Beethoven's Eroica Program - Australian Haydn Ensemble

BEETHOVEN’S EROICA 4 – 14 August 2022

REACH

SEASON 2022 FOR THE

STARS

“AND IN THEIR MOTIONS HARMONY DIVINE” JOHN MILTON

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BEETHOVEN’S EROICA // PROGRAM

// PERFORMANCE DATES

WRANITZKY Symphony in C minor Op. 31 La Paix (arr. Wranitzky) First movement

CANBERRA Thursday 4 August, 7pm Wesley Music Centre

MOZART Symphony No. 40 K. 550 in G minor (arr. Cimador)

BERRY Friday 5 August, 7pm Berry School of Arts

------ Interval -----BEETHOVEN Symphony No. 3 in E flat major Op. 55 Eroica (arr. Masi & Lim) The concert duration is approximately 1 hr 50 mins including interval // ARTISTS AUSTRALIAN HAYDN ENSEMBLE Skye McIntosh, Artistic Director & Violin Matthew Greco, Violin Karina Schmitz, Viola James Eccles, Viola Daniel Yeadon, Cello Jacqueline Dossor, Double Bass Melissa Farrow, Flute

GOULBURN Saturday 6 August, 7pm Goulburn Performing Arts Centre SOUTHERN HIGHLANDS Sunday 7 August, 4pm Burrawang School of Arts SYDNEY Monday 8 August, 7pm City Recital Hall AUSTRALIAN DIGITAL CONCERT HALL Monday 8 August, 7pm LAKE MACQUARIE Saturday 13 August, 3pm Rathmines Theatre PARRAMATTA Sunday 14 August, 4pm Riverside Theatres

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// ARTISTIC

DIRECTOR’S MESSAGE The Australian Haydn Ensemble has always been passionate about reviving the eighteenth-century custom of performing large-scale symphonic works in chamber version. It was a common part of everyday life at the time and bringing these arrangements to the concert stage provides a fascinating and often surprising window into the cultural appreciation of the day.

Many of the works we have played in this manner in the past have not, as far as we know, been performed since the first or second decades of the nineteenth century.

Our program today, BEETHOVEN’S EROICA, presents three such chamber versions of works by Beethoven, Mozart and Wranitzky.

The centrepiece is Beethoven’s iconic Symphony No. 3, the Eroica. The chamber arrangement or ‘adaptation’ we present was made by Girolamo Masi for flute, 2 violins, 2 violas, cello and double bass.

Having performed several of these over the past decade, we have discovered that often the arranger has taken certain liberties with the original score. In Masi’s case, he often makes cuts to sections of the work that were probably deemed ‘too difficult’ for the amateur musician to play at home on a Saturday night with friends. For Masi’s adaptation of the Eroica, we have restored the missing sections to match Beethoven’s original score with the help of Australian arranger, Vi King Lim. This has been done with meticulous care, to honour the eighteenth-century intention of keeping as true as possible to the composer’s original work.

The creation of these chamber arrangements occurred quite often in Haydn and Beethoven’s time.

Chamber performances of works of this

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size were popular throughout London, used for salon concert programs as well as being works that could be played at home by amateurs. It was also a great way for composers to sell their works to the public much in the way people purchase albums or download tracks from iTunes today.

The program also features a chamber arrangement of Mozart’s wonderful Symphony No. 40 by Giambattista Cimador.

Cimador was a double bass player, evident in some of his arrangement choices which feature the instrument in a more soloistic way. He arranged a volume of Mozart’s symphonies for this instrumentation including the Jupiter, Haffner and Prague.

Our program also includes Paul Wranitzky’s own chamber arrangement of his dramatic revolution-inspired Symphony in C minor known as La Paix or in its longer version -‘Grand Characteristic Symphony for the Peace with the French Republic’. Wranitzky, a Czech composer who moved to Vienna when he was about 20 years old, became a good friend of Haydn and was one of the few people officially permitted by Haydn to arrange his music.

We perform the first movement of La Paix as an overture to our program; in itself it has the feeling of a complete work. Wranitzky presents a dramatic opening section followed by English and Prussian marches in turn.

