RIChARD TOgNETTI DIRECTS VIVAlDI - Academy of … · RIChARD TOgNETTI DIRECTS VIVAlDI R IC h ARD T O g ... Js Bach concerto in d major for three violins ... transcriptions have expanded

A c A d e m y o f A n c i e n t m u s i c , 2 0 1 3 – 1 4 s e A s o n | 3

A C A D E M Y O F A N C I E N T M U S I C

R I C h A R D T O g N E T T I D I R E C T S V I VA l D I

RIC

hA

RD

TO

gN

ET

TI

DIR

EC

TS

VIV

Al

DI

20-minute interval

26 February 2014 · West Road concert Hall, cambridge, uK 27 February 2014 · milton court concert Hall, Barbican, London, uK

RichaRd TogneTTi director & violin

ViValdi concerto in d major for violin, two oboes, and two horns (c.1716)Andante-Allegro · Grave · Allegro

JF Fasch concerto in d minor for lute (date unknown)Allegretto moderato · Andante · Un poco allegro

Pisendel concerto Grosso no.1 in e flat major (c.1730)Allegro e Sostenuto · Andante · Allegro

ViValdi concerto in B minor for four violins op.3 no.10 ‘L’estro Armonico’ (1711)Allegro · Largo · Allegro

VeRacini ouverture no.5 in B-flat major (c.1716)Largo-Allegro · Menuet · Gigue · Rigadon

Js Bach concerto in d major for three violins (c.1730)Allegro · Adagio · Allegro

ViValdi concerto in f major for violin, two oboes, two horns and bassoon (c.1711)Allegro · Grave · Allegro

6.30pm Free pre-concert talk with Richard Tognetti and Sara Mohr-Pietsch

Tonight’s performance will end at approximately 9.40pm

A c A d e m y o f A n c i e n t m u s i c , 2 0 1 3 – 1 4 s e A s o n | 5RichaRd TogneT Ti diRecTs ViValdi


Australian violinist, conductor and composer, Richard tognetti has established an international reputation for compelling performances and artistic individualism. He studied with William Primrose, and Alice Waten at sydney conservatorium and igor ozim at Berne conservatory. in 1989, he was appointed Leader of the Australian chamber orchestra and subsequently became Artistic director. He is also Artistic director of the maribor festival in slovenia.

tognetti has appeared with the Handel & Haydn society (Boston), Hong Kong Philharmonic, camerata salzburg, tapiola sinfonietta, irish chamber orchestra, orchestre Philharmonique du Luxembourg, nordic chamber orchestra and the Australian symphony orchestras. He conducted mozart’s Mitridate for the sydney festival and gave the Australian premiere of Ligeti’s Violin concerto with the sydney symphony orchestra.

tognetti’s arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. He co-composed The Red Tree and the soundtracks for Master and Commander and Horrorscopes. His documentary Musica Surfica won best film awards in the usA, Brazil, france and south Africa.

As well as directing numerous recordings by the Aco, tognetti has recorded Bach’s solo violin works, winning three ARiA awards, and the dvořák and mozart Violin concertos.

tognetti was appointed officer of the order of Australia in 2010. He holds honorary doctorates from three universities and was made a national Living treasure in 1999 by the national trust of Australia. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian benefactor.

R I C h A R D T O g N E T T Idirector and violin

© Paul Henderson

VIOlIN 1Richard Tognetti · Bojan Čičić* · Persephone gibbs · iona davies

VIOlIN 2Rebecca livermore · liz Maccarthy · Marianna szücs

VIOlAJane Rogers · Ricardo cuende isuskiza* · Marina ascherson

CEllOJoseph crouch* · imogen seth-smith* · Poppy Walshaw

DOUblE bASSJudith evans

ObOEFrank de Bruine · lars henriksson

bASSOONUrsula leveaux

hORNgavin edwards · david Bentley

ThEORbOWilliam carter

hARpSIChORDalastair Ross

*SpONSORED ChAIRS

LeAdeRLord and Lady Magan

PRinciPAL ceLLoDr Christopher and Lady Juliet Tadgell

PRinciPAL fLuteChristopher and Phillida Purvis

suB-PRinciPAL VioLASir Nicholas and Lady Goodison

suB-PRinciPAL ceLLoNewby Trust Ltd


in 1547 elector moritz of saxony chose dresden as the location for his princely residence. during the ensuing two centuries, the electors of saxony adorned their capital city with innovative architecture, artistic treasures, and prestigious musical and operatic performances. By 1700 dresden reached the zenith of its political and cultural power, as the electors of saxony assumed the throne of Poland in addition to their hereditary German lands. soon the city was known across europe as the “florence of the north”.

