Beethoven & Haydn 2018

Beethoven & Haydn

A groundbreaking recording of Beethoven’s piano concertos in newly commissioned chamber arrangements in the style of the eighteenth century.

Recorded by Thomas Grubb in association with the Sydney Conservatorium of Music and ABC Classics, this recording represents the latest in historical research into Beethoven interpretation. The disc presents Beethoven’s 1st & 3rd Concertos on a beautiful replica Conrad Graf fortepiano.

CDs can be ordered via our website and are available on the ABC Classics label via iTunes for digital download.

Beethoven & Haydn Skye McIntosh, Artistic Director & Violin HAYDN

Symphony No. 44 in E minor (The Trauer) arr. Hague (1810) RIES

Flute Quartet in D minor WoO 35 No. 1 INTERVAL [20 mins] ALBRECHTSBERGER

String Sextet in E flat major Op. 13 No. 1 (Adagio and Fugue) BEETHOVEN

Symphony No. 1 in C major arr. Masi (1800)

Canberra

Thursday 4 October 7.00pm

The Albert Hall, Yarralumla

Berry

Friday 5 October 7.00pm

Berry Uniting Church Hall

Southern Highlands

Saturday 6 October 5.00pm

Kangaloon Hall

Sydney

Monday 8 October, 7.00pm

Utzon Room, Sydney Opera House

Newcastle

Thursday 11 October 7.00pm

Newcastle Conservatorium of Music

Sydney

Friday 12 October, 7.00pm

Utzon Room, Sydney Opera House

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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.

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.”

The Ensemble has presented a host of unique chamber music and orchestral programs, working with a range of world-class musicians such as Neal Peres Da Costa, Erin Helyard, Catherine Mackintosh (UK), Marc Destrubé (Canada), Melvyn Tan (UK) and Simon Martyn-Ellis (USA) as well as singers Stephanie True (Canada), Simon Lobelson (Australia) 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 lesserknown contemporaries of these composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister, and Vanhal.

The Ensemble has developed a flourishing regular series at the Sydney Opera House Utzon Room 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 of all ages, focusing on imparting eighteenth century historical performance techniques.

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

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, Concerto Köln, English Baroque Soloists, English Chamber Orchestra, Irish Chamber Orchestra, Julliard 415, Les Talens Lyrique, New Dutch Academy, Orchestra of the Age of Enlightenment and Orchestra of the Antipodes, to name a few.

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 a new CD on the ABC Classics label. Beethoven Piano Concertos No. 1 & 3 showcases 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 4

VIOLIN I / LEADER & ARTISTIC DIRECTOR

CELLO

Skye McIntosh

Anton Baba

(Josef Panormo, 1800, London)

(Peter Elias, 2000, Aigle)

VIOLIN II

CELLO

Matthew Greco

Dan Curro

(David Christian Hopf, 1760, Quittenbach)

FLUTE

Melissa Farrow*

VIOLA I

Nicole Forsyth

(F. Aurin, 2016, Dusseldorf, after W.Liebel, Dresden, c.1830)

(Thomas Dodd, 1820, London) VIOLA II

James Eccles (Hiroshi Iizuka, 1992, Philadelphia)

* Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra

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Artistic Director's Message I am thrilled to present this program of works by Beethoven’s teachers, students, and the master himself in our Beethoven & Haydn tour. I am especially pleased to include so many relatively unknown chamber arrangements and works in one program.

the strong influence of Haydn as Beethoven’s teacher reflected in the work.

Albrechtsberger, also a teacher of Beethoven, is not often performed today. This string sextet from his Opus 13 is even more rarely performed.

As far as we know, this performance is an Australian premiere and there are no known recordings of these sextets.

The Trauer is one of Haydn’s most famous symphonies. This particular arrangement is, as far as we are aware, an unknown work.

The arrangement is found in a set of twelve symphonies published in 1850 by Robert Cocks & Co., edited by a mysterious ‘Dr Hague’.

Colin Coleman, a rare music collector in the United Kingdom, brought the symphonies to my attention last year. Knowing my keen interest in these editions, Colin contacted me immediately when he came across the set. I was very excited when I realised that none of the symphonies were included in the works published and popularised in chamber arrangements by Johann Salomon some fifty years earlier. We look forward to presenting this arrangement of the Trauer as well as other symphonies from the set in the future.

