JS Bach's forebears (PDF) - Academy of Ancient Music

The Bach Dynasty: 

JS Bach’s Forebears 

Music by Heinrich, Johann Christoph and Johann Michael Bach 

Choir of the AAM . Richard Egarr director & harpsichord 

23 September West Road Concert Hall, Cambridge 

24 September Wigmore Hall, London 

Welcome to tonight’s concert, to the AAM’s 

2010-11 season and to The Bach Dynasty — the 

series which will be at the heart of our music 

making over the coming year. 

In The Bach Dynasty we’re celebrating the 

masterworks of the incomparable Johann 

Sebastian Bach and exploring his family’s 

extraordinary musicianship. Johann Sebastian’s 

musical roots stretched back to Veit Bach, his 

great- great- grandfather, who fled Hungary at 

the turn of the sixteenth century and 

established his family in Germany. Music 

became the family trade, and the Bachs 

flourished as performers, composers and 

instrument builders for the next three centuries. 

JS Bach’s forebears are important in the context 

they provide for Johann Sebastian himself. But 

tonight’s programme also demonstrates the 

extent to which Heinrich, Johann Christoph and 

Johann Michael were themselves deeply 

impressive composers. Theorbist William Carter 

AAM online 

sums it up perfectly: “This is a wonderful 

programme. The works which Richard Egarr has 

chosen are masterpieces in their own right; they 

also shed light on the amazing musical 

background from which JS Bach came. This is a 

dynasty of talent that makes other 'gifted' family 

trees such as the Mozarts, Couperins or Galileis 

look tiny in comparison.” 

Other performances in The Bach Dynasty feature 

artists including Steven Isserlis and the Choir of 

King’s College, Cambridge in music ranging from 

JS Bach’s St John Passion to CPE Bach’s Cello 

Concerto in A major. Turn to the inside back 

cover of this programme for details, and be sure 

to join us for some wonderful concerts. 

We are delighted to acknowledge the generosity 

of Richard and Elena Bridges, who have 

supported Richard Egarr’s appearance in this 

concert, and of Lady Sainsbury of Turville, who 

has supported the AAM at a particularly 

significant level this year. 

During the year ahead the AAM will be performing across the world, from the Concertgebouw in 

Amsterdam to Perth Concert Hall in Australia. You can keep up to date with all the tour news from the 

players’ perspective in the new AAM tour blog: go to http://academyofancientmusic.wordpress.com 

to read behind-the-scenes accounts of life on the road. 

Also, why not share your opinion on tonight’s performance? You can post your review on our 

Facebook page, or email it to info@aam.co.uk. 

ACADEMY OF ANCIENT MUSIC, 2010-2011 SEASON 1

Programme 

HEINRICH BACH (1615-1692) 

‘Ich danke dir, Gott’ 

JOHANN MICHAEL BACH (1648-1694) 

‘Liebster Jesu, hör mein Flehen’ 

ANON 

‘Es ist g’nug’ 

CHARMIAN BEDFORD SOPRANO 

HEINRICH BACH 

Sonata à 5 in F major 

JOHANN CHRISTOPH BACH (1642-1703) 

‘Die Furcht des Herren’ 

Interval of 20 minutes 

Please check that your mobile phone is 

switched off if you used it during the interval. 

JOHANN CHRISTOPH BACH 

‘Ach, dass ich Wassers gnug hätte’ 

SUSANNA SPICER ALTO 

HEINRICH BACH 

Sonata à 5 in C major 

JOHANN CHRISTOPH BACH 

‘Meine Freundin, du bist schön’ 

Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much 

as possible and ensure that watch alarms and any other electronic devices which may become 

audible are switched off. 

2 ACADEMY OF ANCIENT MUSIC, 2010-2011 SEASON 

The future of ancient music 

is in your hands 

Every year, the Academy of Ancient Music 

enriches the lives of tens of thousands of 

music lovers. Its performances are a source 

of inspiration and joy: the world would be a 

duller place without them. 

But the AAM will only continue to thrive 

and develop if those who are in a position 

to support it do so generously. Income 

from ticket sales will fall short of the full cost 

of running the orchestra by around 

£400,000 this year, and the AAM receives no 

regular government funding. 

Members of the AAM Society sustain the 

orchestra’s work magnificently for the 

benefit of us all — but the AAM has an 

ambitious vision for the future, and the 

need for support is greater than it has ever 

been before. The future of ancient music is 

in your hands: turn to page 16 to find out 

how you can help.

Dr Stephen Rose describes the beginnings of the Bach dynasty 

Johann Sebastian Bach was profoundly aware of 

his place in a family that had produced 

generations of distinguished musicians. As his 

Obituary stated, “Johann Sebastian Bach 

belongs to a family that seems to have received 

a love and aptitude for music as a gift of Nature 

to all its members in common.” JS Bach traced 

his family’s lineage back to Veit Bach, a 

sixteenth- century baker “expelled from Hungary 

in the sixteenth century for religious reasons”. 

Throughout the seventeenth century, many of 

the organists and instrumentalists in the small 

towns of central Germany were Bachs. Indeed, 

in the province of Thuringia, the name ‘Bach’ 

was synonymous with the trade of musician. 

So important was this lineage to Johann 

Sebastian Bach that in 1735 he assembled a 

detailed set of genealogical notes on his family. 

At about the same time he obtained a set of 

manuscripts of vocal compositions by his 

forebears, notably Johann Christoph Bach and 

Johann Michael Bach. This collection of 

manuscripts, dubbed the Altbachisches Archiv, 

increasingly preoccupied Bach in the last 

decade of his life. He added annotations to the 

old manuscripts and performed some of 

Johann Christoph’s motets in church services at 

Leipzig. Such a fascination with his family’s 

music may have stemmed from Johann 

Sebastian’s contemplation of his own historical 

and artistic significance, as his thoughts turned 

increasingly to his own mortality. 

The presence of so many musicians within the 

Bach family raises many questions about the 

relationship between heredity and talent. Some 

commentators might be tempted to argue that 

the Bachs were genetically predisposed to 

music. But it would be more historically 

accurate to remember that the Bachs treated 

music as a family trade. Boys were trained in 

music by their father and were expected to 

follow his footsteps in the musical profession. 

Moreover, the family acted as a network 

through which musical information could 

circulate, and younger members could be sent 

to a relative for training or work. As the pieces in 

tonight’s programme show, the seventeenthcentury 

Bachs were not only skilled craftsmen, 

but also extremely well- informed about wider 

musical developments in Europe. 

One of the earliest documented members of 

the Bach clan was Heinrich Bach (1615–92), the 

great- uncle of Johann Sebastian. Heinrich 

worked as a town instrumentalist in Erfurt and 

then from 1641 as town musician and organist 

in Arnstadt. As a musician who spent all his life 

in the small towns of central Germany, Heinrich 

might be supposed to be a somewhat 

provincial figure. Yet his one surviving vocal 

work, ‘Ich danke dir, Gott’, shows that he was 

in touch with the latest developments in 

Venetian church music. The piece is dominated 

by its walking bass, giving a constant 

momentum over which pairs of voices sing in 

rapid declamation. Occasionally the five voices 

of the ‘favoriti’ choir are reinforced by a fourvoice 

vocal ripieno. In its rhythmic verve and 

adept handling of polychoral climaxes, Heinrich 

Bach’s setting is reminiscent of pieces such as 

the ‘Beatus vir’ in Claudio Monteverdi’s Selva 

morale e spirituale (1640). Perhaps Heinrich had 

encountered Monteverdi’s music at the 

Arnstadt court, whose organist had originally 

studied in Venice. 

