worte Jesu und crew. And Peter remembered the saying of Jesus and
ging hinaus und weinete bitterlich. he went out and wept bitterly. Evangelist Evangelist
Da sprach Pilatus zu ihnen: Then said Pilate unto them:
Aria (tenor) Aria (tenor)
Ach, mein Sinn, wo willt du endlich hin, Ah, my soul, whither wilt thou fly? Pilate Pilate
wo soll ich mich erquikken? Where shall I seek for comfort? So nehmet ihr ihn hin und richtet ihn nach eurem Take ye him, and judge him according to your law.
Bleib ich hier, oder wünsch ich mir Shall I stay? Or depart and leave Gesetze!
Berg und Hügel auf den Rükken? the hills and mountains far behind me?
Bei der Welt ist gar kein Rat, In the world is no relief, Evangelist Evangelist
und im Herzen stehn die Schmerzen on my heart remains the burden Da sprachen die Jüden zu ihm: The Jews therefore said unto him:
meiner Missetat, of my evil deed,
weil der Knecht den Herrn verleugnet hat. since the servant hath denied his Lord. Chorus Chorus
Wir dürfen niemand töten. It is not lawful for us to put any man to death.
Chorale Chorale
Petrus, der nicht denkt zurück, Peter, faithless, thrice denies Evangelist Evangelist
seinen Gott verneinet, that his Lord he knoweth; Auf daß erfüllet würde das Wort Jesu, welches er That the saying of Jesus might be fulfilled, which he
der doch auf ein’ ernsten Blick when he meets those earnest eyes, sagte, da er deutete, welches Todes er sterben spake, signifying what death he should die. Then
bitterlichen weinet. weeping, thence he goeth. würde. Da ging Pilatus wieder hinein in das Pilate entered into the judgment hall again, and
Jesu, blikke mich auch an, If I am unrepentant Richthaus and rief Jesu und sprach zu ihm: called Jesus, and said unto him:
wenn ich nicht will büßen; look on me with kindness:
wenn ich Böses hab getan, whenever I do wrong Pilate Pilate
rühre mein Gewissen! rouse my inner conscience. Bist du der Jüden König? Art thou the King of the Jews?
Evangelist Evangelist
PART TWO Jesus antwortete: Jesus answered him.
6 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 7
Evangelist Evangelist Evangelist Evangelist
Jesus antwortete: Jesus answered: Da schrieen sie wieder allesamt und sprachen: Then cried they all again, saying:
8 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 9
Chorus Chorus die Freistatt aller Frommen; the haven for all believers;
Kreuzige! Crucify him! denn gingst du nicht for if thou hadst not taken
die Knechtschaft ein, the bondage of a slave,
Evangelist Evangelist müßt unsre Knechtschaft ewig sein. we would for evermore be bound.
Pilatus sprach zu ihnen: Pilate saith unto them:
Evangelist Evangelist
Pilate Pilate Die Jüden aber schrieen und sprachen: But the Jews cried out, saying:
Nehmet ihr ihn hin und kreuziget ihn; denn ich finde Take ye him, and crucify him: for I find no fault in
keine Schuld an ihm! him. Chorus Chorus
Lässest du diesen los, so bist du des Kaisers Freund If thou let this man go, thou art not Caesar’s friend:
Evangelist Evangelist nicht; denn wer sich zum Könige machet, der ist whosoever maketh himself a king speaketh against
Die Jüden antworteten ihm: The Jews answered him: wider den Kaiser. Caesar.
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 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 11
Aria (bass, chorus) Aria (bass, chorus) Evangelist Evangelist
Eilt, ihr angefochtnen Seelen, geht aus euren Haste, ye deeply wounded spirits, bring your heavy Auf daß erfüllet würde die Schrift, die da saget: ‘Sie That the scripture might be fulfilled, which saith,
Marterhöhlen — Wohin? — nach Golgatha! Nehmet burdens. Whither? To Golgotha! Take, O take the haben meine Kleider unter sich geteilet und haben They parted my raiment among them, and for my
an des Glaubens Flügel, flieht — Wohin? — zum wings of faith and fly. Whither? To the Cross of Jesus: über meinen Rock das Los geworfen.’ Solches taten vesture they did cast lots. These things therefore the
Kreuzeshügel, eure Wohlfahrt blüht allda! there shall relief and healing be found. die Kriegesknechte. Es stund aber bei soldiers did. Now there stood by the cross
dem Kreuze Jesu seine Mutter und seiner Mutter of Jesus his mother, and his mother’s sister, Mary the
Evangelist Evangelist Schwester, Maria, Kleophas Weib, und Maria wife of Cleophas, and Mary Magdalene. When Jesus
Allda kreuzigten sie ihn, und mit ihm zween andere Where they crucified him, and two other with him, Magdalena. Da nun Jesus seine Mutter sahe und den therefore saw his mother, and the disciple standing
zu beiden Seiten, Jesum aber mitten inne. Pilatus on either side one, and Jesus in the midst. And Pilate Jünger dabei stehen, den er lieb hatte, spricht er zu by, whom he loved, he saith unto his mother:
aber schrieb eine Überschrift und setzte sie auf das wrote a title, and put it on the cross. And the writing seiner Mutter:
Kreuz, und war geschrieben: JESUS VON NAZARETH, was, JESUS OF NAZARETH THE KING OF THE JEWS.