Ries was one of Beethoven’s students and also worked as a copyist and secretary for him. He produced a large amount of his own compositions as well as arrangements of Beethoven’s works. The Flute Quartet in D minor is a virtuosic work in which the influence of his teacher Beethoven can be clearly discerned.

Skye McIntosh Artistic Director & Violin

The arrangement of Beethoven’s Symphony No.1 is also very unusual. It was found in the Rare Music Collection of the British Library a few years ago, and belongs to a set of arrangements of Symphonies No.1 to 7 which have long been overlooked. In presenting this alongside the Haydn symphony we see

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About The Music What to listen for

the court was at Esterháza for ten months: the musicians were separated from their families in Eisenstadt and discontent simmered. It was in this year that Haydn famously wrote his ‘Farewell’ symphony, in which the musicians gradually left the stage at the end of the final movement, each symbolically blowing out the candle that illuminated his music. Symphony No. 44 also originated in this time, a response to the Prince’s demand for entertainment.

Today’s program contains works that bear witness to a remarkable fusion of musical styles.

Towards the end of the eighteenth century, the clear structures of Classicism began to bend to the beginnings of ‘wild’ Romanticism. This path led via the dark emotions of Sturm und Drang (storm and stress) in which the pleasant artifices of Classicism were injected with the drama of minor keys, dramatic changes of loud and soft, and sudden changes of harmony. But the new style also accommodated the old-fashioned art of counterpoint: the skilful combining of melodies so that they work independently as well as part of a whole. Canon and Fugue are two aspects of counterpoint; the creation of interweaving voices is another. Listen for different instruments playing melodies in answer to one another, sometimes in opposition, sometimes towards a common goal. Also notice how the music is still structured so that – no matter what wild turns it takes – it always leads you back to the home key and a sense of resolution.

Symphony No. 44 is an example of Haydn’s growing sophistication as a symphonic composer. Haydn was so taken with it that he requested the slow movement be played at his funeral. It was composed in the same year as the ‘Farewell’ symphony, but shows more of the influence of a new aesthetic with which Haydn had been experimenting since the mid-1760s, and which later became known as ‘storm and stress’. It is a work of contrasts. It opens with a grand gesture in unison, becoming a sighing melody underscored by a restless ‘heartbeat’ accompaniment. This melody is repeated, with an added countermelody, and then bursts into running semi-quavers in which upper and lower voices answer one another. The minuet (unusually placed as the second movement) is canonic: the voices imitate each other, acting almost independently, yet harmonising perfectly.

The slow movement is warm and poised. Its restrained balance is typical of the Classical era, albeit with a heart-breaking turn to the minor mode. The final movement returns to the drama of the first, filled with the momentum born of independent voices all moving towards a common goal.

JOSEPH HAYDN (1732-1809)

Symphony No. 44 in E minor (The Trauer) arr. Hague (1810) I. II. III. IV.

Allegro con brio Menuetto e Trio: Allegretto Adagio Presto

Esterháza was a lonely place for the musicians of Prince Nicolaus’s court. Officially, the estate was a summer residence, a seasonal retreat from the main palace in Eisenstadt, 40 kilometres distant. In reality, the Prince began to spend ever-longer periods of time there. In 1772,

Haydn’s symphonies were popular among arrangers: reducing such large-scale works for use in small ensembles was a lucrative business, 8

particularly in England. Charles Hague (1769–1821) was a violinist from Yorkshire.

His career led him to London (where he took lessons from the famous violinist and impresario Salomon) and eventually became professor of music at Cambridge. He composed some minor works, and also arranged twelve of Haydn’s symphonies for quintet.

'romantic wildness'. He tended to exaggerate changes of dynamic and create surprising effects through articulation and accent. The Flute Quartet in D minor reflects this style with its sudden shifts to unexpected keys, juxtapositions of singing melodies with energetic rhythmic figures, and explosive dynamic contrasts. It is technically challenging and intended to arouse the emotions.

FERDINAND RIES (1784-1838) JOHANN GEORG ALBRECHTSBERGER (1736-1809)

Flute Quartet in D minor for flute, violin, viola and cello WoO 35 No. 1 I. II. III. IV.

String Sextet in E flat major Op. 13 No. 1 I. II.

Allegro Adagio con moto Scherzo: Vivace Finale: Allegro molto

Adagio ma non troppo Fuga

Albrechtsberger led a distinguished career as organist, theorist, composer, and teacher.

