Part of Barbican Presents 2019–20 Hall Concert Court Milton 18Sat &Sun 19 Jan Mind ABeautiful Bach:

1 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 2 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall Important information allowed in the hall. the in allowed are not Drinks queues. the to beat drinks interval Levels Pre-order 1and 2. on are located Bars refreshment? for Looking begins at 7.30pm. at begins concert second The 2pm. at begins concert first The and finish? start concert the does When for the curtain call. curtain the for –save it performance the recordings during Take or photos Please don’t…

performance. break insuitable the a there if is admitted be will Latecomers I’m late! running toilets on every level. every on toilets There are2. accessible and LevelGround Floor the on aretoilets, located accessible including toilets, nearest The the toilets? for Looking hall. the entering on aid to Tsetting hearing your switch –just loop our use induction Please Use a hearing aid?

Switch any watch Please… during the interval. the during or performance, in the break asuitable there is if readmitted and be time You any at can leave abreak? Need performance. the to during silent phones andalarms mobile cloak room Level on -1.cloak our free at off Drop them coats? and bags Carrying

Advertising by Cabbell (tel 020 3603 7930) 3603 (tel 020 by Cabbell Advertising All information at time correct of printing Smith by Harriet produced Programme endlessly reworks it. endlessly takes he and theme in which asingle puzzle of musical kind jigsaw- avast creates he it, In his death. at unfinished wasand it left in life late in it Bach’s compiled He output. even works, extraordinary of most one the There’s that nodoubt Esfahani. by Mahan curated J S Bach, genius of exploring the multi-faceted weekend our Mind, ABeautiful Bach: Today of part the concluding sees today’s performances to Welcome vibrant period-instrument ensemble of many byin acoat wonderfully the colours clothed is it today but keyboard instrument asingle on played it. It’sintended often forces composer the what for know precisely too –we even don’t of full mystery piece The Art of The Art The Art of Fugue The Art

is a a is is is Head of Music Head HumphreysHuw you enjoy it. Ihope day: awonderful to promises be It lyrical , richly the as compelling such less St solo great –the range from well-known the We Duarte. Leo oboist and featuring Suzuki by Masato directed Music of Ancient Academy the with together Appl Benjamin brought of to life by mellifluous the music, to sacred contribution unmatched Bach’s celebrates concert final The Dantone. Ottavio director its under Bizantina Accademia Matthew Passion Matthew Ich will gerne den tragen. Kreuzstab Es is genug is Es and excerpts from the from the and excerpts – to more unusual but no –to more unusual no but

3 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 4 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall Part of Barbican Presents 2019–20 Presents Barbican of Part Dantone Ottavio Bizantina Accademia J S Bach Hall Concert Court Milton Sun 19 Jan 2pm of Art The Fugue Craftsman: the Bach The Art ofFugue Art The director

(compiled 1740s) of Art The BWV1080 Fugue, (1685–1750) Glossary feat! mean –no musical and and made them sound natural writing at excelled Bach composer. the for tricky it makes which ofwriting, form strict it’s avery and fugue entire the dominates ‘subject’ The turn. in part other by each pitch adifferent at taken up then is and fugues) a‘voice’ as (known instrumental in even part one in heard first is which short, often (the ‘subject’), atheme takes A fugue fugue? a is What complexities of the Baroque era. era. Baroque ofthe complexities the after simplicity anew celebrated Galant drinking. ofcoffee joys to the weddings cantatas, too, celebrating from everything secular towrite time found he But Leipzig. Thomas’s St at in Church services the for cantatas sacred over 200 wrote Bach orchestra. and chorus plus singers solo more or one featuring generally movements several in texts secular or Cantata song the is example good A oftime. period same the after enters ofwhich each parts, other by the copied precisely is theme the which in of writing, Canon Fugue in by Bach used a fugue, Contrapunctus . Its plural is is plural . Its Like the fugue, another strict form form strict another fugue, Like the A style of music that that ofmusic A style A work that can set either sacred sacred either set can that A work Another word for word for Another contrapuncti The Art of of Art The Frère Jacques Frère . . occasion. These included the B minor Mass, Mass, Bminor the included These occasion. identifiable aspecifically for weren’t that ordering his achievement – works for posterity if as pieces together putting began Bach Sebastian Johann life ofhis decade last the In 1418 a3soggetti) (Fuga Contrapunctus quinta alla contrapunto in 17 duodecima alla Canon terza alla contrapunto in 16 decima alla Canon 15 ottava alla Canon motu contrario in 14 augmentationem per Canon 13b Inversus Contrapunctus 13a13 Rectus Contrapunctus 12b Inversus Contrapunctus 12a12 Contrapunctus Rectus 11 11 Contrapunctus 1010 ‘alla Contrapunctus decima’ 9‘alla duodecima’ 9 Contrapunctus 8 8 Contrapunctus diminutionem’ et 7‘per augmentationem 7 Contrapunctus Francese’ stylo 6‘in 6 Contrapunctus 5 5 Contrapunctus 4 4 Contrapunctus 3 3 Contrapunctus 2 2 Contrapunctus 1 1 Contrapunctus year after his death, contained no fewer than than fewer no contained death, his after year a published sons, elder by his completed was that edition The engraved. being was it while died he because little clarifies actually it score, autograph the we have though And it. within pieces the for fugue ‘contrapunctus’ than rather term the uses himself he as it liked have not well may he and own Bach’s wasn’t itself title The environments. new these in sits it comfortably how is astounding is today. What it we hear as to orchestra, quartet saxophone via keyboard asingle –from of arrangements sorts all for game fair it making indicated, is instrument specific no astart, For misinformation. to led confusion,has much and misapprehension which death, his at unfinished left was of these Offering Musical