DER JÜDEN KÖNIG. Diese Überschrift lasen viel This title then read many of the Jews: for the place Jesus Jesus
Jüden, denn die Stätte war nahe bei der Stadt, da where Jesus was crucified was nigh to the city: and Weib, siehe, das ist dein Sohn! Woman, behold thy son!
Jesus gekreuziget ist. Und es war geschrieben auf it was written in Hebrew, and Greek, and Latin. Then
ebräische, griechische und lateinische Sprache. Da said the chief priests of the Jews to Pilate: Evangelist Evangelist
sprachen die Hohenpriester der Jüden zu Pilato: Darnach spricht er zu dem Jünger: Then saith he to the disciple:
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 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 13
Aria (alto) Aria (alto) (denn desselbigen Sabbaths Tag war sehr gross), the sabbath day, (for that sabbath day was an high
Es ist vollbracht! O Trost vor die gekränkten Seelen! It is accomplished: what comfort for suffering human baten sie Pilatum, daß ihre Beine gebrochen und sie day,) besought Pilate that their legs might be broken,
Die Trauernacht läßt nun die letzte Stunde zählen. souls! I can see the end of the night of sorrow. abgenommen würden. Da kamen die Kriegsknechte and that they might be taken away. Then came the
Der Held aus Juda siegt mit Macht und schließt den The hero from Judah ends his victorious fight. It is und brachen dem ersten die Beine und dem soldiers, and brake the legs of the first, and of the
Kampf. Es ist vollbracht! accomplished! andern, der mit ihm gekreuziget war. Als sie aber zu other which was crucified with him. But when they
Jesu kamen, da sie sahen, daß er schon gestorben came to Jesus, and saw that he was dead already,
Evangelist Evangelist war, brachen sie ihm die Beine nicht; sondern der they brake not his legs: But one of the soldiers with
Und neiget das Haupt und verschied. And he bowed his head, and gave up the ghost. Kriegsknechte einer eröffnete seine Seite mit einem a spear pierced his side, and forthwith came there
Speer, und also bald ging Blut und Wasser heraus. out blood and water. And he that saw it bare record,
Aria & Chorale (bass, chorus) Aria & Chorale (bass, chorus) Und der das gesehen hat, der hat es bezeuget, und and his record is true: and he knoweth that he saith
Mein teurer Heiland, laß dich fragen, da du nunmehr My dearest Saviour, let me ask thee, as thou art nailed sein Zeugnis ist wahr, und derselbige weiß, daß er true, that ye might believe. For these things were
ans Kreuz geschlagen und selbst gesagt: Es ist to this cross and hast thyself said it is accomplished, die Wahrheit saget, auf daß ihr gläubet. Denn solches done, that the scripture should be fulfilled, A bone of
vollbracht, bin ich vom Sterben freigemacht? Kann am I released from death? ist geschehen, auf daß die Schrift erfüllet würde: ‘Ihr him shall not be broken. And again another scripture
ich durch deine Pein und Sterben das Himmelreich Can I gain the heavenly kingdom through thy sollet ihm kein Bein zerbrechen’. Und abermal spricht saith, They shall look on him whom they pierced.
ererben? Ist aller Welt Erlösung da? Du kannst vor suffering and death? Is it that the whole world is eine andere Schrift: ‘Sie werden sehen, in welchen sie
Schmerzen zwar nichts sagen; doch neigest du das redeemed? Thou canst not speak for agony, but gestochen haben’.
Haupt und sprichst stillschweigend: ja. incline thy head to give a speechless ‘Yes!’
Chorale Chorale
Jesu, der du warest tot, Jesus, thou wast dead O hilf, Christe, Gottes Sohn, durch dein bitter Leiden, Help us, Christ, the Son of God
lebest nun ohn Ende, and now livest for ever, daß wir dir stets untertan all Untugend meiden, as thy loyal followers,
in der letzten Todesnot bring me, in death’s extremity, deinen Tod und sein Ursach fruchtbarlich bedenken, to avoid wrongdoing and,
nirgend mich hinwende als zu dir, nowhere but to thee who hast paid dafür, wiewohl arm und schwach, dir Dankopfer with the thought of thy death
der mich versühnt, the debt I owe to God. schenken! and its cause
o du lieber Herre! My true and faithful master, to bring thee thank-offerings
Gib mir nur, was du verdient, give me only what thou hast won for all that thou hast done,
mehr ich nicht begehre! for how could there be more to wish for? poor and weak though we may be.