I hope you enjoy this program as much as we have enjoyed researching and preparing it for you!

Skye McIntosh

// THE ENSEMBLE

The Australian Haydn Ensemble, founded in 2012

by Artistic Director and Principal Violinist Skye McIntosh, has quickly established itself as one of Australia’s leading period-instrument ensembles, specialising in the repertoire of the late baroque and early classical eras. It takes its name from the great Joseph Haydn, a leading composer of the late eighteenth century, when style was transitioning from Baroque to Classical.

Based around a small core of strings and flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet, to a full orchestra.

It has developed a flourishing regular series at the Sydney Opera House Utzon Room, City Recital Hall and in Canberra, where it was Ensemble in Residence at the Australian National University during 2014. It also performs throughout regional NSW and presents education workshops to students 4

of all ages, focusing on imparting eighteenth-century historical performance techniques. In January 2019, AHE presented programs at the Peninsula Summer Music Festival and the Organs of the Ballarat Goldfields Festival in Victoria, receiving glowing reviews. In early 2022 the Ensemble performed at the Adelaide Festival.

In 2016 the group released its debut ABC Classics recording The Haydn Album which reached number one on the Australian Aria Classical charts.

It received rave reviews, one claiming that the Ensemble stood “proudly shoulder to shoulder with the many period instrument ensembles found in Europe”. In October 2017 AHE released Beethoven Piano Concertos 1 & 3 on the ABC Classics label, showcasing newly-commissioned chamber versions of the works in the style of the eighteenth century, in collaboration with Aria award-winning historical keyboardist Dr Neal Peres Da Costa. Reviewers

have been extremely enthusiastic: “This recording is remarkable not only for the pianist’s wonderfully free and fluent playing, but also for the excellent performance of the Ensemble.”

To commemorate its 10th anniversary, the Ensemble will release its third CD, featuring music by Mozart, in late-2022.

The Ensemble has presented a host of unique chamber music and orchestral programs, working with a range of world-class musicians such as Erin Helyard, Neal Peres Da Costa (Australia), Catherine Mackintosh, Melvyn Tan, Benjamin Bayl (UK), Marc Destrubé (Canada), Midori Seiler (Germany) as well as singers Sara Macliver (Australia), Stephanie True (Canada), Simon Lobelson (Australia), Helen Sherman (UK) and David Greco (Australia).

It is particularly interested in presenting unusual

programs of eighteenth-century chamber versions of larger orchestral symphonic and concerto works by Haydn, Mozart and Beethoven, as well as bringing to a wider audience some of the lesser-known contemporaries of these composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister and Vanhal.

Members of the Australian Haydn Ensemble bring a wealth of expertise from first-class period and modern ensembles and orchestras around the world, such as the Australian Brandenburg Orchestra, Australian Chamber Orchestra, Orchestra of the Antipodes, Concerto Köln, English Baroque Soloists, English Chamber Orchestra, Irish Chamber Orchestra, Julliard 415, Les Talens Lyrique, New Dutch Academy and Orchestra of the Age of Enlightenment.

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ARTISTS AND PERIOD INSTRUMENTS

VIOLIN

VIOLIN

Skye McIntosh Skye McIntosh is the founder and Artistic Director of the Australian Haydn Ensemble - now in its tenth year. This audacious undertaking is a testament to Skye’s musicianship and entrepreneurial spirit.

Matthew Greco Matthew is a concertmaster, soloist and core member of some of the world’s leading period instrument ensembles.

He has been a regular member of the Australian Brandenburg Orchestra and concertmaster of the Orchestra of Antipodes (Pinchgut Opera) since 2006.

In 2010 he moved to The Netherlands where he studied Baroque violin at The Royale Conservatoire of The Hague and worked with leading European ensembles including De Nederlandse Bachvereniging and Les Talens Lyriques (France). He is a founding member of the Sydney-based ensemble The Muffat Collective.

AHE, known for its innovative and ambitious programming, is delighted to be performing at both the Adelaide Festival and Canberra International Music Festival this year, as well as continuing to tour to Canberra and across regional New South Wales.