the electors’ propensity for italian culture had begun in the mid-sixteenth century. many electors travelled to italy as young men on their Grand tour, gaining a lifelong taste for its culture. Around 1549 elector moritz hired Benedetto, Gabriele and Guerino tola, three italian brothers who created frescoes for the dresden castle and were also musicians. By the late sixteenth century, italian

engineers and architects had remodelled the dresden fortress so it resembled a Renaissance palazzo. further italian musicians and artists came to dresden in the seventeenth and eighteenth centuries, including the virtuoso violinist carlo farina (c.1604–1639) and the composers Vincenzo Albrici (1631–96) and marco Giuseppe Peranda (c.1625–75).

for most of the seventeenth century the dresden court was famed for its vocal music, under the direction first of Heinrich schütz (1585–1672) and then Vincenzo Albrici. in the early eighteenth century, by contrast, the court gained a new reputation for its instrumental music. in 1709 elector friedrich August i (who also held the title of Augustus ii of Poland) hired the violinist Jean Baptiste Volumier to reform the court orchestra along french lines, with a new emphasis on orchestral discipline.

A few years later, however, Volumier found his french style challenged by an influx of italian instrumental music. in 1712 the elector’s son, crown prince friedrich August, visited Venice where he was presented with works by Antonio Vivaldi (1678–1741). in the same year the court hired the violinist Johann Georg Pisendel (1687–1755), who had trained at the italianate court of Ansbach (possibly with the violinist Giuseppe torelli). in 1716–17 Pisendel accompanied crown prince friedrich August on a further visit to Venice; during this trip, Pisendel studied with Vivaldi and also other violinists such as Antonio montanari in Rome. Pisendel returned from his italian sojourn with many scores of Vivaldi’s music; he thereafter maintained a close link with Venice, receiving numerous copies of italian concertos during the 1720s.

C O N C E R T O S F O R T h E D R E S D E N C O U R T

Antonio Vivaldi (1678–1741). Engraving (1725) by François Morellon la Cave (1700–55).

N O T Eno smoking in the auditorium.

Please try to restrain coughing until the normal breaks in the performance.

if you have a mobile telephone, please ensure that it is turned off during the performance.

in accordance with the requirements of the licensing authority, persons shall not be permitted to stand or sit in any of the gangways.

no camera, tape recorder, other types of recording apparatus, food or drink may be brought into the auditorium. it is illegal to record any performance unless prior arrangements have been made with the managing director and the concert promoter concerned.

milton court is surrounded by a residential community. our neighbours would appreciate your keeping noise and disturbance to a minimum when you leave the building after the performance.


p R O g R A M M E N O T E con td .

finale. Although Vivaldi wrote this piece (like RV 562) for performance in italy, the incorporation of woodwind and brass instruments made both concertos suitable for German taste. the Germans frequently regarded brass instruments as a teutonic speciality, and the mixed scorings of strings, brass and woodwind were subsequently used by Bach in his Brandenburg concertos nos.1 and 2.

Vivaldi’s quintessential string style is heard in his concerto in B minor for four violins, op.3 no.10, RV 580. the piece comes from L’Estro armonico (1711), his first published collection of concertos. the first movement is structured as an alternation between the ritornello (the recurring theme played by the tutti ensemble) and solo sections, usually for one of the four violins. the musical style is effervescent, with energetic repeated notes and a visceral delight in driving harmonic progressions. unusually for Vivaldi, the slow movement consists of a chain of sections in dif ferent tempi. the finale is a gigue where the solo violins often play in dialogue. Written before dresden became important in Vivaldi’s career, this concerto was nonetheless popular in Germany; around 1713–14 Johann sebastian Bach transcribed it for harpsichord.