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5 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 6 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall without Bach’s genius and the brilliance and and brilliance the and genius Bach’s without to reckon paper, is on that but didactic seem –might theme asingle on offugues sequence behind concept The work-in-progress. –apoignant is it as exactly it play performers various today problems, frequently though last the that key remainder. fact ofthe Dminor The the than rather Gmajor in completely, being jars which prelude ( ofachorale addition the and replications to various due 17 canons, four and fugues intensifying of texture towards the closing bars. closing towards the oftexture intensifying agradual common in have also they –and tenor –alto, , ofentries sequence same the has fugues three ofthese Each values. note doubled of level additional an adds Diminutionem’) et Seventh the to which values, note halved and original in they that their appear complication added the with subject ofthe forms inverted and number, preceding original the this combines Like the ouverture. French ofthe characteristic rhythms, francese’, dotted to its areference while form, inverted and original its in subject the on based 5 is No overlap. subject ofthe presentations by three are tenor, followed alto, These bass, soprano. ‘voice’, adifferent in subject the order the in with beginning one each ofways, anumber in linked are pieces four These upside-down). it turning (ie subject fugue the inverting fourth and third Contrapuncti decade). sixth his into comfortably aman for think, you might (understandable, to this concession little makes Bach yet style, to a way giving was Baroque point, the by this that is striking also What’s comparison. butJohann musically Mattheson, there’s no and Fux Joseph Johann from examples are earlier there ofscale: terms in precedent without was it aconcept As problem-solving. ofmusical kind to this brings he that ebullience Contrapunctus Wenn sein Nöthen in wir höchsten Contrapunctus Contrapunctus 1–4 are all four-part fugues, the the fugues, four-part 1–4 are all 5–7) in which the the which in 5–7) (Nos fugues The Art of Fugue Art The (‘per Augmentationem 6 is marked ‘in stile stile ‘in marked 6is is incomplete posed is incomplete posed – a –a galant )

13a and 13b, in three) can be turned 13a Nos and 13b, and turned be three) can in 12a (Nos pieces 12b, and these parts, four in suggests, name the As fugues. mirror work: the within new something introduces he Next, bars. closing the in dissonant unimaginably almost on piling Bach with impact, extraordinary ofits sense little gives description 11No that though fugue, atriple 8, like is, No complex. more ever becomes music the as there’s intensification emotional ofan asense 10 all Through one. anew with (in both subject original the combines and parts four in is one, preceding like itself, the fugue ofa10th. The interval the at time this but device, contrapuntal same the uses 10th the (‘alla In Bach Decima’) subject. main the a12th above counter-subject ofthe presentation ‘allaThe Duodecima’, to the incidentally, refers firmus a into elongated now subject, original the with combined then is that subject new energetic an with performer, to the achallenge quite poses 9 (‘alla No Duodecima’) four-part The together. then and separately presents first Bach that subjects three than fewer no features fugue, athree-part 8, No subjects. new with combined ‘counter-fugues’, is subject original the in which Contrapuncti of genius to make true music out of it. All four four All of it. out music to make true of genius acomposer takes it and technique restrictive it’sahighly imagine, you might As like echo. an behind, distance acertain at uttered has another what exactly repeating voice one counterpoint, of forms of all strictest are the canons Musical really become clear. perform ensemble an having of advantages the where is which performer, by asingle they’reas playable readily not also present considerable logistical problems these challenge, mental the from apart Quite the mirror relationship was immediately clear. other, ofthe top on one so placed were fugue ofeach forms two the manuscript, Bach’s in the ‘rectus’ and ‘inversus’ Strikingly, versions. work and musically, still upside-down hence , to create textures of the utmost liveliness. liveliness. utmost ofthe textures , to create 8–10 then form a sequence of of 8–10 asequence form then stretto The Art of Fugue Art The Contrapuncti and inversion) cantus cantus

suggest it knows it’s doing something very clever clever very something it’sdoing knows it suggest to seems that aswagger with gigue ofthe spirits Contrapuncti they counterpoint recallin the their invertible and ofa10th a12th and respectively interval the 16 (Nos 17 two and following The here) are at the other.chasing part ofone sense by the enhanced is character energetic innately whose gigue, ajaunty octave), 15, ofan (No ofthem distance the at simplest to the listen just restraints, oftechnical tightest the within flourishes positively Bach how to hear in canons Programme note by Harriet Smith by Harriet note Programme abstract, architectonic compositional artistry’. of Fugue up summed surely Fischer Edwin pianist great The were. it as mid-phrase, stop, work the something enormously moving about hearing Tales Canterbury The Leonardo’s to ‘finishing’ akin somewhat that’s but work the to‘complete’ made been have attempts Many fugue. ofthis have we do ofwhat scheme the Fugue of theme main the is subject missing The point. this at died composer the that simply notes JS’s Bach CPE autograph son the on and introduced been has theme third this after just to ahalt comes piece The natural). A–C–B flat– (B initials own ofhis equivalent musical the on based ofthese third the subjects, four than fewer no on fugue mirror afour-part with sequence the to crown intended had Bach seems it offugue, art ofthe To statement grand his end moving. overwhelmingly is effect the become, they complex and knotty how matter that, no is canons ofthese all about striking is tangy, chromatically imbued Yet inflections. what for variation endless astounding and capacity an demonstrating and augmentation, and yet more challenges, employing both inversion himself 14) (No sets canon Bach first the In spice. descending chromatic lines adding harmonic of easy, introduction look it the making – and , which has long been known to fit within within to fit known been long has , which when he described it as the ‘summit of ‘summit the as of it described he when The Art of Fugue Art The Adoration of the Magi of the Magi Adoration 10 9. and high 16 No the banishes . In any case, there’s any. In case, are in two parts and and parts two are in or Chaucer’s The Art of of Art The The Art Art The –Bach’s –Bach’s ‘Composers often gain gain ‘Composers often While forms other thrive art wisps of cloud illumined at Alex Ross, Ross, Alex Beethoven’s quartets, last throwaway ideas give off – composition of technique Messiaen’s Messiaen’s near, the close of day.’ many achievements peak on youthful passion, the the youthful passion, on reach a state of terminal terminal of state a reach sharpens over time. In old strength as they get older. another form where art so dusk. It’s hard to think of a glow of inevitability, like composers age, certain and error –generally a solitary process of trial a hard, cumulative labour, grace in which even of Assisi Assisi of Listen to This The Art ofThe Fugue Art –arrive at, or Saint Francis Francis Saint ,