Skye attended the Royal Academy of Music, London, the Queensland Conservatorium and the Sydney Conservatorium of Music, has made numerous concert appearances as soloist and director and has performed internationally with the Australian Haydn Quartet at The Juilliard School. She has also toured nationally with the Australian Brandenburg Orchestra, as well as performing with Pinchgut Opera and the Australian Romantic & Classical Orchestra.

In 2022 ABC Classics will release AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major.

Skye is playing a violin by Tomaso Eberle, 1770, Naples.

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Matthew enjoys teaching baroque violin at the Sydney Conservatorium of Music as well as performing with a variety of international ensembles and festivals in Australia and Europe. Committed to producing a unique and individual sound based on historical performance practices, Matthew believes that seventeenthcentury and eighteenth-century music is full of vitality and emotions that speak to us now, as much as they did in the past.

Matthew is playing a violin by David Christian Hopf, 1760, Quittenbach.

VIOLA

VIOLA

Karina Schmitz American violist Karina Schmitz recently settled in Sydney and is thrilled to find herself immersed in the rich and vibrant musical scene in Australia. In addition to performing with the Australian Haydn Ensemble, she is principal violist with Orchestra of the Antipodes (Pinchgut Opera), and has performed with the Australian Chamber Orchestra, the Australian Romantic & Classical Orchestra, Van Diemen’s Band, Salut!

Baroque, and Ensemble Galante. In the United States, Karina was principal violist of Handel & Haydn Society in Boston, principal violist of Apollo’s Fire in Cleveland, principal violist of the Carmel Bach Festival in California, and founding violinist/violist with New Yorkbased seventeenth-century ensemble ACRONYM.

James Eccles James is a Sydney-based violist who has performed with many of Australia’s leading ensembles including the Australian Haydn Ensemble, Orchestra of Antipodes (Pinchgut Opera), Australian Brandenburg Orchestra, Sydney Dance Company, and as Principal Viola with Sydney Philharmonia Choirs.

Karina holds viola performance degrees from New England Conservatory of Music (Boston) and the Cleveland Institute of Music. Her early music studies began as an undergraduate at Oberlin Conservatory with Marilyn McDonald, David Breitman, and Miho Hashizume, and she continued her training in the Apollo’s Fire Apprentice Program.

James is playing a viola by Warren NolanFordham, 2013, Melbourne after Gasparo da Salo, sixteenth-century, Brescia.

As a champion of new Australian music, James has premiered, commissioned and created many new works over the years with groups like Ensemble Offspring, as Artistic Director of the Aurora Festival of Living Music and as Co-director of The Noise String Quartet.

James holds a Master of Arts in Classical String Performance, a Graduate Diploma in Arts Management, and is a graduate of ANAM.

Karina is playing a viola by Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan.

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ARTISTS AND PERIOD INSTRUMENTS

CELLO

DOUBLE BASS

Daniel Yeadon* Dr Daniel Yeadon is a Lecturer at the Sydney Conservatorium of Music, University of Sydney, where he teaches cello and viola da gamba, coaches chamber music, and engages in research into learning, teaching and historical performance practices. Originally from the UK, Daniel read physics at Oxford University and then completed his postgraduate studies at the Royal College of Music in London.

Jacqueline Dossor Originally from Sydney, Jacqueline’s love of classical music progressed to formal study at the Sydney Conservatorium of Music. After graduating, Jacqueline moved to the UK in 2004 to complete post-graduate study at the Royal Academy of Music in London. She has worked regularly with UK orchestras and chamber ensembles including the English Chamber Orchestra, the Orchestra of the Age of Enlightenment, BBC National Orchestra of Wales, Welsh National Opera, English Touring Opera, and English National Ballet among others.

Daniel has a love of a wide range of musical genres and is an exceptionally versatile cellist and viola da gamba player, performing repertoire from the Renaissance through to Contemporary.

