Mozart's Prague Concert Program Australian Haydn Ensemble (AHE)

MOZART’S PRAGUE //

SEASON 2022

FOR

MOZART’S PRAGUE

DECEMBER 2021

DR ERIN HELYARD GUEST DIRECTOR AND FORTEPIANO SOLOIST

SKYE MCINTOSH ARTISTIC DIRECTOR AND VIOLIN

THE

PROGRAM

HAYDN

Symphony No. 95 in C minor

MOZART

Keyboard Concerto No. 21 in C major

K. 467 ‘Elvira Madigan’

–––Interval (20 mins)–––

MOZART

Symphony No. 38 in D major K. 504

‘The Prague’

The concert duration is approximately 1 hr 50 mins including interval

LIVE PERFORMANCE DATES

BATHURST

Tuesday 14 December, 7.30pm

Memorial Entertainment Centre

SYDNEY

Saturday 18 December, 7pm City Recital Hall

AUSTRALIAN DIGITAL CONCERT HALL

Saturday 18 December, 7pm

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“AND IN THEIR MOTIONS HARMONY DIVINE” JOHN MILTON

ARTISTIC DIRECTOR’S MESSAGE // DR ERIN HELYARD //

I am absolutely thrilled to return to the concert hall with our first full-sized AHE orchestra in two years. It is especially exciting that our return for this program of bold works by Mozart and Haydn is with Guest Director and soloist Dr Erin Helyard. This is also one of the largest iterations of the Ensemble we have ever gathered. Our program opens with Haydn’s only minor-keyed symphony from his set of 12 London symphonies. This highly underrated symphony begins with a questioning unison statement from the orchestra in the key of C minor – a dramatic start indeed. Haydn then brings plenty of friendliness to follow this - including the beautiful slow movement, followed by a cheeky minuet, a surprise cello solo in the trio and finishing with an energetic fugue harking back to the baroque. Haydn’s 1791 London visit marked his rise to fame and his output was prolific during this visit.

Ironically, the time that saw Haydn rise to the peak of his popularity was also the time his beloved friend Mozart was lost to the world at such a young age. A tragedy for all.

Thankfully, Mozart left us with many great works - two of which are included in today’s program. Erin Helyard, as our Guest Director and soloist, performs his beautiful Piano Concerto No. 21 ‘Elvira Madigan’ written in 1785. The work takes its nickname and was made famous in modern times by its feature in the 1960s-era film about the acrobat Elvira Madigan. Mozart’s Prague Symphony was written late in the previous year and was premiered in 1797 during Mozart’s first visit to the city. This provides a glorious finish to our program and year.

Thank you for being with us tonight and supporting us during yet another turbulent year. I also wanted to make a particular mention of our wonderful friend and supporter Ivan Foo who has generously loaned us his gorgeous Walter fortepiano for this concert. Thank you Ivan, and thank you everyone!

Erin Helyard has been acclaimed as an inspiring conductor, a virtuosic and expressive performer of the harpsichord and fortepiano, and as a lucid scholar who is passionate about promoting discourse between musicology and performance. 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 University) on fortepiano for 2009-2010 and from 2003 to 2012 Erin was a central member of the award-winning Ensemble Caprice (Montreal).

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 historically-informed performance in Australia. The company recently won Best Rediscovered Opera (2019) for Hasse’s Artaserse at the International Opera Awards in London. Operas under his direction

have been awarded Best Opera at the Helpmann Awards for three consecutive years (2015-2017). He has received two Helpmann Awards for Best Musical Direction: one for a fêted revival of Saul (Adelaide Festival) in 2017 and the other for Hasse’s Artaserse (Pinchgut Opera) in 2019.

Erin has conducted from the keyboard operas by composers as varied as Handel, Vivaldi, Cavalli, Monteverdi, Rameau, Vinci, Hasse, Charpentier, Salieri, and Grétry. As a conductor he has distinguished himself in dynamic performances with the Adelaide, Tasmanian, and Queensland Symphony Orchestras and the Australian Haydn Ensemble. Helyard regularly collaborates with the Australian Chamber Orchestra and duets in nineteenth-century repertoire on historical pianos with renowned Alkan exponent Stephanie McCallum.

