TELLING TALES WITH TELEMANN
TELEMANN Der Harmonische Gottesdienst: 3rd Sunday of Advent ‘Vor des lichtes Tages Schein’ TWV 1:1483 AESOP The Ass in the Lion’s Skin
TELEMANN Sonata for Flute in G Major TWV 41:G9 TELEMANN Trio Sonata in A Major TWV 42:A6 Recorded at St Giles, Cripplegate November 2021
We are grateful for the support of Jenny and Tim Morrison and our friends at St Giles, Cripplegate
Alto Solo Helen Charlston Flute Lisa Beznosiuk Organ/Harpsichord Steven Devine Cello Jonathan Manson Theorbo Eligio Quinteiro
Technical Director and Post Production Zen Grisdale Vision Mix Crispin Woodhead
Camera Operators Sophie Adams Ed Ault Zen Grisdale Edward Shaw Sound Engineer Ben Connellan Music Producer Andrew Roberts Grip Adrian Bending
PROGRAMME NOTES
SONATA FOR FLUTE IN G MAJOR TWV 41:G9 Georg Philipp Telemann (1681-1767)
DER HARMONISCHE GOTTESDIENST: 3RD SUNDAY OF ADVENT 'VOR DES LICHTES TAGES SCHEIN' TWV 1:1483
Allegro
Georg Philipp Telemann (1681-1767)
Affetuoso
Cantabile
Aria
Allegro
Aria
In the mid-eighteenth century, the flute was the instrument of choice for dilettantes, from the humblest busker to King Frederick the Great of Prussia, who regularly performed concertos at his palace of Sans Souci. Georg Philipp Telemann harboured no prejudices against amateur flautists. A businessman as well as a musician, he’d taught himself the flute as a boy, and learned his craft entertaining miners and townsfolk in the Harz mountains. He knew that anything he wrote for the flute would find a ready market.
Recitative
The life of a kantor, or music director, of a church in baroque Germany was a busy one. As well as playing the organ and training and directing the choir for daily services, they were required to compose, or at any rate, source, a regular supply of fresh, appropriate music for each Sunday and every feast-day of the liturgical year. Johann Sebastian Bach’s 200-plus church cantatas are well-known and rightly cherished, but his friend and colleague Georg Philipp Telemann also composed well over 1000 cantatas over a long and industrious career. Not all of Telemann’s cantatas were intended for his own use. He had the lucrative idea of publishing a complete set of church cantatas – a year’s supply for a hard-pressed kantor, ready to use off-the-peg. Der Harmonische Gottersdienst was published in 1726, and each of its 72 short cantatas used just a single singer, a solo instrumentalist and a continuo, making them performable in even the smallest churches. This is the cantata for the 3rd Sunday of Advent. The words, by the Hamburg poet Matthaeus Wilckens, remind us that God lights up the whole you’re some sort of angel…
The collection of chamber music that he published as Essercizii Musici in 1740 was certainly designed to entertain – and to sell. It contained two solo sonatas and two trio sonatas apiece for each of six different instruments, so whatever the instruments available when you gathered friends for a soirée, you’d find something enjoyable to play. And fashionable too: Telemann prided himself on staying ahead of musical trends, and the two slow movements – marked “cantabile” (songlike) and “affettuoso” (tenderly) - of this G major sonata allowed an amateur player to show their full range of feeling. Always a good look in an age of Sensibility.
TRIO SONATA FOR FLUTE & HARPSICHORD IN A, TWV42:A6
Georg Philipp Telemann (1681-1767) Largo
Allegro Largo Vivace Telemann’s home city of Hamburg was filled with prosperous and enthusiastic amateur musicians, and Telemann saw himself as craftsman, merchant, entertainer and tutor – producing numerous collections of chamber music with which his fellow-citizens could hone their own skills, and delight family and friends. His Essercizii Musici (1740) was aimed directly at that market: effectively a selection-pack of solo sonatas and Trio Sonatas for a range of different instruments, all eminently playable by skilled amateurs and written in a range of fashionable styles. Result: pleasure, and for Telemann, profit. Telemann considered himself a particular master of the Trio Sonata, in which two musical voices converse to the accompaniment of a third, the continuo, which could comprise several instruments. Telemann played both the flute and the harpsichord himself, and this trio in the warm key of A major gives both instruments full scope to sing, dance and converse. Music this imaginative spoke for itself, and as Telemann himself once put it:
I have nothing further to present other than to solicit from amateurs of music an opinion well-disposed toward me, as much with this as my other work, that I may remain, your most humble and obedient Telemann. Richard Bratby
AESOP'S FABLE The Ass in the Lion’s Skin An ass, having put on the Lion's skin, roamed about in the forest and amused himself by frightening all the foolish animals he met in his wanderings. At last, meeting a Fox, he tried to frighten him also, but the Fox no sooner heard the sound of his voice, than he exclaimed: I might possibly have been frightened myself, if I had not heard your bray. (Moral: No disguise will hide one's true character.)
