ACADEMY OF ANCIENT MUSIC

Academy of Ancient Music, 2013–14 SeasoN | 3 ACADEMY OF ANCIENT MUSIC R ic h ard T o g netti directs V iva l di 26 February 2014 · West Road Concert...
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Academy of Ancient Music, 2013–14 SeasoN | 3

ACADEMY OF ANCIENT MUSIC

R ic h ard T o g netti directs V iva l di 26 February 2014 · West Road Concert Hall, Cambridge, UK 27 February 2014 · Milton Court Concert Hall, Barbican, London, UK

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 20-minute interval 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

R ic h ard T o g netti directs V iva l di

Richard Tognetti director & violin

Richard Tognetti directs Vivaldi

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R ic h ard T o g netti

ACADEMY OF ANCIENT MUSIC

director and violin

Violin 1 Richard Tognetti · Bojan Čičić* · Persephone Gibbs · Iona Davies

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.

Violin 2 Rebecca Livermore · Liz MacCarthy · Marianna Szücs Viola Jane Rogers · Ricardo Cuende Isuskiza* · Marina Ascherson Cello Joseph Crouch* · Imogen Seth-Smith* · Poppy Walshaw Double Bass Judith Evans

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.

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.

Bassoon Ursula Leveaux Horn Gavin Edwards · David Bentley © Paul Henderson

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.

Oboe Frank de Bruine · Lars Henriksson

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.

Theorbo William Carter Harpsichord Alastair Ross

*Sponsored Chairs Leader Lord and Lady Magan Principal cello Dr Christopher and Lady Juliet Tadgell Principal flute Christopher and Phillida Purvis Sub-principal viola Sir Nicholas and Lady Goodison Sub-principal cello Newby Trust Ltd

Richard Tognetti directs Vivaldi

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C oncertos for t h e D resden court 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.

NOTE No 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. Antonio Vivaldi (1678–1741). Engraving (1725) by François Morellon la Cave (1700–55).

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Pro g ramme note c o n t d .

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 flautist 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 flourishing 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

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.

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

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

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 different 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

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

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.

Richard Tognetti directs Vivaldi

The initial Largo offers poised dotted rhythms before the flighty 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

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

Advance copies tonight for £20 We 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

Richard Tognetti directs Vivaldi

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ACADEMY OF ANCIENT MUSIC OUR ETHOS 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.

world-premiere recording of music by seventeenthcentury 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.

O U R PA S T , P R E S E N T , FUTURE

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, countertenor Andreas Scholl, tenor James Gilchrist and violinist

The 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-Awardwinning 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

Alina Ibragimova lies at the heart of the AAM’s presentday 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.

Richard Tognetti directs Vivaldi

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AAM NEWS Welcome from our new Chief Executive

New Chief Executive of the AAM, Jonathan Manners

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

Andreas Scholl © Decca / James McMillan

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.

Richard Tognetti directs Vivaldi

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A A M S ociety mem b ers h i p form

THE AAM SOCIET Y 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 everexpanding 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]

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Richard Tognetti directs Vivaldi

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Richard Tognetti directs Vivaldi

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t h an k you The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra’s work:

Trusts and foundations The Backstage Trust CHK Charities Ltd Cottisford Trust Dunard Fund John Ellerman Foundation

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Public funders

Newby Trust Ltd

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Cambridge City ­Council

Garfield Weston Foundation and other anonymous trusts and foundations

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The 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.

Richard and Elena Bridges

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Simon Fairclough

Steven and Madelaine ­Gunders

The Chairman’s ­C ircle

Graham and Amanda Hutton

Mark and Elizabeth Ridley

Marshall ­Field CBE

Gemma and Lewis Morris ­Hall

Mrs Sheila ­Mitchell

John and Madeleine Tattersall

Michael and Michele Foot CBE

Mrs Helen H ­ iggs

Newby Trust Ltd *

Mark West

Wendy and Andrew ­Gairdner MBE

Lord and Lady Jenkin of R ­ oding

and other anonymous Principal ­Patrons

and other anonymous ­Patrons

Beatrice and Charles ­Goldie

Ali ­K nocker

Matthew ­Ferrey

The Hogwood ­C ircle Lord 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)

Patrons

Principal ­Benefactors

Lady Alexander of W ­ eedon

Carol Atack and Alex van Someren

John and Gilly Baker

George and Kay ­Brock

Adam and Sara ­Broadbent

Mrs D ­Broke

Clive and Helena ­Butler

Jo and Keren B ­ utler

Richard and Elizabeth de Friend

Sir Charles ­Chadwyck-­Healey ­Bt

Mr and Mrs JE ­Everett

Kate Donaghy

Mr and Mrs James ­Golob

Malcolm Gammie CBE QC

Sir Nicholas and Lady Goodison *

The Hon William Gibson Elma Hawkin and Charles ­Richter

Rt Hon Sir Murray ­Stuart-­Smith * Lady Vaizey of Greenwich Robin ­Vousden

Richard Tognetti directs Vivaldi

O ur T eam Music ­Director Richard ­Egarr

Communications Manager Tom McNeill

Fundraising Manager­ Brittany Wellner James

Emeritus ­Director Christopher Hogwood CBE

PR Consultant Rebecca Driver Media Relations

Fundraising Assistant Bethan Quartermaine

Chief ­Executive Jonathan Manners

Head of Finance Elaine ­Hendrie

Head of Projects & Administration Samantha Martin

Concerts Administrator Ceri Humphries

Head of Fundraising Andrew McGowan

Administration Assistant Helena 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

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