Daniel is a passionate chamber musician, playing regularly with Australian Haydn Ensemble, Ironwood, Australian Chamber Orchestra (ACO), Australian Romantic & Classical Orchestra, and Bach Akademie Australia. For many years Daniel was a member of the renowned Fitzwilliam String Quartet and the exuberant period instrument ensemble Florilegium. He has made many awardwinning recordings.

Daniel is playing a cello by William Forster II, 1781, London.

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Jacqueline has been a core member of the Australian Haydn Ensemble since its formation and has performed as guest principal with Australia’s other top period orchestras including the Orchestra of the Antipodes as well as the Australian Brandenburg Orchestra. Now based in Western Australia, Jacqueline has played for the West Australian Symphony Orchestra, the Perth Symphony Orchestra and Australian Baroque.

Jacqueline is playing a double bass by Unknown, c.1740, Northern Italy, likely Bologna.

*Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music **Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra

// FLUTE Melissa Farrow** Melissa has been Principal Flute with the Australian Brandenburg Orchestra since 2003, and a core member of the Australian Haydn Ensemble since its formation. She performs and records regularly with groups including Orchestra of Antipodes (Pinchgut Opera), the Australian Chamber Orchestra, Ironwood, the Australian Romantic & Classical Orchestra, the Marais Project, and Latitude 37, among others. Her numerous solo performances have been with the AHE, NZ Barok, the Australian Brandenburg Orchestra, and Pinchgut Opera. She is featured as concerto soloist in AHE’s digital film Sacro Amor, Gretry’s L’amant Jaloux and in the Australian Brandenburg Orchestra’s Brandenburg Celebrates.

After graduating from the Sydney Conservatorium, Melissa undertook postgraduate study in modern flute, recorder, and traverso in Amsterdam. She teaches period flute at the Sydney Conservatorium and has presented Baroque style workshops and masterclasses to modern flautists in NZ, with Adelaide Baroque (Adelaide), Flute Connections Studio (Sydney), the Australian Flute Festival (Canberra), MLC School (Sydney), Camberwell Grammar (Melbourne), in Penrith with the Australian Brandenburg Orchestra, and at the Sydney Conservatorium.

“THE ENSEMBLE’S PERFORMANCE WAS ELECTRIC… I STAND IN AWE OF WHAT THEY WERE ABLE TO DO WITH THIS WORK” CLASSIKON, JUNE 2021

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Melissa is playing a flute by F. Aurin, 2016, Dusseldorf after W. Liebel, c.1830, Dresden.

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HAYDN’S CREATION

BIO OR ADS TBD

HAYDN SPEAKS The story of the rise of a great composer with Guest Artist John Bell.

7-22 October

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True (and some tall) tales of the great composer’s life are revealed when his ghost meets the Ensemble that bears his name.

Iconic Australian actor John Bell personifies the spirit of Joseph Haydn in a new musical/theatrical/biographical entertainment by young playwright Rachel McDonald, with selected works

by Haydn performed by AHE.

Berry | Blue Mountains | Sydney | Canberra | Southern Highlands

ABOUT THE MUSIC SYMPHONIES IN THE SITTING ROOM In the era before recorded sound – and unless you lived in or near a major European city - opportunities to hear music played by a full orchestra might come around only a few times in a decade.

Orchestral works circulated primarily through arrangements for smaller groups and solo instruments: piano, wind octet, string quartet, trio, or any sort of ensemble that might realistically be assembled at home from friends and family. It was a booming market. Piracy was rife, but major composers (if they had any head for business) knew that this was a vital means of promoting their large-scale music.

Beethoven himself made several scaleddown arrangements of his own works, and authorised others. Mozart’s only regret when another composer made a chamber arrangement of hits from his opera Don Giovanni was that he hadn’t done so (and banked the proceeds) himself.

The Australian Haydn Ensemble has enjoyed rediscovering and performing these domesticated versions of great symphonies. They’re a refresher course for the ears, and a glimpse into a vanished world. Without taking anything away from the glorious full colour of the orchestral originals, they offer an authentic and delightfully vivid opportunity to hear this music the way that many - probably most - of its contemporaries would first have encountered it.