7 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 8 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall the Lutheran churches, courts and municipalities and municipalities the Lutheran churches, courts in working musicians were relatives male of his many which in family asprawling into Eisenach 1685 in born was in Bach Sebastian Johann began. time since existed has that frame divine some were it if as music, his in find many listeners quality fundamental the also but achievers ofhuman highest the the composer’s place among acknowledged only not to symbolise seemed this spacecraft, Voyager departing the in placed record ofEarth’ ‘Sounds the on composer prominent 1977, in When, most the Bach made NASA Bach Sebastian Johann up the job of Kantor at St Thomas’s St ofKantor at job the up Leipzig, in 1723, in move came final His took he when and solo music. chamber orchestral, of his much wrote he that orchestra, agood was there where there, was it and Cöthen, at Leopold to Prince Kapellmeister 1717 In duties. of post the to assume moved he to his added was music instrumental and cantatas ofchurch composing the where court, ducal to the to Weimar organist as returned he later years Six performer. keyboard a virtuoso as areputation acquired he that Mühlhausen at subsequently and there was it and Arnstadt in position organist’s an obtained had he months Weimar in 1702. in aviolinist as Within post paid brother, first older an his got he with studying and school at singing Germany. After of central Profile by Lindsay Kemp Kemp byProfile Lindsay profound, intelligible and satisfying to all. satisfying and intelligible profound, spiritually gripping, –intellectually time of its free lives it legacies, artistic greatest like the all ‘German’ manner. Yet, distinct and anew into styles Italian and French competing formerly the assimilating Baroque, High ofthe pinnacle the Telemann, and represents ofHandel that with along music, Bach’s terms, historical In Fugue compendia, contrapuntal masterly the as such collections semi-didactic on working –and Bminor in Mass the being example substantial most –the works larger or sets into music earlier his revising and organising with concerned him increasingly saw decade last His afield. further recognition some to gain Variations), began ‘Goldberg’ and monumental the (including works keyboard of publication the in 1730s comfort found he the In employers. his with clashed often he there too, were frustrations professional and –but settings Passion great two his composed also and liturgy the for cantatas 300 to write project acherished out carried Bach there years five first his –in opportunities important offered that post aprestigious was It churches. main city’s the at services for music provide to him required things other among which . (1685–1750) The

Musical Offering Musical and and The Art of of Art The 9 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 10 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall BWV188 from Sinfonia tragen gerne Ich Kreuzstab will den BWV146 from Sinfonia interval Ich genug habe movement) Cminor, 4 in No Sonata BWV1017Violin (first Passion rein’ from Herze, mein dich, ‘Mache Passion from war’ ‘Am kühle es da Abend, BWV21 from Sinfonia euchfreudig empor from Schatz’ werter ‘Willkommen, Grabe im Hall Concert Court Milton Sun 19 Jan 7.30pm Cantatas Solo Divine: the and Bach Benjamin Appl Appl Benjamin Suzuki Masato Sehet, gehn wir hinauf Jerusalem gen ‘Jesu, and Passion’ deine from vollbracht’ ist ‘Es BWV1068 Dmajor, 3 in No Orchestral from Air J S Bach Part of Barbican Presents 2019–20 Presents Barbican of Part talk: 6.30pm Pre-concert Duarte Leo Music Ancient of Academy , BWV244 , BWV244 ,

20minutes

, BWV156 , Sinfonia from from Sinfonia

oboe Wir müssen durch Trübsal viel müssen Wir Ich meine habe Zuversicht Ich viel hatte Bekümmernis , BWV82 BWV82 ,

director baritone , BWV36 BWV36 ,

Ich steh mit einem Fuss mit einem Fuss Ich steh

Schwingt Schwingt Matthew St Matthew , BWV56 , Matthew St Matthew , BWV159 BWV159 , , , ,

from earthly life to spiritual union with God. In In God. with union tospiritual life earthly from believer’s the passage theme: ofits indicative is grave’, the in foot one cantata’s with stand ‘I title, The lost. now concerto, oboe earlier an from 1729, in premiered recycled be may it though to acantata introduction instrumental the as to us down comes It melodies. serene most ofBach’s one with opens Tonight’s concert Grabe Sinfonia from 14 page see texts For Cantatas Solo Johann Sebastian Bach (1685–1750) much grief’) shares much with that of that with much shares grief’) much of sinfonia The Bekümmernis Sinfonia from earth. on here experienced be can that something it), is have later would Romantics the (as ideal unreachable amysterious, being from ‘divine’, the that us tells far music this Perhaps in. join and up to stand listener the invites but all that movement to this energy acertain is there dance-form, to any particular correspond not Jesus’s the Though music does birth. impending of excitement the to capture as so ‘redirected’ was tone music’s the celebratory effect, in cantata: Advent a magnificent tocreate piece the later, recycled years Six Bach worked. Bach where Thomasschule, ofthe rector also was who (1622–1729), Ernesti Heinrich Johann possibly – professor University ofaLeipzig birthday the for written 1725. was it work, Asecular empor from dates 36 ofCantata version earliest The euch freudig Schwingt from ‘Willkommen, Schatz!’ werter the programme. to introduction afitting as serves thus movement the to heaven; earth from journey humanity’s explore tonight heard pieces Many believers. awaits that peace to evoke eternal the intended have may Bach opening, acalm such providing , BWV156 BWV156 , Ich viel hatte Bekümmernis Ich steh mit einem Fuss im im Fuss einem mit steh Ich , BWV21 , Ich hatte viel viel hatte Ich , BWV36 BWV36 , Ich steh steh Ich (‘I had rediscovered the work, conducting it in in in Berlin in it conducting work, the rediscovered Passion Bach’s reputation, the posthumous of terms in And manuscript. over the took he that care immense highly, the from to judge very composer himself seems to have regarded it The music. ofWestern 1727)in acornerstone is massive Bach’s Passion from rein’ Herze, mein dich, ‘Mache and war’ kühle es da ‘Am Abend, lost. is humanity saying, to be seems God,fewer Without Bach than three occasions. no on stop entirely, to acomplete way coming its to lose seems it conclusion, its nears it As tone. in darker respite, progressively the music becomes of moments fleeting the other. Notwithstanding each with, to, empathising even responding to be seem instruments two the which in violin, first and oboe the between dialogue the for out Listen funereal and bass-line anguished writing. oboe trudging, by the captured is ofgrief a sense outset, the From different. more be not could Yet mood comparable. the is (speed) tempo the even and centre-stage, placed is oboe the play, instruments same the Exactly programme. in Grabe mit einem Fuss in a sense, part ofJesus’s part Passion. asense, in them, making world, its into listeners draws music believers. Thus, this heartbreakingly beautiful ofall wish the Jesus’ represents bury will myself ‘I exclamation The out. this bring God’ with concluded now is ‘Peace as such lines death; his of significance deeper towards the narrative, the from away shifts focus the which point, at turning a mark They death. Christ’s on, after late occur ‘Amand crucifixion. and ‘Mache Abend’ dich’ ofJesus’s conviction betrayal, portrayal epic an is work The revival. Bach 19th-century of the event important most single 1829 the –arguably played a role: crucial , BWV244 BWV244 , St Matthew Passion St Matthew , which opened tonight’s tonight’s opened , which