Those who heard him play the organ declared him unrivalled. His treatise on composition was influential far beyond Vienna, where he spent most of his working life. By contrast, his contemporaries sometimes described his compositions as ‘dry’. It is interesting that, while Albrechtsberger’s treatise deals with the art of counterpoint and he had studied the music of Palestrina through Mozart to master fugue, canon, and the laws of working numerous independent voices simultaneously, his music is almost exclusively in the homophonic Galant style. As a teacher, his championing of counterpoint made him a sought-after composition teacher – over many years he taught the Haydn brothers, Beethoven, and others. They went on to incorporate the intricacies of multiple voices into Classical structures, giving birth to some of the most sophisticated and large-scale music that had ever been composed. In this way Albrechtsberger contributed much to shaping the course of Western music.

Ferdinand Ries was born a well-connected man. His father, Franz, was a violinist in the court orchestra of Elector Maximilian Friedrich in Bonn and taught the young Ludwig van Beethoven the violin. Franz himself had been taught violin by Johann Peter Salomon, who became an important musical figure. Bernard Romberg was also in the orchestra, and became young Ferdinand’s cello teacher. By the age of 11, Ries was already employed as a violinist in the court orchestra.

As a composer, Ries was largely self-taught. He studied books on composition and works by composers such as Mozart and Haydn. In 1801, Ries arrived in Vienna armed with a letter of introduction. He approached Beethoven, who took him in as a piano pupil. He did not become Ries’s composition teacher, but recommended the young man begin studies with Albrechtsberger, the most famous teacher of counterpoint of the time. Although he did not study composition with Beethoven directly, Ries had close contact with him for the next four years, and throughout Beethoven’s life.

Although Albrechtsberger may not have utilised counterpoint to its fullest extent in the majority of his compositions, the String Sextets Op.13 do show some of his skill. They comprise a

Ries became well established as a composer and pianist. In particular, his dramatic performance style on piano was noted and described as 9

slow first movement followed by a fugue in which the six instruments act as independent voices. The instrumentation of two violins, two violas and cello add a breadth of sound from high to low reminding us of the organ. Yet the articulations and musical gestures are suited to the instruments, particularly to the decisive articulations possible on gut strings.

immediately. The whole piece is built using motifs – small musical cells which Beethoven ingeniously recasts and develops. This technique was familiar to audiences via composers such as Haydn, but Beethoven would extend it immensely in the coming years. Beethoven’s use of motifs as the basis for his music was one of the characteristics that allowed the huge structure of works such as his Ninth Symphony to be coherent to the listener.

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 1 in C major arr. Masi (1800) III. IV. V. I.

The second movement of the First Symphony shows Beethoven’s education in counterpoint, gained in part from his studies with Albrechtsberger. The third movement is marked as a Minuet, a quick dance of the Baroque era. However, it is also marked Allegro molto, much faster than a traditional minuet. All of Beethoven’s later symphonies have a scherzo movement in place of a minuet – literally translated as ‘joke’. The minuet of the First Symphony would also easily fit such a description. The final movement begins with a repeated scale, as if it cannot decide what to do next. When it finally arrives, the ensuing allegro is witty and delightful, pitting the sections of the orchestra against one another. Indeed, contemporary critics noted the strong presence of the wind section, now a force in its own right rather than subordinate to the strings.

Adagio molto – Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Adagio – Allegro molto e vivace

In comparison with his later symphonies, Beethoven’s First Symphony seems almost unremarkable. However, when it first appeared, this symphony left audiences in no doubt as to the potential of the young composer. Beethoven came to Vienna in 1792. Mozart had died a year earlier, and Beethoven entertained the rapidly solidifying intention of becoming Mozart’s musical ‘heir’. His first public performance was a piano concerto, and he produced piano trios and string quartets to great acclaim. He did not yet present a symphony: expectations for the symphonic genre had grown with the formidable standards set by the mature works of composers such as Mozart and Haydn. Beethoven therefore delayed presenting his first symphonic work until he felt that he was ready.

Girolamo (or Giovanni) Masi (1761-1805) was well known as an arranger of popular largescale works for a ‘room orchestra’. He reduced the scores of symphonies by composers such as Beethoven, Mozart, Romberg, and Woelfl, thereby making them accessible to a wide variety of people. He excelled in using small forces to create an effect that suited both the intimacy of domestic venues and the grandeur of the original works.

