THE ENGLISH CONCE∏T 1 CONCERT PROGRAMME JS Bach - In Search of Perfection

2019 – 2020 London Season Tuesday 25 February 7.30pm Wigmore Hall, London 2 3 WELCOME PROGRAMME

Wigmore Hall, More than any composer in history, Bach The English Concert 36 Wigmore Street, Orchestral Suite No 4 in D Johann Sebastian Bach is renowned Laurence Cummings London, W1U 2BP BWV 1069 Director: John Gilhooly for having frequently returned to his Guest Director / The Wigmore Hall Trust own music. Repurposing and revising it Bach Harpsichord Registered Charity for new performance contexts, he was Sinfonia to Cantata 35: No. 1024838. Lisa Beznosiuk Geist und Seele wird verwirret www.wigmore-hall.org.uk apparently unable to help himself from Flute Disabled Access making changes and refinements at Bach and Facilities Tabea Debus Brandenburg Concerto No 5 in D every level. Recorder BWV 1050 Tom Foster In this programme, we explore six of Wigmore Hall is a no-smoking INTERVAL Organ venue. No recording or photographic Bach’s most fascinating works — some equipment may be taken into the Sarah Humphrys auditorium, nor used in any other part well known, others hardly known at of the Hall without the prior written Bach Recorder permission of the Hall Management. all. Each has its own story to tell, in Sinfonia to Cantata 169: Wigmore Hall is equipped with a Tuomo Suni ‘Loop’ to help hearing aid users receive illuminating Bach’s working processes Gott soll allein mein Herze haben clear sound without background Violin and revealing how he relentlessly noise. Patrons can use the facility by Bach switching their hearing aids over to ‘T’. pursued his aesthetic goal of musical Kinga Ujszászi In accordance with the requirements of Concerto for Three Violins in D City of Westminster, persons shall not perfection. Violin be permitted to stand or sit in any of the BWV 1064R gangways intersecting the seating, or Nadja Zwiener to sit in any of the other gangways. If Bach standing is permitted in the gangways Please do also join us on Sunday 5 Violin at the sides and rear of the seating, Brandenburg Concerto No 4 in G April for Bach's St John Passion with a it shall be limited to the numbers BWV 1049 indicated in the notices exhibited in those positions. stellar cast including Katie Bray, Robin Johannsen, Gwilym Bowen and Stephan Loges — directed from the keyboard by Harry Bicket.

Alfonso Leal del Ojo Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible Chief Executive and ensure that watch alarms and any other electronic devices that may become audible are switched off.

Cover image of Christine Sticher by Dario Acosta 4 5

(Nos 147, 35, 170, 47, 169, 49), but derive Johann Sebastian from pre-existing concerto material dating THE INSTRUMENTAL Bach from Bach’s Cöthen years. A decade later this material would be re-worked once (1685–1750) again to form his harpsichord concertos, MUSIC OF JS BACH Orchestral Suite No 4 in D suggesting that these cantata sinfonias BWV 1069 represent an intermediate stage in the JS Bach was no different from any other (1717–1723) account for the great music’s evolution in which the organ Ouverture eighteenth-century composer in the sense majority of his most famous instrumental leaves the supportive role it had always Bourée I & II that his music was composed to meet works: the keyboard works (such as the performed, but falls just short of becoming Gavotte the requirements of his job: in his early Klavierbüchlein and the Inventions), both a full concerto soloist. Menuet I & II years he was primarily an organist, with the partitas for unaccompanied violin and Réjouissance positions in Arnstadt, then Mühlhausen those for harpsichord, the cello suites,

