AHE program notes Beethoven's Emperor

Beethoven's Emperor

NEW RELEASE

A groundbreaking recording of Beethoven’s piano concertos in newly commissioned chamber arrangements in the style of the 18th-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 will be available shortly on the ABC Classics label via iTunes for digital download.

Beethoven's Emperor Skye McIntosh, Artistic Director and Violin Dr Neal Peres Da Costa, Guest Fortepiano Soloist

MOZART

Overture to the Magic Flute K. 620, arr. Masi (1800) MOZART

Symphony No. 38 K. 504 ‘Prague’ in D Major, arr. Cimador (1800) BEETHOVEN

Piano Concerto Op. 73 No. 5 'The Emperor’ in E-flat major, arr. Lim (2016) Canberra

Thursday 12 October, 7:00pm

The Great Hall - University House, ANU

Sydney

Saturday 14 October, 2:30pm

Utzon Room, Sydney Opera House

Sydney

Monday 16 October, 7:00pm

Utzon Room, Sydney Opera House

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The Ensemble

The Australian Haydn Ensemble, founded in 2011 by Artistic Director and Principal Violinist Skye McIntosh, has quickly established itself as one of Australia’s leading period-instrument ensembles, specialising in repertoire of the late baroque and early classical eras.

3, of newly commissioned chamber versions of the works in the style of the 18th century, in collaboration with Aria award winning historical keyboardist - Dr Neal Peres Da Costa.

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) and Marc Destrubé (Canada). It is particularly interested in presenting unusual programs of 18thcentury chamber versions of larger orchestral symphonic and concerto works of Haydn, Mozart and Beethoven, as well as bringing to a wider audience some of the lesser-known contemporaries of these composers, such as CPE Bach, Abel, JC Bach, Albrechtsberger, Graun, Vanhal and Hoffmeister, to name a few.

It has developed a flourishing regular series at the Sydney Opera House Utzon Room and City Recital Hall in Sydney and in Canberra at the Australian National University, where it was 2014 Ensemble in Residence. The Ensemble also performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting 18th-century historical performance techniques. Made up of a smaller string core with flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet to full orchestra. It takes its name from the great Joseph Haydn, a leading composer of the late 18th century, when style was transitioning from Baroque to Classical.

The Australian Haydn Ensemble brings together a wealth of expertise from first-class period and modern ensembles and orchestras from all over the world, such as the Orchestra of the Age of Enlightenment, Les Talens Lyrique, English Baroque Soloists, Australian Brandenburg Orchestra, Orchestra of the Antipodies, New Dutch Academy, Australian Chamber Orchestra, English Chamber Orchestra, Irish Chamber Orchestra and Julliard415.

In 2016 the group released its debut ABC Classics recording that reached No. 1 on the Australian Aria Classical charts and received rave reviews that revered it as establishing them as standing “proudly shoulder to shoulder with the many period instrument ensembles found in Europe.” In October 2017 they release a new CD on the ABC Classics label, Beethoven Piano Concertos No. 1 & 4

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Ravishing Sound...

SYDNEY MORNING HERALD

... balance, clearsightedness and optimism...

SYDNEY MORNING HERALD

VIOLIN I

CELLO

Skye McIntosh

Daniel Yeadon

LEADER & ARTISTIC DIRECTOR (JOSEPH PANORMO, LONDON C. 1800)

(WILLIAM FORSTER II, LONDON, C. 1780)

VIOLIN II

DOUBLE BASS

Matthew Greco

Jacqueline Dossor

(DAVID CHRISTIAN HOPF, QUITTENBACH, C. 1760)

(UNKNOWN, LIKELY BOLOGNA, C. 1740)

VIOLA

FLUTE

James Eccles

Melissa Farrow

(UNKNOWN, TYROLIAN, C. 1730) VIOLA II

Martin Wiggins (REX, ENGLAND, C. 1986 AFTER STRADIVARIUS)

(F. AURIN, DÃœSSELDORF (2016) AFTER W. LIEBEL 9-KEYED FLUTE, DRESDEN, C. 1830) FORTEPIANO

Neal Peres Da Costa (PAUL MCNULTY, 2015, AFTER CONRAD GRAF C. 1819)

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THE PERFCT ENSEMBLE. Glenguin Estate is a proud sponsor of the Australian Haydn Ensemble.

From Australia’s oldest wine region, the Hunter Valley, and helmed by Australia’s 7th Master of Wine, Glenguin Estate production is extremely limited with just a few hundred cases of each wine made in good vintages.

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Artistic Director's Message This project is the culmination of an amazing five-year experience working closely with Neal Peres Da Costa.

It has been an incredible privilege to perform all five of the Beethoven piano concertos with him in chamber arrangements in the style of the 18th century, exploring new aspects of performance practice, and to hear these works in a fresh way. It feels like a perfect culmination of the process to be releasing a CD recording of two of these concertos in the near future.