Evangelist Evangelist
Die Jüden aber, dieweil es der Rüsttag war, daß nicht The Jews therefore, because it was the preparation,
die Leichname am Kreuze blieben den Sabbath über that the bodies should not remain upon the cross on
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
Stephen Rose introduces JS Bach’s St John Passion
Chorus Chorus
When the St John Passion was first performed (1721) claimed that performing Passions in
Ruht wohl, ihr heiligen Gebeine, Lie in peace, sacred body,
at the Nikolaikirche in Leipzig on Good Friday an operatic style was a way to attract large
die ich nun weiter nicht beweine, for which I weep no longer,
ruht wohl und bringt auch mich zur Ruh! and bring me also to my rest. 1724, Bach’s congregation would never have congregations to church:
Das Grab, so euch bestimmet ist, The grave that is thine and holds not further previously heard anything like it. The custom in
und ferner keine Not umschließt, suffering, Leipzig was to tell the story of Christ’s trial and “The people certainly would not have come
macht mir den Himmel auf for me opens Heaven and closes Hell. crucifixion using the simple setting of Johann to church so promptly and in such numbers
und schließt die Hölle zu. Walter (c.1530), where the words of scripture because of the preacher but rather presumably
were recited as in plainchant. The only change because of the music. The libretto was simply
Chorale Chorale from this tradition occurred in 1721 and 1722, the account of Christ’s suffering from one of the
Ach Herr, laß dein lieb Engelein O Lord, send thy cherubs when Bach’s predecessor, Johann Kuhnau, Gospels, into which frequent chorales and also
am letzten End die Seele mein in my last hour to bear my soul performed a more elaborate setting of the two or three arias were introduced. I marvelled
in Abrahams Schoß tragen, away to Abraham’s bosom; Passion according to St Mark, using instruments how diligently people listened and how
den Leib in sein’m Schlafkämmerlein let it rest there untouched by pain
as well as voices, and intermingling the Biblical devoutly they sang along; it was the moving
gar sanft, ohn ein’ge Qual und Pein until the last day.
narrative with contemplative arias and chorales. music that contributed the most to this, and
ruhn bis am jüngsten Tage! Wake me then from Death’s sleep,
Bach’s St John Passion followed Kuhnau’s model even though the service lasted more than four
Alsdenn vom Tod er wekke mich, so that my joyful eyes may see thee,
daß meine Augen sehen dich the Son of God, my Saviour. in some respects, but went much further than hours, everyone stayed until it was over.”
in aller Freud, o Gottes Sohn, Grant me this Kuhnau had dared. Bach’s work was of a length
mein Heiland und Genadenthron! and I will glorify thee never before encountered in Leipzig, and By contrast, Christian Gerber (1732), an
Herr Jesu Christ, erhöre mich, throughout eternity. used a substantial ensemble including chorus, opponent of elaborate church music, reported
ich will dich preisen ewiglich! orchestra and several unusual instruments such a hostile response to the innovations of
as the viola d’amore and viola da gamba. In composers such as Bach:
addition, Bach’s Passion was far more operatic in
style, with vivid arias communicating the pathos “But gradually the Passion story, which had
and pain of Christ’s trial and crucifixion. formerly been sung in simple plainchant,
humbly and reverently, began to be sung
In the early eighteenth century it was highly with many kinds of instruments in the most
contentious to write Passion music in an elaborate fashion … When this Passion music
operatic style. Although some people argued was performed for the first time in one of our
that an operatic style allowed composers to great cities with twelve violins [i.e. strings], many
arouse the emotions contained in the Passion oboes, bassoons and other instruments, many
story, other Lutherans preferred old-fashioned people were shocked and didn’t know what
styles such as motets that conveyed solemnity to make of it. In the pew of a noble family in
and devotion. There was also disquiet at the way church, many ministers and noble ladies were
that many modern versions of the Passion— present and sang the first Passion hymn from
such as the settings of Barthold Heinrich their books with great devotion, but when this
Brockes’s libretto Der für die Sünde der Welt theatrical music commenced, all these people
gemarterte und sterbende Jesus—dispensed were filled with the greatest amazement, looked
with the Biblical text altogether, instead putting at one another, and said, ‘May God preserve us,
the story into modern language (complete with children. It’s as if a person were at the opera or
the ornate metaphors beloved of the theatre.’ Everyone thoroughly disapproved
Baroque poets). of the music and registered justified complaints
about it. But of course there were also such
The polarized opinions aroused by pieces similar spirits as take pleasure in such vain aberrations,
to the St John Passion can be sensed from two especially if they are of a sanguine nature and
accounts of the time. Gottfried Ephraim Scheibel are given to voluptuousness.”
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 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 17
It is not known which performances Gerber The Passion story is inherently dramatic — story. Often the instrumental accompaniment Here the key turns to D major, and the voice
and Scheibel describe, but their anecdotes with its scenes of anger and betrayal, and its and thematic material have symbolic or pictorial and strings imitate the fanfares of trumpets on
give an idea of the mixed ways in which Bach’s narrative pushing inexorably to Jesus’ death significance. Sometimes the motifs are overtly the words ‘Der Held aus Juda siegt mit Macht’
congregation probably responded to the — and Bach’s setting of the St John Passion pictorial, as in ‘Eilt, ihr angefochtnen Seelen’, (‘The hero from Judah triumphs with might’).