In 2018 he was recognised with a Music and Opera Singers Trust Achievement Award (MAA) for contribution to the arts in Australia. Erin Helyard and Richard Tognetti received Best Classical Album at the Australian Independent Record Awards in 2020 for their ABC Classic disc of Beethoven and Mozart sonatas.

Erin is a Senior Lecturer at the Sydney Conservatorium of Music and appears courtesy of Pinchgut Opera.

Skye McIntosh

THE ENSEMBLE

The Australian Haydn Ensemble, founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, has quickly established itself as one of Australia’s leading period-instrument ensembles, specialising in the repertoire of the late baroque and early classical eras. It takes its name from the great Joseph Haydn, a leading composer of the late eighteenth century, when style was transitioning from Baroque to Classical. Based around a small core of strings and flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet, to a full orchestra. It has developed a flourishing regular series at the Utzon Room, Sydney Opera House, City Recital Hall and in Canberra, where it was Ensemble in Residence at the Australian National University during 2014. It also performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting eighteenth-century historical performance techniques. In January 2019, AHE presented programs at the Peninsula Summer Music Festival and the Organs of the Ballarat Goldfields Festival in Victoria, receiving glowing reviews. In 2022 they will be performing at the Adelaide Festival.

In 2016 the group released its debut ABC Classics recording The Haydn Album which reached number one on the Australian Aria Classical charts. It received rave reviews, one claiming that the Ensemble stood “proudly shoulder to shoulder with the many period instrument ensembles found in Europe.”. In October 2017 AHE released Beethoven Piano Concertos 1 & 3 on the ABC Classics label, showcasing newly-commissioned chamber versions of the works in the style of the eighteenth century, in collaboration with Aria award winning historical keyboardist Dr Neal Peres Da Costa.

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

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

The Ensemble has presented a host of unique chamber music and orchestral programs, working with a range of worldclass musicians such as Erin Helyard, Neal Peres Da Costa (Australia), Catherine Mackintosh, Melvyn Tan, Benjamin Bayl (UK), Marc Destrubé (Canada), Midori Seiler (Germany) as well as singers Sara Macliver (Australia), Stephanie True (Canada), Simon Lobelson (Australia), Helen Sherman (UK) and David Greco (Australia). It is particularly interested in presenting unusual programs of eighteenth-century chamber versions of larger orchestral symphonic and concerto works by Haydn, Mozart and Beethoven, as well as bringing to a wider audience some of the lesser-known contemporaries of these composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister, and Vanhal.

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

ARTISTS

GUEST DIRECTOR & KEYBOARD SOLOIST

Erin Helyard [1]

VIOLIN

Skye McIntosh

Myee Clohessy

Anna McMichael

Natalia Harvey

Matthew Greco

Stephen Freeman

Miranda Hutton

VIOLA

Karina Schmitz

James Eccles

CELLO

Daniel Yeadon[2]

Anton Baba

DOUBLE BASS

Pippa Macmillan

ARTISTS

FLUTES

TRUMPETS

GENIUS AND WIT IN THE AGE OF ENLIGHTENMENT

MOZART: VIENNESE STAR

BASSOON

We launch our 10th anniversary season with a program of sparkling chamber works from the years of Mozart’s rise to fame in 1780s Vienna.

10 – 16 February 2022

Canberra | Berry | Southern Highlands | Sydney | Livestream

Book now

australianhaydn.com.au

Mikaela Oberg

Melissa Farrow [3]

OBOES

Emma Black

Adam Masters

HORNS

Michael Dixon Jenny McLeod-Sneyd

Simon Rickard Brock Imison [5]

Richard Fomison Michael Whitaker

TIMPANI Tim Brigden

[3] Melissa Farrow appears courtesy of Australian Brandenburg Orchestra

[4] Carla Blackwood appears courtesy of Melbourne University

[5] Brock Imison appears courtesy of Melbourne Symphony Orchestra

ABOUT THE MUSIC

FRANZ JOSEPH HAYDN (1732-1809)

Symphony No. 95 in C minor

Allegro moderato

Andante

Menuetto

Finale: Vivace

Tonight’s concert is a story of two friends and three cities. Soon after his first meeting with Mozart in 1785, Haydn told Wolfgang’s father Leopold that “your son is the greatest composer known to me, either in person or by reputation”. Their 24-year age gap was immaterial; the friendship was instant and enduring. So when, in December 1790, the impresario Johann Salomon arrived at Haydn’s house in Vienna with the words “I am Salomon from London, and I have come to fetch you”, Haydn attempted to persuade Mozart to join him on the journey.