PAUL WRANITZKY (1756-1808) Symphony in C minor Op. 31 La Paix – First movement (arr. Wranitzky) ‘The Revolution”: Andante maestoso Allegro molto The Treaty of Campo Formio, signed on 17th October 1797 between the French Republic and the Austrian Emperor was not, by any metric, a good result for Austria. The Habsburg dynasty lost its remaining possessions in the Netherlands and gained a brief respite from the aggression of the French army under Napoleon Bonaparte. But this was still ( just about) the eighteenth century and in the eighteenth century, the deeds of princes were celebrated with music. Pavel Vranický understood that better than most.

An innkeeper’s son from rural Moravia (now in Czechia), his musical gifts took him to Vienna, where he changed his name to the more German-looking Paul Wranitzky and quickly made his way in the world. He was on friendly terms with both Mozart and Haydn, and Beethoven insisted that Wranitzky direct the premiere of his own First Symphony. “Beethoven rightly believed that he could choose noone better” observed one contemporary newspaper, the Allgemeine Musikalische Zeitung, and few composers came closer to Beethoven’s own explosive style.

So Wranitzky must have felt that he was capturing the public mood when in 1797, to celebrate the peace, he composed a four-movement “Grand Characteristic Symphony for the Peace with the French Republic”. The Emperor, however, was in no mood for celebration:

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on 20th December 1797 he issued a decree forbidding its performance. The symphony was premiered in Leipzig (outside Austrian jurisdiction), though Wranitzky had already sent versions for piano trio and string quartet (with the option of a double bass) to the publishers, anticipating widespread success.

King’s Theatre, Haymarket had refused to play Mozart’s symphonies – they were apparently too difficult. And so, “he arranged six of them as sestets [sic] for strings and flute. The work was well done, and the symphonies first made known in this form speedily took their proper place with the public”.

And rightly – the Symphony was played throughout German-speaking Europe over the next few years. The Emperor had misread Wranitzky’s intentions, because the work, whose four movements included a heartfelt funeral march for the murdered King Louis XVI, was anything but sympathetic to the republican cause.

This first movement carries the title The Revolution, and its sombre introduction is shattered by a violent C minor Allegro.

That, in turn, is interrupted by two brisk marches – a March of the English and a March of the Austrians and Prussians – in other words, the civilised allies ranged against the forces of revolutionary chaos. True, the first movement ends in tempestuous rage - but bear in mind that this is only the end of the beginning.

Cimador was an eminently practical musician: a skilled string player, he was well aware that the flute – cheap, portable and (by the standards of the time) relatively easy to play - was probably the single most popular instrument with amateur musicians in the late eighteenth century. Its presence would only increase the popularity of his Mozart arrangements, as well as adding a splash of colour, even if the arrangement as a whole could only hint at the wondrous light and shade of Mozart’s orchestral woodwinds. Still, it offered an accessible path into what was still strange and ultramodern music (Mozart had composed the symphony in the space of six weeks in the summer of 1788).

WOLFGANG AMADEUS MOZART (1756-1791) Symphony No. 40 K. 550 in G minor (arr. Cimador) Molto allegro Andante Menuetto: Allegretto Allegro assai The world of eighteenth century music moved quickly, and without much regard for national boundaries. Mozart never made it to London but the Venetian composer and multi-instrumentalist Giambattista Cimador (1761-1808) certainly did. Arriving in Britain in 1791 as a singing teacher he was outraged (or so the nineteenthcentury scholar Mary Catherine Hamilton tells us) to hear that the musicians of the

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Mozart’s 40th symphony is so familiar today that perhaps we barely realise how original it is: the quiet, anxious accompaniment that begins before the main tune of the first movement (almost unheard of in a classical symphony, but cribbed by many composers since), the fast, angry, Minuet (the minuet was meant to be a lighter interlude), and the jagged, disintegrating harmonies in the middle of the finale – modern-sounding music, even today. Only in the tender Andante does the symphony seem to stand on terra firma, and even this starts to shift ominously under the melody’s feet. For all his grace, wit and zest for life, Mozart was never afraid to look straight and hard at the most serious of questions. But the music tells it better, and Cimador’s arrangement gives some idea of how bold and fresh this symphony must have sounded to those first, astonished listeners on the opposite side of Europe.

LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 3 in E flat major Op. 55 Eroica (arr. Masi & Lim) Allegro con brio Marcia funebre (Adagio assai) Scherzo: Allegro vivace Allegro molto – Poco Andante, con espressione Two chords ring out. Ludwig van Beethoven seizes the score of his newly-completed Bonaparte Symphony, tears off its title page and, furious, hurls it to the floor. Few moments in music are more powerful than the opening of Beethoven’s third symphony, and few musical christenings have been more dramatic. And just this once, the legend might be true. Early in 1804, Beethoven’s biographer Ferdinand Ries saw with his own eyes the title page of the new symphony. It read, simply: “Bonaparte”.

Ries was the first to tell Beethoven, some time shortly after 18th May that year, that the great republican had crowned himself Emperor. “He flew into a rage and shouted: ‘So he, too, is just an ordinary man like the rest. Now he will trample on the rights of man, pander only to his own ambitions and become a tyrant!’ Beethoven went to the table, took hold of the title page, ripped it all the way through, and flung it on the floor.”

Beethoven gave the work a new name: Sinfonia eroica, composta per festiggiare il sovvenire di un grand ‘Uomo – “Heroic Symphony, composed to celebrate the memory of a great man”. Its final dedication was to Prince Joseph von Lobkowitz, whose house orchestra gave the first public performance in December 1804.

Those two opening chords blast the road wide open – and within bars, a syncopated dissonance is grating against the swinging first theme. The movement climaxes with a further series of huge, pounding dissonances, and moments later, as the

orchestra holds, breathlessly, for the grand return of the opening theme, a horn makes a deliberate false entry. Beethoven’s point is hard to miss: what was once wrong is now gloriously right. Nor is the tremendous Marcia funebre that follows to be taken as literal. Beethoven takes the muffled drums and martial rhythms of French Revolutionary wind music and turns them into an expression of mourning on a universal scale.

The brilliant, freewheeling scherzo is a natural musical reaction to emotion on such a scale. But there’s a bigger surprise in store as, after an opening flourish, Beethoven launches his finale with a bare sequence of bass notes. They’re repeated and the orchestra ventures the odd comment until, with wonderful simplicity, the long-awaited theme glides gracefully in - a contredanse from an 1801 ballet score. The ballet was Prometheus; its story, broadly, was the liberation of humanity through art.

Beethoven’s jubilant final flourish declares an allegiance higher than any politician.

To render a work like the Eroica down to domestic proportions took some doing – though it’s worth remembering that Prince Lobkowitz’s orchestra comprised only 28 players. This version, dating from around 1810, by the Rome-born, London resident pianist and composer Girolamo Masi (17681834) - himself a refugee from Napoleon’s invasion of Italy – omits a couple of the more challenging passages from Beethoven’s original. For this performance, Vi King Lim has restored the missing music, while retaining Masi’s own choice of instruments: flute and string quintet, plus an additional viola to supply some of the missing richness and depth of Beethoven’s orchestra. Beethoven, after all, transformed the sound of the Eroica by enlarging the horn section from two players to three. In music, small things can make a huge impact.

Richard Bratby

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Jacqueline Dossor Period double bass, Unknown c.1740. Made in Northern Italy, likely Bologna (Italy).

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// OUR PATRONS Our patrons enable us to continue presenting wonderful concerts. We are so grateful to everyone who supports us and cannot thank you enough. Patron categories are named after famous eighteenth-century patrons who supported and commissioned many of Haydn, Mozart and Beethoven’s works that we know and love today. Where would we be without them?

About Our Patron Categories Esterházy Prince Esterházy was the main patron of Haydn.

Waldstein Count Waldstein was an early patron of Beethoven.

Van Swieten He was a keen amateur musician and patron of Haydn, Mozart, and Beethoven.

Galitzin He was an amateur musician and is known particularly for commissioning three Beethoven string quartets Op. 127, 130 and 132.