St John Passion. has a strong sense of urgency. There are fewer where the rushing upward scales illustrate With this aria, Bach reflects a central feature of
arias than in the St Matthew Passion, restricting the text’s exhortation that we ‘hasten to John’s Gospel, which portrays Christ as glorious
In Leipzig, the church authorities did not want the opportunities for leisurely contemplation. Golgotha’ (‘eilt…nach Golgotha’). In other arias, and victorious, even in death.
to follow the trend of Hamburg, where the Instead Bach’s setting is characterised by the by contrast, it is hard to describe the effect
Passion oratorios with librettos by Brockes frequent interjections of the turba choruses of Bach’s music in words. In ‘Erwäge, wie sein Despite the many operatic elements in the arias
had abandoned the scriptural text altogether. (representing the crowd), which constantly blutgefärbter Rücken’, some listeners might of the Passion, Bach also retained aspects of
Instead the clergy seem to have instructed push the action onward. Even in the initial set interpret the dactylic motifs as suggesting the Lutheran musical traditions in the piece, notably
Bach to retain the entire Biblical text in the of recitatives — recounting Jesus’s arrest in the rhythms of scourging, or as merely illustrating in the chorales and in the large choruses at
St John Passion. The Biblical words are set to Garden of Gethsemane — the turba chorus the text’s exhortation that we contemplate the start and near the end. The congregation
recitative, with a tenor voice (the Evangelist) makes a dramatic entrance, calling for Jesus. Jesus’s bloodstained back. would have recognised the tunes and words
acting as narrator. In addition, Bach included Frequent modulations increase the tension and of the chorales, which were used regularly in
two further layers of text, creating a rich poetic mean that the turba theme tends to return in Bach also uses symbolic instrumentation private devotion during the eighteenth century
framework for the music. For the arias, he a different key. The interventions by the chorus in several arias: a viola da gamba solo in as well as in church services. It is unclear if the
used free poetry in an up-to-date style; these give a strong sense that the narrative is being ‘Es ist vollbracht’; a pair of violas d’amore in congregation actually sang the chorales —
texts were assembled by an unknown author pushed forward by forces outside Jesus’s control ‘Betrachte, meine Seel’ and ‘Erwäge, wie sein which are often stated in unsuitable keys for
(possibly Bach himself, or a local theologian). — partly by the crowd that has smelled his blutgefärbter Rücken’; and an obbligato part untrained voices, or with the melody shrouded
Many of the aria texts have close similarities blood, and partly by his divine destiny. for lute in ‘Betrachte, meine Seel’. Although by complicated harmonies — but they
with Brockes’s Passion libretto, particularly in Bach was always keen to experiment with doubtless would have recited the words quietly
the elaborate metaphors. Thus in ‘Erwäge, wie The arias of the St John Passion draw on operatic unusual sonorities, here he also followed the to themselves during the performance.
sein blutgefärbter Rücken’, the bloodstains on convention in order to convey the emotions standard scorings associated with funerals. The
Christ’s back after the scourging are compared being felt by individuals at various points in the viola da gamba and the lute were both quiet Bach also asserted his Lutheran heritage in the
to ‘the most beautiful of rainbows’ and described instruments, increasing falling into obsolescence extended choruses that act as the opening and
as a ‘symbol of God’s grace’ (‘der allerschönste in an age that valued more powerful sounds. penultimate movements. The opening chorus
Regenbogen…Gottes Gnadenzeichen’). Or to Their delicate timbre evoked the other-worldly takes as its starting-point words from Psalm
take another example, in ‘Betrachte, mein Seel’ experience of death, increasing the intensity 8 — ‘Herr unser Herrscher, dessen Ruhm in
the good that comes from Jesus’s suffering is of the pivotal arias in the Passion. The violas allen Landen herrlich ist’ (‘O Lord our governor,
compared to a primrose flowering above thorns. d’amore also add an other-worldly aura to their how excellent is thy name in all the world’) —
The final element in the text of the St John arias: in addition to their bowed strings, these but the mood is one of foreboding, created
Passion comprises strophes from chorales instruments have a set of sympathetic strings by the swirling figures in the strings and the
(German congregational hymns), probably that resonate like a ghostly echo. interlocking dissonance in the woodwind.
chosen by Bach himself. The chorales comment Further agitation is caused by the pulsing pedal
on the action and voice the collective response At the moment of Jesus’s crucifixion comes one notes in the bass and the rising sequences
of the congregation, using the familiar language of the most poignant arias in the Passion. ‘Es ist in the voices. By contrast, the penultimate
of Lutheran hymnodists. For instance, the first vollbracht’ sets one of Jesus’s Seven Last Words movement, ‘Ruht wohl’, is a gentle triple-time
chorale is sung after Jesus has freely identified on the Cross: ‘It is finished’. Bach’s aria isolates dance, with falling figures suggesting the
himself to his captors, and expresses the self- the two contrasting meanings inherent in this lowering of Christ into the grave. Indeed, its key
sacrifice inherent in Christ’s actions: ‘O große utterance. The aria starts ‘Molt’ adagio’ with a of C minor was associated by Baroque theorists
Lieb, o Lieb ohn alle Maße’ (‘O greatest love, lamenting obbligato played by a viola da gamba with sleep (in this case, the sleep of death). By
o love without end’). The constant interplay in the key of B minor; this suggests the despair deploying his substantial ensemble in highly
between the three levels of text in the Passion— and resignation in the words ‘It is finished’. By affective movements such as these choruses,
the Bible, the ornate poetry for the arias, and the contrast, the middle section of the aria interprets Bach offered an unprecedented experience for
chorale texts—multiplies the significance of the these words triumphantly, as indicating that his congregation in Leipzig.
Monument to Johann Sebastian Bach at the
narrative, increasing its richness and poignance. Thomaskirche in Leipzig Christ’s work on earth is gloriously completed.
