HAYDN'S CREATION Concert Program, Australian Haydn Ensemble (AHE)

HAYDN’S CREATION “AND THERE WAS LIGHT”

Sunday 1 May 2022 City Recital Hall, Sydney

REACH

SEASON 2022 FOR THE

STARS

“AND IN THEIR MOTIONS HARMONY DIVINE” JOHN MILTON

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HAYDN’S CREATION CONDUCTOR Roland Peelman

ORCHESTRA Australian Haydn Ensemble

SOPRANO Alexandra Oomens

LEAD VIOLIN Skye McIntosh

TENOR Andrew Goodwin

CHOIR Sydney Chamber Choir

BASS James Ioelu

CHORUS MASTER Sam Allchurch

Presented in association with Canberra International Music Festival and in collaboration with Sydney Chamber Choir.

PROGRAM

PERFORMANCES

HAYDN The Creation (Die Schöpfung)

SYDNEY Sunday 1 May, 5pm City Recital Hall

The concert duration is approximately 1 hr 50 mins including interval

AUSTRALIAN DIGITAL CONCERT HALL Sunday 1 May, 5pm

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// ARTISTIC DIRECTOR AND CONDUCTOR’S MESSAGES

I am thrilled to present the first Australian periodinstrument performance of Haydn’s justifiably famous oratorio. A long-held ambition and a fitting way to celebrate AHE’s official 10th birthday, The Creation is one of our most ambitious projects ever and one of Haydn’s greatest works.

AHE has enjoyed a wonderful collaboration with the Canberra International Festival of Music; my heartfelt thanks to Roland Peelman for his commitment to this project. I am also very pleased to have had the opportunity to collaborate with Sydney Chamber Choir for the first time, and of course our wonderful soloists who have all brought so much to the stage.

Haydn wrote The Creation near the end of his life, following a visit to London where he heard massed performances of Handel’s Messiah and Israel in Egypt. He was very moved by these concerts given by over 1,000 musicians and reflected deeply on his whole approach to composition. A short time later he wrote The Creation and the rest is history.

The Creation had an awe-inspiring effect on composer and audiences alike. Haydn said “my whole body was ice-cold … Sometimes a burning heat overcame me, and more than once I was afraid I would suddenly have a stroke.” Haydn’s friend, the Swedish diplomat Silverstolpe, reported that on hearing the lines “and there was Light” it was as if “rays darted from the composer’s burning eyes”. It is a powerful work and a great privilege to present to you.

Skye McIntosh Artistic Director

When Joseph Haydn created The Creation, he channelled England, Handel’s choral legacy as well as his own life lived in service of music. Writing a work for large human forces about the divine forces that ruled the universe seemed a fitting project to bring the Age of Enlightenment to a close. Just as “Britannia ruled the Waves”, the work made waves right from its first performance in 1799. We ought to be modest about our antipodean efforts and the tiny waves they may create, but celebrating 10 years of the Australian Haydn Ensemble with this performance does feel a little historic. Most importantly, blowing new creative life into this magnum opus with such well-researched forces is a joy. The joy of Creation.

Roland Peelman Conductor

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THE AUSTRALIAN HAYDN ENSEMBLE

SYDNEY CHAMBER CHOIR

Founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, AHE 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.

Sydney Chamber Choir is passionate about choral music and its unique ability to celebrate and reflect upon the stories of our past, present and future. The Choir reaches back to explore the masterpieces of the Baroque, Renaissance and beyond, while also championing the music of our own time and place, regularly commissioning works by established and emerging Australian composers. In 2021, the Choir premiered new works by Brenda Gifford, Paul Stanhope and Joe Twist.

Based around a small core of strings and flute, the Ensemble performs in a variety of sizes and combinations in Sydney, Canberra and regional NSW. In 2022 the Ensemble performed at the Adelaide Festival, and at the Canberra International Music Festival.

In 2016 the Ensemble released its debut ABC Classics recording The Haydn Album and in 2017 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.

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 world-class 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). The Ensemble 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.