It was considered quite normal in the 18th century to present works in chamber versions, and this is how most people would have heard these compositions for the first time or become familiar with them.

Beethoven’s “Emperor” Piano Concerto, one of his most iconic works, in his heroic key of E flat, is possibly the most challenging work we will have to prepare in this way. We know the full orchestra version of the work so well, with its power and grandeur, that it seems hard to imagine it any other way. But Vi King Lim has done an incredible job of bringing it to new life in this arrangement which he has modelled on the 18th century chamber versions of Mozart and Beethoven symphonies by the two musicians and composers Cimador and Masi.

Cimador’s arrangement of Mozart’s “Prague” Symphony and Masi’s arrangement of The Magic Flute Overture are bold works, and the perfect match for Beethoven’s great concerto. We hope you enjoy this experience.

Skye McIntosh ARTISTIC DIRECTOR & VIOLIN

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About The Music

This choice of a key and opening theme so clearly symbolic of the Trinity would have been instantly recognisable to the opera’s first audiences. While these three heraldic chords certainly would have caught their attention, the remainder of this slow introduction has a mysterious, transfixing quality, an invitation into a magical realm. Suddenly the music transforms, with Mozart ingeniously employing one of his most playful melodies within the structure of a fugue, where the various voices of the orchestra imitate and weave together one by one. The imaginative delight this music conjures demonstrates a composer at the height of his creative powers with hope for the future, not someone who perceived that his end was near.

WOLFGANG AMADEUS MOZART (1756-1791)

Overture to the Magic Flute K. 620, arr. Masi (1800) “No man will admit that he has not seen it...

There has never been such a spectacle here before.” Such was the praise of Mozart’s Magic Flute from none other than Goethe, who himself was inspired to write a sequel (that did not eventuate). Mozart sadly lived only nine weeks beyond the premiere of what would become perhaps his most successful opera, receiving 100 performances in its first year.

Die Zauberflöte, which combines singing and dialogue in a popular form called the Singspiel, mixes comedy and profundity throughout.

The Overture condenses this into around seven minutes of music often hailed as some of the finest of all time.

The Australian Haydn Ensemble has thrived on its reputation for giving old works a new life via performances of large scale pieces in chamber arrangements. One of the most important steps in the wider dissemination of classical music beyond the courts of the aristocracy in the late 18th century was its increasing availability for enjoyment by the middle classes. This was thanks to the development of the commercial printing industry that allowed music heard in the concert hall to be performed and appreciated in the home. Samuel Wesley, who lectured

It opens with the famous ‘dreimalige Akkord’, the three chords symbolising the Masonic themes of the opera and heralding the nobility and solemnity of the priests that Tamino encounters in the Temple of Wisdom.

The work is in the key of E-flat Major, significant not only as a harmonic basis for much of the opera and for what Kellner described in 1787 as its “quiet majesty”, but also because that key features three flats.

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editor of The Opera Music Warehouse Cimador in collaboration with Monzani published Mozart’s operatic works, stating that “any of the songs, Duetts, Trios, Overtures ... may be had Single.”.

on music in London in the 1820s, stated that “there are certain invaluable works, originally constructed for a full band, that have been very ingeniously contracted for the convenient accommodation of small musical parties… nicely adapted for two violins, viola, cello, flute and a supporting accompaniment on the piano forte.”.

Perhaps his most ambitious arrangements were of six Mozart Symphonies, reportedly produced out of frustration that the orchestra of the King’s Theatre, where Cimador appeared several times over the years, refused to play the works in their original form because of their difficulty. There is no doubt that Mozart stretched the skills of symphonic performers to the limit with his later works, but Cimador’s arrangements condense the musical material into a much smaller number of parts. Discussing symphonic arrangements for the same instrumentation by Salomon, the impresario who brought Haydn to London, Christopher Hogwood says “I think, once one’s ear is attuned to the size of the ensemble, you realise that there is no musical matter missing in the argument. The colours are different… I think everybody has to do a little bit more than they might have to do in the orchestral context because the viola cannot just be the viola. He has to be a second violin or a horn or a bassoon or has to take on a multitude of jobs.”.

One exponent of these arrangements with a similar instrumentation was Girolamo Masi, a prodigious Italian who fled to England during the Napoleonic wars. Last year we performed Masi’s arrangement of Beethoven’s 2nd symphony, which had not been heard nor discussed in the literature since the early 19th century. While his arrangement of the The Magic Flute has been performed at least once recently (as far as we know), we welcome the opportunity to present it in Australia for the very first time.