Beethoven took care to compose in such a way that the First symphony was surprising but still understandable. The first surprise was immediate: he began by denying his audiences a statement in the home key of C major. The symphony opens with a series of questioning gestures, almost searching, which eventually arrive in C major only to move on

Program notes by Dr Megan Lang

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The Performers Orchestra of the Antipodes, Salut! Baroque, Netherlands Bach Society, Les Talens Lyriques (Paris), Festival D’Aix en Provence, Opera Nationale de Paris, Capella Mediterranea (Switzerland) and Pacific Baroque Orchestra (Canada). He is a founding member of the Sydney-based, baroque ensemble The Muffat Collective.

VIOLIN I & ARTISTIC DIRECTOR

Skye McIntosh Skye is the founder and Artistic Director of the Australian Haydn Ensemble. She has appeared as principal 2nd violin for Pinchgut Opera, as principal 2nd violin with the Australian Romantic and Classical Orchestra, and as a regular member of the Australian Brandenburg Orchestra since 2010.

VIOLA I

Nicole Forsyth

Skye completed her Bachelor of Music with First Class Honours at the Queensland Conservatorium (1999). In 2004 she travelled to the UK to study at The Royal Academy of Music, was a regular member of the Britten Pears young artist program, and performed at several UK Festivals. She completed her Master of Music degree at the Sydney Conservatorium (2011).

Nicole co-founded Ironwood in 2006 and is currently Artistic Curator of BachBand@ StJames, resident at St James King Street. She was Principal Viola for Pinchgut Opera 20012015, among others. Her discography includes over fifty recordings for ABC Classics and other labels.

Nicole has worked with Big hART Inc, Bundanon Trust, Ensemble Offspring, and most of the historically informed practice groups in Australia during her career.

Skye has made many concert appearances as soloist and director, and in 2013 attended the Banff Centre with the Australian Haydn Quartet for a Winter Residency, and also performed at The Julliard School.

She lectures at the Sydney Conservatorium of Music, and teaches at St Marys’ North Public School, Santa Sabina College, and Abbotsleigh as well as national, regional and western Sydney youth music/arts companies. Her PhD research, in collaboration with Sydney Living Museums, looks at the music collection of Rouse Hill Estate 1813-1986.

VIOLIN II

Matthew Greco Matthew began learning violin aged 12, and studied with Professor Janet Davies and Neal Peres Da Costa at the Sydney Conservatorium of Music, joining the Australian Brandenburg Orchestra and Orchestra of the Antipodes at age 19. He undertook further study in historical performance in The Hague, with Ryo Terakado and Enrico Gatti, graduating in 2013.

VIOLA II

James Eccles James studied at the Sydney Conservatorium of Music and ANAM, and gained his Masters in Ireland. Following this he worked with the Konzerthaus Orchester and avant-garde rock band AGE in Berlin.

Matthew performs as a soloist, concertmaster and core member of some of the world’s leading period instrument ensembles, including the Australian Brandenburg Orchestra, 11

Returning to Sydney in 2007, James has become a sought-after violist, performing with new-music groups such as Ensemble Offspring, presenting and performing in children’s concerts at the Sydney Opera House, performing solo with SBS Youth Orchestra, and working as principal viola with Sydney Philharmonia Choirs. As a period instrumentalist, he performs with Pinchgut Opera, and the Australian Brandenburg Orchestra.

Holt and later with Matthew Farrell, Roseanne Hunt and Howard Penny. For seven years Dan was a member of one of the world’s most acclaimed youth orchestras, the Queensland Youth Symphony. He has also played baroque cello in many groups including the Australian Brandenburg Orchestra and the Badinerie Players. In 2005 Dan was invited to play in the Sydney Festival's 12 Angry Cellos concert in which he performed alongside some of the country's most highly regarded cellists. Dan has performed in many and varied musical configurations and situations, in an abundance of musical styles including baroque/classical, latin, jazz, hip hop, contemporary and what has become his (not so) secret passion, the historically informed performance of 19th century western art music.

James has premiered many new works and has commissioned new Australian works as director of the 2014 Aurora Festival and as co-director of The NOISE String Quartet.

