AHE Program - Melvyn Tan & Haydn's Paris

Melvyn Tan & Haydn’s Paris

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Recorded by acclaimed Tonmeister Virginia Read, The Haydn Album represents the very latest research into performance practice at the time of the music’s composition. The disc champions three of the finest works by the eighteenth-century composer Joseph Haydn including Cello Concerto in C major, Harpsichord Concerto in D major and Symphony ‘Le matin’ (‘Morning’).

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Melvyn Tan & Haydn’s Paris Skye McIntosh, Artistic Director & Violin Melvyn Tan, Guest Fortepiano Soloist CHEVALIER DE SAINT-GEORGES

Symphony Op. 11, No. 2 in D major

(28 MINS)

MOZART

Concerto for Keyboard No. 18 K. 456 in B-flat major (35 MINS) HAYDN

Symphony No. 85 in B-flat major ‘La Reine' (The Queen) (28 MINS) THIS CONCERT WILL LAST A TOTAL OF APPROXIMATELY ONE HOUR AND 40 MINS, INCLUDING A 20 MINUTE INTERVAL

Canberra

Thursday 29 June, 7:00pm

The Albert Hall

Sydney

Saturday 1 July, 7:00pm

City Recital Hall

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The Australian Haydn Ensemble (AHE) was formed in late 2011 and launched its first subscription season in 2012. The Ensemble has rapidly claimed a place among Australia’s finest orchestras and chamber music groups.

Specialising in the music of the classical era, they perform on historical instruments under the leadership of Artistic Director, Skye McIntosh.

AHE has built a reputation for its vivacious performances, which are faithful to the soundworlds that would have been familiar to Haydn and his contemporaries.

AHE has recently released their chart topping debut ABC Classics album, performed at the Melbourne Festival, throughout Australia, and toured to America. The Ensemble presents five tours annually and includes regional performances and education projects at the core of its activities.

Formed from a group of dedicated musicians with national and international experience, 4

Musicians GUEST FOTEPIANO SOLOIST

VIOLA

OBOE

Melvyn Tan

Deirdre Dowling

Amy Power

(UNKNOWN, 1800, ENGLISH)

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

VIOLIN I

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

Matthew Greco (DAVID CHRISTIAN HOPF, 1760, QUITTENBACH)

Lathika Vithanage

Gabrielle Kancachian (JAKOB WEISS, 1720, SALZBURG)

James Eccles (UNKNOWN, 1739, TYROLEAN)

Martin Wiggins

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

(REX A ENGLAND, 1996, ENGLAND) BASSOON

(HENDRICK JACOBS, 1703, AMSTERDAM)

CELLO

Simon Rickard

Simone Slattery

Anton Baba

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

(CLAUDE PIERRAY, 1726, PARIS)

(PETER ELIAS, 2000, AIGLE, SWITZERLAND)

Rafael Font

Natasha Kraemer

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

Anthony Albrecht

VIOLIN II

Stephen Freeman (UNKNOWN, 1730, ENGLISH)

Anna McMichael

(JOHN BARRATT, 1743, LONDON)

(WALMSLEY, 1740, LONDON)

(PETER DE KONINGH, 2009, AFTER H. GRENSER, 1795)

HORN

Darryl Poulsen DOUBLE BASS

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

Jacqueline Dossor

Doree Dixon

(UNKNOWN, 1740, NORTHERN ITALIAN, LIKELY BOLOGNA)

(CAMILLI CAMILLUS, 1742 MANTUA)

Alice Rickards

FLUTE

(ALESSANDRO MEZADRI, 1720, FERRARA)

Melissa Farrow

Annie Gard

Takako Kunugi

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

(R.TUTZ 2001 INNSBRUCK, AUSTRIA AFTER H.GRENSER)

(J. KLOTZ, 1737, MITTENWALD)

MELVYN TAN PERFORMS ON A FORTEPIANO AFTER WALTER & SOHN BY CHRIS MAENE 2014.

GENEROUSLY PROVIDED COURTESY OF IVAN FOO. PREPARED BY COLIN VAN DER LECQ.

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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 It is hard to think of a city more rich in culture and history than Paris. The process of researching this program and delving into the stories of some of the key players in 18th century Paris’ musical culture was one I found fascinating!

A central but often forgotten character in the musical life of Paris at the time was violinist, composer and champion swordsman, Chevalier de Saint-Georges. It is chiefly to him that we owe our immense debt of gratitude for the commissioning of Haydn’s set of six Paris Symphonies, from which we will perform the fourth: Haydn’s 85th symphony, ‘La Reine’ (The Queen). This is a work in which we hear Haydn aiming to charm the French basing the melody of the second movement on a French folksong, and its rhythmic structure on a French dance.

His ‘charm offensive’ clearly worked on Queen Marie Antoinette, because it was purported to be her favourite of the Paris Symphonies - thus gaining the work its nickname!