Formed in 1975, the Choir has been led by Nicholas Routley, Paul Stanhope, the late Richard Gill AO and current Artistic Director, Sam Allchurch. The Choir has also been fortunate to work with such guest conductors as Roland Peelman, Brett Weymark, Carl Crossin and Liz Scott.

The Choir collaborates with leading Australian instrumentalists, ensembles and singers, including the Australian Haydn Ensemble, Australian Romantic & Classical Orchestra, Andrew Goodwin, David Greco, Sydney Symphony Fellows, Synergy Percussion and The Muffat Collective. More unconventional partnerships have included concerts with The Idea of North, the Hilltop Hoods and the Sydney Mardi Gras Community Choir.

The Choir appeared at the Sydney Festival in 2021 and as part of Musica Viva’s Sydney Coffee Concerts series in 2019, and has toured widely in eastern Australia. Overseas tours have taken the Choir to Hong Kong, Taiwan and the UK, and in 2009 the Choir was a prizewinner in the Tolosa International Choral Competition in Spain.

The Choir’s performances are broadcast across the country on ABC Classic, and its many CD recordings are available on the ABC Classic and Tall Poppies labels.

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// THE ARTISTS AND THEIR PERIOD INSTRUMENTS VIOLIN 1

VIOLA

Skye McIntosh* Tomaso Eberle, 1770, Naples

Karina Schmitz* Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan

Cameron Jamieson Anonymous, c.1800, Germany Alice Rickards Allessandro Mezadri, 1720, Ferrara Bianca Porcheddu Paul Collins, 2001, Maldon, after Bartolomeo Giuseppe del Gesù Guarneri, c.1742, Cremona Meg Cohen Simon Brown, 2008, Melbourne VIOLIN 2 Stephen Freeman* Unknown, 1730, England

James Eccles Hiroshi Iizuka, 1992, Philadelphia CELLO Daniel Yeadon* William Forster II, 1781, London# Anthony Albrecht Peter Walmsley, c.1740, London DOUBLE BASS Kirsty McCahon Giuseppe Abbatti, c.1750, Moderna

John Ma Richard Duke, c.1775, London Marlene Crone J. Gedler, c.1770, Füssen Julia Russoniello Grandjon, c.1850, Paris

* Section Leader #Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music ##Carla Blackwood appears courtesy of the University of Melbourne

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FLUTE

HORN

Georgia Browne* M.Wenner, 2010, Innsbruck, Austria after H. Grenser, c.1810, Dresden

Carla Blackwood* Andreas Jungwirth, Vienna, 2010, after Johann Anton Lausmann, c.1790, Graslitz ##

Jessica Lee M. Wenner, 2012, Singen, after A. Grenser, c.1790, Dresden

Jenny McLeod-Sneyd Meinl und Lauber, c.2000, Gestried, after early Viennese

Ruth Crosby R. Tutz, 1990, Innsbruck, Austria after H. Grenser, c.1810, Dresden

TRUMPET

OBOE

Richard Fomison * Mathew Parker, 1990, after Johann Leonhard Ehe II (1638-1707), Nuremberg

Adam Masters* Bernhard Schermer, Stäfa, Switzerland, 2002, after Grundmann, c.1785, Dresden

Matthew Manchester Andrew Naumann, 2004, after Johann Wilhelm Hass (1649-1723), Nuremberg

Kirsten Barry Marcel Ponseele, Damme, Belgium, 2001, after Grundmann, 1770, Dresden

TROMBONE

CLARINET

Nigel Crocker* Ewald Meinl, c.2010, Classical posaune trombone after various

Andrew Doyle * (a) A.Doyle, Sydney, 2017, after Griesbacher c.1790, Vienna – B-flat clarinet