Pisendel’s historical importance stems from his role as a musical go-between linking italy with dresden, and his extensive activity as a collector of italian and German music. He also composed, and his talents in this area are indicated by his concerto grosso no.1 in e flat major. Written in about 1730, the piece uses a more melodious and modern style than Vivaldi’s works. even in the opening Allegro, Pisendel breaks the figuration into clearly defined phrases and incorporates

affective slurred motifs. in the Andante, slurred simpering in the strings supports the arching melody in the solo violin. the rumbustious finale juxtaposes solo cascades of virtuoso passagework against rapid scales and longer-breathed lines for the tutti strings.

Another violinist whose career linked italy and dresden was francesco maria Veracini (1690–1728). Veracini was active in Venice and florence at the start of the 1710s, and in 1716 he dedicated twelve sonatas to crown prince friedrich August of saxony. the prince recruited Veracini to work in dresden, where it seems he had a tempestuous time, with reports of episodes of insanity and an attempted suicide. Veracini’s ouverture no.5 in B flat major is one of a set of six orchestral suites that also date from 1716, and may have also been presented to friedrich August in that year.

Johann Sebastian Bach (1685–1750). Painting (1746) by Elias Gottlob Haussmann (1695–1774).

under the direction of Volumier and later Pisendel, the dresden court orchestra was famed across central europe for its precise and homogeneous sound. in 1716 the f lautist Johann Joachim Quantz visited dresden to hear the orchestra. As he later recalled in his autobiography: “the royal orchestra at that time was in a particularly f lourishing state. through the french equal style of execution introduced by Volumier...it already distinguished itself from many other orchestras; and later, under the direction of the concertmaster Pisendel, it achieved...such refinement of performance that in all my later travels, i heard none better.” And in 1730 Johann sebastian Bach told his employers, the Leipzig town council, that the highest standards of playing were achieved in dresden because the orchestral musicians there specialised in one instrument each (rather than being expected to be multi-skilled on several instruments).

this concert gives a taste of the repertory of the dresden court orchestra, including several pieces from Pisendel’s music library (now preserved at the sächsische Landesbibliothek in dresden). it is framed by two concertos by Vivaldi, both of which were copied by Pisendel for use in dresden. Vivaldi’s concerto in d major for violin, two oboes and two horns RV 562 has been dated by some scholars to circa 1716, when crown prince friedrich August visited Venice. Possibly it was performed at a theatre between acts of an opera. the opening movement begins with fanfares (first slow, then fast) and sudden pianissimos; only after this call to attention can the violin indulge in virtuoso passages. in the central Grave, solemn tutti chords frame a violin cantilena that echoes the exotic tones of gypsy music. the finale starts

as a modest minuet, before the wind and brass instruments enter and the violin embarks on its pyrotechnics. Realizing the value of this concerto for public ceremonies, Vivaldi adapted it in 1738 as music to celebrate the anniversary of the playhouse (schuowburg) in Amsterdam.

Vivaldi’s concerto in F major for violin, two oboes, two horns and bassoon RV 569 also survives in a manuscript made by Pisendel. the Allegro starts with declamatory chords (first loud, then soft) and horn-calls; from this initial swagger, there emerge solo outbursts for the violin, as well as passages of driving figuration for the tutti strings. the horns are silenced for the central Grave, which uses the pastoral rhythms of the siciliano; but they return, along with ceremonial dotted rhythms, for the lively

Johann Georg Pisendel (1687–1755). Painting (date unknown) by anonymous artist from the collection by Carl Philipp Emanuel Bach (1714–88).


the initial Largo offers poised dotted rhythms before the f lighty writing of the Allegro; both movements recall the harmonic elegance of corelli’s music. A succession of french dances follow: a substantial menuet with soloistic violin writing, a Gigue, and finally the Rigadon.