St Matthew Matthew St (premiered (premiered St Matthew St Matthew

11 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 12 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall and quavers (left hand). The constant movement movement constant The hand). (left quavers and hand) (right ofsemiquavers accompaniment agentle provides harpsichordist the – while ofthe a trademark rhythms, dotted by lilting characterised is –which melody the takes violinist tonight, the heard movement the In ‘instrument’. aseparate as hands harpsichordist’s ofthe each treats effect, in Bach, since trios, as regarded be also can they Paradoxicallyan obvious sense, duets. though, are, in harpsichord and violin for sonatas The movement– first (Siciliano: Largo) Violin No Sonata 4 in C minor, BWV1017 tender music Bach ever wrote. In the final final the In wrote. ever Bach music tender sublime, sleep’,as most ofthe some features of‘death metaphor Pietist Lutheran the explores come’. ein’), which (‘Schlummert aria ensuing The to life joy ofthe the like Simeon, see, already ofSimeon’s Imay ‘Then strength faith: the believer, to emulate eager ofapresent-day that role, adifferent assumes baritone onwards, the from here’.depart From the second movement him’, to ‘now joyfully sings, he today Idesire upon looked have ‘I himself: Simeon represents baritone the aria, opening the In cantata. Bach’s for point starting the forms of death acceptance awed it). This has Bible James King peace’, in depart the as thy servant thou lettest (‘Lord, now life earthly his from released to be prayed Simeon ofmankind, saviour the seen had he Aware that Simeon. named man devout and by ajust there seen was Jesus 2 vv22–32), to Luke (Chapter According temple. the at Jesus infant ofthe presentation the commemorates 1727, service This Purification. ofthe Feast the at genug cantatas, best-loved ofBach’s One genug habe Ich concerts. house coffee at performed to be intended were possibly, they harpsichord; and violin for sonatas six his composed Bach occasion We what melody. for the know not do of qualities yearning sustained, more the with beautifully contrasts harpsichord-writing the in received its premiere on 2 February 2February on premiere its received , BWV82 BWV82 , siciliano Ich habe genre genre instrument. Tonight, we hear two movements Tonight, movements two instrument. we hear (accompanimental) acontinuo as than rather instrument, asolo as organ church the employ to was genre this in ideas boldest ofhis One day’s to the cantata. introduction acursory than more much be could ‘sounding together’) literally (‘symphony’, sinfonia instrumental an Bach, For Zuversicht Trübsal Sinfonias from interval of3. age the at Christiana, daughter Bachs’ the of death the after months six than fewer written was it grief; ofpersonal expression level, an that possible is It notebook. private her into movements second wife, copied the second and third Bach’s Magdalena, family. Anna Bach the for significance personal held have may piece the that Tatlow Ruth suggests scholar Bach The today. to swallow hard rather perhaps is faith, Lutheran ofBach’s characteristic sentiment, captured by music; jig-like energetic this joyful is death for hunger Christian short: up brought recitative and aria, the atmosphere peaceful is away quickly – better than the organ, which which organ, the than –better quickly away characterised by bright-sounding notes that die instrument –an harpsichord the suit would music sometimes a sense that this relentlessly virtuosic is there listening, When ofBWV188. that last, its BWV146’s ofCantata basis the forms sinfonia; movement first its movements: cantata of these versions earlier,BWV1052 alternative presents Concerto Harpsichord Dminor Bach’s himselfJohann was Sebastian the soloist. this suggests, may indicate that as incomplete; are often parts organ surviving (1710–84). Friedemann However,Wilhelm the byoriginally Bach’s performed son, eldest were works virtuosic these that possible is It BWV146 188. and Cantatas from sinfonias the name: but all in concertos are organ that 20minutes , BWV146 and , BWV188 BWV188 , Ich genug habe Wir müssen durch viel viel durch müssen Wir Ich habe meine meine habe Ich represents, on one one on represents, One of the lesser-known of Bach’s cantatas for for cantatas ofBach’s lesser-known ofthe One tragen gerne BWV56 Kreuzstab den will Ich family. Bach the with that was stronglykeyboard associated virtuosity ofthe taste exciting an offer they pieces, of these origin the Whatever lost. now concerto, organ earlier even an from derive itself may concerto harpsichord the that suggests scholarship recent then, Surprisingly, to end. beginning from volume aconstant at note each sustains my tears) – the triplets return, though in a slower aslower in though return, triplets my –the tears) away wipe will himself my saviour (There ab’ selbst Tränen die mir Heiland mein wischt – ‘Da by Jesus away wiped being tears his imagines singer the As confirmed. to be seems significance triplets’ movement, the fourth the In life. earthly of shackles the from freed ofbeing sensation the in results this observed, has Bonizzoni Fabio As supple. and fluid more is music the consequently, to triplets: quavers from shifts abruptly writing grave) vocal the – the in my troubles lay immediately Ishall (There Grab’ ins einmal auf Kummer den ich leg – ‘Da concerns such beyond moving imagines subject the When down. one dragging world ofthe weight the feel almost can one listening, in motion; quaver descending by characterised is to this response musical Bach’s suffering. earthly to undertake willingness believer’s convey the oftext lines opening The movement. first the in writing vocal the in found be can subtler, though effect A related, effect. poignant aremarkably has gestures ofdramatic simplest This abruptly. stops accompaniment –the ofheaven kingdom the into boat, the off –stepping journey’s conclusion the describes text the As example. movement, for second ofthe writing cello the in of waves lapping the we hear imagery: nautical offers music the Consequently, voyage. asea as of life recourse to a medieval tradition: the metaphor with towards salvation journey humanity’s 1726. in premiered and explores It written was voice, solo Ich will den Kreuzstab gerne tragen gerne Ich Kreuzstab will den ,