Roslyn Jorgeson Ewald Meinl, Geretsried, 2000, Classical alto trombone

(b) R.Tutz (Snr.), Innsbruck, 1998, after Grenser, c.1796, Dresden - C clarinet

BASS TROMBONE

Mayixin Huang (a) D. Bangham, Cambridge, 1995, after Grenser c.1790, Dresden - B-flat clarinet (b) D. Bangham, Cambridge, 1995, after Grenser c.1790, Dresden - C clarinet BASSOON Simon Rickard* Matthew Dart, London, 1996, after JH Grundmann, 1792, Dresden Jackie Newcomb Walter Bassetto, Switzerland, 2016, after Jean-Nicolas Savary, 1823, Paris CONTRA BASSOON Stefan Pantzier Guntram Wolf, Kronach, 2007, after anonymous Viennese contrabassoon, c.1830, Collection Guntram Wolf

Brett Page Ewald Meinl, Geretsried, 2011, Classical bass trombone in F TIMPANI Tim Brigden Copper bowl, calf skin replica 18thc antique drums, Lefima & Aehnelt, 2004, Germany FORTEPIANO (CONTINUO) Chad Kelly Fortepiano after Stein by D. Jacques Way, Stonington, 1986. Supplied & prepared by Carey Beebe Harpsichords

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Skye McIntosh Artistic Director and Lead Violin

Roland Peelman Artistic Director and Conductor

Skye McIntosh is the founder and Artistic Director of the Australian Haydn Ensemble - now in its tenth year. This audacious undertaking is a testament to Skye’s musicianship and entrepreneurial spirit.

Roland Peelman has been Artistic Director of the Canberra International Music Festival since 2015.

He is an acclaimed musician of great versatility who has established a reputation as one of Australia’s most innovative musical directors.

AHE, known for its innovative and ambitious programming, is delighted to be performing at both the Adelaide Festival and Canberra International Music Festival this year, as well as continuing to tour to Canberra and across regional New South Wales.

Skye attended the Royal Academy of Music, London, the Queensland Conservatorium and the Sydney Conservatorium of Music, has made numerous concert appearances as soloist and director and has performed internationally with the Australian Haydn Quartet at The Juilliard School. She has also toured nationally with the Australian Brandenburg Orchestra, as well as performing with Pinchgut Opera and the Australian Romantic & Classical Orchestra.

In 2022 ABC Classics will release AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major.

Born in Belgium, Roland has been active in Australia over thirty years as a conductor, pianist, artistic director and mentor to composers, singers and musicians alike. For his commitment to the creative arts in Australia, he has received numerous accolades, including the NSW Award for ‘the most outstanding contribution to Australian Music by an individual’ in 2005. In 2006 he was named ‘Musician of the Year’ by the Sydney Morning Herald and he has since featured regularly as one of the most influential people in the Australian arts scene.

Over a period of twenty-five years, he transformed The Song Company into one of Australia’s most outstanding and innovative ensembles, as well as instigating and directing an impressive list of orchestral, vocal and operatic new work. Roland worked with Opera Australia for seven years (198491) before becoming The Song Company’s Artistic Director (1990-2015). During this time, he was also the Music Director of Sydney Metropolitan Opera (1989-94) and the Hunter Orchestra in Newcastle (1990-97).

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Alexandra Oomens Soprano

Andrew Goodwin Tenor

London-based Australian soprano Alexandra Oomens is a Harewood Artist with English National Opera, a graduate of the Royal Academy of Music opera program, and an alumna of the Georg Solti Accademia.

Andrew Goodwin has appeared with opera companies and orchestras in Europe, Asia and Australia including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan, Opera Australia, Pinchgut Opera, Sydney Chamber Opera, St. Petersburg Philharmonic, Auckland Philharmonia, the New Zealand, Sydney, Melbourne, Queensland, Adelaide and Tasmanian Symphony Orchestras, the Moscow and Melbourne Chamber Orchestras, in recital with pianist Daniel de Borah at Wigmore Hall, the Oxford Lieder, Port Fairy and Canberra International Music Festivals.