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 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 19
The 1724 version of the St John Passion
Bach’s St John Passion had a complex genesis in The surviving parts suggest that Bach used
which four separate versions can be discerned, a small orchestra in the 1724 version, giving
dating from 1724, 1725, c.1732 and 1749. Such an intimacy to this most impassioned and
repeated revisions were not unusual in early dramatic of Passion stories. In the arias Join the Friends of the AAM today
eighteenth-century music; a composer would ‘Betrachte meine Seel’ and ‘Erwäge wie sein
adapt a piece to the performers available, as blutgefärbter Rükken’, the 1724 version specifies Membership from just £2.50 per month
well as to possible external factors such as the use of two violas d’amore rather than
the tastes of the audience or patron. Some of the muted violins which are specified in the
Bach’s changes indeed fall into this category: third version (and which are often used in
for instance, the 1749 version uses an expanded modern performances). The violas d’amore
orchestra, with the continuo section reinforced lend a haunting timbre to these arias through Glimpse orchestral life behind the scenes
by contrabassoon and at least one harpsichord. their sympathetic strings, which resonate in
consonance with the bowed strings like an
Benefit from priority booking
Many of Bach’s revisions, however, stem otherworldly echo. Meet the musicians
primarily from an artistic restlessness, a creativity Support the music you love
that sought to refine and perfect his large-scale Bach’s most radical revisions were in the 1725
compositions. Some of the revisions, particularly version, in which he replaced the opening
the 1725 version, go beyond simple adaptation chorus with a movement later used in the Post-concert drinks
as to change entirely the overall shape and St Matthew Passion (the chorus ‘O Mensch 29 March 2013, 5.30pm
narrative dynamic of the work. And in addition bewein’). To balance this substantial new first Barbican Hall, London
to the four versions that can be associated with movement, he closed the 1725 version with
specific performances, Bach also began a major a choral setting of the German Agnes Dei Enjoy a drink with musicians and fellow AAM
supporters following our performance of
revision of his autograph score of the St John (‘Christe du Lamm Gottes’). He inserted two
JS Bach’s St John Passion
Passion around 1739. This revision was never arias of extreme drama: ‘Zerschmettert mich’,
completed, and thus it seems that Bach never where musical representations of thunderbolts London open rehearsal
brought the work into a definitive form. As the express Peter’s anger at having forsaken Jesus; 4 June 2013, 4.00pm
Bach scholar Christoph Wolff writes, it might be and ‘Ach windet euch nicht so’, which depicts The Warehouse, London
more accurate to speak of the St John ‘Passions’. the writhing of souls and scourging of lashes.
He also included a bass aria (‘Himmel reiße, A chance to watch the orchestra as they
Today’s concert presents a rare opportunity to prepare repertoire for their
Welt erbebe’) that incorporates the chorale
London concert series
hear Bach’s original conception of the work, ‘Jesu deine Passion’. Subsequently Bach
the 1724. A complete score of this version does removed many of these 1725 insertions,
not survive, but the first ten movements can in part to differentiate the work from the
be reconstructed from the parts copied for St Matthew Passion.
Bach’s original performance. It uses the same
order of movements as the 1749 version that is The different versions of the St John Passion
the normal choice for modern performances. usually remain hidden in the appendix of
But there are many small differences in the the complete edition, as an object purely of
melodic writing, which is less elaborate than scholarly interest. By performing these different
in subsequent versions. The vocal lines in the versions, we can gain rare insights into Bach’s
arias tend to have plain leaps rather than florid creative process, as well as new perspectives on
stepwise ornamentation. The alto and tenor one of his best-known works. HOW TO JOIN
parts in the chorales are less prominent, moving
in the same rhythms as the outer parts rather Stephen Rose © 2013
Pick up a leaflet in the foyer tonight
than containing their own faster Dr Stephen Rose is Lecturer in Music Visit aam.co.uk/support
counter-melodies. at Royal Holloway, University of London
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 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 21
Academy of Ancient Music: our ethos Academy of Ancient Music: our past, present and future
The history of the AAM is the history of a we play from first edition scores, stripping away The AAM was founded in 1973 by Christopher 250th anniversary of the composer’s death,
revolution. When Christopher Hogwood the later additions and annotations of editors Hogwood, under whose leadership the orchestra and the world-premiere recording of music
founded the orchestra almost forty years ago, and getting back to composers’ initial notes, developed the global reputation for inspirational by seventeenth-century English composer
he rejected the decades-old convention of markings and ideas. music making which continues today. Over Christopher Gibbons. In June 2012 the AAM
playing old music in a modern style. Hogwood the past forty years the AAM has performed was invited to perform at the Thames Diamond
and the AAM were inspired by original There’s also a difference in the way we approach live on every continent except Antarctica, and Jubilee Pageant, and in December The Observer
performances and, along with musicians across our music making. Composers prized the millions of music lovers have heard the orchestra named the AAM’s performance of JS Bach’s The
Europe, were beginning to discover the sound creativity of musicians, expecting them to make through its catalogue of over 300 CDs: Brit- and Art of Fugue at the BBC Proms as one of the top
worlds which Bach, Handel and Haydn would the music come alive and to communicate its Grammy-Award-winning recordings of Handel ten concerts of the year.