It wasn’t to be, but the 58-year old Haydn’s arrival in London on 1st January 1791 sparked a Georgian media frenzy nonetheless. “I went the round of all the newspapers for three successive days” he wrote to a friend, back in Vienna. Salomon provided him with comfortable lodgings plus a superb 60-strong orchestra, and as Haydn got to know his London audience, he adapted and innovated. He tested the water with music that he’d already written. Then, in April and May, he introduced two new symphonies (billed as “New Grand Overtures”) written specially for London.

This symphony – now known as No. 95 – was one of those two works, and while we don’t know the exact date upon which it was premiered, we do know that it was first heard in April 1791 (probably on either the 1st or the 29th). And from the very opening gesture, we can hear Haydn trying

something bold and new. It’s the only one of the twelve symphonies that he wrote for London that dives straight in with no slow introduction; more strikingly, it’s the only one of the twelve that’s in a minor key. The opening is dark and dramatic; even the Menuetto – usually a moment of relaxation in a classical symphony - is tense and forceful.

But Haydn is out to delight, as well as to stir. The first movement’s severity is offset by generous courtesies, and the opens in a mood of tender poetry. That anxious Menuetto gives way, in the central Trio section to a quirky cello solo (giving Salomon’s excellent principal cello a chance to shine). And by the finale, the skies have cleared completely – which doesn’t prevent Haydn from treating his new fans to a bravura display of fugal muscle in the manner of Mozart’s 28-month-old Jupiter symphony (then unknown in London) before drums and trumpets crown a jubilant finish.

“Nothing occurred that could bear any comparison with the new overture of HAYDN, which exhibited all the fire and perfection of his genius” declared a critic the morning after the 1 April concert; and Haydn must surely have felt vindicated by his warm reception. When he’d said farewell to Mozart in December 1790, the younger man (according to Haydn’s biographer Dies) had showed concern:

“‘Papa’ as he usually called him, ‘you have had no training for the great world and you speak too few languages’. ‘Oh!’ replied Haydn ‘my language is understood all over the world’”.

WOLFGANG AMADEUS MOZART (1756-1791)

Piano Concerto No. 21 in C major K. 467

Allegro maestoso Andante

Allegro vivace assai

If you’ve seen Amadeus, you’ll remember how a furious Leopold Mozart descends on his brilliant but feckless son in Vienna – an avenging paternal angel with a face like thunder. The reality was a bit different. On Sunday 11 February 1785 Wolfgang presented the first of a series of concerts at the Mehlgrube, a converted flour market in central Vienna. Leopold attended, and wrote to his daughter Nannerl, full of pride:

The concert was magnificent and the orchestra played splendidly…we had a new and very fine concerto by Wolfgang, which the copyist was still copying when we arrived…

In other words, the first months of 1785 were a busy time for Mozart. Lent – when the opera houses were closed – was peak season for instrumental music in Vienna, and that concert was just the first of a series. Then there was the business of entertaining dad (it was during this visit that Mozart introduced his father to Haydn). Meanwhile, Mozart was in constant demand. On 10th March, Viennese newspapers announced that “Herr Kapellmeister Mozart” would appear in a “Grand Musical Concert” that evening at the Imperial and Royal Court Theatre, performing “a new, just finished, Fortepiano concerto”.

That concerto was this one, No. 21 in C major – completed on 9th March (in other words just one day before the concert.

The ink was barely dry). But rush-job or not, it’s clear that Mozart was thinking big. So he sets the concerto in C major: for 18th century composers, the brightest of keys, and one that allows the use of valveless trumpets and timpani. Traditionally, that meant swaggering fanfares, but Mozart is rarely so obvious. He begins his concerto with a march, but it’s quiet, almost playful – a conspirator making an entrance in a comic opera, with even the trumpets playing softly.