Lobkowitz He was a Bohemian aristocrat and a patron of Beethoven.

Razumowsky He commissioned Beethoven’s Op. 59 String Quartets.

PATRON Professor the Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON Dr Timothy Pascoe AM

THE CHAIR’S CIRCLE Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Mark Burrows AO * Tom & Sherry Gregory Kevin McCann AO & Deidre McCann * Ian & Pam McGaw Timothy & Eva Pascoe * Peter Young AM & Susan Young ESTERHÁZY $15,000+ Reg & Kathie Grinberg * Peter & Lisa Macqueen Anonymous * (1) WALDSTEIN $10,000 - $14,999 Robert & Myriame Rich Harriet Lenigas 16

VAN SWIETEN $5,000 - $9,999 Clive Birch Jan Bowen AM FRSN * Jeremy Eccles FRSN & Kate Eccles OAM * Karin Keighley Adrian Maroya Peter & LIbby Plaskit Keith & Robyn Power Agnes Sinclair * Roger & Ann Smith * Nigel & Penelope Stewart The Hon. Anthony Whealy Q.C. & Annie Whealy GALITZIN $1,000 - $4,999 Antoinette Albert Margot Anthony AM * Martin & Ursula Armstrong Jock Baird *

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LOBKOWITZ $500 - $999 Keith Brodie * Lloyd Capps & Mary Jo Capps AM * Sylvia Cardale George H Clark Wendy Cobcroft * Sean Conkey & Tegan Redinbaugh * Dr John Dearn * Ann Douglas Alison Dunn * Dr Meredith Edwards John & Liza Feeney * Jean Gifford * Paul Hopmeier & Janice King * Gerard Joseph Anne Lander Chris Matthies* Andrew & Abbey McKinnon Dr Jacqueline Milne * Ken & Liz Nielsen * Beverley Northey Mark & Lise Rider * Susan Roberts Greg & Wendy See * Dr Richard Sippe David Thompson & Margaret Kyburz Dr Frances Whalan Dr Margot Woods Anonymous (2) incl 1 * RAZUMOWSKY $50 - $499 Derek Abbott David & Jill Adams Gaby Aitkin * Alliance Legal Services * Catherine Andrews Helen Anglias Ann Armstrong Wayne Arthur Anthony Bailey * Dr Susan Ballinger Margaret Bassal Ken & Annabel Baxter

Andrew Blanckensee Peter Bodor QC & Sally Bodor Dion Boehme Dr Hannes & Barbara Boshoff Ian & Bea Bowie Jeffrey Bridger Rob Bridger Graeme & Bronwyn Brown Fiona Burns Gerry Burns Claire Burrell-McDonald Dr Andrew Byrne Christine Cooper James & Stuart Coughlan * Catherine Cowper Susan Cox Isabel Crawford Ruth Crosby Peter Cumines David Cummins Judith Dare Catherine Davies Jennifer Dewar Dr Robert Dingley * Nick Dinopolous * George Drew Malcolm Druery * Christine Ducker AM * Sandra Duggan Susan Ernst * Richard Fawdry & Carla Bosch Gary Feeney * Barry Firth * Denise Fisher Marion Flynn Michael Fong * Ivan Foo & Ron Gouder Andrew Ford * Denys & Jennifer Garden * Stephen Gates David Geer * Dr Robin Gibson Allan Gill Gavin Gostelow Virginia Gray 17

OUR PATRONS CONTINUED Rosemary Greaves Toby & Helen Greenacre * John Greenwell Erik Haan * Lesley Harland Dr Stuart & Pamela Harris Vicki Hartstein Susan Hawick Meredith Hellicar * Jenni Hibbard * Anne Hinkley Julia Hoffman Stephen Holmes * Elizabeth Howard John & Patricia Howard Ralph Hunt Wayne Hutchins * Catherine Ikin * Lilla Ito Judy Jacovides Paul & Carol James * Ron James Peter & Margaret Janssens Eddie & Annie Jones * Gabrielle Kancachian * Thora Karras * Poss Keech * Heather Kenway Jenny Kerr Siew-Ean Khoo Susan Kingsmill Pastor de Lasala OAM * Penny Le Couteur * Cecilia Lillywhite Peter Lowry OAM & Dr Carolyn Lowry OAM * Elbert Mathews Terry & Catherine McCullagh * Tim McDonald * Joanne McGrath