have known. These bold initial steps would thrill to the audience — an ethos we place at operas, pioneering accounts of the Beethoven,
lead to a radical transformation in musical the heart of all that we do. Very often we don’t Mozart and Haydn symphonies, and discs which The future is just as bright. From September
performance, allowing baroque and classical have a conductor, but are directed by one of champion neglected composers. 2013 the AAM will mark its 40th anniversary
masterworks to be heard anew from that day the musicians, making for spontaneous, sparky with a season of concerts featuring the full
to this. and engaged performances. It’s not just about This artistic excellence has been fostered by a range of the orchestra’s music-making from
researching the past; it’s about being creative in stunning roster of guest artists. Singers Emma Monteverdi’s L’Orfeo (1607) to Beethoven’s
So what’s different about the AAM? Partly it’s the the present. Kirkby, Joan Sutherland and Cecilia Bartoli were Symphony No.9 (1824). International plans
instruments, which are originals (or faithful copies among those performing with the AAM in the include a major tour of Australia as well as
of them). The stringed instruments have strings “Transmitting the kick of an energy drink” early days, and a range of collaborations with performances at Amsterdam’s Concertgebouw,
made of animal gut, not steel; the trumpets have F I N A N C I A L T I M E S , 2012 artists including David Daniels, Alina Ibragimova the Palais des Beaux-Arts in Brussels and the
no valves; the violins and violas don’t have chin- and Angelika Kirchschlager continue to inspire Théâtre des Champs Elysées in Paris.
rests, and the cellists cradle their instruments In everything we do, we aim to recapture the the group with new ideas and fresh approaches.
between their legs rather than resting them on intimacy, passion and vitality of music when it The AAM is Associate Ensemble at London’s
the floor. The result is a sound which is bright, was first composed. The result? Performances In 2006 Richard Egarr succeeded Hogwood Barbican Centre and Orchestra-in-Residence at
immediate and striking. Additionally, the size which are full of energy and vibrancy, the as Music Director. Over the past seven years the University of Cambridge. In summer 2013 it
of the orchestra is often smaller, meaning that superb artistry and musical imagination of our he has led the orchestra on tours throughout will be Resident Ensemble at the National Gallery.
every instrument shines through and the original players combined with a deep understanding Europe, the USA and the Far East, and in 2007 he
balance of sound is restored; and where possible of the music’s original context. founded the Choir of the AAM. Recent recordings At aam.co.uk...
include a complete cycle of Handel’s Opp.1–7
➤ Browse our complete 2013–14 Barbican season
instrumental music, released to celebrate the ➤ Listen to our recordings on the AAMplayer
COUNTER-TENOR ANDREAS SCHOLL, WHO MADE HIS AAM DEBUT IN KING’S CHAPEL, CAMBRIDGE IN NOVEMBER 2012, RETURNS FOR A
PERFORMANCE OF PERGOLESI AND VIVALDI AT THE BARBICAN IN JANUARY 2014. VISIT AAM.CO.UK/CONCERTS FOR DETAILS.
22 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 23
Richard Egarr director & harpsichord James Gilchrist Evangelist
In 2007 Richard established the Choir of the
AAM, and operas and oratorios lie at the heart James’ musical appearances have, however,
of his repertoire. He regularly appears at the been eclectically broad, ranging in scale from
Concertgebouw in Amsterdam with, among Vaughan Williams’ On Wenlock Edge with
others, the Netherlands Opera Company; and the Endellion String Quartet to Britten’s War
in 2007 he made his Glyndebourne debut in a Requiem and Elgar’s The Dream of Gerontius
staged performance of JS Bach’s St Matthew at the Three Choirs Festival. As a recitalist he
Passion. Richard is also renowned as an has performed music by Schumann, Finzi and
inspiration for young musicians: alongside Poulenc on BBC Radio 3 with pianist Anna
his teaching position at the Amsterdam Tilbrook, as well as maintaining a partnership
Conservatoire, he has regular relationships with with harpist Alison Nicholls. He has recently
the Britten–Pears Foundation in Aldeburgh and released a disc of Finzi song cycles ‘Oh Fair to
with the Netherlands Opera Academy. See’, and a disc of Elizabethan lute songs ‘When
Laura Smiles’ with Matthew Wadsworth.