WOLFGANG AMADEUS MOZART (1756-1791)

Symphony No. 38 K. 504 ‘Prague’ in D Major, arr. Cimador (1800) I. Adagio—Allegro II. Andante in G major III. Finale (Presto) Another important contributor to the spread of Mozart’s music in London was Giovanni Batista Cimadoro, or Cimador as he became known after arriving in the city from Venice in 1791. Mozart did journey to London with his family as an 8-year old and wrote his first two symphonies there, however he did not return as an adult to realise the commercial potential of his music. Cimador, described as “a celebrated vocal performer” by The Gentleman’s Magazine, profitted from Mozart’s work thanks to his relationship with Monzani, the same publisher that worked with Masi. As

This work represents one of Mozart’s most successful moments; the triumph of The Marriage of Figaro in Prague, his journey to the city in January 1787 before two spectacular concerts featuring Symphony No.38 and a subsequent commission to write Don Giovanni, which premiered there in October of that year. This was Mozart’s first symphony in three years after an extremely productive period writing piano concertos, string quartets, and operas. It features one of only three slow introductions that he wrote for his symphonies, this one a premonition of 9

the drama of the opening to Don Giovanni.

The first movement is the longest single symphonic movement of the 18th century, even longer than the epoch-shifting opening of Beethoven’s Eroica, composed 15 years later. Mozart also omits a dance movement, making this a rare three movement symphony for this period. As the BBC Radio presenter Tom Service suggests, “Mozart transforms the social and entertainment functions of a piece of grand orchestral music into signifiers of a different kind of discourse. In virtually every bar of this piece, you hear him straining at the limits of what his invention, his orchestra, and the symphony can do.”.

to our interpretation of this concerto, especially the potential of Beethoven’s notated and un-notated expressive ideas. While Beethoven is quite specific in this concerto about the notes that are to be played, writing out a complete cadenza for example instead of the usual improvised tradition, those familiar with the work will notice some very interesting interpretative decisions, especially Neal’s use of tempo modification, left-right hand dislocation, and chordal arpeggiation.

Tempo modification is described charmingly

by C.P.E Bach: “One can often intentionally commit the most beautiful offences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions.”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (in the modern setting normally indicative only of dynamics). The expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely did not feel obliged to notate such a device explicitly, are described by the scholar Clive Brown as “nearly ubiquitous” in evidence of early 19th century piano playing techniques. The Australian Haydn Ensemble is privileged to be completing the cycle of Beethoven’s Piano Concertos with Neal Peres Da Costa in this program, and we are very excited about the upcoming release of our CD of Concertos 1 and 3 with ABC Classics.

LUDWIG VAN BEETHOVEN (1770-1827)

Piano Concerto Op. 73 No. 5 'The Emperor’ in E-flat major, arr. Lim (2016) I. Allegro II. Adagio un poco moto III. Rondo: Allegro ma non troppo We are very lucky to have our own modernday Cimador to arrange Beethoven’s 5th Piano Concerto, Vi King Lim. Vi King is one of the unsung heroes of the musical community in Sydney, having worked (in addition to his former role as Operations Assistant and Librarian with us at AHE) as Music Librarian at the Australian Chamber Orchestra and Symphony Australia. We are indebted to him for his professionalism and creativity in putting together chamber arrangements for us that faithfully follow the examples set by Cimador, Salomon, and Masi. Vi King also worked with us in 2016 to arrange Beethoven’s 4th Piano Concerto.

There is no doubt that the anecdotal naming of this concerto does not reflect Beethoven’s own wishes, despite its obvious relevance. In 1804, Napoleon crowned himself Emperor,

Neal Peres Da Costa brings his extensive knowledge of historical performance practice 10

leading Beethoven to famously undedicate his Eroica symphony to the leader in whom he had placed so much hope to rid Europe of the rule of monarchy and replace it with Enlightenment and democratic values. Five years later Beethoven was forced to hide in a friend’s cellar with pillows over his head as French howitzers bombarded Vienna prior to its second occupation. Beethoven subsequently wrote to his publisher, saying “we have been suffering misery in a most concentrated form... What a destructive and disorderly life I see and hear around me, nothing but drums, cannons, human misery in every form.”. In spite of all this, with his 5th Piano Concerto Beethoven produced one of his most magnificent works. A majestic first movement and a heavenly, pure Adagio un poco moto, from which emerges an exultant rondo finale. Here the optimistic spirit of this great artist endures through political and physical trials; Beethoven could not perform at the premiere of this work due his advanced deafness.

The concerto format, soloist in dialogue with orchestra, provided Beethoven with the opportunity, at this critical time in European history, to explore one of the Enlightenment concepts most precious to him, namely the need for individual freedom versus the need for societal governance. A quote from his famous ‘Immortal Beloved’ letter, penned in 1812, poignantly expresses some of the associated concerns of our time: “…What an unnecessary waste of time is all this - Why this profound sorrow, when necessity speaks? … Dear God, look at Nature in all her beauty and set your heart at rest about what must be - Love demands all, and rightly so.”