bleakest of tonight’s programme: its narrator narrator its programme: of tonight’s bleakest the arguably is vollbracht’ ist of‘Es text The Jerusalem Passion’ from ‘Es and ist vollbracht’ ‘Jesu, deine cigars. Hamlet for of advertisements series by along-running bolstered was fame its century 20th later the In version.) original Bach’s ‘Air aGstring’. on (Tonight, we hear though, nickname the –hence violin’sof the strings four lowest the only using playable to be movement the arranged he virtuosity, his to showcase (1845–1908). Wilhelmj August Eager violinist to the thanks 19th the in renown century widespread achieved first This movement. second popular enduringly its we hear 1729. from by Bach led group musical Tonight, asecular Musicum, Collegium the for written 1731. from dating been have may suite The parts ofinstrumental aset is Suite Orchestral Third ofBach’s source surviving earliest The BWV1068 Dmajor, 3in No Suite Orchestral from Air heaven. in found to be peace deep Thus,rendition. evokes the music perhaps the Programme note by Tom note Programme Wilkinson earth. on here hardship greatest the even to survive strength the has ofGod’s love, believer, knowledge the in secure the that to imply was purpose Bach’s Perhaps Passion (from the dich’ key ‘Mache as same the in written is Notably, movement ascent. the by an immediately mirrored is descent opening an outset: very the from apparent is symmetry This ones. melancholy does it as gestures yet the oboe’s melody includes as many uplifting ofresignation, asense capture certainly strings multifaceted character. The slowly pulsating nuanced, arather has setting musical Bach’s then, by consumed sin. Surprisingly irredeemably to be considers he that to aworld adieu bids ), and captures something of its warmth. warmth. of its something captures and ), , BWV159 BWV159 , Sehet, wir gehn hinauf gen gen hinauf gehn wir Sehet, St Matthew StMatthew

13 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 14 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall Am Abend,daeskühlewar, Recitative Passion dich, meinHerze,rein’ from ‘Am Abend,daeskühlewar’ and‘Mache ein! mir bei Zieh rein, Herzen Vor meinem in dich Platz machet Glaube und Lieb Die empor Schatz! euch werter Willkommen, freudig Schwingt ‘Willkommen, werter Schatz!’from texts Sung Von hinnen zu scheiden. Freuden mit heute noch ich, wünsch Nun gedrückt; Herze ans Jesum hat Glaube Mein erblickt, ihn hab Ich genug! habe Ich Auf meine genommen; Arme begierigen Frommen, der Hoffen das Heiland, den habe Ich genug, habe Ich Aria BWV82 genug, habe Ich Welt, geh aus, lassJesumein! Seine süsseRuhehaben. Für undfür Denn ersollnunmehrinmir Ich willJesumselbstbegraben. Mache dich,meinHerze,rein, Aria O heilsames,köstlich’s Angedenken! Geh, lassedirdentoten Jesumschenken, Ach, liebeSeele,bitte du. Sein Leichnamkömmt zurRuh, Denn JesushatseinKreuz vollbracht. Der FriedensschlussistnunmitGott gemacht, O schöneZeit!Abendstunde! Und trugeinÖlblattindemMunde. Am Abendkam dieTaube wieder Am Abenddrücket ihnderHeilandnieder. Ward Adams Fallen offenbar; , BWV244

St Matthew Matthew St , BWV36

For heshallhenceforth I myself willburyJesus. Purify yourself, my heart, O mostholy, Oprecious memorial! bid themgive you thedead Jesus, O dearsoul,goandaskfor it, his bodycomesto rest. for Jesushasendured hiscross; Peace isnow concludedwithGod, O lovely time!Oevening hour! bearing anolive leafinitsbeak. at evening thedove returned again at evening theSaviour redeemed it; Adam’s fall was manifest; At evening, whenitwas cool, me! into Enter my you heart. in pure for make space Love faith and Welcome, valuable treasure! to depart from here. from to depart joyfully today Idesire now to my heart; Jesus pressed has my faith him, upon looked I have content! I am arms. myinto eager faithful ofthe Saviour, taken the hope I have the content, I am World, go hence, letJesusin! sweetly take hisrest inme. evermore