Also included in tonight’s concert are two 

Sonatas ascribed to Heinrich Bach. The sonatas 

are attributed to Heinrich Bach in a 1662 

manuscript copied by the Gotha musician 

Jakob Ludwig, but in other sources they are 

ascribed to the Viennese court musicians 

Antonio Bertali or Johann Heinrich Schmelzer. 

Whoever was the composer, these pieces 

contain an array of contrasting sections that 

make dramatic use of the full range of the 

stringed instruments. The Sonata in C starts 

beguilingly, with rocking triple- time figures that 

rise steadily to the top of the ensemble’s 

register. Subsequent passages contain fanfare- 


like figures and rhythmically vigorous writing, 

before a concluding section of echo phrases. 

The Sonata in F offers a memorable succession 

of distinctive ideas: the opening Presto uses a 

tattoo of repeated notes in a long descending 

sequence; then, for the rest of the piece, short 

yet languishing cadences alternate with 

vigorous fanfare- like figures. 

Heinrich Bach’s second son was Johann Michael 

Bach (1648–94), who began his career in his 

father’s homeplace of Arnstadt as organist at 

the castle chapel. From 1673 Johann Michael 

held the posts of organist and town clerk in 

Gehren, a small town in the Thuringian forest. 

His youngest daughter, Maria Barbara, married 

Johann Sebastian in October 1707. In Gehren, 

Johann Michael was characterised as “quiet, 

withdrawn and artistically well- versed”, while 

the family tree assembled by Johann Sebastian 

describes him as “an able composer”. Most of 

Johann Michael’s compositional output consists 

of motets for eight- voice choir, a form of church 

music traditional in Thuringia. Indeed, the music 

theorist Friedrich Erhardt Niedt cheekily 

associated the motet with “Thuringian peasants” 

and “farmers’ daughters... [who] inherit their 

boots from their ancestors”. 

A handful of more ambitious pieces survive 

from Johann Michael Bach, including the 

dialogue ‘Liebster Jesu, hör mein Flehen’ for 

the Second Sunday in Lent. The dialogue 

dramatises the Gospel story of Jesus and the 

woman of Canaan (Matthew 15.21–28). The 

woman cries for Jesus’ mercy, but the disciples 

(represented by a three- voice chorus) try to 

send her away. Both the woman and the 

disciples sing simple rhymed texts, set to short, 

regular phrases of a somewhat winsome nature. 

Jesus’ words, however, are sung by a bass soloist 

whose extended phrases reflect the liberating 

power of his message: “Ich bin nicht gesandt 

denn nur zu den Verlornen vom Hause Israel... 

Doch, Weib, dein Glaub’ ist groß” (“I am not sent 

only unto the lost sheep of the house of Israel... 


Surely, woman, thy faith is great”). The piece 

ends with a verse from the 1530 chorale ‘Wie 

sich ein Vat’r erbarmet’. It is unlikely that Johann 

Michael ever visited an opera house; but his 

dialogue shows how he brought a sense of 

theatre to his church compositions. 

Whereas Johann Michael led a quiet and 

respectable life in Gehren, his elder brother 

Johann Christoph Bach (1642–1703) had a fiery 

and stubborn personality. For most of his life, 

Johann Christoph held the dual post of town 

organist and court keyboardist in Eisenach. His 

time here was marred by frequent quarrels with 

the town council, which he felt did not provide 

adequate financial recompense for his talent. 

Yet Johann Christoph was also highly respected 

as a composer, “strong in the invention of 

beautiful ideas as well as in the expression of 

the meaning of the words” (to quote the 

Obituary of Johann Sebastian). Certainly Johann 

Sebastian identified strongly with Johann 

Christoph’s output and may have even seen 

him as some kind of artistic model; of the 

manuscripts in the Altbachisches Archiv, it is 

mainly those of Johann Christoph’s motets that 

bear Johann Sebastian’s annotations. 

The large- scale cantata ‘Die Furcht des 

Herren’, written for the election of the Arnstadt 

town council, is often ascribed to Johann 

Christoph Bach, although recent research has 

suggested that it may be by his brother Johann 

Michael. Each of the vocal parts has symbolic 

significance: soprano 1 is the allegorical figure 

of Wisdom; other soloists represent the old and 

new chamberlains and burgomasters; and the 

four- part choir represents “the whole town 

council”. In a whimsical touch, the organ part 

represents the town clerk; this may be a 

reference to Johann Michael, who as mentioned 

above combined his musical duties with those 

of town clerk. Wisdom dispenses her advice in 

solo sections, which alternate with prayers and 

proclamations from the other vocalists. The fivepart 

string ensemble provides a rich and

harmonically adventurous accompaniment. 

One of Johann Christoph’s most expressive 

pieces is the poignant lament ‘Ach, dass ich 

Wassers gnug hätte’. The penitential text is 

drawn from the Psalms and Lamentations of 

Jeremiah: “O that I had water enough in my 

head.” Bach’s harmonic language evokes the 

Phrygian mode, associated with death and pain 

in the seventeenth century, and he uses highly 

remote and unusual chords. The voice swoops 

searingly through awkward intervals, closely 

imitated by the violin as if to show the 

inexorability of suffering. The piece was possibly 

written for one of the days of penance held in 

Eisenach in Advent, on which all artisans had to 

put down their tools, all animals be kept in their 

stalls, and all traffic had to stop in the streets. 

Thus the entire town’s attention would have 

been focused on this musical prayer of 

repentance. 

Alongside their sacred compositions of praise 

and penitence, there was another side to the 

Bach family: their love of family gatherings, 

lubricated by ample alcohol and raucous 

humour. As Johann Nicholas Forkel explained in 

his 1802 biography of Johann Sebastian, the 

Bach clan held an annual reunion, usually in 

Erfurt, Eisenach or Arnstadt, which consisted 

entirely of musical amusements. “As the 

company wholly consisted of cantors, organists 

and town musicians, who had all to do with the 

Church... the first thing they did when they 

were assembled was to sing a chorale. From this 

pious commencement they proceeded to 

drolleries which often made a very great 

contrast with it. They sang popular songs, the 

contents of which were partly comic and partly 

obscene, all together and extempore, but in 

such a manner that the several parts thus 

extemporised made a kind of harmony 

together.” 

A piece for such a family gathering is Johann 

Christoph Bach’s nuptial dialogue ‘Meine 

Freundin, du bist schön’. It was possibly 

written for the 1679 wedding of another 

member of the Bach clan, the Arnstadt town 

musician also called Johann Christoph 

(1645–1693). The piece may then have been 

reprised at the wedding of Johann Sebastian 

and Maria Barbara in 1707. Most of the text 

comes from the Song of Songs, which was a 

staple of German composers for wedding 

motets and also for allegorical visions of the 

relationship of Christ and the believer. But 

Johann Christoph introduces a new element in 

the long central chaconne, where the soprano 

combines with a solo violin for a sultry 

depiction of the intoxication of love: “Seine 

Linke lieget unter meinem Haupt, und seine 

Rechte herzet mich...denn ich bin krank vor 

Liebe” (“His left hand is under my head, and his 

right hand doth embrace me...For I am sick with 

love.”) The manuscript of this piece has detailed 

annotations by Johann Ambrosius Bach, 

explaining the erotic narrative. Written for 

performance at the occasions when the Bach 

dynasty regenerated itself, this wedding 

dialogue held a special place in the family’s 

history. 