and Weimar. These were the years of the violin concertos, the Brandenburg This Suite in D, usually known as the Fourth his great organ works as well as his first concertos and the four orchestral suites all Brandenburg Concerto No 5 Orchestral Suite, is perhaps more familiar series of church cantatas. In 1716 Bach date from this period. in a version which includes three trumpets in D BWV 1050 had been disappointed not to be offered and timpani in addition to strings, oboes the vacant position of Kapellmeister in Six years on, however, political change in SOLOISTS: Laurence Cummings, and a bassoon. This is the orchestration in Weimar, but the following year this historic Cöthen led to Bach’s last significant move Lisa Beznosiuk and Nadja Zwiener the surviving Leipzig source, but we know error was corrected by a neighbouring to become Kantor at the Thomaskirche that the score is a re-working of an earlier courtly patron, Prince Leopold of Anhalt- in Leipzig, where once again he was Allegro original, and that Bach had no trumpets Cöthen, who offered Bach the position of primarily employed as a composer of Affettuoso and timpani in his Cöthen orchestra. Kapellmeister in Cöthen. church music, embarking immediately Allegro Simply removing these instruments on a new cycle of cantatas for every does no structural, harmonic or melodic Neighbours they might have been, but the Sunday of the year. Soon, though, he Bach’s beautifully autographed score of damage to the music, so it seems plausible social and religious attitudes prevailing in took on an additional role as Director the six ‘Brandenburg Concertos’ (a title that these parts were ingeniously added Weimar and Cöthen were worlds apart, of the Collegium Musicum which came not chosen by Bach himself but coined later for a much grander Leipzig civic and this was naturally reflected in the with an obligation to provide music by his second biographer Philip Spitta) is occasion. music Bach was required to provide. His for weekly concerts. Faced with this dated March 1721. In a carefully worded new employer, although personally an additional weekly deadline, he returned preface, the composer tells a small enthusiastic and well-informed musician, to his instrumental output from Cöthen, untruth, or at least allows an ambiguity had adopted the sectarian strictures of the frequently re-arranging pre-existing works Sinfonia to Cantata 35: to suggest one: he writes that the ‘fair Calvinist Reformed Church, within which to fit the richer instrumental resources at Geist und Seele wird verwirret copy’ of these six concertos was the result no more than the simplest, unadorned his disposal. Most of the original Cöthen of a commission from the Margrave of psalmody was permitted at services. Bach scores are now lost, meaning that the ORGAN: Tom Foster Brandenburg. The truth is that they were was therefore not required to compose surviving source materials for many of the all composed for the talented group of church music, nor to play the organ. best-known instrumental works in Baroque By 1725 Bach had already completed players Bach had assembled in Cöthen, Instead he directed the court orchestra music have survived only in these Leipzig two of his monumental cycles of cantatas. and their varied style and orchestrations (and provided its music); the only time in re-workings; a source of frustration, no Having written one for each Sunday of the strongly suggests they were not composed his life when he was free to concentrate doubt, for generations of musicologists year, he effectively took a year off before in one sitting, but over an extended period. exclusively on secular music. but also fertile territory for numerous embarking on a third cycle from which speculative attempts to reconstruct this Sinfonia is drawn. Between May and The fifth concerto is in some respects the Bach seized the opportunity with such the original Cöthen scores. One such November 1726 he wrote six cantatas most innovative of the set, even though, enthusiasm that his six years at Cöthen reconstruction opens tonight’s concert. which not only feature a solo organ so far as its structure is concerned, 6 7

it remains a concerto grosso (with Sinfonia to Cantata 169: Gott of whatever works he could lay his hands Brandenburg Concerto No 4 concertino instruments set against a on. He learned three main lessons, in G BWV 1049 ripieno string accompaniment). But soll allein mein Herze haben especially from Vivaldi’s concertos, which the famous harpsichord cadenza in the had a lasting effect on his style: how SOLOISTS: Tabea Debus, Sarah Humphrys ORGAN: Tom Foster first movement, which Bach extended to organise a movement by means of and Nadja Zwiener

considerably whilst preparing his fair alternating orchestral sections (ritornelli) Cantata 169 is from the same cantata copy for submission to the Margrave, has and solo episodes; how to write striking Allegro cycle as No 35, heard in the first half of assured it an important place in the history and memorable themes made up of short Andante this programme, and they have a common of the keyboard concerto. Flute and motifs suited for soloistic elaboration; Presto origin; both are arrangements of lost violin make up the other two concertino and, in slow movements, the use of long- Cöthen concertos, both feature solo organ instruments, and here again Bach makes breathed sustained melodies supported by The fourth of the set of six Brandenburg and both were to re-emerge a decade a progressive step in his designation of a simple repeating bass lines. The concerto concertos is for solo violin and two later as harpsichord concertos. flute traversière, rather than recorder. for three violins is a fine illustration, not recorders accompanied by string