Aber dort, dort werd ich schauen ich werd dort dort, Aber bauen, Elend das ich muss Hier könnte taugen. Seele der Das kein Teil doch ich dir, an Hab hier, mehr nicht Welt, bleibe ich zu! selig und sanft Fallet Augen ein, ihr matten Schlummert Aria genug. habe Ich Welt, ich, dir: sagt zu Freuden Mit hier, Abschied Wäre mein Ach! doch Der Herr erretten; Ketten Leibes meines von mich Möchte Ach! ziehn! Manne diesem mit uns Lasst schon. Lebens jenes Freude Die Simeon mit auch ich seh Da ihn, ich halt Glauben Im JesusDas mein und ich sein eigen möchte sein. Trost allein, nur Mein ist genug. habe Ich Recitative Da wischt mir die Tränen mein Heiland selbst ab. selbst Tränen die mir Heiland mein wischt Da Grab, ins einmal auf Kummer den ich leg Da Land. gelobte das in Zu Gott, Plagen meinen nach mich führet Der Hand, lieber Gottes kömmt von Er tragen, gerne Kreuzstab den will Ich tragen Aria gerne BWV56 Kreuzstab den will Ich interval Welt der gebunden. auf noch mich Die Not, aller ich entkomm Da eingefunden. schon sich er hätt’ Ach, Tod, meinen auf mich freue Ich Aria Welt, Nacht! gute Der Abschied gemacht, ist ruhn? Schosse im dir bei dort Und Erde kühler Sande dem in Und werde fahren Friede im ich Da Nun! Wann schöne: kömmt das Gott! Mein Recitative Ruh. stille Frieden, Süssen 20minutes , that still tethers me to the world. world. tothe me tethers still that distress the all escape Ishould Then to pass. come already had it only if Oh, to my death; forward looking I am World, goodnight! said, been has farewell The lap? your in you there with rest and earth cool ofthe sand the into and peace in journey Ishall when come time beautiful the will When My God! repose. silent peace, sweet behold Ishall there there, but misery, in live Imust Here to my soul. important be could that ofyou part no Ihave for more, no here World, remain Iwill blessedly! and softly close Slumber, eyes, ye weary content. I am toyou, say Oworld, joy Iwould with here, were my If oh! departure ofmy body; fetters the from me save Lord the Might Oh! man! this with depart us Let tocome. life joy ofthe the like Simeon, see, already Imay Then him. Ihold faith In his. be Imay mine, and be may Jesus that is comfort My complete content. I am tears. my away wipe will himself my Saviour there grave, the in my troubles lay immediately Ishall There land. promised the in to God, my torments, me, after leads it hand, God’s from dear comes it cross, the carry willingly I shall

15 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 16 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall Endlich, endlich wird mein Joch Aria Trübsal kommen. werde vieler Aus Frommen den Wohin mit ich Himmelreich, das ist Die Stadt, meine in Schiff dem aus ich tret So hat, Ende Sein Und wenn das wütenvolle Schäumen versäumen! noch verlassen nicht dich will Ich dir, bei bin Ich mir: zu so rufet Der erfreut. oft mich Womit Gott mein die Barmherzigkeit, Ist aber, Anker hält, Mein mich der Mich täglich schrecken; Tod den auf Und Sind Wellen, welche mich bedecken Not und Kreuz Betrübnis, gleich: Schiffahrt einer Ist Welt Wandel der auf Mein Recitative Zu dem schönsten Jesulein. schönsten Zu dem herein komm ich dich durch Denn erfreuen; vielmehr mich kannst Du scheuen, dich will, da wer mag, Es Port! sichern an mich Bringe Ruder,Löse meines Schiffleins fort; nur mich führe Komm und Komm, OTod,Bruder, Schlafes du ab. selbst Tränen die mir Heiland mein wischt Da Grab, ins einmal auf Kummer den ich leg Da sehn. werde Ruhe der Port Wenn den ich geschehn, mir wird wohl Wie empfangen. zu Von Händen Jesus Mit Sehnen und Verlangen Seligkeit meiner Erbe Das bereit, und fertig stehe Ich and Arioso Recitative noch! heute es O gescheh werden. zu matt sonder laufe Un Erden dieser von auf ich fahr Da Da hab ich Adlers Eigenschaft, Kraft, Herren dem in ich krieg Da Wieder von mir weichen müssen. There I shall immediately lay my troubles in the the in my troubles lay immediately Ishall There ofmy rest. port the Isee when be Ishall fortunate How ofJesus. hands the from with longing and yearning ofmy blessedness fruits the to receive prepared, and ready I stand today! happen it may Oh, tired. growing without run shall and earth this from travel Ishall then eagle, ofan qualities the have Ishall Then my strength, God in find Ishall Then again. me from lifted tobe have will Finally, my yoke, finally many afflictions. escaping come, I shall devout, the with to which, heaven, is which my into city, disembark I shall end, to an comes raging the furious when And you! neglect you nor leave neither I shall you, with I am to me: thus calls He me. gladdens often God which with mercy the is fast, me my anchor,but holds which to death; me scare day every and me engulf that are waves distress and cross the sadness, like avoyage byis ship: My through course the world to the most beautiful little Jesus. little beautiful most to the in come you Ican through for joy; bring you rather to me but you, fear to may wishes Whoever haven! to asafe me bring ship, ofmy little rudder the release take away; me just and Come ofsleep, brother thou ODeath, Come, tears. my away wipe will himself my Saviour there grave,

Mir deswegen schenke. In demHimmeleineStätt Wenn ichd’ran gedenke, Meine SeelaufRosen geht, Meines HerzensWeide; Deine Wunden, Kron undHohn Ist mirlauter Freude, Jesu, deinePassion Chorale Es istvollbracht! Welt, gute Nacht! Und meinemJesuDankerteilen, Nun willicheilen In Gott gerecht gemacht. Wir sindvon unsermSündenfalle Das Leidistalle, Es istvollbracht, Aria Jerusalem Passion’ from ‘Es and ist vollbracht’ ‘Jesu, deine , BWV159 BWV159 , Sehet, wir gehn hinauf gen gen hinauf gehn wir Sehet, with kindpermission Music Group Ltd(St Matthew Passion); reproduced Translations ©BISRecords (cantatas) andDecca heaven. in a place me grant therefore it; about Ithink when roses among walks my soul meadow; are my heart’s ridicule and crown wounds, your joy to me, pure is yourJesus, passion finished! is It World, goodnight! to my Jesus. my gratitude express and make haste Iwill How God. in we are absolved from our of condition sin over, is suffering finished, is It

17 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 18 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall

