AHE Program - C.P.E. Bach, Mozart & Haydn

C.P.E. Bach, Mozart & Haydn

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 are available on the ABC Classics label via iTunes for digital download.

C.P.E. Bach, Mozart & Haydn Skye MacIntosh, Artistic Director and Violin Dr Erin Helyard, Guest Director and Harpsichord Soloist

MOZART

Symphony No. 29 K. 201 in A major [22 mins] C.P.E. BACH

Keyboard Concerto in C major Wq20

[25 mins]

INTERVAL [20 MINS] C.P.E. BACH

Sinfonia Wq 179 in E flat major

[12 mins]

HAYDN

Symphony No. 52 in C minor

[30mins]

Canberra

Wednesday 13 December, 7.00pm

The Albert Hall

Sydney

Friday 15 December, 7.00pm

City Recital Hall

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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 lesserknown contemporaries of these composers, such as C.P.E. Bach, Abel, J.C. Bach, Albrechtsberger, Graun, Vanhal, and Hoffmeister.

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.

Members of the Australian Haydn Ensemble bring 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, to name a few.

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 established the Ensemble as standing “proudly shoulder to shoulder with the many period instrument ensembles found in Europe.” In October 2017 they released a new CD on the ABC Classics label, Beethoven Piano Concertos No. 1 & 4

VIOLIN I

VIOLA

Ingo Müller

Skye McIntosh

Gabrielle Kancachian

LEADER & ARTISTIC DIRECTOR (JOSEF PANORMO, 1800, LONDON)

(JAKOB WEISS, 1720, SALZBURG)

(ALFREDO BERNARDINI, AMSTERDAM, 2010, AFTER GRUNDMANN & FLOTH, DRESDEN, 1795)

Simone Slattery (CLAUDE PIERRAY, 1726, PARIS)

Anna McMichael

Marianne Yeomans (UNKNOWN, 1739, TYROLEAN)

BASSOON

Martin Wiggins

Simon Rickard

(REX A ENGLAND, 1996, ENGLAND)

(CAMILLI CAMILLUS, 1742 MANTUA)

Caroline Hopson (UNKNOWN. C. 1730, GERMAN)

CELLO

Natasha Kraemer (JOHN BARRATT, 1743, LONDON)

VIOLIN II

Matthew Greco

Alexander Nicholls (UNKNOWN, 1760, GERMAN)

(DAVID CHRISTIAN HOPF, QUITTENBACH, C. 1760)

DOUBLE BASS

Stephen Freeman

Jacqueline Dossor

(UNKNOWN, 1730, ENGLISH)

Alice Rickards (ALESSANDRO MEZADRI, 1720, FERRARA)

Rafael Font (STEFFEN NOWAK, BRISTOL, 2012 AFTER NICOLA AMATI, CREMONA, 1666)

(MATHEW DART, LONDON 1996, AFTER JH GRUNDMANN, 1792) HORN

Darryl Poulsen (DANIEL KUNST, BREMEN, 2016, AFTER ORIGINAL - COURTOIS, PARIS, 1830)

Doree Dixon

(UNKNOWN, 1740, NORTHERN ITALIAN, LIKELY BOLOGNA) OBOE

Amy Power (ALFREDO BERNARDINI, AMSTERDAM, 2010, AFTER GRUNDMANN & FLOTH, DRESDEN, 1795)

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(RICHARD SERAPHINOFF, BLOOMINGTON, 2009, AFTER ORIGINAL ANTOINE HALARI, PARIS, 1810)

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 I am extremely pleased to welcome back our dear friend Erin Helyard as guest soloist and director for this final program in 2017. It has been a wonderful year for us and what better way to end it than with this concert with him.

In my mind, Erin Helyard and C.P.E Bach are a perfect combination. It’s almost like they were meant for each other. Erin’s technical precision and energy goes hand in hand with C.P.E Bach’s writing. In these two particular works we hear the strong influence of the Italian baroque, yet they are also clearly looking forward. Both are full of his characteristic quirks of harmony, progressive use of the winds, and extreme dynamic shifts.

C.P.E. Bach is bookended by two great works by Mozart and Haydn. Both were composed around the same time, yet display quite different characteristics.