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Wendy Mcleod * Brenda McNaughton Dr Patricia McVeagh Christine Melican Sue Mercer Paul & Betty Meyer * Raoul & Helen Middlemann Louise Muir Carl Murphy * Phillip Murray Jan Marie Muscio * Heather Nash Prue Niedorf Dennis Nicholls Andrew O’Connor * Henry O’Connor Robin Offler * Louise Owen * Anne Pickles Lesley Potter Jasmine Price * Susanna Price Geoff Randal Jan Redinbaugh * Heather Reid Diedre Rickards * Pamela Roberts * John & Pam Rooney * Mary Rose-Miller * Jennifer Roseinnes Felicite Ross * Lesley Rowe Matthew Sait Anneke Scott * Robin Sevenoaks * Xavier Shea Carole Anne Shearer * Pam Shein * Ian Sheldrick Alan Singh *

Barbara Spencer * Michael & Rosemary Sprange * Keith & Janet Stanistreet Kaye Stevens Jenny Stewart Dr Rupert Summerson * Pamela Swaffield Susan Tanner * Kerry Thomas * David & Jill Townsend * David & Helen Turvey John Underwood* Gabriella Unsen Ailsa Veiszadeh * Herta Verge Penny Watsford * Nic & Elaine Witton * Wendy Yeomans In Memory of John Greenwell Anonymous (21) incl 12 * * Indicates contributors to the 2021 Pozible Campaign to fund AHE’s 10th Anniversary CD This listing is correct as of 30 June 2022

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AHA! EDUCATION PROGRAM

HELP AHE GET MATCHED TO $50,000!

This year AHE has already completed workshops with some fabulously talented students from the New England Conservatorium of Music (Armidale).

And we’re thrilled to be working on our September collaboration with the Central Coast Conservatorium of Music.

This is part of our new regionally focused ‘Spring Academy’ intensive - bringing students together from the Central Coast,

plus as many young musicians from across the NSW regions and metropolitan areas as we possibly can!

Can you help us to make these programs the best experiences possible for these young musicians?

Your tax-deductible donation can be made at australianhaydn. com.au/donate.

Thank you!

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BACKSTAGE

BOARD Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM FRSN Harriet Lenigas Adrian Maroya Kevin McCann AO Skye McIntosh (Artistic Director) Peter Young AM

The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we perform.

We pay our respects to Elders past, present, and emerging.

Details in this program are correct at time of publication. Australian Haydn Ensemble reserves the right to add, withdraw or substitute artists and to vary the program and other details without notice. Full terms and conditions of sale available at our website australianhaydn.com.au or on request.

STAFF Skye McIntosh – Artistic Director Tegan Redinbaugh – Chief Executive Officer Alison Dunn - Marketing and Communications Emma Murphy - Financial Controller Janine Hewitt - Accountant Stephen Bydder – Administrator Marguerite Foxon – Front of House and Administrator* Arnold Klugkist – Artistic Operations Vi King Lim – Score Services Richard Bratby – Program Notes *In Kind Support IN KIND Greg & Wendy See IMAGES Images throughout by Helen White except where noted. Pages 4 - 6, additional images by James Mills.

Australian Haydn Ensemble is a not for profit organisation.

ABN 26 202 621 166 Level 1/16-18 Oxford Square Darlinghurst NSW 2010 1800 334 388 (Freecall) | australianhaydn.com.au

AHE 2022 REACH FOR THE STARS

Join us for our 10 year anniversary season to celebrate a decade of enlightened music making.

HAYDN SPEAKS

John Bell tells the story of the rise of a great composer 14 - 22 October

C.P.E. BACH: UNIVERSE OF HARMONY

Discover rich and strange new musical worlds, with Guest Director Chad Kelly 11 - 14 December

BOOK NOW

australianhaydn.com.au 1800 334 388