just of what Bach had learned but also of orchestra. In typical Italian style the It is not known quite why Bach chose to The ripieno group, too, in which the how he reshaped the Italian’s style in his opening bars generate the ‘building write so much for solo organ in his third harpsichord doubles its role by providing own distinctive way. The first movement blocks’ with which the first movement is cantata cycle. It may be that he was continuo support, departs from the usual ritornelli are conventional enough, but constructed, each of the three soloists in discouraged by the poor quality of players pattern of the time in that Bach dispenses when the orchestra drops away and the turn providing the thematic motifs from and singers at his disposal (he was to with the second violin line, but this is more soloists have the spotlight, Bach develops which the ensuing material is derived. It is lodge a formal complaint with the Leipzig of a pragmatic decision than a purposeful his material in highly individual ways, a marvellous example of how Bach creates town council the following year), for the innovation: in the normal course of things especially the episode partway into this continuous rhythmic activity by means 1726 cantatas also show him favouring Bach himself would have played viola in movement when the second solo violin of a richly embroidered contrapuntal solo singers over choruses. As for the the band at Cöthen, but in this special initiates a fugue-like section in B minor texture. The slow movement is darker organ, his son Carl Phillip Emanuel was work he surely would have played the followed by the first and third violins. This in colour, featuring especially poignant now old enough to play these solos very harpsichord solo. Therefore, assuming is something Vivaldi would never have little cadenzas for the recorder, while high well, thus offering a practical solution the piece was played one-to-a-part, one done. The second movement Adagio spirits return in the finale which demands, if the quality of players was indeed of the two violinists, usually assigned the is in a darkly serious B minor, while the especially in its middle section, dazzling unsatisfactory. second violin line, would have had to take final Allegro brings us back to sunnier virtuosity from the violin. over the viola part. Mediterranean shores. Concerto for Three Violins This concerto is one of Bach’s great The surviving source of this concerto is, masterpieces, demonstrating how INTERVAL: 20 MINUTES in D BWV 1064R once again, in a Leipzig version which completely he had assimilated his Please check that your mobile phone gives the solo roles to three harpsichords. Vivaldian influences, so that he still ‘speaks’ VIOLINS: Nadja Zwiener, Tuomo Suni and is switched off, especially if you used it As with the suite which opened tonight’s with his own authentic voice. Formally Kinga Ujszászi during the interval concert, this version for three solo violins is Italian it may be, but no-one other than

a reconstruction of what is thought to have Bach could have written it. Allegro been the original version, now lost. Adagio Allegro

© FELIX WARNOCK, 2020 While Bach was in Weimar, before his move to Cöthen, he had made a close study of the music of Vivaldi, making numerous arrangements for keyboard 8 9

LAURENCE CUMMINGS TABEA DEBUS GUEST DIRECTOR / HARPSICHORD RECORDER

Laurence Cummings is one of Britain’s most exciting and Described by The Times as 'a charismatic virtuoso' versatile exponents of historical performance, both as Tabea Debus constantly explores the horizons of music for conductor and harpsichord player. He has been Musical recorder. She has performed widely across Europe, Colombia, Director of the London Handel Festival since 1999 and Artistic Asia and the USA. Highlights include recitals at Wigmore Director of the Göttingen International Handel Festival since Hall, the Schleswig Holstein, Edinburgh International, 2012. He also acts as Music Director for Orquestra Barocca Brecon Baroque, London and York Early Music Festivals, and Casa da Musica, Porto. He has conducted productions for collaborations with La Serenissima, The English Concert, English National Opera, Glyndebourne Festival Opera, Dunedin Consort, LSO Soundhub, ECO, WDR Rundfunkchor, The Gothenburg Opera, Théâtre du Châtelet, Opernhaus among many others. She is a regular guest on BBC Radio 3’s Zürich, Opéra de Lyon, Opera North, Theater an der Wien, In Tune and Early Music Show, and in 2019 released her fourth Garsington Opera and the Linbury Theatre. He regularly CD Favourites, a follow-up to the highly acclaimed XXIV conducts The English Concert and the Orchestra of the Age Fantasie per il Flauto. Tabea studied at the Frankfurt University of Enlightenment and has worked with the Royal Liverpool of Music & Performing Arts and the Royal Academy of Music, Philharmonic, Royal Scottish National Orchestra, Handel and graduating with the Principal’s Prize. Awards include the Photo: Robert Workman Photo: Ben Ealovega Haydn Society, Wiener Akademie, Zurich Chamber Orchestra, 2019 WEMAG Soloists Prize at the Festspiele Mecklenburg- Hallé, Royal Northern Sinfonia, Moscow Chamber Orchestra, Vorpommern, and 1st prize at the 2019 SRP/Moeck Jerusalem Symphony and Basel Chamber Orchestra. His International Solo Recorder Competition. She was selected by numerous recordings include discs for Sony BMG, Harmonia Young Classical Artists Trust in 2018, and subsequently joined Mundi and BIS. the Concert Artists Guild roster.