the concertos of Vivaldi and his contemporaries were highly influential on the generation of German musicians active in the early eighteenth century. one composer who fell under their influence was Johann friedrich fasch (1688–1758). He encountered Vivaldi’s concertos in the 1710s, while a student at Leipzig. subsequently he spent most of his career at the small court of Anhalt-Zerbst, but he maintained close links with the dresden court and its italianate repertory. Among the many manuscripts that fasch supplied to dresden was his concerto in d minor for lute. Possibly this may have been intended for performance by the dresden lutenist sylvius Leopold Weiss (1686–1750); certainly the last movement, a feisty polonaise, would have suited the taste of the elector of saxony (who also held the title of King of Poland). the first movement shows how fasch combined the ritornello form and motoric rhythms of Vivaldi with the motivic density more characteristic of German composers.

Also heavily influenced by Vivaldi’s concertos was Johann sebastian Bach (1685–1750). He first encountered this repertory in about 1713–14 during his time as organist at the Weimar court. He was inspired by the rhythmic drive and punchy harmonies of Vivaldi’s music, and the formal coherence achieved by alternating

episodes with a ritornello. But Bach had few opportunities to write concertos at Weimar, instead performing transcriptions of orchestral music on the organ or harpsichord. it is often supposed that he began writing concertos in earnest during his time at the cöthen court between 1717 and 1723. Recent scholarship, however, has linked many of Bach’s concertos with his work for the Leipzig collegium musicum in the 1730s.

Bach’s concerto in d major for three violins is a reconstruction made by Wilfried fischer from his concerto for three Harpsichords BWV 1064. the version for violins was probably Bach’s lost original, written for a Leipzig concert in about 1730. the opening Allegro makes an interesting contrast with Vivaldi’s concerto for four violins op.3 no.10. Like Vivaldi, Bach delights in simple triadic themes and repeated notes. But whereas Vivaldi tends to single out each soloist in turn, Bach gets the soloists to play in dialogue, in duet, or even in a trio texture of parallel motion. in the Adagio, the string band murmurs slurred figures, while the three solo violins play delicately ornamented lines, sometimes as an interlocking trio and sometimes in dialogue. the finale contrasts the contrapuntal texture of the ritornello with virtuosic episodes for each violin soloist: the third violin has leaps that cross the strings, the second violin has motoric semiquavers, and finally the first violin pushes the concerto into the dark region of f lattened and diminished harmonies.

Stephen Rose © 2013 Dr Stephen Rose is Senior Lecturer in Music at Royal Holloway, University of London.

ADVANCE COpIES TONIghT FOR £20We are proud to present the second release on AAm Records, Js Bach’s original 1724 version

of the St John Passion — a work of intimate scale and moving lyricism which reaches immediately to the emotional heart of the Passion story.

available tonight in the foyer on general physical sale 31 March


O U R E T h O S the history of the AAm is the history of a revolution. When christopher Hogwood founded the orchestra 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 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.

O U R pA S T , p R E S E N T , F U T U R Ethe Academy of Ancient music was founded in 1973 by christopher Hogwood, under whose leadership the orchestra developed the global reputation for inspirational music making which continues today. the AAm performs baroque and classical music on period instruments, taking inspiration from the unique soundworlds which composers would have originally known. founded on a combination of academic research and superb musicianship, the AAm’s performances have been acclaimed for their vitality and intimacy.

over the past forty years the AAm has performed live to music lovers on every continent except Antarctica, and millions more have heard the orchestra through its catalogue of over 300 cds: Brit- and Grammy-Award-winning recordings of Handel operas; the first-ever recording on period instruments of the complete mozart symphonies; pioneering accounts of the Beethoven piano concertos and Haydn symphonies; and discs which champion neglected composers.

in 2006 Richard egarr succeeded christopher Hogwood as music director. egarr 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 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 summer 2013 the AAm was Resident ensemble at London’s national Gallery, accompanying the exhibition “Vermeer and music” with ongoing performances.