Stephen Rose © 2010 

Dr Stephen Rose is Lecturer in Music at Royal 

Holloway, University of London 


Texts and translations 

Heinrich Bach 

‘Ich danke dir, Gott’ 

Ich danke dir, Gott, 

daß ich wunderbarlich gemacht bin. 

Herr mein Gott, wunderbarlich sind deine Werk, 

und das erkennet meine Seele wohl. 

PSALM 139.14 

Johann Michael Bach 

‘Liebster Jesu, hör mein Flehen’ 

Liebster Jesu, hör mein Flehen, 

nimm doch meine Seufzer an, 

laß mich hilflos nicht weggehen, 

du bist ja mein Helfersmann, 

meine Tochter wird genagt, 

und vom Satan sehr geplagt. 

Laß sie, Jesu, doch von dir, 

Jesu, tu dich ihr erbarmen, 

denn sie schreiet für und für: 

“Jesu, Jesu, hilf mir Armen!” 

Ich bin nicht gesandt, denn nur zu den Verlornen 

vom Hause Israel, die hab ich mir erkoren, 

die sind mein Eigentum und meine Schäfelein, 

die führ ich all zurecht, wenn sie verirret sein. 

Laß sie, Jesu, doch von dir, 

Jesu, tu dich ihr erbarmen, 

denn sie schreiet für und für: 

“Jesu, Jesu, hilf mir Armen!” 

Nimmt man der Kinder Brot 

und gibet es den Hunden 

und lässt sie leiden Not, 

so wird’s nicht fein befunden. 


I thank thee, O God, 

that I am wondrously created. 

O Lord God, marvellous are thy works, 

as my soul doth know full well. 

REPRINTED BY KIND PERMISSION OF DEUTSCHE 

GRAMMOPHON GMBH, HAMBURG 

Canaanite women’s prayer to Jesus 

Dearest Jesu, hear my supplication, 

receive my sighs, and let me not 

go hence without thy help, 

for thou art my support: 

my daughter is beset 

and by Satan sore tormented. 

Intercession of the disciples 

Jesu, let her yet be thine: 

have pity on her, Jesu, 

for constantly she cries, 

“Jesu, Jesu, help me in my distress!” 

Christ’s answer 

I am not sent only to the lost sheep 

of the house of Israel, whom I have chosen, 

who are mine own, my little lambs, 

whom I lead into righteousness when they have 

gone astray. 

Intercession of the disciples 

Jesu, let her yet be thine: 

have pity on her, Jesu, 

for constantly she cries, 

“Jesu, Jesu, help me in my distress!” 

The Saviour’s second answer 

To take the children’s bread 

and give it to the dogs, 

leaving them to suffer want, 

is not deemed meet.

Jesu, laß mich Gnaden finden, 

Jesu, ach, erbarm dich mein, 

hilf mein’m Kinde überwinden; 

essen doch die Hündelein 

von den Broten, die für alln 

von des Herren Tische falln. 

Doch, Weib, dein Glaub’ ist groß, 

die Hoffnung fest gericht’t, 

so weich’ von deinem Kind, 

o Weib, der Bösewicht! 

Wie sich ein Vat’r erbarmet 

üb’r seine jungen Kindlein klein: 

So tut der Herr uns Armen, 

so wir ihn kindlich fürchten rein. 

Er kennt das arm’ Gemächte, 

er weiß, wir sind nur Staub. 

Gleich wie das Gras vom Reche, 

ein’ Blum’ und fallend Laub, 

der Wind nur drüber wehet, 

so ist es nimmer da: 

also der Mensch vergehet, 

sein End’, das ist ihm nah. 

ADAPTED FROM MATTHEW 15.21–28; CHORALE: JOHANN 

GRAMANN 

Anon 

‘Es ist g’nug’ 

Es ist g’nug, Herr. 

So nimm nun, Herr, meine Seele. 

Ich bin nicht besser denn meine Väter. 

FRANZ JOACHIM BURMEISTER AFTER 1 KINGS 19:4 

The woman’s constancy 

Jesu, let me find grace: 

ah, Jesu, have mercy on me, 

help my child to prevail; 

the dogs still eat 

of the bread which falls for all 

from their master’s table. 

The Saviour’s blessing 

Surely, woman, thy faith is great, 

thy hope firmly rooted; 

so, woman, let the fiend 

depart from thy daughter! 

Chorale 

As a father takes pity 

on his little young children, 

so, if we rightly fear him as children, 

doth the Lord take pity on our plight. 

He perceives his lowly handiwork, 

he knows we are but dust. 

Like grass from the rake, 

a flower and a falling leaf 

that the wind but blows about, 

so that it is never there, 

so doth man pass away; 

his end is nigh. 

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GRAMMOPHON GMBH, HAMBURG 

It is enough, Lord. 

O Lord, take my soul. 

I am no better than my fathers. 


Johann Christoph Bach 

‘Die Furcht des Herren’ 

Die Furcht des Herren ist der Weisheit Anfang, 

das ist eine feine Klugheit, wer darnach tut, 

des Lobt bleibt ewig. 

O Gott meiner Väter und Herr aller Güte, 

der du alle Dinge durch dein Wort gemacht, 

und den Menschen durch deine Weisheit bereitet 

hast 

daß er die Welt regieren soll mit Heiligkeit und 

Gerechtigkeit 

und mit rechtem Herzen richten: 

gib mir die Weisheit die stets um deinen Thron ist. 

Durch mich regieren die Könige 

und die Ratsherrn setz das Recht. 

(Gib mir die Weisheit die stets um deinen Thron ist.) 

Durch mich herrschen die Fürsten 

und alle Regenten auf Erden. 

Ich Weisheit wohne bei dem Witze, 

und weiss guten Rat zugeben. 

Gib mir die Weisheit, denn ich bin zu gering 

im Verstand des Rechts und Gesetzes. 

Mein ist beide Rat und Tat, 

ich habe Verstand und Macht. 

Gib mir die Weisheit die stets um deinen Thron ist. 

COMPILATION OF VERSES FROM PSALMS, PROVERBS AND 

WISDOM OF SOLOMON 


‘Ach, dass ich Wassers gnug hätte’ 

Ach, daß ich Wassers gnug hätte in meinem Haupte 

und meine Augen Tränenquellen warren, 

daß ich Tag und Nacht beweinnen könnte meine 

Sünde! 

Meine Sünden gehen über mein Haupt. 

Wie eine schwere Last sind sie mir zu schwer 

worden, 

darum weine ich so, 

und meine beiden Augen fließen mit Wasser. 

Meines Seufzens ist viel, und mein Herz ist betrübet, 

den der Herr hat mich voll Jammers gemacht 

am Tage seines grimmigen Zorns. 

COMPILATION OF VERSES FROM PSALMS AND 

LAMENTATIONS OF JEREMIAH 


The fear of the Lord is the beginning of wisdom: 

a good understanding have all they that do 

thereafter: 

the praise of it endureth for ever. 