Chevalier de Saint-Georges wrote his own symphonies too, and our performance of his Symphony Op. 11 No. 2 will be an Australian Premiere, giving many in our audiences a first taste of this composer.

I am incredibly proud to present Melvyn Tan, one of the world’s finest fortepianists and acclaimed Mozart interpreters. Melvyn has a vast experience in historical keyboard playing and we are thrilled to have a soloist of such international stature joining AHE. He will be performing on a gorgeous replica Walter & Sohn fortepiano by Chris Maene, provided by our generous friend and supporter, Ivan Foo.

Skye McIntosh

7 ARTISTIC DIRECTOR & VIOLIN

Melvyn Tan Melvyn Tan established his international reputation in the 1980s with pioneering performances on fortepiano and continues to cast fresh light on music conceived for the piano’s early and modern forms. Tan possesses a profound understanding of his instrument’s history, its technical evolution and musical development. Acclaimed for the wit and poetry of his playing, Tan has also received ovations for his bold programming and exceptional ability to switch from fortepiano and modern piano, even in the same recital.

in 1978, he broadened his scope of enquiry to include the sounds of early pianos and the playing styles that conditioned them.

Tan’s decision in 1980 to specialise in fortepiano, brave and forward-looking at the time, was rewarded by rapid professional progress over the following decade. He forged an enlightened artistic partnership with Roger Norrington and the London Classical Players, intensified in 1987 during the course of a landmark tour of Europe, America, Canada, Australia and Japan. Capacity audiences attended their Beethoven Experience weekend at London’s South Bank Centre and subsequent international tour, during which Tan performed on Beethoven’s Broadwood fortepiano of 1817.

Tan’s work as recitalist, chamber musician and concerto soloist has been heard at many of the world’s leading concert halls, from the Amsterdam Concertgebouw and Vienna Konzerthaus to London’s Wigmore Hall and Royal Festival Hall and New York’s Lincoln Center, and at the festivals of Salzburg, Edinburgh, La Roque d’Anthéron, Bath Mozartfest and the City of London festival.

Tan has performed as concerto soloist with such prestigious ensembles as the London Philharmonic Orchestra, the Academy of St Martin’s in the Fields, the Hong Kong Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, Stuttgart Radio Symphony Orchestra, Salzburg’s Camerata and Mozarteum orchestras, Melbourne Symphony and on tour with the Australian Chamber Orchestra. More recently, Tan has made regular appearances with the Singapore Symphony Orchestra and with the London Chamber Orchestra, recording Mozart’s Piano Concerto No. 12 and Beethoven’s Piano Concerto No. 2 on the orchestra’s LCO Live label.

Melvyn Tan was born in Singapore in 1956.

He showed prodigious musical talent during childhood and, at the age of twelve, came to England to study at the Yehudi Menuhin School. Tan’s piano teachers – Nadia Boulanger, Vlado Perlemuter and Marcel Ciampi – sparked his lifelong passion for French music in general and the works of Debussy, Ravel and Messiaen in particular.

He was encouraged to think about the nature of music during his time at the Menuhin School, to consider its structure and shaping forces, and ask questions of the score. After Tan enrolled at the Royal College of Music 9

About The Music Joseph Bologne was enrolled at the age of 13 in the Académie royale polytechnique des armes et de ‘l’équitation for fencing and horsemanship, and quickly excelled to become one of their finest CHEVALIER DE SAINT-GEORGES (1745-1799) students. After defeating a fencing master, who had mocked his ancestry in public, the young man was made a Gendarme de la Garde du roi and assumed the suffix of his father, thus becoming known as the Chevalier de SaintGeorges. He was also a renowned dancer and frequented the all-important salons of the high-society ladies of Paris. The source of the Saint-Georges’ musical training is unknown, although it is clear that he was guided by important figures such as the composer Gossec and violinist Lolli. He must also have had exposure to the great violin virtuoso Leclair, quartets by Haydn which were imported and performed at the famous musicales of Baron Bagge, and may even have met the young Mozart via his friend the Duke d’Orléans. All these figures had discernible inputs on his playing and compositional style. The gazette Mercure galant dedicated this word poem to the Chevalier de SaintGeorges:

JOSEPH BOLOGNE, CHEVALIER DE SAINTGEORGES (1745-1799)

Symphony Op. 11, No. 2 in D major COMPOSED 1779

I. Allegro presto II. Andante III. Presto Our program begins with a symphony by one of the most extraordinary personalities of music-making in 18th century Paris. Joseph Bologne was a ‘mulatto’, the black, illegitimate son of a Guadeloupe plantation owner and his African slave, Nanon. An unlikely figure to rise to the greatest artistic heights in one of the cultural centres of Europe, it speaks volumes to the French enlightenment and revolutionary principles of Liberté, Equalité, Fraternité (liberty, equality, fraternity) that a young man of this era could be judged, for the most part, on his character and talents regardless of his skin colour. He also used his social influence to promote equality, joining the abolitionist Société des Amis des Noirs in Paris and becoming colonel of the Légion des Américains et du Midi, the first coloured regiment in Europe, alongside the father of another important cultural figure of African descent, Alexandre Dumas.