LISA BEZNOSIUK TOM FOSTER FLUTE ORGAN

Born in England of Ukrainian/Irish descent, Lisa Beznosiuk Tom is the principal keyboard player of The English Concert is one of the world’s leading performers on early flutes. As and is a regular guest with the Academy of Ancient Music, solo flautist and orchestral principal she has performed and Arcangelo, Dunedin Consort, Early Opera Company, recorded a wide range of eighteenth and nineteenth-century Mahler Chamber Orchestra, the Orchestra of the Age of repertoire on a variety of historical flutes, both copies and Enlightenment, the Scottish Ensemble and the Sixteen. These originals, from her own collection. Lisa has received numerous collaborations have taken him to concert halls throughout enthusiastic reviews for her live and recorded performances. Europe, the United States, Australia, Russia and South Korea. Her solo recordings include the complete sonatas of Bach He has performed concertos at the Edinburgh International and Handel, concertos by Vivaldi, and quartets and concertos Festival and made his US solo-debut in recital at the Carnegie by Mozart. She also features on numerous recordings of Hall. Tom began his musical education as a chorister at orchestral music from Bach to Brahms and beyond with Manchester Cathedral, then as a pianist and harpsichordist Europe’s best-known period instrument ensembles. Alongside at Chetham’s School of Music. He holds a first-class degree in her playing career Lisa is a passionate and dedicated teacher Music (BA) from St Catherine’s College, Oxford and gained a with an international reputation and many of her former Distinction in Performance (MA) from the Royal Academy of Photo: Richard Lee Photo: Dario Acosta students are now successful and well-known flautists. Music under the tutelage of Trevor Pinnock. 10 11

SARAH HUMPHRYS KINGA UJSZÁSZI RECORDER VIOLIN

Originally from Devon, Sarah Humphrys studied recorder, Originally from Hungary, Kinga moved to London after baroque oboe and shawm at the Royal College of Music graduating from the Liszt Ferenc Music Academy in Budapest. in London, and at the Schola Cantorum Basiliensis in It was here, during her studies at London’s Royal Academy of Switzerland. She now enjoys a varied career as a soloist, Music, that her interest in historical performance was sparked. chamber musician, orchestral player and teacher. Sarah Now playing with some of the best period ensembles across performs throughout Europe with her two chamber Europe, she enjoys a busy concert schedule. Having led groups: Ensemble Meridiana, the recipients of three major the Irish Baroque Orchestra and European Union Baroque international chamber music awards, and the recorder quintet Orchestra amongst other groups, Kinga has also appeared Fontanella. Sarah was principal oboe of the European Union as soloist with The English Concert (which she has been a Baroque Orchestra in 2005-2006. She now plays with period member of since 2017) and the Orchestra of the Age of instrument ensembles such as the Orchestra of the Age of Enlightenment. As leader of the chamber group Spiritato, she Enlightenment, the Gabrieli Consort, I Fagiolini, the Sixteen, La recently recorded the ensemble’s latest album The Taste of the Nuova Musica and The English Concert. Sarah has performed Nation with mezzo-soprano Ciara Hendrick. Receiving high Photo: Henry Harrison as a principal player in seasons at Shakespeare’s Globe Photo: Dario Acosta praise from critics, Kinga’s own first solo release Assassini, Theatre since 2003 and has played on soundtracks including Assassinati, featuring music from turbulent seventeenth- Shrek 3 and Wolf Hall. century Italy, was awarded five stars by Diapason Magazine.