O God of my fathers and Lord of loving- kindness, 

who hast made all things through thy Word 

and hast prepared man in thy wisdom 

to rule the world with righteousness and justice 

and to judge with an upright heart: 

give me the wisdom that ever surrounds thy throne. 

By me, kings reign 

and princes decree justice. 

(Give me the wisdom that ever surrounds thy 

throne.) 

By me princes rule, and nobles, 

even all the judges of the earth. 

I, Wisdom, dwell with prudence, 

and find out knowledge of witty inventions. 

Give me wisdom, for I am too weak 

in my understanding of justice and the law. 

Counsel is mine, and deeds. 

I am understanding; I have strength. 

Give me the wisdom that ever surrounds thy throne. 

© CHARLES JOHNSTON; REPRODUCED BY KIND PERMISSION 

OF HARMONIA MUNDI FRANCE © 2010 

O that I had water enough in my head 

and that my eyes were wells of tears, 

so that I might bemoan my sins day and night! 

My sins rise higher than my head. 

Like a heavy burden, they have become too onerous 

for me, 

therefore do I weep so, 

and my eyes flow with water. 

Great are my sighs, and my heart is afflicted, 

for the Lord has made me full of woe 

in the day of his terrible wrath. 


OF HARMONIA MUNDI FRANCE © 2010


‘Meine Freundin, du bist schön’ 

Meine Freundin, du bist schön, wende deine Augen 

von mir, 

denn sie machen mich brünstig. 

O daß ich dich mien Bruder draußen finde, 

und dich küssen müßte, daß mich niemand höhnete. 

Mein Freund komme, in seinen Garten. 

Ich komm, meine Schwester, liebe Braut, in meinem 

Garten. 

Mein Freund ist mein und ich bin sein, 

der unter den Rosen weidet, 

und er hält sich auch zu mir. 

Seine Linke lieget unter meinem Haupt; 

und seine Rechte herzet mich; 

Er erquickt mich mit Blumen, 

und labet mich mit Äpfeln; 

denn, ich bin krank vor Liebe. 

Wo ist dein Freund hingegangen, 

o du schönste unter den Weibern, 

wo hat sich dein Freund hingewandt, wohin? 

Mein Freund ist hinabgangen, in seinen Garten, 

zu den Würzgärtlein, 

daß er sich weide unter dem Garten und Rosen 

breche. 

So wollen wir mit dir ihn suchen. 

Ich habe meine Myrrhen, samt meinem Würzen 

abgebrochen, 

Ich habe mienes Seims samt meinem Honige gesen, 

Ich habe meines Weins, samt meiner Milch 

getrunken. 

Esset meine Lieben und trinket meine Freunde. 

So sehe ich nun das für gut an, daß es fein sei, 

wenn man isset und trinket und gut’s Mut’s ist, 

denn das ist eine Gabe Gottes. 

Esset miene Lieben und trinket meine Freunde 

und werdet trunken, denn es ist eine Gabe Gottes. 

Das gratias, das singen wir, 

Herr Gott Vater, wir danken dir, 

daß du uns reichlich hast gespeist, 

dein Lieb’ und Treu’ an uns beweist, 

gib uns auch das Gedeihen darzu, 

unserm Leib Gesundheit und Ruh, 

wer das begehrt, sprech’ Amen darzu. 

ADAPTED FROM SONG OF SOLOMON 

Behold, thou art fair, my love. Turn away thy eyes 

from me, 

for they make me lustful. 

O, that I might find thee outside, my brother, 

that I may kiss thee with the kisses of my mouth. 

Let my beloved come into his garden. 

I am come into my garden, my sister, my spouse. 

My beloved is mine and I am his; 

he feedeth among the lilies, 

and he lingers also with me. 

His left hand is under my head, 

and his right hand doth embrace me. 

He stays me with flagons 

and comforts me with apples, 

for I am sick with love. 

Whither is thy beloved gone, 

O thou fairest among women, 

whither is thy beloved turned aside, whither? 

My beloved is gone down into his garden, 

to the beds of spices, 

to feed in the gardens, and to gather lilies. 

Then shall we seek him with thee. 

I have gathered my myrrh with my spice, 

I have eaten my honeycomb with my honey, 

I have drunk my wine with my milk. 

Eat, my dear ones, and drink, my friends. 

Now I think it a good and a fine thing 

when men eat and drink and are of good cheer, 

for that is a gift of God. 

Eat, my dear ones, and drink, my friends, 

and become inebriated, for that is a gift of God. 

Now we sing our grace, 

Lord God our Father, and we thank thee 

that thou hast fed us richly, 

and shown us thy love and devotion. 

Now give us also prosperity, 

good health for our bodies, and peace. 

Whoever desires the same, let him say Amen. 


OF HARMONIA MUNDI FRANCE © 2010 


JS Bach’s forebears: the Bach family until Johann Sebastian 

Heinrich Bach (1615 –1692) 

Town instrumentalist in Erfurt before becoming 

organist of Arnstadt; described in his funeral 

eulogy as “an organist who touched the heart... 

a musician famous for his art” 

Johann Christoph 

Bach (1642 –1703) 

A hugely successful 

and popular 

composer and 

musician in 

Eisenach, but 

plagued by debt 

and quarrels with 

the town council; 

Johann Sebastian 

held his music in 

high esteem 

Johann Nicolaus 

Bach (1669 –1753) 

Harpsichord- maker, 

composer and 

organist; spent time 

in Italy and in the 

Danish army 

Johann Michael 

Bach (1648–1694) 

A timid, gentle 

character; became a 

composer, 

performer and 

instrument maker 

after a stint as 

organist in Arnstadt 

castle’s chapel 

Maria Barbara 

Bach (1684–1720) 

Johann Sebastian’s 

wife and second 

cousin; died 

unexpectedly at the 

age of 36, having 

borne two children 

(CPE and WF Bach) 


Veit Bach (died before 1578) 

An amateur cittern player; a 

Protestant, he moved to Thuringia 

from Hungary to escape the 

staunchly Roman Catholic Hapsburgs 

Johannes Hans Bach (1550 –1626) 

Known as ‘der Spielmann’ (‘the 

player’); became the first professional 

musician of the family after starting 

out, like his father, as a baker 

Johann Ambrosius 

Bach (1645–1695) 

A trumpeter and 

violinist; duties in 

Eisenach included 

twice- daily 

performances of 

cantatas from the 

tower of the town 

hall 

Johann Sebastian 

Bach (1685–1750) 

Christoph Bach 

(1613 –1661) 

Johann Sebastian’s 

grandfather; a court 

musician in Wechmar 

Maria Elisabeth 

Lämmerheit 

(1644–1694) 

Daughter of a 

furrier; aunt of 

composer and 

lexicographer 

Johann Gottfried 

Walther 

Anna Magdalena 

Wilcke 

(1701–1760) 

A professional 

singer, from a 

musical family; 

helped Johann 

Sebastian transcribe 

his work; they had 

13 children, seven of 

whom died at a 

young age 

Johann Christoph 

Bach (1645 –1693) 

A court and town 

musician in 

Arnstadt; Johann 

Ambrosius’ twin 

brother 

Johann Jacob Bach 

(1682 –1722) 

An oboist and 

flautist; served in the 

military band of 

King Charles XII of 

Sweden’s army

Richard Egarr director & harpsichord 

Richard Egarr brings a joyful sense of adventure 

and a keen, enquiring mind to all his music 

making. A brilliant harpsichordist and equally 

skilled on the organ, fortepiano and modern 

piano, Richard’s many roles include directing 

from the keyboard, playing concertos, giving 

solo recitals and playing chamber music. He is 

also an accomplished conductor, and relishes 

the chance to talk about music at every 

opportunity. 