the AAm’s artistic excellence has long been fostered by a range of guest artists. Pianist Robert Levin and singers dame emma Kirkby, dame Joan sutherland and cecilia Bartoli were among those performing regularly with the AAm in the early days, and a range of collaborations continue to inspire the group with new ideas and fresh approaches. the current relationship with the choir of King’s college, cambridge recently produced the world’s first live classical cinecast, with Handel’s messiah streamed live into hundreds of cinemas across the globe; and ongoing work with the likes of mezzo-soprano Angelika Kirchschlager, counter-tenor Andreas scholl, tenor James Gilchrist and violinist

Alina ibragimova lies at the heart of the AAm’s present-day artistic success.

the future is just as bright. from september 2013 to August 2014 the AAm marks 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 recent 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. AAm Records, the orchestra’s own record label, launched in october 2013, with forthcoming releases including Js Bach’s St John Passion, St Matthew Passion and Orchestral Suites.

the AAm is Associate ensemble at London’s Barbican centre and orchestra-in-Residence at the university of cambridge.

Visit www.aam.co.uk to find out more.


A A M N E W S

Welcome from our new chief executive

A very warm welcome to this evening’s concert. i’m delighted to have joined AAm at such an exciting time for the organisation, with our 40th Anniversary celebrations in full swing, and AAm’s record label about to launch an outstanding recording of Js Bach’s St. John Passion. it’s a great pleasure to welcome Richard tognetti for this evening’s concert that celebrates the musical culture that surrounded dresden’s famed court orchestra in the eighteenth century.

scholl wows with Pergolesi

January finished with a flourish as we toured Belgium, france and the uK with counter-tenor Andreas scholl. A programme of Vivaldi and Wassenaer was concluded with Pergolesi’s engrossing Stabat Mater where “the Academy of Ancient music offered a penetrating reading…a dynamic dialogue between fear and faith, the strings now earthy, now ethereal, the bowing incisive” (The Times). A fantastic start to 2014 for everyone involved.

St John Passion preview films launched

Build-up to the official release of our recording of Js Bach’s st John Passion continues with several preview videos. filmed during the recording itself, they include a selection of interviews with cast members. Viewers can watch James Gilchrist (among others) talk about his highlight of the Passion, along with introductions to instruments and other recording insights. Go to www.aam.co.uk/stjohnpassion to find out more.

New Chief Executive of the AAM, Jonathan Manners

Andreas Scholl © Decca / James McMillan


A A M S O C I E T Y M E M b E R S h I p F O R M

YOUR DETAIlS:

name:

Address:

Post code:

telephone:

email:

YOUR gIFT:i would like to join the AAm society at the following level:

* the chairman’s circle £20,000+

* the Hogwood circle £10,000–£19,999

* Principal Patron £5,000–£9,999

* Patron £2,500–£4,999

* Principal Benefactor £1,000–£2,499

* Benefactor £500–£999

* donor £250–£499

* i would like to make a gift of £

ACkNOWlEDgEMENT

* Please acknowledge my gift using the following wording:

* i would prefer to remain anonymous

pAYMENT DETAIlS

* i enclose a cheque, payable to ‘AAm’ for £

* i enclose a cAf cheque, payable to ‘AAm’ for £

* i would like to pay by standing order (please complete the standing order section overleaf)

* i am transferring my gift by bank transfer to Academy of Ancient music, Lloyds Bank Gonville Place Branch.

sort code 30-13-55 Account number 02768172

* i would like to pay by card — please contact me

* i would like to make a gift of shares — please contact me

(Form continued overleaf)

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 in october 2013 established 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: Brittany Wellner James, our fundraising manager, on 01223 341099 or [email protected]

T h E A A M S O C I E T Y


Please complete this section only if you would like to make your donation to the AAm by standing order:

name of Bank:

Bank Address:

sort code: – –

Account number:

Please pay:

Academy of Ancient music Lloyds Bank, Gonville Place Branch.sort code: 30-13-55 Account number: 02768172

the sum of £

Per month/quarter/year starting on:

signed:

date:

gIFT AID DEClARATIONPlease treat as Gift Aid donations all qualifying gifts of money made in the past 4 years and in the future. i confirm i have paid or will pay an amount of income tax and/or capital Gains tax for each tax year (6 April to 5 April) that is at least equal to the amount of tax that all the charities or community Amateur sports clubs (cAscs) that i donate to will reclaim on my gifts for that tax year. i understand that other taxes such as VAt and council tax do not qualify. i understand the charity will reclaim 28p of tax on every £1 that i gave up to 5 April 2008 and will reclaim 25p of tax on every £1 that i give on or after 6 April 2008.

signed:

Please notify the charity if you:

• Want to cancel this declaration

• Change your name or home address

• No longer pay sufficient tax on your income

and/or capital gains.

if you pay income tax at the higher or additional rate and want to receive the additional tax relief due to you, you must include all your Gift Aid donations on your self Assessment tax return or ask Hm Revenue and customs to adjust your tax code.