CELLO

Anton Baba Anton is an Australian born violoncellist specialising in historically informed performance. He obtained degrees in classical cello at the Eastman School of Music in USA (2006), completed his Master’s Degree in baroque cello at the Royal Conservatory, The Hague (2013), and undertook studies in viola da gamba.

FLUTE

Melissa Farrow Melissa has been principal flute of 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 Pinchgut Opera, the Australian Chamber Orchestra, Ironwood, the Australian Romantic and Classical Orchestra, Sydney Philharmonia Orchestra, Latitude 37, and the Australian Opera and Ballet Orchestra, among others.

Anton has performed with such distinguished ensembles as the Amsterdam Baroque Orchestra, the Wallfisch Band, Holland Baroque Society, Arte dei Suonatori, the Australian Brandenburg Orchestra, Pinchgut Opera, and Vox Luminis, among others.

Anton is passionate about performing chamber music and is a founding member of the Emras Octet, La Gazetta Musicale and Les Nations, vibrant and passionate early music ensembles dedicated to contrasting periods and styles of music ranging from French baroque to the 19th century romantics.

Her numerous solo performances have been with AHE, NZ Barok, the Australian Brandenburg Orchestra, and Pinchgut Opera, and on several recordings.

After graduating from the Sydney Conservatorium of Music Melissa undertook post-graduate study in modern flute, recorder, and traverso in Amsterdam. She teaches period flute as well as baroque performance style to modern flute players at the Sydney Conservatorium, and was guest baroque flute lecturer at the Newcastle Conservatorium.

CELLO

Dan Curro Dan Curro studied the cello first with Helen 12

during 2017.

For more information visit australianhaydn.com.au 13

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?

Esterházy Prince Esterházy was the main patron of Haydn.

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

Waldstein Count Waldstein was an early patron of Beethoven

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

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

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

Patron Professor the Honourable Dame Marie Bashir AD CVO

Esterházy $15,000+ Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna John Claudianos & Nena Beretin Carolyn Fletcher AM & The Hon. Nick Greiner AC Tom & Sherry Gregory Ian & Pam McGaw Timothy & Eva Pascoe Rob & Myriame Rich Peter Weiss AO

Waldstein $10,000-$14,999 Martin & Ursula Armstrong Mark Burrows AO Jeremy & Kate Eccles Kevin & Deidre McCann Justice Anthony Whealy & Annie Whealy Anonymous (2)

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Van Swieten $5,000-$9,999 Mark & Carolyn Bethwaite Ron & Suellen Enestrom John Fairfax AO & Libby Fairfax Dr Marguerite Foxon Reg & Kathie Grinberg Karin Keighley

Peter & Margaret Janssens

Alex & Edwina McInnes

Peter & Linda Kurti

Tony Minchin

Garth Mansfield OAM & Margaret Mansfield OAM

Frank & Jenny Nicholas

Libby Manuel

Nick Payne

Kelvin McIntosh Andrew & Abbey McKinnon Jacqueline Milne John Nethercote

David Mortimer AO & Barbara Mortimer

Pieter & Liz Oomens Trevor Parkin

Nola Nettheim

Susan Perrin-Kirby

Anonymous (1)

Keith & Robyn Power Peter & Carol Scott Gregory & Wendy See Penelope Seidler AM

Stephen & Nanette Ainsworth

David & Daniela Shannon

Antoinette Albert

Roger & Ann Smith

Margot Anthony AM

The Smithers Family

Carey Beebe

Michael & Rosemary Sprange

Pattie Benjamin

Dr Jenepher Thomas

Ecki & Celia Bischoff

Tim & Vincie Trahair

Graham Bradley AM & Charlene Bradley

Kay Vernon

Tony Burrell & Hilary Steel

Dr Margot Woods

Peter & Anita Carmody

Carla Zampatti AC

Michael & Colleen Chesterman

In Memory of Bill Harris AO

Robert & Carmel Clark

Anonymous (5)

Lesley Whalan & Wendy Calisle

Dr Nola Cooke Peter Craswell Peter & Prudence Davenport Catherine Davies Dr John Dearn Dr Paul Edwards Bronwyn Eslick Ralph & Maria Evans Terry & Lynn Fern Richard Fisher AM & Dianna Marian Flynn Ivan Foo Suzanne Gerozisis Christine Goode Garrick & Evelyn Hawkins Andreas & Inn Ee Heintze Paul Hopmeier & Jan King