Richard trained as a choirboy at York Minster, at 

Chetham’s School of Music in Manchester and as 

organ scholar at Clare College, Cambridge. His 

studies with Gustav and Marie Leonhardt further 

inspired his work in the field of historical 

performance. 

Since being appointed Music Director of the 

AAM in 2006, Richard has directed the orchestra 

in concerts around the world and in a number 

of acclaimed recordings. Richard is also involved 

with a number of other period ensembles. This 

season he appears in America with the Handel 

and Haydn Society, Tafelmusik and Portland 

Baroque; and he has performed as a soloist with 

The English Concert, the Orchestra of the Age 

of Enlightenment and the Orchestra of the 

18th Century. 

In 2006 Richard established the Choir of the 

AAM, and operas and oratorios lie at the heart of 

his repertoire more generally. He regularly 

appears at the Concertgebouw in Amsterdam 

with, among others, the Netherlands Opera 

Company; and in summer 2010 he conducted 

Handel’s Saul with the Britten-Pears Baroque 

Orchestra at Snape Maltings. 

Richard is also increasingly sought-after by nonperiod 

orchestras. This season he makes his 

debuts as conductor with the Rotterdam 

Philharmonic, the BBC National Orchestra of 

Wales, the Swedish Chamber Orchestra and the 

Dallas Symphony; and he appears annually with 

the Scottish Chamber Orchestra. 

“The Bernstein of Early Music” 

USA NATIONAL PUBLIC RADIO 

Richard has performed as a soloist throughout 

Europe, Japan and the USA, and his solo 

recording output comprises works by 

Frescobaldi, Orlando Gibbons, Couperin, Purcell, 

Froberger, Mozart and JS Bach. For many years 

he formed an “unequalled duo for violin and 

keyboard” (Gramophone) with violinist Andrew 

Manze, which resulted in acclaimed concerts 

and award-winning recordings of music from 

Stylus Phantasticus to Mozart and Schubert. 

Richard records exclusively for Harmonia Mundi 

USA. He has directed the AAM in recordings by 

JS Bach, including the Brandenburg Concertos; 

and in a complete cycle of Handel’s Opp.1-7 

instrumental music which has won the MIDEM, 

Edison and Gramophone Awards. 

Richard lives in Amsterdam with his wife and 

daughter. 


Academy of Ancient Music 

Back in 1973, most orchestras played old music 

in a modern style. Centuries of change had 

eroded the sound-worlds known to Bach, 

Handel, Haydn and Mozart: the instruments were 

different; the pitch was different; the number of 

players was different; the very essence and spirit 

of performances was different. 

But change was in the air. Wouldn’t it be 

wonderful, people asked, if we could turn the 

clock back; if we could find out more about 

composers’ original intentions and get closer to 

the style in which music was originally 

performed? This was the spirit in which 

Christopher Hogwood founded the AAM. It was 

revolutionary. Centuries of convention were cut 

away and baroque and classical masterworks 

were heard anew. The stringed instruments in 

Hogwood’s new orchestra had strings made of 

animal gut, not steel. The trumpets have no 

valves. The violins and violas didn’t have chinrests, 

and the cellists gripped their instruments 

between their legs rather than resting them on 

the floor. It wasn’t just the instruments or the 

sound of the music which changed, though; it 

was how it felt. AAM performances were full of 

energy and passion and joy. 

From these beginnings, one of the world’s great 

orchestras was born. Over the next three 

decades the AAM’s fame spread to every corner 

of the globe as it built up a celebrated 

discography of well over 250 CDs — Brit- and 

Grammy-award-winning recordings of the great 

baroque masterworks; opera releases starring 

Cecilia Bartoli, Dame Emma Kirkby and Dame 

Joan Sutherland; pioneering cycles of the Mozart 

and Beethoven symphonies. It performed live 

on every continent except Antarctica, inspiring 

music lovers worldwide with the passion and the 

power of its music-making. 

Richard Egarr — a leading light in the next 

generation of early music specialists — 

succeeded Hogwood in 2006. In his first four 

years as Music Director his recordings with the 

orchestra have won the Edison, Gramophone 


and MIDEM Awards; and he has directed 

hundreds of performances across four 

continents. The orchestra continues to work 

with a roster of guest directors including Pavlo 

Beznosiuk, Giuliano Carmignola, Paul Goodwin, 

Stephen Layton and Masaaki Suzuki, ensuring 

that new ideas and approaches continually 

inspire the group. In 2009 the AAM made history 

with the world’s first-ever live choral “cinecast”: its 

performance of Handel’s Messiah was beamed in 

real time from the King’s College Chapel, 

Cambridge to tens of thousands of people in 

over 250 cities around the globe. 

“The ultimate raspberry to anyone who 

says baroque music is predictable” 

THE INDEPENDENT, 2009 

Today, the AAM’s concert series in London and 

Cambridge lies at the heart of its work. This 

season’s programme is based around The Bach 

Dynasty — a major new concert series exploring 

the music of JS Bach and his many composerrelatives. 

Other highlights include Mozart’s early 

opera La Finta Giardiniera at the Barbican, and an 

intriguing programme showcasing the littleknown 

baroque and classical music of South 

America. The orchestra will collaborate with the 

likes of Bernard Labadie, acclaimed director of 

Les Violons du Roy, singers James Gilchrist, 

Rosemary Joshua, Andrew Kennedy and 

Elizabeth Watts, cellist Steven Isserlis, and the 

Choir of King’s College, Cambridge. 

The AAM’s international touring schedule in 

2010-11 is as wide-ranging as it has ever been. 

Among this year’s highlights are performances of 

JS Bach’s Brandenburg Concertos and Haydn’s 

The Creation at the Shanghai Concert Hall and in 

Perth; concerts with the star Korean soprano 

Sumi Jo at the National Centre for the 

Performing Arts in Beijing and around Singapore, 

South Korea and Taiwan; and performances in 

leading European venues including the 

Concertgebouw in Amsterdam and the Théatre 

des Champs-Elysées in Paris.


Violin 

Pavlo Beznosiuk* 

Rebecca Livermore 

Viola 

Rachel Byrt 

William Thorp* 

Cello 

Joseph Crouch* 

Theorbo 

William Carter 

Organ 

Stephen Farr 

Board of Directors 

Adam Broadbent 

Kay Brock LVO DL 

John Everett 

Matthew Ferrey 

John Grieves 

Christopher Hogwood 

CBE 

Heather Jarman 

Christopher Purvis CBE 

(Chairman) 

Dr Christopher Tadgell 

Sarah Miles Williams 

Soprano 

Charmian Bedford 

Philippa Hyde 

Leah Jackson 

Katie Thomas 

Alto 

Jacqueline Connell 

Susanna Spicer 

Tenor 

Julian Forbes 

Edmund Hastings 

Bass 

Richard Latham 

Philip Tebb 

In profile: William Carter theorbo 

William Carter was born in Florida, and trained initially as a modern 

guitarist. He soon fell in love with period instruments, though, and a 

Fulbright scholarship brought him to the UK. Since then he has 

performed all over the world and appeared on numerous CDs, both 

with the AAM and as a soloist. His most recent recording, ‘Fernando Sor, 

Early Works’, was featured on BBC Radio 3 and picked as Editor’s Choice 

in Gramophone. He is Professor of Baroque Studies and Lute at The 

Guildhall School of Music and Drama. 