S TA N D I N g O R D E R M A N DAT E

St John’s College Chapel, Cambridge 21 March

ORNC, Greenwich 7 May

Ealing Abbey 10 June

Peterborough Cathedral 13 June

The Choral Pilgrimage 2014

A stunning selection of Tudor music by John Sheppard, Richard Davy and William Mundy

National Box Office: 01904 651485Full tour dates at www.thesixteen.com

rM

olin

aVis

uals

92230 AAM Programme Advert_180x10mm.indd 1 17/02/2014 12:07


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

AAM bUSINESS ClUbcambridge university Press

Kleinwort Benson

Royal Bank of canada

pUblIC FUNDERSArts council england

orchestras Live

cambridge city council

FRIENDS OF ThE AAMfind out more at www.aam.co.uk/support

TRUSTS AND FOUNDATIONSthe Backstage trust

cHK charities Ltd

cottisford trust

dunard fund

John ellerman foundation

esmée fairbairn foundation

fidelity uK foundation

Gatsby charitable foundation

the Harold Hyam Wingate foundation

J Paul Getty Jnr charitable trust

newby trust Ltd

sir siegmund Warburg’s Voluntary settlement

constance travis charitable trust

Garfield Weston foundation

and other anonymous trusts and foundations

T h A N k Y O U

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 CIRClEmatthew ferrey

ThE hOgWOOD CIRClELord and Lady magan

christopher and Phillida Purvis *

chris and Ali Rocker

mrs Julia Rosier

terence and sian sinclair

dr christopher and Lady Juliet tadgell

Lady Linda Wong davies (Kt Wong foundation)