Giulia Papetti About the performers conductor ofconductor symphony orchestras, extending a orchestras, small and music of chamber addition to his as soloist and activities director in become, has he years 20 past the Over today. scene international the on orchestras Baroque outstanding most ofthe one become Bizantina has Accademia direction his director. Under music 1996 its became he 1989 in began in and Bizantina Accademia the period-instrument with collaboration His recognition. him international bringing award, immediately latter this won to have Italian first the was He 1986 International Competition in Bruges. the at winner prize highest the was he and Competition Paris Harpsichord the at prize continuo 1985 Basso In the awarded was he generation. of his players finest ofthe one as him acclaimed who critics, ofthe attention the attracting quickly career, concert his launched then and age early an at harpsichord and organ both in degree aperformance gained Dantone Ottavio Dantone Ottavio director A number of prominent personalities in the the in personalities ofprominent A number performances. to approach their a chamber-musical ensuring managed autonomously by key its members, now, as Then is group the quartet. a large like music ofmaking 1983in intention the with Ravenna in founded was Bizantina Accademia Bizantina Accademia and receiving critical acclaim. awards international numerous winning Mundi, Harmonia and DG, Naïve Decca, including companies record major with conductor as and soloist both as recorded has He the BBC Proms. at and Paris, Zurich and Madrid both in Royal the Theatres Opera, Glyndebourne Milan, Scala, La including theatres, and festivals world’s leading the at rarities and well-known both conducted since has He Bizantina. Accademia with Theatre Alighieri Sarti’s Giuseppe of production modern 1999in first the in He made his debut as an opera conductor periods. Romantic and Classical to the repertoire his voice by adopting its own interpretative style style interpretative own its by adopting voice orchestra has gradually developed own its The 17th,in repertoire. 18th 19th-century and specialised more ever to become instruments, period on plays which ensemble, the allowed has This years. over 20 for orchestra of the part integral an was who Montanari Stefano with many fine musicians, among them collaborated also has group the years the Over Chiarappa, Riccardo Muti and . Carlo Demus, Jörg them among growth, the orchestra’ssupported development and Giulio Sabino Giulio in Ravenna’s Ravenna’s in Giulia Papetti rediscovery and performance of Baroque ofBaroque performance and rediscovery The orchestra has gone on to specialise in the Sarti’s Giuseppe opera, staged first its performed Bizantina 1999In Accademia depth. of striking interpretations to create group ofthe member ofeach empathy artistic and enthusiasm the with have combined and sophistication Dantone’s period. Baroque imagination of the ofmusic interpretation its in flair interpretative an and research academic merged has Bizantina Accademia guidance expert his director. Under artistic and musical 1996 in and appointed was he harpsichordist as group the joined Dantone 1989In Ottavio music. chamber ofItalian tradition the noblest reflecting practice, performance shared and language acommon on based Giulio Sabino Giulio . venues and festivals worldwide. Their many many Their worldwide. festivals and venues The ensemble plays at leading concerts modern times. in performed been before never have which operas, ranging from major works to operas Delphine Galou won a won Galou Delphine 2018In CD their and tours recordinginternational projects. major undertaken have they whom with Scholl Andreas with and Carmignola Giuliano and Mullova Viktoria violinists with collaborations are their significance particular Of Scholl. Purcell’s for nomination aGrammy and award MIDEM a awards, including numerous won have Naïve, and Mundi Harmonia Decca, for notably most recordings, O Solitude O Agitata with countertenor Andreas Andreas countertenor with Diapason d’Or Diapason Gramophone recorded with , and a a , and Award. Award.

19 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 20 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall

Marco Borggreve Stravinsky and Takemitsu. and Stravinsky Prokofiev, Rameau, Mendelssohn, Berlioz, Bach, including composers contrasting featuring many programmes with varied, is repertoire His August. last Mundi by Harmonia released was works these of recording their sonatas; gamba da viola three the on centred programme all-Bach an touring Antoine Tamestit violist with a collaboration Verbier. and continues He Schleswig-Holstein Producer), Executive and Director Artistic is he (of which Festival Music International Chofu the include musician chamber and arecitalist as appearances festival Other Consort. Dunedin Edinburgh musicians from with the Festival the at debut his following Music of Ancient Academy the and Symphony Singapore the with debut conducting his makes also He orchestras, among others. Tokyo and Philharmonic Sendai Japan, the with performing and Orchestra, Symphony NHK the with debut his making as well as orchestras, the Yomiuri Nippon and Tokyo Symphony to both season this conductor, returns he As composer and keyboard player. conductor, as platform concert the on appearing musician, amultifaceted is Suzuki Masato Suzuki Masato director

Lars Borges/Sony Classical praised. praised. highly been have ofMozart’s revision and BWV190 completion his Cantata Bach’s and ofJ S movements oflost reconstruction His Hall. Yokohama and Mirai Kreis Minato Musik Voci, Tokyo Sette for works include commissions recent choir; and ensembles instrumental both for written has he acomposer As keyboard. the from Japan Collegium Bach directs he which in concertos harpsichord complete of Bach’s acycle in disc first the released BIS December In Baroque Festival. Varazdin the and Bachwochen Thüringen the Poppea di Passion John Bach’s directing debut conducting series subscription his made Suzuki Masato Japan, Collegium ofBach Conductor Principal As from 2014from to2016, Emerging Hall aWigmore Artist Generation 3New Radio aBBC was and Gramophone named was He alike. critics and by audiences recitalists’ ( song oftoday’s up-and-coming promising most ‘the as hailed been has Appl Benjamin Baritone Appl Benjamin , and toured with the ensemble to to ensemble the with toured , and Financial Times Financial and Monteverdi’s and ’s Year ofthe 2016 in Young Artist baritone ) and is celebrated L’incoronazione L’incoronazione St St such as the NHK Symphony Orchestra, the the Orchestra, Symphony NHK the as such He has collaborated with prestigious ensembles Fischer-Dieskau. Dietrich by mentored was and &Drama, ofMusic School Guildhall the and München Theater und Musik für Hochschule the at studies his completed He Laeiszhalle Hamburg. the and Cologne Paris and Philharmonie Vienna Konzerthaus, , Amsterdam Centre, Barbican the including Europe, throughout venues major at appearing (2015–16), Star Rising ECHO an and Artist and Salzburg Mozarteum. Salzburg and Brucknerhaus, Linz Geneva, in Théâtre Grand the Hall, Carnegie at recitals debut and Lille de National Orchestre the with Festival Saint-Denis the at debut Paris orchestral his Orchestra, Philadelphia the with Mass Bminor Bach’s in performance adebut Park Avenue Armory, York New at City’s recitals Company, Schubert ( highlights include his role debut as Guglielmo forthcoming and Appl’s recent Benjamin Baillieu. James and Johnson Requiem Messiah Brahms’s Magnificat Notable oratorio past works include Bach’s the KlavierFestival Ruhr. deSingel Antwerp, Heidelberger Frühling and festivals, Lieder Oxford and Lieder Leeds Holstein, Edinburgh, Life Barcelona, Victoria Schleswig- Rheingau, Ravinia, the at performed has and recitalist established an also is He orchestras. BBC Roy, Kölnthe du and Concerto Violons Les & Players Consort, Music, Gabrieli of Ancient Academy Ballet, Hamburg Orchestra, Tonhalle Zurich Berlin, Musik Alte für Akademie orchestras, Symphony Vienna and Seattle Staatskapelle Dresden, , KammerphilharmonieDeutsche Bremen, Così fan tutte , Haydn’s . He works closely with pianists Graham Graham pianists with closely works . He Ein deutsches Requiem Ein deutsches , St John ) with the Classical Opera Opera Classical the ) with The Creation The and and St Matthew and Britten’s and , Handel’s Handel’s ,