In memory of Frank Bradley

Razumowsky $50-$499 David & Jill Adams Geoff & Rosie Adams Glenn & Jillian Albrecht William Armitage James Ashburner Stephen Baggaley Anthony & Lurlene Bailey Timothy Bailey Gary & Joanna Barnes Dame Marie Bashir AD CVO Robin Bass Andrew Blanckensee Bruce & Graziella Bland Erica Booker Jennifer Bott Margaret Bradley

Alison Clugston-Cornes Janet Cooke

Jill Townsend

Jan Bowen AM

Terry & Julie Clarke Jean Cockayne

Mary Rose-Miller Anonymous (1)

Paul & Anne Masi

Galitzin $1,000-$4,999

Beverley Northey

Lobkowitz $500-$999 Ann Armstrong

Malcolm Brooks Charlotte Brown Russell Burgess

John Baird Rosalind Baker

Edmund Capon AM OBE & Joanna Capon OAM

Clive Birch

Robert & Josephine Carr

Jeffrey Bridger

Richard Chisholm

Diana Brookes

George H Clark

Sylvia Cardale

Myee Clohessy

Christine Cooper

Margaret Cooper

James Coughlan

Harriet Cunningham

Kent Harrisson & Niky Rovis

Megan Curlewis

Sally Herman

Sarah Curro

Gerard Joseph

Rhonda Dalton

Trevor Kennedy & Lisa Delaney

Pastor de Lasala OAM

Kirsten Lock

Don Debus

Diccon & Liz Loxton

Jennifer Dewar

David Malouf

Nick Dinopoulos

Jules Maxwell

George Drew

Mary Rose-Miller

Marilyn Edmond

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Maria & Bob Elliot Constance Ellwood Ian & Susan Ernst Garry Feeney Michael Fong Warwick Franks Julia Fredersdorff Elizabeth Gee Richard Gorrell Rosemary Greaves John Greenwell Erik & Marilyn Haan Victoria Hartstein Judith Healy Jenni Hibbard Peter Hislop Ann Hordern Elizabeth Howard John & Pat Howard Catherine Ikin David Irving Paul & Carol James Margaret Johnson Margaret Julian Gabrielle Kancachian Lisa Kawai Janice King Dr Joan Kitchin Lynette Kok Harriet Lenigas

Andrew Lloyd-James & Dr Patricia Richardson

Dr Lyn Riddett

Peter Lowry OAM & Dr Carolyn Lowry OAM

Carole Salter

Charles Manning Kathleen Marriott Elbert Mathews

Josie Ryan Kenneth Saxby Anneke Scott Barbara Sergi Heather Shelley

Kirsty McCahon

Keith & Janet Stanistreet

Alan McCormack Terry & Catherine McCullagh Stephen McDonald & Mindy Green Wendy McLeod Paul & Betty Meyer Richard Milner Dr David & Michelle Moddel Giancarla Montagna Tony Mountstevens Patrick Mullins

Rob Starling Libby Steeper Lisa Stewart Elizabeth Storrs Lady Penny Street Jane Styles Dr Rupert Summerson Susan Tanner Matt Taylor Janet Tomi

Heather Nash

Ian Tonking

Elizabeth Neild

Frances Tsoukalidis

Narelle Nelson Dr Peter & Patricia O’Brien Neville Olliffe

Ailsa Veizedeh Theanne Walters Dr Frances Whalan

Patricia Parker

Brian & Helen Wilder

Catherine Peel

Gerard Windsor & Louella Kerr

Louise Petersen

Michael Winnett

Eric Pozza

Anonymous (23)

Alex Ralph Colin Rea

Correct at the time of printing

Adrian Read

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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 admin@australianhaydn.com.au 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.

Administration

Patron

Alicia Gibbons

Professor the Honourable Dame Marie Bashir AD CVO

General Manager

Stephen Bydder Administrator

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James Eccles

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... lively vigour... finely spun sound... earthy power.

Limelight Magazine

Haydn's Farewell 13-16 DECEMBER 2018

CANBERRA • SYDNEY

J.C. BACH

MOZART

Symphony in G minor Op.6 No.6

Rondo for Piano and Orchestra in A major K.386

MOZART

HAYDN

Piano Concerto No. 12 in A major

Symphony No.45 in F sharp minor (The Farewell)