TRANSLATION Der Harmonische Gottesdienst: 3rd Sunday of Advent ‘Vor des lichtes Tages Schein’
1. Arie Vor des lichten Tages Schein schliesst ein finstrer Ort uns ein; doch vor Gottes Blicken nicht. Ihm, als den kein Raum bezwinget, der dies ganze Rund durchdringet, ist das Finstre wie das Licht. 2. Rezitativ O sich’rer Suender, fuerchte dich! Gott kennt dich inn- und aeusserlich; ihm bleibt kein Denken nicht verdeckt; und noch viel weniger dein suendlichs Tun versteckt. Der meisten ganz verkehrte Sinn sorgt, ehe sie was schaendliches begehen, nur bloss, obs auch die Menschen sehen: Gott sieht allezeit, da doch der wenigste sein heiligs Dasein scheut. Wie mancher ist, der gar im Herzen spricht: der Hoechste merkt und achtest nicht. Doch gehe nur in deinem Frevel hin, die kuenftge Strafe laesst dich schon dereinst empfinden, Gott sei so wohl ein Zeug‘, als Raecher, deiner Suenden. Erwaegst du nun, dass nichts von dir geschicht, das nicht der grosse Richter steht, so hast du g’nug an dich zu denken, und darfst nicht erst dein Aug‘ und andrer Fehler lenken; es triegt zu dem in vielem Sachen: aus blossen Schatten willst nicht selten Flecken machen: es haelt den hoechsten Stern fuer ein geringes Licht; was loeblichs kann ihm straeflich scheinen; kurz: Gott sieht oftmals selber nicht, was Menschen doch zusehen meinen.
1. Aria Before the light of day A dark place locks us in; Except in the sight of God. For him, as no space oppresses him, Who passes through all things, Is darkness as light. 2. Recitative O complacent sinner, be afraid! God knows you through and through; From him no thought is hidden; Even less your sinful deeds. For most people, an all perverted sense hardly cares, before they engage in sin, Even if others look on: God sees at all times, Since even the least fears his holy presence. As many, he who even speaks in his heart: The Almighty knows and you suspect nothing. But carry on in your iniquity, one day you will meet your future punishment, May God be as much witness as avenger of your sins. If you reckon, that nothing comes of you, that is not decreed by the great judge, So you have enough to think about yourself, And should not first inspect the faults of others; Deception lies in many things: You often make spots of mere shadows: The highest star passes for a meagre light; Praiseworthy passes for punishable; In short: God himself often does not see, What men think they observe.
TRANSLATION CONTINUED 3. Arie Bist du selbst nicht engelrein, ach, so wirf den ersten Stein, ja nicht nach, des Naechsten Stirne! Bitte Gottes Huld vielmehr, dass sein Eifer nicht zu sehr ueber deine Suenden zuerne. 3. Aria If you are not yourself as pure as an angel, Ah, so cast not the the first stone At your neighbour’s brow! Rather ask for God’s grace, So that his wrath does not bear down Too heavily on your sins. Translation by Crispin Woodhead
HELEN CHARLSTON Early Music Festival, London Handel Festival, Händel-festspiele Halle, Korčula Baroque Festival, Leicester International Music Festival and Fitzrovia Festival.