Passions , War

Phil Tragen/AAM day premieres ofHasse’s premieres day includingacclaimed performances the modern- many critically conducted has he which with Settecento, ofOpera Director Artistic is He 3. Radio BBC on live and Hall Festival the at performed has he soloist, concerto and musician achamber As of Enlightenment. Age ofthe Orchestra the and Concert English The Musica, Nuova La Arcangelo, Consort, Dunedin the Sixteen, The Soloists, Baroque English the others, among with, principal guest as regularly appears also and Music of Ancient Academy ofthe Oboe Principal is Duarte Leo Duarte Leo Handel’s Handel’s of edition performing new praised highly AAM’s the preparing currently is he works; 18th-century ofnumerous editions made has and practice ofperformance aspects ofoverlooked search in quo status the tochallenge eager always is He Fernando ofHandel’s of Bärenreiter’s edition new premiere the conduct will he year This festivals. Venceslao Handel’s Brockes-Passion pasticcio . at the London and Halle Handel oboe operas operas for publication. Demetrio Elpidia , Ormisda and and and and

21 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 22 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall Music of Ancient Academy one million monthly listeners on Spotify. on listeners monthly million one over with online, kind ofits orchestra listened-to most the is and Records, AAM label, record own its established now has It awards). Edison and BRIT, are Classic recording for (amongperformances countless its accolades definitive considered are still many ofwhich discs, 300 than more released has and periods Classical and Baroque the from instruments using works oforchestral recordings British first to make the established was apioneer. It been always has Music ofAncient Academy The 2006. in Director decades; Richard Egarr became Music its four than more for scene music early of the forefront the at remained has ensemble the 1973, in Hogwood by Christopher Founded performances. vibrant committed, in tolife music tobring sources original and instruments specific using historically informed techniques, period- from the music’sinspiration directly composers, takes It repertoire. Classical and Baroque in with a worldwide reputation for excellence orchestra an is Music ofAncient Academy The Gramophone

in Egypt in Bach’s as such vocal masterpieces large-scale include Programmes Opera. Festival Longborough Milton Abbey International Music Festival and ofKing’s Cambridge, Choir the College, Singers, BBC the Hall, James Jeannin, Sofi Balsom, Alison Rondeau, Jean Mullova, Viktoria Chartin, Lucie VOCES8, with collaborates AAM season This cultural traditions. and backgrounds ages, ofall people inspires and audience possible widest the reaches work its ensures AAM beyond, and education tertiary through pre-school from working programme, this With expanding and musicians. audiences of generation next the nurtures AAMplify, programme, outreach and education AAM’s www.aam.co.uk Edmunds. St Bury Apex, the and Oxford at Music Festival, Arts Chiltern Festival, Grange the at Orchestra-in-Residence and Centre, Barbican the at Ensemble Associate university, city’s the at in-Residence Orchestra- is AAM the Cambridge, in Based 1811. since ofday light the seen hasn’t which Gminor, in Mass apiece Dussek’s Ladislav , as well the modern premiere of Jan ofJan premiere modern the well , as St John Passion St John and Handel’s Handel’s and Israel Israel Organ Mauro Valli Cello Marco Massera Viola Ana LizOjeda Alessandro Tampieri Violin Ottavio Dantone Director Harpsichord/ Bizantina Accademia Judith Evans Double Bass Imogen Seth-Smith Jonathan Rees Cello James O’Toole Jane Rogers Viola William Thorp Liz MacCarthy Kinga Ujszászi Violin 2 Persephone Gibbs Sijie Chen ´cBojan Cicˇ i Violin 1 Ancient Music Academy of Stefano Demicheli leader William Carter Theorbo Inga Klaucke Bassoon Bethan White Lars Henriksson Leo Duarte Oboe

23 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall 24 Bach: A Beautiful Mind Sun 19 Jan, Milton Court Concert Hall

Marco Borggreve we can recommend the following concerts: following the recommend we can youIf enjoyed today’s performances, soon yousee again to We hope in a stimulating dialogue of spirit and mind. and ofspirit dialogue astimulating in time own our from echo an with Suites Cello six ofthe each pairs Queyras Jean-Guihen ofany era. outside exists somehow yet time, across speaks music Bach’s 2pm, 4Apr Sat Milton Court Echoes Six Suites, Six Bach: whatever time you choose to visit. to visit. you choose time whatever free, always and open always It’s events. and commissions youwhere can installations, see G, space Level avibrant visit also You can architecture. Brutalist iconic ofour history to the introduction are agreat tours towers, Barbican ofthe heights soaring to the theatre ofthe depths sunken the From Barbican the Discover

intellect likeintellect no other, possibilities. boundless with Clavier 1ofBach’s Book performs virtuoso, thinking-listener’s the Denk, Jeremy Fri 12 Jun 7.30pm, Hall Jeremy Denk plays Bach , a work he sees as a playground for the the for aplayground as sees he , awork

Well-Tempered