Development Board 

Adam Broadbent 

Kay Brock LVO DL 

Delia Broke 

John Everett 


John Grieves 

Madelaine Gunders 

Elizabeth Hartley- Brewer 

Annie Norton 

Christopher Purvis CBE 

Chris Rocker 

Dr Christopher Tadgell 

Madeleine Tattersall 

Sarah Miles Williams 

Alison Wisbeach 

Music Director 

Richard Egarr 

Emeritus Director 

Christopher Hogwood 

CBE 

Chief Executive 

Michael Garvey 

Orchestra Manager 

Andrew Moore 

Head of External 

Relations 

Simon Fairclough 

*Sponsored chairs 

Leader 

Mr and Mrs George Magan 

Principal cello 

Dr Christopher and 

Lady Juliet Tadgell 

Principal flute 

Christopher and 

Phillida Purvis 

Sub- principal viola 

Sir Nicholas and 

Lady Goodison 

Sub- principal cello 

Newby Trust Ltd 

External Relations 

Manager 

Toby Chadd 

Administration Manager 

Samantha Fryer 

Finance Manager 

Elaine Hendrie 

Arts Management 

Trainee 

Sarah Reid 


The Bach Dynasty: 

Brandenburg Concertos 

Tuesday 19 October 

Cadogan Hall, London 

Pre- concert talk with Richard Egarr at 6.30pm 

See inside back cover for details of how to book 

The AAM and Richard Egarr bring their distinctive interpretation of JS Bach’s 

Brandenburg Concertos to Cadogan Hall on the heels of a celebrated new 

recording and a 14-concert tour of the USA. 

The Brandenburg story is well known. Having been penned in the 1710s, the 

concertos were presented by Bach to the Margrave of Brandenburg in a 

concerted but ultimately unsuccessful attempt to gain princely patronage; 

and in the Margrave’s library they languished, unperformed, unnoticed and 

seemingly forgotten even by Bach’s closest family — until they were 

rediscovered many years after his death. 

Happily for the music lovers of today, these works, replete with vibrant 

contrast and glittering instrumental virtuosity, were quickly recognized as 

some of the most masterful music of the baroque period. In the words of 

Richard Egarr, “these six concertos represent one of the glories of the 

instrumental repertoire — and arguably some of the best chamber music 

ever penned”. 

“ 

The Egarr- AAM Brandenburgs really blow. In a 

good way. They blow centuries of library dust off 

these pieces, and they blow fantastic horn and 

trumpet lines. Egarr & co are in it to win it! Whew! 

The first disc hardly played 10 seconds when I was 

grabbing for the remote control to play again the 

most amazing horn parts I have ever heard — 

wild, outdoorsy, jazzy, almost bepop. As the six 

concertos unfolded, there was no sense of 

letdown, just continuing pleasant surprises... 

So, yes, a very strong recommendation... 

STEREOPHILE MAGAZINE, JUNE 2009 

” 

14 ACADEMY OF ANCIENT MUSIC, 2010-2011 SEASON

South American 

connections 

Music by South American composers and 

their European contemporaries 

Wednesday 24 November West Road Concert Hall, Cambridge 

Thursday 25 November Wigmore Hall, London 

Pre- concert talks with Dr Alexander Samson (UCL) at 6.30pm in Cambridge and London 

See inside back cover for details of how to book 

Growing up in Brazil, Rodolfo Richter 

— like generations of young musicians 

before him — had no access to the rich 

musical heritage of South America, 

created (and then destroyed) by the 

complex and extensive cultural 

interchange with Europe in the 

sixteenth and seventeenth centuries. 

Much of the music is still undiscovered, 

lying neglected in churches and private 

collections. Putting this programme 

together, then, has been a labour of 

love. Velasco’s Desvelado dueño mio will 

be heard for the first time in centuries 

after Rodolfo persuaded a secretive 

collector to allow him to play it. Then, 

while lying in his hospital bed 

recovering from heart surgery, Rodolfo 

found a horn part from Bolivia which 

fitted exactly the Brazilian Sonata 

Chiquitana. Where the paths of these 

two works crossed, and whether 

directly or by a common influence, is 

unclear; they are reunited in this 

programme. Meanwhile the Cachua, a 

sort of folk tune, will — true to its roots 

— form the centre of what Rodolfo 

describes as “a jamming session”. 

Join us for a journey of musical 

discovery as Rodolfo and Juanita 

explore the music of their homeland. 

Rodolfo Richter director & violin 

Juanita Lascarro soprano 

Rodolfo Richter was born and 

brought up in Brazil, and 

studied the violin with Klaus 

Wusthoff and Pinchas 

Zuckermann and composition 

with Pierre Boulez. He won the 

Antonio Vivaldi International 

Violin Competition in 2001, 

and has performed with 

orchestras across the world 

in repertoire from Vivaldi’s 

concertos to music by 

John Cage. 

Colombian soprano Juanita 

Lascarro began her studies in 

biology in Bogotá, before 

moving to Cologne to pursue 

her singing career. Since then 

performances with Sir Simon 

Rattle, Vladimir Ashkenazy and 

Antonio Pappano, as well as 

numerous recitals, have 

confirmed Juanita’s status as 

one of the music world’s 

brightest talents. 

“The Colombian soprano Juanita Lascarro — 

petite, knowing, and utterly irresistible — 

becomes the convincing focus of everyone’s 

desire. The singing is first class.” 

(THE INDEPENDENT 2009). 


Supporting the Academy of Ancient Music 

We live in a world of worthy causes. Why 

support an orchestra like the AAM? 

For centuries, people have understood the 

importance of culture. The arts enrich society and 

change lives. They help to make life worth living. 

For centuries, people have also understood that 

culture is costly, and that it can only thrive if 

those who are in a position to sustain it do so 

generously. The music which the AAM performs 

only ever came into being because of a culture 

of patronage: Monteverdi was supported for 

much of his career by the Duke of Mantua; JS 

Bach composed many of his instrumental 

masterpieces while employed at the courts of 

Weimar and Köthen; and Haydn’s 104 

symphonies may never have been written had 

he not enjoyed the backing of the Esterházy 

family. The music of these great composers — 

and of many others besides — stands as 

testament not only to individual genius, but also 

The AAM Society 

The AAM Society is the orchestra’s closest group 

of regular supporters. Membership ranges from 

£250–£20,000+ per annum — or from £100 per 

annum for Young Supporters — given either as a 

lump sum or by regular donations. Members’ 

contributions provide the vital core funding 

required if the orchestra is to continue to 

perform. 

Society members enjoy a very close involvement 

with the life of the AAM. After performances in 

London, members dine with the director, soloists 

and AAM musicians. They have a chance to 

become a part of orchestral life behind the 

scenes by sitting in on rehearsals for concerts and 

recordings. At least once each year they have the 

opportunity to accompany the orchestra on an 

international tour — next month, for example, 

forty will travel with the AAM and the Choir of 

King’s College, Cambridge on a tour of The 

Netherlands. 


to support from the wealthy which enabled 

them to realise their potential. 