Acclaimed for her musical interpretation, presence and “warmly distinctive tone” (The Telegraph), Helen Charlston is quickly cementing herself as a key performer in the next generation of British singers. Helen won first prize in the 2018 Handel Singing Competition and was a finalist in the Hurn Court Opera Competition, and the Grange Festival International Singing Competition. She was a ‘Rising Star’ of the Orchestra of the Age of Enlightenment 2017-2019 and a 2018 City Music Foundation Artist. In 2021, she joined Le Jardin des Voix academy with Les Arts Florissants, and the BBC Radio 3 New Generation Artists scheme, and also became winner of the Ferrier Loveday Song Prize in 2021 Kathleen Ferrier Awards. In 2020, Helen premiered The Isolation Songbook with Michael Craddock and Alexander Soares, which is a set of 15 newly commissioned songs and duets written during lockdown as a musical response to the changing world in which we found ourselves. Recent and upcoming concert highlights include Handel’s Messiah with BBC NOW and the Royal Liverpool Philharmonic Orchestra, Bach’s Weihnachtoratorium with Casa da Musica, Judas Maccabaeus with the RIAS Kammerchor, Mendelssohn’s Lobgesang with the Royal Northern Sinfonia and Paul McCreesh, her debut at the Palau de la Musica in Barcelona for Bach’s St Matthew Passion with the Gabrieli Consort and Players, a worldwide tour of Handel’s Messiah with the Seattle Symphony, the Western Australian Symphony Orchestra and Adelaide Symphony Orchestra, performances as part of Barbican Sound Unbound 2019 and solo recitals at York
In 2019/20, Helen made debuts with the Academy of Ancient Music, Cambridge Handel Opera Company, Queensland Symphony Orchestra, Slovenian Philharmonic Orchestra, the Concertgebouw Chamber Orchestra, joined Fretwork for a solo recital programme at Wigmore Hall, and continued her commissioning project of lute songs with duo partner Toby Carr. In 2020, Helen premiered the full role of Anna in the newly completed opera Blue Electric by Tom Smail. Operatic roles include Messaggera & Prosperpina L’Orfeo, First Witch Dido and Aeneas, Olga Eugene Onegin, Florence Pike Albert Herring, Ino Semele, Sara Tobias and the Angel and Dinah Trouble in Tahiti. Helen created the role of Dido in the premiere of a new chamber opera based on Virgil’s writings about Dido: Dido is Dead, by young composer Rhiannon Randle. Often heard on BBC Radio 3 in live concert relays, Helen features on recordings of Bach’s B Minor Mass with the Orchestra of the Age of Enlightenment and the Trinity College Choir, and Bach’s Actus Tragicus & Himmelskönig sei willkommen with Amici Voices and Amici Baroque Players, both available from Hyperion. The “mesmerising delivery” of her aria in BWV 182 on the Amici Voices CD was singled out by Gramophone Magazine as the highlight of the recording. This season she will record John Eccles’ Semele in the role of Juno with the Cambridge Handel Opera Company and the Academy of Ancient Music. Helen began singing as chorister and head chorister of the St Albans Abbey Girls Choir. She then studied music at Trinity College, Cambridge where she held a choral scholarship for four years and was a scholar on the Pembroke College Lieder Scheme, led by Joseph Middleton.
ABOUT THE OAE “Not all orchestras are the same” Over three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America.
And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its association at London’s Kings Place has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the OAE to live, work and play amongst the students of the school. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor
OAE TEAM Chief Executive Crispin Woodhead
Projects Officer Ed Ault
Life President Sir Martin Smith
Finance and Governance Director Pascale Nicholls
Orchestra Consultant Philippa Brownsword
Board of Directors Imogen Overli [Chairman] Daniel Alexander Steven Devine Denys Firth Adrian Frost Max Mandel David Marks Rebecca Miller Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead
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Choir Manager David Clegg Librarian Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Adrian Bending Steven Devine Max Mandel Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington
OAE Trust Adrian Frost [Chairman] Mark Allen Paul Forman Steven Larcombe Alison McFadyen Caroline Noblet Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Nigel Jones Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams
THANK YOU OAE Experience scheme Ann and Peter Law Corporate Partners Champagne Deutz Mark Allen Group Marquee TV Swan Turton Corporate Associates Gelato Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Denys and Vicki Firth Adrian Frost Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin and Lady Smith OBE Philip & Rosalyn Wilkinson Mark and Rosamund Williams Project Patrons Bruce Harris Ian S Ferguson CBE and Dr Susan Tranter Aria Patrons Madeleine Hodgkin Steven Larcombe Peter and Veronica Lofthouse Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Maarten and Taina Slendebroek Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage - Education Director Victoria and Edward Bonham Carter - Principal Trumpet Katharine Campbell - Violin Anthony and Celia Edwards - Principal Oboe