In 2021 Alexandra made her debut at the London Coliseum as Josephine in HMS Pinafore. Other operatic roles include Daphne/Aurora, Gli Amor di Apollo e di Dafne, Pinchgut Opera; Barbarina, Le Nozze di Figaro, Opera North; Zerlina Don Giovanni, Clonter Opera. During her time at RAO, she sang Vixen Cunning Little Vixen, the title role in Semele, La Princess/La Chauve-Souris L’Enfant et les sortileges, Laurette Le Docteur Miracle, Tina Flight, Cupidon Orphée Aux Enfers, and Damigella L’Incoronazione di Poppea.

Alexandra’s concert repertoire includes performances of Bach’s Jauchzet Gott in Allen Landen and Coffee Cantata BWV 211 at the Canberra International Music Festival, as well as Exsultate Jubilate (Mozart), and B Minor Mass (Bach), Die Donner Ode (Telemann), Easter Oratorio (Bach). Alexander has appeared on numerous occasions with Pinchgut Opera, Sydney.

This year Andrew returns to sing with the Melbourne Bach Choir (Evangelist in Bach’s St. Matthew Passion and Haydn’s Die Schőpfung), Canberra International Music Festival and Australian Haydn Ensemble (Haydn’s Creation), Queensland Symphony Orchestra (Mozart’s Requiem), Canberra and Melbourne Symphony Orchestras (Messiah), Albury Chamber Music Festival and Sanguine Estate Music Festival. Andrew will also tour with the new vocal ensemble, AVÉ.

Recent engagements include Lysander, A Midsummer Night’s Dream (Adelaide Festival); Jacquino, Fidelio (West Australian Symphony Orchestra); Nadir, The Pearlfishers (State Opera South Australia); Diary of one who disappeared and Rape of Lucretia (Sydney Chamber Opera); Artaxerxes title role (Pinchgut Opera); Mozart Requiem (MSO); Brett Dean’s The Last Days of Socrates (SSO); Messiah (NZSO, QSO and MSO); and performances at the Australian Festival of Chamber Music, Townsville.

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James Ioelu Bass-Baritone

Sam Allchurch Chorusmaster

James Ioelu, a New Zealand-born bass-baritone, trained at the Manhattan School of London in New York and then as a Young Artist at the Merola Opera Programme at San Francisco Opera, followed by a traineeship with the National Opera Studio in London. Recent engagements in NZ include Rodolfo in La Sonnambula for Days Bay Opera, Leporello for Wellington Opera’s debut production of Don Giovanni, and Fernando in Fidelio with the Auckland Philharmonia Orchestra; in the UK he has appeared as Zuniga in Carmen with the English National Opera, Monterone in Rigoletto with Glyndebourne Opera, and in La Boheme, Don Giovanni and Falstaff with Garsington Opera. James was also a member of the ensemble for the English National Opera/Dutch National Opera/Metropolitan Opera award-winning production of Porgy & Bess.

Sam Allchurch has been Artistic Director of the Sydney Chamber Choir since 2019. Since then, he has directed the choir in a wide range of concerts and collaborations, including Handel’s Messiah in 2020 and the world premiere of Joseph Twist’s An Australian Song Cycle in 2021.

His competition successes include winning the New Zealand Aria Competition, the New Zealand Young Performer of the Year award as well as runner up in both the Joan Sutherland & Richard Bonynge Bel Canto Competition and the Sydney Eisteddfod Aria Competition.

James has also completed a BA in Music and Psychology at the University of Auckland. He enjoys the support and mentorship of Dame Kiri Te Kanawa and the Kiri Te Kanawa Foundation for which he is especially grateful.

Sam Allchurch is also Director of Music of Christ Church St Laurence, and Associate Artistic Director at Gondwana Choirs. Sam holds a Bachelor of Music from the University of Melbourne and a Master in Music (Choral Studies) from the University of Cambridge where his studies with Stephen Layton were supported by a Gates scholarship.