TUOMO SUNI NADJA ZWIENER VIOLIN VIOLIN / LEADER

Tuomo Suni studied baroque violin in his native Finland Nadja was brought up in an academic household, where both with Kreeta-Maria Kentala before attending the Royal parents instilled in her a keen sense that it was art and culture Conservatoire in The Hague, studying with Enrico Gatti that bound life together and gave significance to learning; and graduating with a master's degree in 2005. Tuomo's more specifically, that interaction with music and art could professional life has largely been centered around chamber enrich emotional connections with humanity. A large part music, performing and recording with several international of her musical education was spent as a founding member ensembles including Opera Quarta, Ensemble Masques, of the Kuss Quartett. From the quartet’s inception the three Capriccio Stravagante and Ricercar Consort; winning several upper voices swapped roles; fostering from an early age an awards such as Diapason d'Or for Opera Quarta's CD of understanding of music as a conversation between equals. Leclair trio sonatas in 2007 and for Ensemble Masques's This approach is central to her work with The English Concert, Romanus Weichlein CD in 2015. Tuomo is principal second where, since 2007, she has enjoyed varied roles as leader, violin of The English Concert, first violin of Vox Luminis and chamber musician and concerto soloist amongst colleagues plays and records regularly with many other orchestras who are as able to give musical impulses as to receive them. Photo: Dario Acosta including Helsinki Baroque Orchestra, the Early Opera Photo: Dario Acosta As a proud Thuringian living in Leipzig, Nadja feels very at Company, Dunedin Consort and Bach Collegium Japan. home with the music of Bach, so was delighted to be invited by conductor Hans-Christoph Rademann to help form and lead a new period instrument orchestra for the Bachakademie Stuttgart in 2016. Here she focuses on one defining composer and repertoire, with its own defining sound based on the middle-German tradition. 12 13 THE ENGLISH CONCERT

The English Concert is an outstanding individual projects, but continue to help us Violin I Flute orchestra: exceptional, in the world- shape the way we perform. Nadja Zwiener leader Lisa Beznosiuk renowned quality, ambition and variety Alice Evans Recorder of its live and recorded output; unique, One cornerstone of the orchestra’s annual Violin II Tabea Debus in the zeal of its players for working and cycle is its international Handel opera Tuomo Suni Sarah Humphrys performing together; unwavering, in series. Blossoming from an ongoing Kinga Ujszászi its desire to connect with its audience relationship with Carnegie Hall, the tour Oboe / Oboe d'amore / Taille throughout the world. regularly takes in an ever-increasing Viola Emmanuel Laporte roster of the world’s great concert halls, Alfonso Leal del Ojo Hannah McLaughlin Under the artistic direction of Harry Bicket from Theater an der Wien and Théâtre Sarah Humphrys Violoncello and principal guest Kristian Bezuidenhout, des Champs-Elysées, to Hamburg’s Joseph Crouch Bassoon The English Concert has earned a Elbphilharmonie and London’s Barbican. Alberto Grazzi reputation for combining urgency, passion Meanwhile, our regular London series Double bass and fire with precision, delicacy and beauty. allows us to explore a radically different Christine Sticher Organ The artistic partners we collaborate with path, presenting programmes to our home Tom Foster reflect and enhance our pursuit for new audience that challenges and inspires us. Keyboards supplied and tuned by ways to bring our music to life. Simon Neal We launched our partnership with Joyce DiDonato, Dame Sarah Connolly, Garsington Opera last year with Iestyn Davies, Alison Balsom, performances of Monteverdi’s Vespers of Trevor Pinnock, Dominic Dromgoole, 1610 and look forward to our first season Tom Morris and many more have not in residence with a production of Mozart’s only brought their extraordinary skills to Mitridate, re di Ponto this summer. 14 THANK YOU 15