Richard is increasingly sought after by non–
period orchestras. He appears regularly with James’ appearances on the concert stage are
the Rotterdam Philharmonic Orchestra and numerous. Highlights from the twentieth
the Philadelphia Orchestra, and was appointed century repertoire include Britten’s Serenade for
Richard Egarr brings a joyful sense of adventure Associate Artist with the Scottish Chamber James’ musical education began in church Tenor, Horn and Strings at The Sage Gateshead
and a keen, enquiring mind to all his music– Orchestra in December 2011. choirs and as a cellist. He went on to become a and Owen Wingrave with the City of London
making. As well as being an accomplished treble in the Choir of New College, Oxford and a Sinfonia at Cadogan Hall. He has also performed
conductor, Richard is a brilliant harpsichordist “Egarr’s energy and sustained vitality tenor in the Choir of King’s College, Cambridge. works by Gilbert and Sullivan and Tippett. He
and equally skilled on the organ, fortepiano and is breathtaking” He began working life as a doctor, before in is also well known for his performances of
modern pianos. His many roles include directing B B C M U S I C M A G A Z I N E , M A R C H 2013 1996 turning to a career as a musician. baroque and classical repertoire. He appeared
from the keyboard, playing concertos and with the Monteverdi Choir and Orchestra under
giving solo recitals, and he relishes the chance Richard has performed as a soloist throughout Since then, James has had a vibrant and Sir John Eliot Gardiner in their celebrated Bach
to talk about music at every opportunity. Europe, Japan and the USA, and his solo frequent association with the Academy of Pilgrimage, and has performed the Christmas
recording output comprises works by Ancient Music. He sang Damon in Handel’s Oratorio with Ton Koopman and Mendelssohn’s
Richard trained as a choirboy at York Minster, at Frescobaldi, Orlando Gibbons, Couperin, Purcell, Acis and Galatea at the BBC Proms under Paul arrangement of JS Bach’s St Matthew Passion
Chetham’s School of Music in Manchester and Froberger, Mozart and JS Bach. For many years Goodwin, Ugone in Flavio in Birmingham and with the OAE. James has performed many
as organ scholar at Clare College, Cambridge. he formed an “unequalled duo for violin and London, and recently took the part of the Handel operas, including Alexander’s Feast
His studies with early music pioneers Gustav keyboard” (Gramophone) with violinist Andrew tenor soloist in Mozart’s Requiem at Symphony in Salzburg, Saul in Hamburg and Athalia in
and Marie Leonhardt further inspired his work in Manze, which resulted in acclaimed concerts Hall, Birmingham with Richard Egarr. As a Cologne, and he has appeared in Messiah with
the field of historical performance. and award-winning recordings of music from keen exponent of contemporary music, James both the San Francisco and Detroit symphony
Stylus Phantasticus to Mozart and Schubert. sang in the world-premiere performance and orchestras.
Richard was appointed Music Director of recording of John Taverner’s Total Eclipse with
the AAM in 2006, since when he has led the Richard has directed the AAM in recordings by the AAM.
orchestra on tours to four continents and in JS Bach, including the Brandenburg Concertos;
a number of acclaimed recordings. Richard is in a complete cycle of Handel’s Opp.1-7
also involved with a number of other period instrumental music which has won MIDEM,
James Gilchrist on Bach’s St John Passion
ensembles: he appears in America with the
Handel and Haydn Society and Portland
Edison and Gramophone Awards; and, most
recently, in music by forgotten composer “ Bach never wrote an opera, and I suppose the Passion settings are as close as he got. I see the
Passion unfolding as a moment when the barriers between the musicians and the audience come
down for a moment, and people start to interact with the story as a piece of drama. That’s why this
Baroque, and with Philharmonia Baroque in San Christopher Gibbons.
Francisco. He has performed as a soloist with
The English Concert and the Orchestra of the Richard lives in Amsterdam with his wife
work lives for me time and time again.
”
Hear more of James’ thoughts in an exclusive podcast recorded in January for our Passion blog.
Age of Enlightenment. and daughter. Visit aam.co.uk/passion/blog.aspx
24 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 25
Matthew Rose Christ Sarah Connolly mezzo-soprano
In 2006 Matthew Rose made an acclaimed debut at the Mezzo-soprano Sarah Connolly studied at the Royal College of Music.
Glyndebourne Festival as Bottom in Britten’s A Midsummer Night’s She was made a CBE in the 2010 New Year Honours.
Dream, for which he received the John Christie Award. Other
highlights have included included Sparafucile in Verdi’s Rigoletto at Her recent appearances have included Dido in Purcell’s
Covent Garden; Colline in Puccini’s La bohème at the Metropolitan Dido and Aeneas at Covent Garden and at La Scala; Komponist in
Opera; Figaro in Mozart’s The Marriage of Figaro at the Bayerische Strauss’ Ariadne auf Naxos; the title role in Handel’s Giulio Cesare and
Staatsoper in Munich and Leporello in Mozart’s Don Giovanni. Brangäne in Wagner’s Tristan und Isolde at the Glyndebourne Festival;
Sesto in Mozart’s La clemenza di Tito at the Festival d’Aix-en-Provence
In recital his appearances include the Wigmore Hall, the and the title role in Britten’s The Rape of Lucretia at the Bayerische
Concertgebouw in Amsterdam and the Brighton, Edinburgh, Chester Staatsoper, Munich.
and Cheltenham International Festivals.
As well as performing internationally, she is a prolific recording artist,
A Grammy Award winning artist, he has recorded prolifically. twice nominated for a Grammy Award.
26 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 27
Academy of Ancient Music
Violin I Cello Lute *Sponsored chairs
Pavlo Beznosiuk* Joseph Crouch* William Carter
Leader
Rodolfo Richter Imogen Seth-Smith* Lord and Lady M
agan
Iwona Muszynska
Colin Scobie
Vladimir Waltham Viola da gamba
Reiko Ichise Principal cello
Academy of Ancient Music
Sijie Chen
Kinga Ujszászi
Double bass
Timothy Amherst Organ
Dr Christopher and
Lady Juliet Tadgell
Barbican season 2013–14
Catherine Ricketts Alastair Ross
Violin II Principal flute
Harpsichord Christopher and Phillida P
urvis Monteverdi’s L’Orfeo Richard Tognetti directs
Bojan Čičić Flute
Rebecca Livermore Rachel Brown* Richard Egarr The birth of Western opera Vivaldi, Bach and the world’s finest orchestra
William Thorp Guy Williams Jan Waterfield Sub-principal viola 28 September 2013, 7.30pm 27 Febuary 2014, 7.30pm
Sir Nicholas and Lady G
oodison
Persephone Gibbs
Alice Evans Oboe Sub-principal cello
Alina Ibragimova directs Angelika Kirchschlager sings
Alfredo Bernardini Newby Trust Ltd Music by Haydn and Mozart Arias and lieder by Haydn and Mozart
Viola Lars Henriksson 24 October 2013, 19.30pm 26 March 2014, 7.30pm
Jane Rogers
Mark Braithwaite* Bassoon An English golden age Celebrating JS Bach
Marina Ascherson Ursula Leveaux Gems of the baroque with Anna Prohaska Richard Egarr directs concertos and suites
21 November 2013, 7.30pm 27 May 2014, 7.30pm
28 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 29
The AAM Society Join the AAM Society
I would like to join the AAM Society
On 17 September 1973, 23 musicians gathered which continues his work beyond his active I would like to give membership of the AAM Society to someone else as a gift
in Richmond to record Arne’s Eight Overtures involvement.
