Events Diary and Details for Winter Concert Series 2010 - 2011
Date	Time	Venue	Event
Sunday 12 December 2010	6.00 pm	St Mary's Church, Boxford	Haydn at Christmas
Sunday 6 March 2011	6.00 pm	St James's Church, Nayland	Trevor Pinnock
Monday 30 May 2011	6.00 pm	St Mary's Church, Hadleigh	J.S. Bach: Magnificat
For concert details click links or scroll down

SUNDAY 12 DECEMBER 2010, 6.00 p.m.

St Mary's Church, Boxford

Haydn at Christmas
Missa Sancti Nicolai (1772)
Symphony no. 25 in C major (1763); Cantilena pro Adventu

Johann Michael Haydn: Horn Concerto in D major
Pastorellas by Gregor Joseph Werner, Franz Xaver Brixi and Johann Michael Haydn

Claire Tomlin (soprano)
Anneke Scott (horn)
Psalmody
Essex Baroque Orchestra
directed by Peter Holman

Joseph Haydn’s charming Missa Sancti Nicolai was written in 1772, presumably for performance on St Nicholas’s day, 6 December, the beginning of the Christmas season in Austria. Its folk-like style, with drones and rustic melodies, seems intended to evoke the music of the shepherds in the Christmas story. In this programme the mass movements are surrounded by other vocal and instrumental music, as they would have been at the time. It was a common practice to use movements of symphonies during the mass, so we have divided up Haydn’s C major Symphony no. 25, using the first movement as an intrada to introduce the proceedings and the other movements as an Epistle sonata, placed between the Epistle and the Gospel. The delightful D major horn concerto by Johann Michael Haydn, Joseph’s younger brother, is played during the Communion, a common use of such works in the eighteenth century. The programme is completed by Joseph Haydn’s Cantilena pro Adventu, an Advent aria in operatic style which serves as the Offertory motet, and several choral pastorellas, written in the same rustic Christmas style as the Mass.

SUNDAY 6 MARCH 2011, 6.00 p.m.

St James’s Church, Nayland

Trevor Pinnock
harpsichord

J. S. Bach: Partita no. 6 in E minor, BWV830
music by Johann Jakob Froberger, Elisabeth Jacquet de la Guerre, Louis & François Couperin
and Jean-Philippe Rameau

Trevor Pinnock is one of the most famous and distinguished figures in the early music field. For thirty years he directed the English Concert, which pioneered performances of Baroque and Classical music on period instruments, and he now divides his time between conducting, solo harpsichord recitals, chamber music and educational projects.
In this programme Trevor Pinnock plays a selection of some of the greatest music written for the harpsichord by seventeenth- and eighteenth-century German and French composers. He begins with one of the finest suites by the Stuttgart composer Johann Jakob Froberger (1616–1667), which includes a moving lament on the death of the Austrian emperor Ferdinand III, who died in 1657. J. S. Bach’s Partita no. 6 in E minor, written about seventy years later, is one of the most extended examples of the suite form, consisting of a toccata and six dances. The second half of the concert is devoted to pièces de clavecin by the seventeenth-century French composers Louis Couperin (1626–1661) and Elisabeth Jacquet de la Guerre (1665–1729) and the two greatest French eighteenth-century composers, François Couperin (1661–1733)—nephew of Louis—and Jean-Philippe Rameau (1683–1764).
We are delighted to be able to welcome Trevor Pinnock back to the Festival after his very successful concert with the European Brandenburg Ensemble. We feel sure that his recital will be very popular; early booking is recommended!

MONDAY 30 MAY 2011, 6.00 p.m.

St Mary’s Church, Hadleigh

J. S. Bach: Magnificat in D major BWV243
‘Lobet Gott in seinen Reichen’, BWV11 (the ‘Ascension Oratorio’)
‘O ewiges Feuer, O Ursprung der Liebe’, BWV34
‘Lobe den Herren, den mächtigen König der Ehren’, BWV137

Claire Tomlin (soprano)
Timothy Travers-Brown (countertenor)
Tom Raskin (tenor)
Giles Davies (baritone)
Psalmody
Essex Baroque Orchestra
directed by Peter Holman

Johann Sebastian Bach’s setting of the Magnificat is one of his finest and most popular religious works. Its original version was written for Bach’s first Christmas at St Thomas’s church in Leipzig, in 1723. Ten years later, possibly for the feast of the Visitation on 2 July 1733, he revised the work, transposing it from E flat major to D major, removing four Christmas movements, and replacing recorders with flutes. The concert includes three mature festive cantatas that also use a large orchestra, including three trumpets and timpani. The ‘Ascension Oratorio’ ‘Lobet Gott in seinen Reichen’, performed on 19 May 1735, is notable for its concerto-like first chorus and the aria ‘Ach, bleibe doch’, the first version of the Agnus Dei of the B minor Mass. The Whitsun cantata ‘O ewiges Feuer, O Ursprung der Liebe’ begins with one of Bach’s greatest and most complex choruses, memorable for its vivid depiction of flickering flames. ‘Lobe den Herren, den mächtigen König der Ehren’, written for 19 August 1725, is a brilliant set of variations on Joachim Neander’s stirring chorale, known in the English-speaking world as ‘Praise to the Lord, the almighty, the king of creation’.