Mozart’s Symphony No. 29, written when he was only 18 years old, is a joyful work. The opening of the first movement has such a positive spirit about it. It is one of those fabulous ‘ear worm’ type themes that remains with you. In contrast, Haydn’s Symphony No. 52, possesses all of that intense ‘Sturm and Drang’ drama that AHE loves to perform, and it especially embodies that spirit with its C minor tonality.

We hope you enjoy this final performance of the year and I look forward to welcoming you back to our concerts in 2018 and beyond.

Skye McIntosh ARTISTIC DIRECTOR & VIOLIN

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About The Music describing it in 1784 as “declarations of innocent love, satisfaction with one’s state of affairs, hope of seeing one’s beloved again when parting; youthful cheerfulness and trust in God.” Within less than a minute of the opening Mozart uses an enormously expressive series of techniques to create drama. An unconventionally quiet and calming series of octaves in the violins draws in the listener before a surprise canon shifts the mood to ebullience. The sense of joy in the development of this opening theme on its own is irresistible, but Mozart serves up an extra melody, characterised by a repeating violin trill, just to keep things interesting, as well as a cheeky closing cadenza to the movement.

WOLFGANG AMADEUS MOZART

Symphony No. 29 K. 201 in A major Despite the wealth of prodigious talent that can be observed on YouTube, Mozart is perhaps unique for his early mastery of music, as demonstrated by this symphony written when he was just 18 years old. By that stage he had amassed vast experience as a performer and composer, and had absorbed much of what the entire history of Western music had to offer in style, form and drama.

While it is impossible to clearly categorise Mozart’s music within different phases of his short life, it is clear that his trip to Vienna in the autumn of 1773 was highly influential, having exposed him to some of Haydn’s latest and greatest work, the Op. 20 String Quartets and several Sturm and Drang symphonies.

Mozart admired and loved Haydn, although they did not meet until a few years later.

Mozart dedicated a set of string quartets to his friend, but one gets the sense in this symphony that he is already an appreciative follower of the old master, having been awakened to the full expressive potential of an orchestra.

The second movement, in D major with muted strings, creates an atmosphere of soft sensuality and pleasure. The Minuet of the third movement unfolds like a conversation between two friends of contrasting personality, the one genteel and the other rather more uncouth in their fortissimo outbursts. The finale, Allegro con spirito, is a breathtaking ride of string virtuosity.

C.P.E. BACH

Keyboard Concerto in C major Wq. 20

Even for musicians and artists, the state of mind required to wield beauty such as the melodies and harmony within this symphony is a daunting prospect. An insight into the choice of A major as the key signature for this work might help, with Schubart

Despite nearly 1,000 of his compositions lost to the ravages of time, Carl Phillip Emmanuel’s surviving repertoire is an extraordinary demonstration of the 8

confluence, contrasts and diversity of the pervading musical and cultural styles of his day, including the elegant Galant, the passionate Empfindsamer Stil and the dramatic Sturm und Drang. In addition to numerous works for chamber ensemble, orchestra and keyboard, including more than 50 concertos, he wrote 21 settings of the Passion of Christ (his father only composed two surviving settings!) and three magnificent oratorios. As equally important as the astounding Empfindsamkeit or sentimentality of the musical language he left us, CPE was also a renowned educator, credited with the foundation of the Bach School, the students of which were “received in all of Europe with enthusiasm”.

Of this concerto Roman Hinke says “the alternation of solos and tutti proceeds at a regular, calm pace, which gives the soloist ample opportunity for the deployment of his highly virtuosic scalar passages. Before the Finale, with the wayward, rugged lines of its thematic treatment, its unpredictable trills and wide interval leaps, forms an exuberantly effervescent last dance, the delicately shaded muted string tones of the C minor Adagio transport us to the magical spheres of soft, frankly early romantic melancholy.”

C.P.E. BACH

Sinfonia Wq 179 in E flat major “A musician cannot move others unless he too is moved. He must feel all the emotions that he hopes to arouse in his audience, for the revealing of his own humour will stimulate a like mood in the listener”.

"More is lost by incorrect fingering than can be compensated for by all the art and good taste in the world", claims C.P.E. Bach in his famous treatise, Der Versuch. A pedagogical two-part volume focusing on keyboard technique, but more importantly on the establishment of good taste in performance and composition, the Versuch is one of a number of very important treatises to emerge from Berlin in the second half of the 18th century. This work was disseminated widely as soon as it was published, extending CPE’s influence throughout Europe and revolutionising the approach to keyboard fingerings, including standardising the use of the thumbs. Our understanding of style in the performance of the music of this time (including by composers such as Mozart and Haydn), particularly in the specifics of articulation, phrasing and melodic shaping, is greatly enhanced by this treatise, continuing the tradition of the Bach School into the 21st century.