The English Concert would like to thank Sponsors & Charitable Trusts Bronze Patrons the following sponsors, trusts, donors Arimathea Charitable Trust Geoffrey Barnett and friends for their valued support Kathleen Hannay Memorial Eric & Tilly Beinhocker and generosity, without which our Charity Ian Fleming programme could not take place. Reed Foundation Michael Godbee Smith & Williamson Peter & Carol Honey 2020 Season · 28 May – 18 July 2020 We would also like to acknowledge with Anita de Lotbiniere Core40 grateful thanks the assistance of Brian Mace George & Daphne Burnett Wendy Kristianasen and Audrey de Nazelle Alan Gemes Marie Winckler for hosting our Alan Sainer MITRIDATE, RE DI PONTO UN GIORNO DI REGNO Dr Richard Golding musicians during this project. Wolfgang Amadeus Mozart Giuseppe Verdi His Hon Judge Michael & Friends

Mrs Nicky Oppenheimer Di Allison Conductor Clemens Schuldt Conductor Tobias Ringborg Please contact John & Sally Reeve Sir Alan & Lady Bowness Director Tim Albery Director Christopher Alden [email protected] if Joe & Lucy Smouha Cynthia Butterworth The English Concert Philharmonia Orchestra you would like to find out more about Christopher Stewart Anthony Collett supporting The English Concert. To Hugh & Helene Tilney Diana Darlington become a regular supporter of our FIDELIO RUSALKA Anthony Diamond work, you can also visit Ludwig van Beethoven Antonín Dvořák Platinum Martin Eaton englishconcert.co.uk Sir Nigel & Lady Mark & Lucy le Fanu Conductor Gérard Korsten Conductor Douglas Boyd

Elizabeth Carrington Felicity Good Director John Cox Director Michael Boyd Artistic Director Harry Bicket Dr Vivienne Monk & Brian & Sue Hargreaves Philharmonia Orchestra Philharmonia Orchestra Principal Guest Director Prof. Ross Anderson Peter Hildebrand Kristian Bezuidenhout Richard & Jay Hitchman Founder Trevor Pinnock CBE Gold Patrons Eleanor & Ian Jack Chief Executive Alfonso Leal del Ojo Richard Baker Peter Kerber Orchestra Manager Sarah Fenn Robin Binks Wendy Kristianasen Production Coordinator Nick Hardisty Catherine Gibaud Alan Leibowitz & Barbara Weiss Marketing Abigail Carney Graeme & Letitia Lythe H Alastair McKerlie Financial Controller Gill Rees Jeanne de Nazelle Silver Patrons Board of trustees Linda de Nazelle David Dell CB Mr George Burnett (Chair) Elizabeth Newlands Alan & Seema Harley Mr Robin Binks Adrian Osborn Javan Herberg & Jessica Boyd Mr Alan Gemes Martin Perkins Mr & Mrs Timothy Llewellyn Dr Richard Golding Sue Prickett & Bill Bryer David Rendell & Ali Smith Mr Alan Harley Scott Redford Kimiko Shimoda Mr Simon Jennings Lucy & William Rickett Robert & Virginia Stoppenbach Dr Vivienne Monk Brian Self Richard Teed Mrs Nicky Oppenheimer Marilyn Stock Mr John Reeve Rodney & Caroline Waldes Ms Kimiko Shimoda Alan Ward Mr Joe Smouha QC George Warren Mr Hugh Tilney Marie Winckler Mr Simon Weil and various anonymous donors www.garsingtonopera.org

16 Exceptional music- making.

WALL STREET JOURNAL

THE ENGLISH CONCERT 2019 – 2020 SEASON CONTINUES

29 MARCH Tage Alter Musik Schwerin Schwerin, Germany

4 – 6 APRIL JS Bach – St John Passion Wigmore Hall, London; St George’s Hall, Bristol & Arnstadt, Germany The English Concert 18 APRIL – 8 MAY Somerset House (West Wing) Handel’s Rodelinda Strand, London, WC2R 1LA Barbican & on tour to Pamplona, TELEPHONE: 020 3962 2322 Vienna, Hamburg, New York, EMAIL: [email protected] WEB: englishconcert.co.uk Princeton & Los Angeles TheEnglishConcert 9 MAY A Grand Concert of Musick EnglishConcert San Diego, USA englishconcert

29 MAY – 2 JULY REGISTERED CHARITY: 271765 Mozart’s Mitridate Garsington Opera Visit englishconcert.co.uk to 3 JUNE join the mailing list and for Mozart’s 40th more details on concerts and tours programmed after this Wigmore Hall programme has been published