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// SYDNEY CHAMBER CHOIR

SOPRANO

TENOR

Kristen Butchatsky Megan Cronin Amanda Durham Vanessa Dudman Jen Rollins Sally Ross Rose Trevelyan

Rob Hughes Michael Iglesias Brendan McMullan Malcolm O’Brien Christopher Othen Murray-Luke Peard Mackenzie Shaw

ALTO

BASS David Cervi Christopher Matthies Sébastien Maury Ed Suttle Bruce Watson Evan Wels

Allison Blake Bronwyn Cleworth Naomi Crellin Judy Herskovits Alison Keene Alison Lockhart Natalie Shea

Three revolutionary symphonies in chamber form

BEETHOVEN’S EROICA WRANITZKY Symphony in C minor Op.31 La Paix 1st movement MOZART Symphony No. 40 in G minor BEETHOVEN Symphony No. 3 Eroica

4 – 14 August 2022

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ON THE QUESTION OF LIGHT AND ENLIGHTENMENT: // HAYDN’S CREATION When Haydn died in 1809, he left behind an impressive oeuvre, vast by any stretch of the imagination and novel in formal and instrumental terms. As a composer he had dominated the second half of the eighteenth century with instrumental work, sonatas, string quartets and symphonies that established the classical form as we now recognise it: a rationalised process of stating and developing contrasting thematic material. Goethe commented on the egalitarian nature of experiencing a string quartet as “listening to four civilised people conversing among themselves”. Yet by the second decade of the 19th century public taste had changed and private opinion started to regard Haydn’s music as amiable and pleasant rather than deep and meaningful – so much so that by 1812, Giuseppe Carpani had the temerity to call Haydn essentially “an illustration idiot”. The unfortunate sobriquet stuck, aided by his music’s genuine wit and unfailing cheerfulness.

‘Papa Haydn’ became a label.

A Heiligenstadt Testament Haydn did not write, nor letters of despair or bold statements of intent. Neither is there any evidence of personal grudges or protracted animosity towards his superiors. A simple story of late summer 1772 tells us much about the man. His musicians were fed up with Prince Esterházy’s needlessly drawn-out summer sojourn in Hungary and badly wanted to go home to their families.

Yet the Prince insisted on yet another symphony. Haydn’s response was a new work with a final movement during which the musicians one by one were instructed

to stop playing and snuff their candle on the way out. By the end only two violinists remained and the work became known as the ‘Farewell Symphony’. The Prince got the message and announced their departure the next day.

Trivial as it may seem, this anecdote from the life of a court musician reveals more than Haydn’s command of thinning orchestration: the Prince listened to his musicians, and a creatively composed ‘protest’ received its desired response.

By 1779, Haydn was given permission by the same Prince to accept commissions anywhere. It meant that our composer was free to reside in Vienna and more or less do as he please. Two years later he met the young Mozart, sparking new inspiration for both. When Mozart joined the Masonic Lodge in 1784, he urged the older composer to follow suit.

Haydn duly obliged the following year by joining the Lodge ‘Zur wahren Eintracht’ (True Concord). The word of the day was ‘Reason’. It was reasonable to live a creative life and be rewarded for it. It was reasonable to be treated as an equal.

By the end of the eighteenth-century London had expanded into the first large metropolis of the Western world, mainly due to immigration. The influx of travellers and new residents saw the city grow to approximately one million people – handsomely offsetting the toll that smallpox and other hygiene-related diseases continued to take. The arts and sciences blossomed while political debate raged, whether about revolution in France or rogue colonies across the Atlantic,

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ON THE QUESTION OF LIGHT AND ENLIGHTENMENT: HAYDN’S CREATION (CONT) the abolition of slavery, the virtues of public sanitation or the usefulness of antipodean penal colonies – not to mention the mental state of the reigning Monarch.