This famous quote from C.P.E. Bach reveals an artist in pursuit of deep emotional connection with his listeners, striving for a style of composition fit for the Enlightenment, that engaged not only with the whims and fancies of the ruling monarch but also with the philosophers, painters and poets who were beginning to define social and cultural discourse from a more secular standpoint.

This symphony is concise and compact with each of the movements designed harmonically to flow quickly into the next, drawing in and delighting the listener with their dramatic shifts in mood and tempo and the arresting language of the Empfindsamkeit. Kellner’s representation of E flat major as “indescribably gentle” is entirely inappropriate here. The first movement is frankly outrageous, unstable both emotionally

The harpsichord concerto Wq.20 shows off CPE’s characteristically dramatic, quirky style, a unique voice of the 18th century.

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literature and music, Sturm und Drang was reflected in all art forms from around 1750, peaking in 1773 with Goethe’s play Götz von Berlichingen and reaching a symbolic end with Schiller’s Die Rauber of 1780-81. There were many key players involved in shifting artistic ideals away from more traditional, rational domains; from Rousseau’s rediscovery of the awe-inspiring qualities of nature to Diderot’s espousals of savage, sombre and grandiose themes in all art forms, the focus on scenes of terror such as shipwrecks and storms by the painters Vernet, Fuseli and de Loutherberg, and genre-founding works such as the original gothic horror novel, the Castle of Otranto by Horace Walpole in 1764. In music, the style is immediately recognisable thanks to its storm and stress, featuring predominantly minor keys, unpredictable and angular melodies, as well as sudden, shocking shifts in dynamics and tempos. Every trick in the book is utilised for expressive sounds on string, wind and brass instruments such as tremolo, accents, pulsing syncopated rhythms and virtuosic passagework.

and in tonality. This moves suddenly into the “languishing, longing, sighing of the lovesick” that Schubart ascribes to C minor in the second movement, but there is a sublime beauty in the midst of all the wrenching heart-ache. The fantasy continues with a revived and jovial Presto finale in E flat which further juxtaposes extremes of dynamic and startling harmonic intrigues. It is CPE’s incredible command of the emotive powers of music that led Mozart to declare "Bach is the father. We are the children!"

FRANZ JOSEPH HAYDN

Symphony No.52 in C minor This composition is an early work by Haydn, from the second decade in his position at the Esterházy court. This situation, in which he eventually became the third-highest paid officer in the service of the Prince, allowed Haydn great freedom with the small but splendid orchestral forces at his command.

He stated that “as head of an orchestra I could experiment, observe what heightened the effect and what weakened it, and so could improve, expand, cut, take risks. I was cut off from the world, there was no one near me to torment me or make me doubt myself, and so I had to become original.”

All this and more can be heard in Haydn’s Symphony in C minor, which may well have inspired Mozart on his trip to Vienna in 1773. The opening movement features a stark contrast between the incredible power and darkness of C minor and the gentleness of E flat major. The Andante is a steady dance of mixed moods despite beginning with a more positive outlook, while the Minuet is a very stern, harsh affair. Haydn and his peers frequently offered respite from their darkest musical ideas via a modulation to the major key in the final movement of a symphony, but in this case the tensions remain unresolved throughout this dramatic Presto.

An important element of this experimentation was Haydn’s use of Sturm und Drang, one of the most revolutionary styles of the second half of the 18th century. Named after a play

by Klinger about the American Revolution, which was first published in 1776, this ‘storm and stress’, a reflection of the times, was a revolt against the perceived inadequate representations of the human experience in the artistic rationalism of the Enlightenment.

This music is extreme, designed to shock an audience. Although a movement in German

PROGRAM NOTES BY ANTHONY ALBRECHT

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Dr Erin Helyard Rameau's Anacréon, Vinci's Erighetta e Don Chilone and Rameau's Pigmalion (Pinchgut), Handel’s Acis and Galatea (NZ Opera), Handel’s Orlando (Hobart Baroque), Purcell’s Dido and Aeneas, and Handel’s Faramondo and Agrippina for Brisbane Baroque.