Joseph Bologne’s father brought his children to France for their education and settled there in order to escape persecution from an unjust murder accusation in the Caribbean.

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Child of refinement and of genius, He was born in the sacred valley Nursling and image of Terpsichore, Rival to the God of Harmony, Had he joined his music to poetry, He would be taken for Apollo

WOLFGANG AMADEUS MOZART (1756-1791)

Concerto for Keyboard No. 18 K. 456 in B-flat major COMPOSED 1784

I. Allegro vivace II. Andante un poco sostenuto III. Allegro vivace

Saint-Georges performed as soloist and then director of Gossec’s Concert des Amateurs, comprising the finest professionals in Paris.

When this group was disbanded in 1781, the Duke d’Orléans revived it at SaintGeorges’ request as the Concert de la Loge Olympique, a large and elite ensemble within the exclusive circle of the freemasons. SaintGeorges did suffer one major career setback on racist grounds, when four of the leading ladies petitioned Queen Marie Antoinette, who considered Saint-Georges a close friend, against a proposal that he become music director at the Paris Opéra. SaintGeorges withdrew his name to avoid her any embarrassment.

Paris hosted all the great touring virtuosi of the 18th century, including the young Mozart, although his association with the city was rather less enjoyable or fruitful than that of many of his peers. He spent the winter of 1778 there with his mother and experienced repeated rejections from the French nobility.

His one major success was the ‘Paris’ Symphony No.31, performed to acclaim by the large orchestra of the Concert Spirituel.

Sadly, his mother, Anna Maria, succumbed to ill-health and passed away in the city with Mozart at her bedside.

Several years later, an astounding young performer by the name of Maria Theresia von Paradis had much more success in Paris. Born into Austrian nobility and named after Empress Maria Theresa, von WOLFGANG AMADEUS MOZART (1756-1791) Paradis tragically began to lose her eyesight at the age of two.

Despite this she was taught music by some of the leading musicians in Vienna, including the composer Salieri, and impressed all with her ability to memorise. Aged 11 she sang Pergolesi’s Stabat Mater, accompanying herself on the organ, and by the age of 16 she had gained renown as a solo pianist

Saint-Georges published numerous works, including string quartets, virtuosic violin concertos, symphonies and symphonie concertantes, as well as several operas.

His Symphony Op.11 No.2, a short threemovement work in the ebullient key of D major, is identical to the Overture to the opera L’Amant Anonyme, first performed in 1780.

The opera, a tale of a man unable to express his love for a friend because of societal norms, perhaps reflects one of the Saint-Georges’ own personal experiences.

The Australian Haydn Ensemble is fortunate to be giving the Australian premiere of this work.

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and singer in the Viennese salons. She later undertook a three-year tour, visiting the Mozart family in 1783 and reaching Paris in 1784 where she was received to great acclaim.

After performing at the famous Concert Spirituel, one of the first ever public concert series, she was praised by the Journal de Paris which wrote “one must have heard her to form an idea of the touch, the precision, the fluency and vividness of her playing.” While on the road von Paradis began to compose, aided by her amanuensis (scribe) and eventual librettist, Johann Rieginger, who invented a composition board for her. She went on to produce numerous solo piano works, lieder, at least five operas and three cantatas. If these achievements weren’t impressive enough for a young, blind woman in an era dominated by male performers and composers, von Paradis also helped found the first school for the blind in Paris. Her talent and pioneering spirit inspired several compositional dedications, the most famous of which was Mozart’s Piano Concerto No. 18.

shortage of praise during his father’s visit, with none other than Joseph Haydn, having heard some of Mozart’s new string quartets, telling Leopold that “before God, and as an honest man, I tell you that your son is the greatest composer known to me in person or by name.”

The cheerful and conversational (concertante) nature of the first movement which so affected Leopold is captured by Hoffman’s description of B-flat major from c.1814: “How joyful are the meadows and forests in spring! All the flutes and panflutes, which during the winter lay frozen in dusty corners, are awake and are recalling their favourite melodies.” The second movement is a series of five variations on a theme, a conversation on a much darker subject, with Mozart continually providing attempts at harmonic reassurance with major cadences at the conclusion of many of the theme’s phrases. Gathy in 1835 suggests the key of this movement, G minor, “knows how to express not only true love but also its own tears in utmost simplicity.” Returning to B-flat major, the finale rondo is in one moment cheerful and innocent, and in the next stormy and virtuosic amidst a series of rhythmic disagreements between the winds, strings and solo fortepiano.