Over the centuries, successive generations of 

philanthropists created and sustained the 

orchestras and choirs which kept this music alive. 

It is their legacy which we inherit today. 

For a time, it seemed that the future of the arts in 

Britain would be taken care of by the state; that 

the need for support from generous individuals 

was a thing of the past. For better or worse, 

those days are long gone. The Academy of 

Ancient Music does not receive any regular 

public funding, and income from ticket sales 

will fall short of covering the full cost of 

sustaining the orchestra by at least £400,000 

this year. 

The future of ancient music lies in the hands of a 

new generation of philanthropists. 

Those gving over £1,000 per year receive 

invitations to regular recitals and other special 

events held at the homes of fellow members. 

Those giving over £5,000 per year have the 

opportunity to sponsor a specific position in the 

orchestra, and are invited to join the Council of 

Benefactors, a forum which will meet annually to 

receive an update on the orchestra’s performance 

from the Chief Executive and Chairman. 

Tax efficient giving 

Because the AAM is a charity, gifts from UK 

taxpayers can be made in a tax efficient manner 

under the Giftaid scheme.The cost of a gift to the 

donor can be as little as half of its value to the 

AAM. The orchestra can claim back from the 

HMRC the basic rate tax already paid by the 

donor, and higher and additional rate taxpayers 

can claim tax relief on the difference between the 

basic rate and the applicable rate of income tax:

Membership 

level 

Young Supporter £100 £125 £62.50 £75 £8.33 

(under 40 only) 

Donor £250 £312.50 £156.25 £187.50 £20.83 

Benefactor £500 £625 £312.50 £375 £41.67 

Principal Benefactor £1,000 £1,250 £625 £750 £83.33 

Patron £2,500 £3,125 £1,562.50 £1,875 £208.33 

Principal Patron £5,000 £6,250 £3,125 £3,750 £416.67 

The Hogwood Circle £10,000 £12,500 £6,250 £7,500 £833.33 

The Chairman’s Circle £20,000 £25,000 £12,500 £15,000 £1,666.67 

Gifts of shares 

Donors are encouraged to consider covering 

the cost of their AAM Society membership by 

making gifts of shares. Generous tax incentives 

are available to individuals who support 

charities in this manner. Donors are able to 

claim income tax relief on the value of shares 

and securities donated, and are also exempt 

from any tax on capital gains that would have 

arisen if the shares had been sold. In some 

Leaving a legacy 

Minimum 

donation 

Over the last four decades the Academy of 

Ancient Music has brought joy and inspiration 

to millions of people. Our aim over the next is 

to begin to build up an endowment fund 

which will enable the orchestra to do so in 

perpetuity. 

Leaving a legacy is one of the most important 

and enduring ways in which you can support 

the AAM. Every gift, whatever its value, will 

help the orchestra to plan for its future with 

confidence. Whether you give £5,000 to 

endow one pre- concert talk each year or £5 

million to endow the AAM’s entire London 

season, your bequest will have a real impact 

in enabling the AAM to keep the music of the 

baroque and classical periods alive, and to 

enrich the lives of music lovers for 

generations to come. 

Value of donation 

to AAM after 

Giftaid 

Final cost to 

additional rate 

(50%) taxpayer 

after tax relief 

Final cost to 

higher rate (40%) 

taxpayer 

after tax relief 

Equivalent 

monthly 

donation 

circumstances the cost of the gift could be 

under 50% of the eventual value to the AAM. 

More information is available from the Head of 

External Relations, Simon Fairclough, on 01223 

301509 or s.fairclough@aam.co.uk. 

How to join 

To join the AAM Society, please complete and 

return the form on page 19 of this booklet. 

Legacies are highly tax efficient: the AAM’s 

charitable status means that gifts are exempt 

from Inheritance Tax, and any legacy you 

bequeath may also reduce the overall tax 

liability due on your estate. 

Should you find yourself a beneficiary under a 

will, you may also wish to consider 

transferring part of your inheritance to the 

AAM using a Deed of Variation. Amounts 

transferred in this manner become freed of 

any Inheritance Tax otherwise due, affording 

the opportunity for the AAM to benefit from 

your generosity during your lifetime. 

The Head of External Relations, Simon 

Fairclough, is always happy to talk informally 

and in confidence with anyone considering 

making provision for the AAM in their will. He 

can be contacted on 01223 301509 or 

s.fairclough@aam.co.uk. 


AAM Funders & Supporters 

The AAM is indebted to the following trusts, companies, public 

bodies and individuals for their support of the orchestra’s work: 

AAM Business Club 

Cambridge University Press 

Kleinwort Benson 

Amberstone Trust 

CHK Charities Ltd 

Dunard Fund 

John Ellerman Foundation 

Esmée Fairbairn Foundation 

Fidelity UK Foundation 

Goldsmiths’ Company Charity 

The Idlewild Trust 

The AAM Society 

Special gifts 

The Academy of Ancient Music extends its 

grateful thanks to Lady Sainsbury of Turville, 

who has supported the orchestra’s work at a 

particularly significant level this year. 

The Chairman’s Circle 

(Donations £20,000–£49,999 per annum) 


Dunard Fund 

The Hogwood Circle 

(Donations £10,000 - £19,999 per annum) 


Mr and Mrs George Magan 

Christopher and Phillida Purvis * 

Mrs Julia Rosier 

Dr Christopher and Lady Juliet Tadgell 

Principal Patrons 

(Donations £5,000 – £9,999 per annum) 

Lady Alexander of Weedon 

Sir Nicholas and Lady Goodison * 

Richard and Elena Bridges 

Christopher Hogwood CBE * 

Mrs Sheila Mitchell 

Newby Trust Ltd * 

Chris Rocker and Alison Wisbeach 

and other anonymous Principal Patrons 

Patrons 


Adam and Sara Broadbent 

Mr and Mrs Graham Brown 

Mr and Mrs JE Everett 

John and Ann Grieves 

Mark and Liza Loveday 

John and Joyce Reeve 

Mark West 

Sarah and Andrew Williams 

SVG Capital 

and other anonymous Patrons 

Principal Benefactors 


George and Kay Brock 

Mrs D Broke 

Clive and Helena Butler 

Jo and Keren Butler 

Sir Charles Chadwyck- Healey Bt 

Kate Donaghy 

The Hon Simon Eccles 


The Michael Marks Charitable Trust 

Anthony Travis Charitable Trust 

Arts Council England through the 

Sustain programme 

Orchestras Live 

Cambridge City Council 

Elizabeth Hartley- Brewer 

Elma Hawkins and Charles Richter 

Lord Hindlip 

John McFadden and Lisa Kabnick * 

Mr and Mrs C Norton 

Lionel and Lynn Persey 

Nigel and Hilary Pye * 

Mr and Mrs Charles Rawlinson 

Sir Konrad and Lady Schiemann * 

JG Stanford 

John and Madeleine Tattersall 

Marcellus and Katharine Taylor- Jones 

Stephen Thomas 

Mrs R Wilson Stephens 

Charles Woodward 

and other anonymous Principal Benefactors 

Benefactors 

(Donations £500 – £999) 