under the young director Christopher Hogwood. Your details
The strength of support offered by Society Name: ...................................................................................................................................................................................................................................................................................................................
Nobody travelling to the church that morning members and other funders has enabled the
Address: ...............................................................................................................................................................................................................................................................................................................
could have begun to imagine that the Academy AAM to develop an ambitious vision for the
of Ancient Music (as Hogwood had christened next stage of its development. It recently Telephone: ............................................................................................................................. Email: ......................................................................................................................................
the group) would be in flourishing health 40 established the AAMplify new generation
years later. programme to nurture the audiences, Gift membership — member’s details
performers and arts managers of the future; Please complete this section only if you are giving Society membership to someone else as a gift.
Funded by Decca the AAM began to build a in January 2012 it was appointed as Associate Member’s name: ............................................................................................................................................................................................................................................................................................
pioneering discography. Over the next 25 years Ensemble at the Barbican Centre; and it is now
Member’s address: .......................................................................................................................................................................................................................................................................................
it released more recordings than any other working to establish its own record label.
Member’s telephone: ...................................................................................................... Member’s email: ................................................................................................................................
period instrument orchestra in the world, and
gave thousands of performances at the finest The orchestra’s supporters have risen
concert halls on every continent. magnificently to the challenge of funding Membership level
the initial costs of these developments, and The Chairman’s Circle £20,000+ Principal Benefactor £1,000–£2,499
By the late 1990s, when Hogwood began to the greatest priority now is to make the step- The Hogwood Circle £10,000–£19,999 Benefactor £500–£999
Principal Patron £5,000–£9,999 Donor £250–£499
plan for the appointment of his successor, change permanent. You can help us to do so
Patron £2,500–£4,999 Young Supporter (under 40 only) £100–£249
the world was changing. The record industry by joining their number.
was in decline, and financial pressures facing
international concert halls meant that the Because the AAM is a charity it can claim Gift Acknowledgement
generous performing fees of old were no longer Aid on donations, boosting their value by Please acknowledge my gift using the following wording ......................................................................................................................................................................................
I would prefer to remain anonymous
available. Putting down roots at home in the 25%. Even better, the orchestra has received
UK had become a pressing priority. a generous challenge grant which means
that every pound donated by a new Society Payment details
In 2000, founder-members of the AAM Society member will be matched. I enclose a cheque for £.......................... (please make payable to ‘AAM’) I would like to pay by standing order (see below)
contributed £10,000 to fund the orchestra’s first I enclose a CAF cheque for £.......................... (please make payable to ‘AAM’) I would like to make a gift of shares (please contact the AAM)
London season. It was AAM Society members We would be thrilled to welcome you as a
too who financed the establishment of the member — and your support would enable Gift Aid declaration
orchestra’s residency at Cambridge, and who us to enrich more lives than ever before with 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
provided the support needed to appoint our music. donations in the appropriate tax year.
Richard Egarr as Hogwood’s successor. Over Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations.
the last decade, the generosity of an ever- To find out more please contact Oriel Williams, Signed .................................................................................................................................................................................... Date ...........................................................................................................
expanding group of supporters has transformed our Fundraising Manager, on 01223 341093 or
the AAM from a private enterprise directed by o.williams@aam.co.uk.
Standing order mandate
Hogwood into a major charitable institution Please complete this section only if you would like to make your donation by standing order.
“ 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
Please pay Academy of Ancient Music, Lloyds TSB. Gonville Place Branch, Cambridge, sort code 30-13-55, account number 02768172,
”
the sum of £.......................... per month / quarter / year, starting on...........................................................................................................................................................................
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 Signed .................................................................................................................................................................................... Date ...........................................................................................................
30 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 31
Thank you
The AAM is indebted to the following trusts, companies, public
bodies and individuals for their support of the orchestra’s work:
AAM Business Club Trusts and foundations
Cambridge University Press The Backstage Trust
Kleinwort Benson CHK Charities Ltd
Royal Bank of Canada Dunard Fund
John Ellerman Foundation
Public funders Esmée Fairbairn Foundation
Fidelity UK Foundation
Arts Council England Gatsby Charitable Foundation
Orchestras Live J Paul Getty Jnr Charitable Trust
Cambridge City Council Newby Trust Ltd
Sir Siegmund Warburg’s Voluntary Settlement
Constance Travis Charitable Trust
Garfield Weston Foundation
and other anonymous trusts and foundations
32 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