That makes the explosion, when it comes, all the more thrilling, and Mozart lays out melody after melody - some playful, some tender - making full use of Vienna’s excellent wind players (he’ll have known the players personally). Even before the piano enters, it’s clear that this is a concerto for a special occasion: generous, expansive, and conceived on the grandest scale. And after the piano enters, we get as close as we can to hearing Mozart improvise (as he would have done on the night).

Such a brilliant first movement demands a profound contrast, so Mozart asks the strings to use mutes as he opens his slow movement - then employs his woodwinds to add soft shadows as he unfolds a measured, gently sighing melody. The cellos and basses provide the heartbeat and the piano gradually leads the music into new (and occasionally dark) places before serenity is restored. After such emotion, Mozart’s natural response is to dispel the tension, with a rondo finale in which orchestra and soloist play an ebullient, light-footed game of chase in the manner of (well, it has to be said) Haydn. But make no mistake: those trumpets and drums have the last word.

ABOUT THE MUSIC

WOLFGANG AMADEUS MOZART (1756-1791)

Symphony No. 38 in D major K. 504 (Prague)

Adagio - Allegro

Andante

Finale: Presto

Under Emperor Rudolf II (1552-1612), Prague had been the pre-eminent city in the Holy Roman Empire. The Thirty Years War ended all that: the Bohemian nobility responded by cultivating science, industry, and a rivalry with Vienna that would persist until 1918. And they made music. So when rumours circulated that The Marriage of Figaro had failed at the Burgtheater in Vienna in May 1786, Prague had a new musical hero ready-made. Figaro was a triumph when it was given in Prague in December 1787. “No piece has ever caused such a sensation” stated one newspaper:

Connoisseurs who have seen this opera in Vienna are anxious to declare that it was done much better here…Mozart must have heard about this for himself, for there is a rumour that he will come here in person.

It was more than just a rumour. Mozart arrived in Prague in mid-January 1787, and on 18th January the Governor of Bohemia granted him permission to present a concert at the Nationaltheater the following day. Mozart’s future biographer Franz Niemetschek was in the audience. “The theatre had never been so full as on this occasion”, he recalled. “Never had there been such enthusiasm”. At some point that evening Mozart directed the first known performance of his Symphony in D K. 504 - completed in Vienna on 6 December 1786. Niemetschek, again:

The symphonies which he composed for this occasion are real masterpieces of instrumental composition, which, when played with great élan and fire, carry the very soul to sublime heights. This applies particularly to the symphony in D major, which is still a favourite in Prague although it has no doubt been heard a hundred times.

When you consider that Viennese critics had described Mozart’s latest string quartets (the ones that he’d dedicated to Haydn) as “too highly seasoned”, the idea that Mozart wrote the symphony specifically for the cognoscenti of Prague gathers weight. What, after all, could be more “highlyseasoned” than the symphony’s richlyharmonised introduction? It’d probably be going too far to hear this Adagio as a direct anticipation of the opera that Mozart wrote specifically for Prague later that year: Don Giovanni. But it’s a response to the same musicians, and the same expert public.

The main Allegro shares the introduction’s almost operatic sense of drama, and the whole argument grows from the syncopated opening rhythm and the motifs that emerge from it. The wind instruments, meanwhile, operate almost as a separate unit from the strings: with the superb Bohemian players, Mozart could risk it. Indeed, with only 14 string players in the Prague orchestra, the lilting G major Andante will have taken on an even more intimate quality. The Presto of the finale, too, will have meant exactly that: “as fast as possible”. Mozart drives the music forward to successive climaxes before giving this most appreciative of audiences a truly jubilant finish. Niemetschek remembered the reaction:

We gave vent to our emotions in enthusiastic applause…Mozart likewise counted this day as one of the happiest of his life.

Richard Bratby

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OUR PATRONS

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

About Our Patron Categories

Esterházy Prince Esterházy was the main patron of Haydn.

Waldstein Count Waldstein was an early patron of Beethoven.

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

Galitzin He was an amateur musician and is known particularly for commissioning three Beethoven string quartets Op. 127, 130 and 132. Lobkowitz He was a Bohemian aristocrat and a patron of Beethoven.