Helpmann Award winning Erin Helyard has been acclaimed as an inspiring conductor, a virtuosic and expressive performer of the harpsichord and fortepiano, and a lucid scholar who is passionate about promoting discourse between musicology and performance.

In 2017 he conducted the Adelaide Symphony Orchestra for Handel’s Saul at the Adelaide Festival in a fêted revival of a Glyndebourne production directed by Barrie Kosky; he received the Helpmann Award for Best Music Direction in 2017 for this production. Three operas under his direction won Best Opera at the Helpmann Awards in 2015, 2016, and 2017.

Erin graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in fortepiano performance and a PhD in Musicology with Tom Beghin at the Schulich School of Music, McGill University, Montreal. He was named the Westfield Concert Scholar (Cornell) on fortepiano for 2009-2010 and from 2003 to 2012 Erin was a central member of the award-winning Ensemble Caprice (Montreal).

Helyard duets in nineteenth-century repertoire on historical pianos with renowned Alkan exponent Stephanie McCallum and on fortepiano and harpsichord he has recently been described as “Australia’s most engaging soloist” by Limelight magazine. He is currently Senior Lecturer at the Melbourne Conservatorium of Music and appears by kind courtesy of that institution. His research interests include historical performance practice, eighteenth-century music, seventeenth- to nineteenth-century opera, intersections of music and capitalism, Ancient Greek music, the cultural life of the piano, Bourdieu, music and philosophy, the history of music notation, re-mixes and revisions, and topics related to the body, gender, sexuality, and feminism.

Helyard is particularly active in reviving in both score and performance neglected seventeenth- and eighteenth-century opera.

As Artistic Director and co-founder of the celebrated Pinchgut Opera and the Orchestra of the Antipodes (Sydney) he has forged new standards of excellence in historicallyinformed performance in Australia. He has conducted from the keyboard performances of Purcell’s Fairy Queen (Montreal Baroque Festival), Cavalli’s L’Ormindo, Purcell’s Dioclesian, Vivaldi’s Griselda, Cavalli’s Giasone, Salieri’s The Chimney Sweep, Vivaldi’s Bajazet, Grétry's L'amant jaloux, Handel’s Theodora,

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2018 Season Haydn & London 08 March 2018 - 13 March 2018 Canberra / Berry / Southern Highlands / Sydney HAYDN London Trio in G major HAYDN String Quartet Op. 74 No. 3 in G minor The Rider HAYDN Symphony No. 101 London in D major arr. Salomon

Boccherini's Guitar 24 May 2018 - 01 June 2018 Newcastle / Southern Highlands / Sydney / Canberra / Berry BOCCHERINI String Quartet Op. 26 No. 4 in A major PORRO/MOZART Grand Trio extrait de Mozart CANALES String Quartet No. 3 in C minor HAYDN String Quartet Op. 51 BOCCHERINI Guitar Quintet G.448 Fandango in D minor

Schubert Songs 10 August 2018 - 17 August 2018 Berry / Sydney / Canberra / Newcastle SCHUBERT Selected Lieder including Winterreise - Gute Nacht, Erlkönig D.328 and The Trout D. 804 FELICIEN DAVID String Quintet - Les Quatre Seasons SCHUBERT String Quartet No. 13 D 804

Beethoven & Haydn 04 October 2018 - 12 October 2018 Canberra / Berry / Southern Highlands / Sydney / Newcastle HAYDN Symphony No. 44 in E minor The Trauer FERDINAND RIES Flute Quartet in D minor ALBRECHTSBERGER String Sextet Op. 13 No. 1 in E flat major BEETHOVEN Symphony No. 1 in C major arr. Masi (1800)

Haydn’s Farewell 13 December 2018 - 16 December 2018 Canberra / Sydney J.C. BACH Symphony Op. 6 No. 6 in G minor MOZART Piano Concerto No. 12 in A major MOZART Rondo for Piano and Orchestra K. 386 in A major HAYDN Symphony No. 45 The Farewell in F sharp minor

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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 18th 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 Van Swieten He was a keen amateur musician and patron of Haydn, Mozart, and Beethoven.

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

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

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Administration

Patron

Skye McIntosh

Professor the Honourable Dame Marie Bashir AD CVO

GENERAL MANAGER

Stephen Bydder ADMINISTRATOR

Marguerite Foxon DEVELOPMENT MANAGER

Vi King Lim SCORE SERVICES

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