PROGRAM NOTES BY ANTHONY ALBRECHT

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Dr Neal Peres Da Costa

A graduate of the University of Sydney, the Guildhall School of Music and Drama (London), the City University (London) and the University of Leeds (UK), Neal Peres Da Costa is a world-renowned performing scholar and educator. He is Professor of Historical Performance and Program Leader of Postgraduate Research at the Sydney Conservatorium of Music, the University of Sydney, where he founded the Historical Performance Division (of which he was Chair from 2006-2016). His monograph Off the Record: Performing Practices in Romantic Piano Playing (New York: Oxford University Press, 2012) is hailed as a book that ‘no serious pianist should be without’ (Limelight, 2012) and honoured as ‘a notable book’ on Alex Ross’s 2012 Apex List. During 2015-16 Neal was a chief editor (with Clive Brown and Kate Bennett Wadsworth for the new Bärenreiter Urtext performing edition of the complete Brahms chamber works for one solo instrument and piano) which has received critical acclaim. This has led to further Bärenreiter commissions (with Clive Brown) to produce editions of the Beethoven and Eberl Sonatas for violin and piano. Neal has recently received prestigious Australian Research Council (ARC) funding for a three-year Discovery Project (2017-19) for

performance research in 19th-century piano playing.

Neal regularly performs with Australia’s leading ensembles including the Australian Chamber Orchestra, Sydney Symphony Orchestra, Pinchgut Opera, the Song Company, the Australian Haydn Ensemble and Ironwood. He has performed at the Festival Baroque, the Peninsula Summer Festival, the Music Viva Festival, the Australian Festival of Chamber Music, the York Early Music Festival (UK) and Pegasus Music (US). He is involved in on-going projects with the Australia Haydn Ensemble which have included performances of all of Beethoven’s Piano Concerto (2013-2017).

With Ironwood, Neal undertakes cutting-edge creative research that has led to performances and recordings of late-Romantic chamber repertoire in period style which have received critical acclaim. Neal has an extensive collection of historical pianos including grand pianos by Collard and Collard (English c.1840), Erard (French c.1869), and Streicher (Viennese replica c.1868).

Winner of the 2008 Fine Arts ARIA for Best Classical Recording for Bach’s Sonatas for violin and obbligato harpsichord (ABC Classics, 2007) with Richard Tognetti

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and Daniel Yeadon, Neal’s discography includes: Bach’s Complete Sonatas for Viola Da Gamba and Harpsichord with Daniel Yeadon (ABC Classics, 2009), The Baroque Trombone with Christian Lindberg and the ACO (BIS, 2009); The Galant Bassoon with Matthew Wilke and Kees Boersma (Melba, 2009); Baroque Duets (Vexations 840, 2011) which he directed with Fiona Campbell, David Walker and Ironwood; Music for a While with Ironwood and Miriam Allan (2012); 3 with Genevieve Lacey and Daniel

Yeadon (ABC Classics, 2012); Mozart: Stolen Beauties with Anneke Scott and Ironwood (ABC Classics, 2015) and most recently Brahms: Tones of Romantic Extravagance (ABC Classics, 2016) which has been awarded “Recommended CD” by The Strad (UK) He has also recorded extensively on the Channel Classics label with Florilegium, the British ensemble which he co-founded in 1991 and of which he was a member for 10 years.

The Piano Conrad Graf, (1782 - 1851), who had from 1824 the title of “Imperial Royal Court Fortepiano Maker” (" k. k. Hofpiano- und Claviermacher”), was born in Riedlingen (Württemberg) and came to Vienna in 1799 as a joiner. He became a piano builder and opened his own workshop in 1804. Very soon his instruments were considered "the greatest and most renowned in Vienna and throughout the empire.”. Beethoven, Chopin, Robert and Clara Schumann, Liszt and Mendelssohn held Graf pianos in the highest esteem.

of J.A. Stein, A.Walter, C.Graf, Pleyel 1830 and Boisselot 1846, are the result of meticulous research of the originals. McNulty fortepianos are owned by many fine players and feature in many recordings.

The McNulty instrument is a copy of Graf Op. 318 (c.1819) from Castle Kozel near Pilzn, Czech Republic. In this period the pianos of Graf still retained the thin soundboard and light hammers of the Viennese classical era, with somewhat thicker strings. The fuller tone is nonetheless clear and projecting, which, coupled with the various expression stops, provides a convincing Schubertian palette. These pedal effects are: moderator, double moderator, sustaining and “una corda”.

The fortepiano used for this recording was made by Paul McNulty, who is one of the most highly respected builders working today.

His instruments, modeled after the fortepianos

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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 eighteen-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!

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Michael Winnett Ian & Marg Woodforth Anonymous (12) CORRECT AT THE TIME OF PRINTING

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