James Flynn QC - Co-Principal Lute/Theorbo Jonathan and Tessa Gaisman – Viola Michael and Harriet Maunsell - Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Professor Richard Portes - Principal Bassoon Christina – Flute John and Rosemary Shannon - Principal Horn Sue Sheridan OBE – Education Roger and Pam Stubbs - Clarinet Crispin Woodhead and Christine Rice - Principal Timpani Associate Patrons Charles and Julia Abel Smith Noël and Caroline Annesley Sir Richard Arnold and Mary Elford Hugh and Michelle Arthur David and Marilyn Clark Damaris Albarrán David Emmerson Jonathan Parker Charitable Trust Elisabeth Green in memory of June Mockett Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Moira and Robert Latham Sir Timothy and Lady Lloyd Roger Mears and Joanie Speers Rebecca Miller David Mildon in memory of Lesley Mildon John Nickson and Simon Rew Andrew and Cindy Peck Stephen and Penny Pickles Peter Rosenthal Emily Stubbs and Stephen McCrum Shelley von Strunckel Mr J Westwood
Education Patrons Mrs Nicola Armitage Sir Victor Blank Stephen and Patricia Crew John and Sue Edwards Sir Timothy and Lady Lloyd Andrew and Cindy Peck Professor Richard Portes Sue Sheridan OBE Rising Stars Supporters Annette and Julian Armstrong Denys and Vicki Firth Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Peter & Veronica Lofthouse Mr Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli Gold Friends Michael Brecknell Gerard Cleary Mr and Mrs C Cochin de Billy Chris Gould Michael Spagat Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Mr and Mrs Michael Cooper David Cox Anthony and Jo Diamond Suzanne Doyle Rachel and Charles Henderson Malcolm Herring Patricia Herrmann Stephen Hodge Rupert and Alice King Alison and Ian Lowdon Anthony and Carol Rentoul Bridget Rosewell David and Ruth Samuels Leslie Scott Susannah Simons Victor Smart Her Honour Suzanne Stewart Simon and Karen Taube
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Garfield Weston Foundation Garrick Charitable Trust Geoffrey Watling Charity Henocq Law Trust John Lyon’s Charity Linbury Trust Lord and Lady Lurgan Trust Michael Marks Charitable Trust National Foundation for Youth Music Old Possum’s Practical Trust Orchestras Live Paul Bassham Charitable Trust The Patrick Rowland Foundation Peter Cundill Foundation Peter Stebbings Memorial Charity Pitt-Rivers Charitable Trust Radcliffe Trust Rainbow Dickinson Trust Stanley Picker Trust The 29th May 1961 Charitable Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Vernon Ellis Foundation
APPEAL DONORS We have been overwhelmed by the support of our audiences since the beginning of the pandemic. Many of you have generously helped us tackle this challenging time by donating to our Regeneration Appeal. The Appeal runs to 31st December 2021 and every donation will be matched. If you would like to contribute, please contact: Emily.Stubbs@oae.co.uk Charles and Julia Abel Smith Mark and Sue Allen Deborah Anthony Julian and Annette Armstrong Hugh and Michelle Arthur John Birks Sir Victor Blank Bob and Elisabeth Boas A & FDW Boettcher William Bordass Mr Roger Bowerman Ms Susan Bracken Neil Brock
Sir Anthony Cleaver Professor Susan Cooper Ms Harriet Copperman Dr David Cox Gill Cox Stephen and Patricia Crew Mrs Melanie Edge Esmee Fairbairn Foundation Ms Margaret Faultless Denys and Vicki Firth Adrian Frost Jennifer Frost Jonathan N Gaisman, QC Dr David Glynn Roy Greenhalgh David Guthrie Martin Haddon Ray Harsant Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Nigel Jones and Françoise Valat-Jones Jerome Karter Sue Lamble Steven Larcombe Sir Timothy Lloyd and Lady Lloyd Dr Alan Lord Stanley Lowy, MBE Ellie Makri Michael and Harriet Maunsell Tim and Jenny Morrison Mr Clive Murgatroyd, MBE Robert Nash John Nickson & Simon Rew Andrew Nurnberg Johanna Nusselein Imogen and Haakon Overli Andrew and Cindy Peck Mike Raggett Ruth and David Samuels Laura Sheldon Sue Sheridan OBE Maarten and Taina Slendebroek Sir Martin Smith and Lady Smith OBE Michael Spagat Caroline Steane Para Sun Iain Taylor Christopher Tew Lady Marina Vaizey, CBE Eva Maria Valero Mark and Rosamund Williams Peter Williams
WE MOVED INTO A SCHOOL A little over a year ago we took up permanent residence at Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school. Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project. The school isn't just our landlord or physical home. Instead, it allows us to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. Our move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible. A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing. Margaret Faultless, OAE leader and violinist, said: “The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” Continues Margaret: “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.” The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts.
OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live. The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players. This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.
SUPPORT OUR EDUCATION PROGRAMME The work we do could not happen without the support of our generous donors. If you would like to support our education programme please contact Marina Abel Smith, Head of Individual Giving and Digital Development marina.abelsmith@oae.co.uk 0208 159 9319
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