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

PATRON

Professor the Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON

Dr Timothy Pascoe AM

THE CHAIR’S CIRCLE

Marco Belgiorno-Zegna AM & Angela

Belgiorno-Zegna

Mark Burrows AO *

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ESTERHÁZY $15,000+

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Anonymous * [1]

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Flaherty *

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Kyburz

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Anonymous (5) incl 2 *

LOBKOWITZ $500 - $999

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Nick Payne

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Anonymous (2) incl 1 *

RAZUMOWSKY $50 - $499

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Margaret Adamson

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Wayne Arthur

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Dr Susan Ballinger

Robin Bass

Margaret Bassal

Ken & Annabel Baxter

Andrew Blanckensee

Peter Bodor QC

Dion Boehme

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Rob Bridger

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Russell Burgess & Judith Cain

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Gerry Burns

Claire Burrell-McDonald

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Dr Nola Cooke

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Catherine Cowper

Susan Cox

Isabel Crawford

Ruth Crosby

Peter Cumines

Judith Dare

Jennifer Dewar

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Marion Flynn

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Dr Robin Gibson

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Prof Pru Goward

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OUR PATRONS CONTINUED

Lesley Harland

Dr Stuart & Pamela Harris

Vicki Hartstein

Susan Hawick

Meredith Hellicar *

Jenni Hibbard *

Anne Hinkley

Julia Hoffman

Stephen Holmes *

Elizabeth Howard

John Howard

June Howard

Ralph Hunt

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Catherine Ikin *

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Paul & Carol James *

Ron James

Peter & Margaret Janssens

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Gerard Joseph

Gabrielle Kancachian *

Thora Karras *

Poss Keech *

Heather Kenway

Jenny Kerr

Siew-Ean Khoo

Anne Lander

Pastor de Lasala OAM *

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Cecilia Lillywhite

Peter Lowry OAM & Dr Carolyn

Lowry OAM *

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Joanne McGrath

Wendy Mcleod *

Dr Patricia McVeagh

Christine Melican

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Janet Nash

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Louise Owen *

Anne Pickles

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Heather Reid

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Lucille Roe

John & Pam Rooney *

Mary Rose-Miller *

Jennifer Roseinnes

Felicite Ross *

Lesley Rowe

Matthew Sait

Anneke Scott *

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Carole Anne Shearer *

Pam Shein *

Ian Sheldrick

Dr Richard Sippe

Xavier Shea

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Paul & Hilary Smith

Keith & Janet Stanistreet

Libby Steeper

Kaye Stevens

Elizabeth Storrs

Lady Penelope Street

Dr Rupert Summerson *

Pamela Swaffield

Susan Tanner *

Kerry Thomas *

John & Jill Tidmarsh

David & Jill Townsend *

David & Helen Turvey

John Underwood*

Gabriella Unsen

Ailsa Veiszadeh *

Herta Verge

Penny Watsford *

Nic & Elaine Witton *

Wendy Yeomans Anonymous (17) incl 11 *

* Indicates contributors to the 2021 Pozible Campaign to fund

AHE’s 10th Anniversary CD

This listing is correct as of 1 December 2021, and we gratefully recognise all donations received since January 2021.

Your donations to AHE are invaluable – and in our Summer Challenge your donation will be MATCHED dollar for dollar up to $50,000 by the Federal Governnment’s Creative Partnerships ‘Plus1’ Initiative.

This is double the impact!

Your contribution means the Australian Haydn Ensemble will continue to expand. We will be able to bring more of our wonderful music to more people around Australia via our concerts, livestreams, and soon, our new Mozart CD being recorded early in 2022.

OUR PARTNERS BACKSTAGE

GOVERNMENT PARTNERS

//

BOARD

Marco Belgiorno-Zegna AM (Chair)

Jan Bowen AM FRSN

Harriet Lenigas

Adrian Maroya

Kevin McCann AO

Skye McIntosh (Artistic Director)

Peter Young AM

STAFF

Skye McIntosh – Artistic Director

Tegan Redinbaugh – Chief Executive Officer

Alison Dunn - Marketing and Communications

Emma Murphy - Financial Controller

Janine Hewett - Accountant

Stephen Bydder – Administrator

Marguerite Foxon – Front of House and Administrator*

Vi King Lim – Score Services

*In Kind Support

IN KIND

Ivan Foo

Thank you to our patrons who kindly provide accommodation for our out-oftown performers.

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.

The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we perform. We pay our respects to their Elders past, present, and emerging.