pRINCIpAl pATRONS Richard and elena Bridges

the Hon simon eccles

Richard and Jean Gooder

christopher Hogwood cBe *

dr duncan Hunter

Graham and Amanda Hutton

mrs sheila mitchell

newby trust Ltd *

and other anonymous Principal Patrons

pATRONS Lady Alexander of Weedon

John and Gilly Baker

Adam and sara Broadbent

clive and Helena Butler

Richard and elizabeth de friend

mr and mrs Je everett

mr and mrs James Golob

sir nicholas and Lady Goodison *

John and Ann Grieves

david and Linda Lakhdhir

mark and Liza Loveday

Roger mayhew

nigel and Hilary Pye *

John and Joyce Reeve

mark and elizabeth Ridley

John and madeleine tattersall

mark West

and other anonymous Patrons

pRINCIpAl bENEFACTORS carol Atack and Alex van someren

George and Kay Brock

mrs d Broke

Jo and Keren Butler

sir charles chadwyck- Healey Bt

Kate donaghy

malcolm Gammie cBe Qc

the Hon William Gibson

elma Hawkin and charles Richter

T h E A A M S O C I E T Y

Lord Hindlip

Philip Jones

oscar and margaret Lewisohn

steven Larcombe and sonya Leydecker

John mcfadden and Lisa Kabnick *

mr and mrs c norton

Lionel and Lynn Persey

mr and mrs charles Rawlinson

simon Robey

Robert sansom

sir Konrad and Lady schiemann *

JG stanford

michael stump and oriel Williams

stephen thomas

Anthony travis

Paul and michi Warren

sarah Williams

mrs R Wilson stephens

charles Woodward

and other anonymous Principal Benefactors

bENEFACTORS dr Aileen Adams cBe

elise Badoy dauby

Professor John and Professor Hilary Birks

Bill and sue Blyth

claire Brisby and John Brisby Qc *

Hugh Burkitt

mr and mrs edward davies- Gilbert

charles dumas

mr and mrs Jean- marie eveillard

simon fairclough

marshall field cBe

michael and michele foot cBe

Wendy and Andrew Gairdner mBe

Beatrice and charles Goldie

the Hon mr and mrs Philip Havers

Professor sean Hilton

dr and mrs G and W Hoffman

Heather Jarman *

susan Latham

John missing and milica mitrovic

mr and mrs Hideto nakahara

orpheus and Bacchus festival

nick and margaret Parker

Bruno schroder and family

Victoria sharp

Peter thomson

Janet unwin

Pippa Wicks

Peter and margaret Wynn

Julia yorke

and other anonymous Benefactors

DONORS Angela and Roderick Ashby- Johnson

marianne Aston

dr Julia Bland

elisabeth and Bob Boas *

mrs nicky Brown

Jeremy J Bunting

dr and mrs s challah

david and elizabeth challen

stephen and debbie dance

Peter stormonth darling

derek and mary draper

mrs marilyn Goldberg

steven and madelaine Gunders

Gemma and Lewis morris Hall

mrs Helen Higgs

Lord and Lady Jenkin of Roding

Ali Knocker

Richard Lockwood

Annie middlemiss

edward Powell

yvonne de la Praudière

Jane Rabagliati and Raymond cross

Robin and Jane Raw

Annabel and martin Randall

Arthur L Rebell and susan B cohen

chris and Valery Rees

denys Robinson

mr and mrs timothy Robinson

michael and Giustina Ryan

Alison salt and david mackinlay

miss JJ sandeman

miss e m schlossmann

michael smith

Rt Hon sir murray stuart- smith *

Lady Vaizey of Greenwich

Robin Vousden

Professor tony Watts oBe

Paul f. Wilkinson and Associates inc.

tony and Jackie yates-Watson

and other anonymous donors

* denotes founder member

RichaRd TogneT Ti diRecTs ViValdi

O U R T E A M

Music Director Richard egarr Emeritus Director christopher hogwood cBe Chief Executive Jonathan Manners Concerts Administrator ceri humphries

Communications ManagerTom Mcneill

PR ConsultantRebecca driver Media Relations

Head of Finance elaine hendrie

Head of Fundraising andrew Mcgowan

Fundraising Manager Brittany Wellner James

Fundraising AssistantBethan Quartermaine

Head of Projects & Administrationsamantha Martin

Administration Assistanthelena gavrielides

bOARD OF TRUSTEES

Richard Bridges · Hugh Burkitt · John everett · matthew ferrey · James Golob · John Grieves (Vice-chairman) Philip Jones · John Reeve · terence sinclair (chairman) · madeleine tattersall · Janet unwin

Honorary President: christopher Purvis cBe

DEVElOpMENT bOARD

Richard Bridges (chairman)* · delia Broke · Hugh Burkitt · elizabeth de friend · Kate donaghy · John everett* · matthew ferrey* · Andrew Gairdner mBe · James Golob · John Grieves · Philip Jones · Linda Lakhdhir · Annie norton · John Reeve · chris Rocker* · terence sinclair* · madeleine tattersall* · Janet unwin · Alison Wisbeach

* fundraising committee member

COUNCIl

Richard Bridges · Adam Broadbent · Kay Brock LVo dL · delia Broke · Hugh Burkitt · elizabeth de friend Kate donaghy · Jane evans · John everett · matthew ferrey · Andrew Gairdner mBe · James Golob · John Grieves nick Heath · Philip Jones · Linda Lakhdhir · Annie norton · christopher Purvis cBe (chairman) · John Reeve chris Rocker · Will samuel · sir Konrad schiemann · terence sinclair · Rachel stroud · dr christopher tadgell the Lady Juliet tadgell · madeleine tattersall · Janet unwin · Alison Wisbeach

Documents

RIChARD TOgNETTI DIRECTS VIVAlDI - Academy of … · RIChARD TOgNETTI DIRECTS VIVAlDI R IC h ARD T O g ... Js Bach concerto in d major for three violins ... transcriptions have expanded