Mozart wrote this concerto during one of the busiest years of his short life. His father Leopold visited Vienna during the exceptionally cold February of 1785, and remarked in a letter to Mozart’s sister Nannerl that “since my arrival, your brother’s fortepiano has been taken at least a dozen times from the house to the theatre or to some other house.” After one of these appearances Leopold wrote that Mozart performed “a masterful concerto that he wrote for Paradis.

I had the great pleasure of hearing all the interplay of the instruments so clearly that for sheer delight tears came to my eyes. When your brother left the stage, the emperor tipped his hat and called out ‘Bravo Mozart!’ and when he came on to play, there was a great deal of clapping.” Mozart received no

JOSEPH HAYDN (1732-1809)

Symphony No. 85 in B-flat major ‘La Reine' (The Queen), Hob I:85 COMPOSED 1785

I. II. III. IV.

I. Adagio – Vivace II. Romanze: Allegretto III. Menuetto: Allegretto – Trio Finale: Presto

Joseph Haydn never visited Paris but he was adored there, both for the quality of his music and the commercial potential of 12

its publication. There were even several deliberate false attributions to capitalise on his selling power, the most famous of which is “Haydn’s Serenade” from the Op.3 String Quartets, heard at countless soirées and weddings over the centuries, which was actually composed by the Benedectine monk and Haydn admirer, Roman Hofstetter. The richest commission of Haydn’s career came from Paris in 1785, commissioned by Joseph Bologne, Chevalier de Saint-Georges on behalf of the Comte d’Ogny for the Concert de la Loge Olympique. 25 Louis d’or per symphony, which Haydn was offered, was many times the amount offered to other composers by the same Olympic Masonic Lodge.

Haydn quickly responded by writing six of his most spectacular symphonies which made good use JOSEPH HAYDN (1732-1809) of the substantial forces of the Loge Olympique Orchestra, including over 40 violins and 10 basses, much more orchestral power than he was used to at Esterházy. The orchestra of masons performed standing in bright blue dress coats, their swords at their sides (please let us know if you want to see this element of historical performance practice revived).

a lively tempo. In the first a sighing figure moves calmly from one harmony to the next before being interrupted by the second part; energetic, rapid ascending figures in the strings. Frenzied, aggressive minor sections are repeated, calmed by the original sighing figure played by the strings and oboe. The second movement is a Romance, a rare marking for Haydn, structured as a theme and variations movement in the “indescribably gentle” key of E-flat major. A further gesture to his Parisian fans, Haydn uses a French folk melody for this movement, La gentille et jeune Lisette (The pretty, young Lisette). As a taste of his own heritage, the third movement is a rustic Austrian folk dance, the Ländler, which is contrasted by galant elegance in the Trio.

In the last movement, a sonata rondo, Haydn demonstrates the brilliance that earned his ‘Paris Symphonies’ repeated ovations and performances throughout their first season and immediate commercial publication.

As for La Reine, the doomed queen Marie Antoinette did indeed express her fondness for this symphony. The commissioner who, after the monarchy was overthrown in 1792, helped secure a new instrument for her prison cell subsequently noticed a score of Symphony No. 85 on her harpsichord. The queen remarked simply “how times have changed”, drawing tears from her visitor.

PROGRAM NOTES BY ANTHONY ALBRECHT

Haydn appears to have catered for his Paris audience in his Symphony No. 85, as the adagio begins in classic French style with an overture featuring grand gestures and dotted rhythms that introduce the majestic key. This quickly moves into the vivace section, featuring a theme in two parts at 13

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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

Toby Merz DIRECTOR OF DEVELOPMENT

Vi King Lim

Board Marco Belgiorno-Zegna AM CHAIR

John Claudianos

SCORE SERVICES

Carolyn Fletcher AM

Katrina Wintle

Tom Gregory

BOOKEEPER

Skye McIntosh In-Kind Supporters Maria Cox Jacqueline Dossor 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.

Program Design: Viqtor Studio - viqtor.com.au

Ivan Foo Marguerite Foxon Annie and Anthony Whealy

Dr Timothy Pascoe AM

Mozart's Oboe & The Hunt HAYDN

JANITSCH

String Quartet ‘The Hunt’ Op. 1 No. 1 in B Flat major

Oboe Quartet in G minor

MOZART

String Quartet ‘The Hunt’ K. 458 in B Flat major

Oboe Quartet K. 370 in F major

MOZART

Canberra

Thursday 10 August, 7:00pm

The Great Hall - University House, ANU

Sydney

Sunday 13 August, 2:30pm

The Utzon Room, Sydney Opera House

Tickets $35-$80 Visit australianhaydn.com.au for full booking details.