Maureen Acland OBE * 

Dr Aileen Adams CBE 

Bill and Sue Blyth 

Elisabeth and Bob Boas * 

Claire Brisby and John Brisby QC * 

Mr and Mrs Edward Davies- Gilbert 

Charles Dumas 

Mr and Mrs Jean- Marie Eveillard 


Marshall Field 

Andrew and Wendy Gairdner 

William Gibson 

The Hon Mr and Mrs Philip Havers 

Professor Sean Hilton 

Dr and Mrs G and W Hoffman 

Heather Jarman * 

David and Linda Lakhdhir 

Susan Latham 

Tessa Mayhew 

Mr and Mrs Hideto Nakahara 

Rodney and Kusum Nelson- Jones 

Nick and Margaret Parker 

Timothy and Maren Robinson 

Bruno Schroder and Family 

Peter Thomson 

Peter & Margaret Wynn 

Julia Yorke 

and other anonymous Benefactors 

Donors 

(Donations £250 – £499) 

Angela and Roderick Ashby- Johnson 

Mrs Nicky Brown 

Dr and Mrs S Challah 

David and Elizabeth Challen 

The Cottisford Trust 

Derek and Mary Draper 

Beatrice and Charles Goldie 

Steven and Madelaine Gunders 

Gemma and Lewis Morris Hall 

Mrs Helen Higgs 

Lord and Lady Jenkin of Roding 

Richard Lockwood 

Yvonne de la Praudière 

Robin and Jane Raw 

Annabel and Martin Randall 

Arthur L Rebell and Susan B Cohen 

Michael and Giustina Ryan 

Miss E M Schlossmann 

Tom Siebens and Mimi Parsons 

Rt Hon Sir Murray Stuart- Smith * 

Robin Vousden 

Pippa Wicks 

Paul F. Wilkinson and Associates Inc. 

and other anonymous Donors 

* denotes founder member 

Members of the AAM Bach Patrons 

Lady Alexander of Weedon 

Richard and Elena Bridges 

Mr and Mrs Graham Brown 

Jo and Keren Butler 



Dunard Fund 

Elizabeth Hartley-Brewer 

The Hon Simon Eccles 

Graham and Amanda Hutton 

Mark and Lisa Loveday 

Mrs Sheila Mitchell 

Mr and Mrs Charles Rawlinson 

John and Joyce Reeve 

Dr Christopher and Lady Juliet Tadgell 

John and Madeleine Tattersall 

Stephen Thomas 

Mark West 

Charles Woodward 

Cambridge Bach Supporters 

Cambridge Bach Friends 

and other anonymous AAM Bach Patrons

Join the AAM Society 

I would like to join the AAM Society 

I would like to give membership of the AAM Society to 

someone else as a gift 

Your details 

Name: ........................................................................................................................................ 

Address: .................................................................................................................................... 

........................................................................................................................................................ 

Telephone: .............................................................................................................................. 

Email: .......................................................................................................................................... 

Gift membership — member’s details 

Please complete this section only if you are giving Society 

membership to someone else as a gift. 

Member’s name: ................................................................................................................ 

Member’s address: ............................................................................................................ 

........................................................................................................................................................ 

Member’s telephone: ...................................................................................................... 

Member’s email: ................................................................................................................. 

Membership level 

The Chairman’s Circle £20,000+ 

The Hogwood Circle £10,000–£19,999 

Principal Patron £5,000–£9,999 

Patron £2,500–£4,999 

Principal Benefactor £1,000–£2,499 

Benefactor £500–£999 

Donor £250–£499 

Young Supporter (under 40 only) £100–£249 

Date of birth: .................................................................................................................. 

Acknowledgement 

Please acknowledge my gift using the following form of 

wording 

....................................................................................................................................................... 

I would prefer to remain anonymous 

Payment details 

I would like to make my donation by 

I enclose a cheque for £................................ 

(please make payable to ‘AAM’) 

I enclose a CAF cheque for £................................ 

(please make payable to ‘AAM’) 

I would like to pay by standing order 

(please complete the standing order section below) 

I would like to make a gift of shares (please contact the AAM) 

Three-year pledge 

By pledging to support the AAM over a three-year period, you can 

help the orchestra to plan for the future with confidence. 

Please tick here if you are able to pledge to support the 

orchestra at this level for three years. 

Leaving a legacy 

Please tick here if you would be willing to receive information 

about remembering the AAM in your will. 

Matched giving 

My firm operates a matched giving policy. Please contact me 

to discuss this further. 

Giftaid declaration 

Please complete this section if you pay UK income tax and/or 

capital gains tax at least equal to the tax which the AAM will 

reclaim on your donations in the appropriate tax year. 

Please treat this donation and all donations that I make from the 

date of this declaration until I notify you otherwise as Giftaid 

donations. 

Signed: ..................................................................................................................................... 

Date: ........................................................................................................................................... 

Donations made by standing order 

Please complete this section if you would like to make your 

donation to the AAM by standing order. 

Name of bank: ..................................................................................................................... 

Bank address: ........................................................................................................................ 

........................................................................................................................................................ 

Account number: ............................................................................................................... 

Sort code: ................................................................................................................................ 

Please pay Academy of Ancient Music, Lloyds TSB, Gonville Place 

Branch, Cambridge, sort code 30-13-5, Account number 02768172 

the sum of 

£...................................................................................................................................................... 

per month 

quarter 

year 

starting on: ............................................................................................................................. 

Signed: ...................................................................................................................................... 

Date: ........................................................................................................................................... 

Full name: ............................................................................................................................... 

Please return your completed form to: 


Head of External Relations 


32 Newnham Road 

Cambridge CB3 9EY 


Genius of Britannia’s isle 

an anniversary celebration of Thomas Arne 

Alfred the Great (1753 version) 7 & 9 October, 7.30 pm 

Artaxerxes Insight Evening 8 October, 7.30pm 

The Classical Opera Company celebrates Arne’s 300th birthday with two concert performances of 

Alfred, presenting a rare opportunity to hear “Rule, Britannia” in its original context, and an insight 

evening exploring Arne’s masterpiece, Artaxerxes, in advance of the company’s eagerly-awaited 

new recording of the work. 

£11.50 - £34.50: www.kingsplace.co.uk / 020 7520 1490 (savings apply to on-line bookings) 


www.classicalopera.co.uk 

Wigmore Hall 

36 Wigmore Street 

London W1U 2BP 

Director: John Gilhooly 

The Wigmore Hall Trust 

Registered Charity No.1024838 

Wigmore Hall is a no-smoking venue. 

No recording or photographic equipment may be taken into the 

auditorium, nor used in any other part of the Hall without the 

prior written permission of the Hall Management. 

Wigmore Hall is equipped with a ’Loop’ to help hearing aid users 

receive clear sound without background noise. Patrons can use 

the facility by switching their hearing aids over to ’T’. 

In accordance with the requirements of City of Westminster, 

persons shall not be permitted to stand or sit in any of the 

gangways intersecting the seating, or to sit in any of the other 

gangways. If standing is permitted in the gangways at the sides 

and rear of the seating, it shall be limited to the numbers 

indicated in the notices exhibited in those positions. 

Facilities for Disabled People: 

Please contact House Management 

for full details.

JS Bach's forebears (PDF) - Academy of Ancient Music

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