George III’s patronage of the arts and Handel’s legacy were alive and well. In 1784 the first Handel festival was held in Westminster Abbey to celebrate the 25th anniversary of the German maestro’s death. On the occasion of his first visit to London in 1791 Haydn attended another such event, and was deeply impressed by what he heard (Israel in Egypt, Messiah, as well as excerpts from the other Biblical oratorios). The creative seeds were sown for “a work that will give permanent fame to my name in the world” – to quote his own words. This may sound rather presumptuous for a composer known for modesty. But having arrived at his sixtyyear mark and having lived a fundamental transformation in music from an art of mimesis (music emulating the rhetoric of language) to an art of abstraction (music as language), Haydn was ready to tackle something very different. Handel’s vision and impact led him to put his pen to works that combined vocal and instrumental forces and, in a monumental way, embraced the totality of humanity as he saw it. Not because it was fashionable (oratorios were a thing of the past, and the biblical stories hardly reflected the new ideals of progressive writers); not because it was easy (Haydn struggled with text setting); and not because there was a ready-made market in Vienna. But the London experience had given him a glimpse of how to break out of the mould and reach people on a level that engaged them intellectually and emotionally. The oratorios and masses he was to embark upon gave him an opportunity to connect 8

with the history of humanity in all its glorious and multifaceted forms, from worm to whale to wondrous man and woman.

By the time he visited London again in 1795, his friend J. P. Salomon was ready to offer him a libretto compiled from the first two books of Genesis and Milton’s Paradise Lost. Reportedly written for Handel and called ‘The Creation’, the subject was attractive, but Haydn had doubts about his command of the English language, and wanted to reserve his decision. He left London in August 1795 and once back in Vienna entrusted the text to Baron Gottfried van Swieten, who started redacting the original and translating it into German. The Baron also found wealthy patrons to defray the costs of performance and supply Haydn with an honorarium. Sometime in 1796, Haydn was ready to start composing. As he later recalled, he was deeply affected by the process: “I was never so devout as when I was at work on The Creation. I fell on my knees each day and begged God to give me the strength to accomplish the work successfully”.

The première of Die Schöpfung at the Schwarzenberg Palais on April 30, 1798, was memorable. Haydn himself was at the helm and later recounted, “One moment I was as cold as ice, the next I seemed on fire; more than once I was afraid I should have a stroke”. The impact on audience members and critics alike was equally powerful. The work soon became the second most frequently performed oratorio after Handel’s Messiah. In 1800, The Creation was published in both English and German, and Haydn reportedly preferred the oratorio to be sung in English.

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The work excels in vivid depictions of the natural world, nowhere more so than in the work’s first movements, when the initial darkness of a world “without form and void” resolves into the bold eruption of a C major chord at the words “… and there was Light”. One of Haydn’s friends later wrote, “. . . at that moment when light broke out for the first time, one would have said that rays darted out from the composer’s burning eyes. The enchantment of the electrified Viennese was so general that the orchestra could not proceed for some minutes”.

After minutes of ambiguously gliding harmonies, the luminous effect of a single chord is striking indeed, and throughout Part I, Haydn’s inventiveness in finding musical figures that evoke clouds, rain, fire, hail and snow or depict mountains and vales, seas or brooks, sun and moon with memorable images is never short of astounding. Based on the first four days of Genesis, the sheer magnificence of the natural world coming to life forms the subject of Part I, concluding with a ‘Heavens declare’ statement for chorus and vocal trio that reinvents the old Counter-Reformation trope in the light of the new era.

We must, however, acknowledge, as it seems to me, that man with all his noble qualities... still bears in his bodily frame the indelible stamp of his lowly origin.

Charles Darwin In 1809, the year Haydn died in Vienna, Charles Darwin was born in Shrewsbury.

While Haydn the composer poured all his love, craft and musical cunning into the various stages of The Creation, Darwin the scientist, only a few decades later, delved into the origins of our species and brought new attention to the binary nature of our descent and life’s fundamental laws of procreation. Haydn’s joyful conclusion to his oratorio dwells on this happy duality with the wonder of the innocent and the experience of a craftsman who can sit back and let things unfold. Three duets form the centrefold of this last part framed by two tenor recitatives, an orchestral pastoral introduction and a choral double fugue brimming with life. The classic symmetry that underpins this ode to (conjugal) love in the Garden of Eden belies the deeper mysteries of life’s origins, at the threshold of ongoing discovery.

Roland Peelman

Part II lifts the bar of creation to living creatures: birds of any description in Gabriel’s aria ‘On mighty pens’; lions, tigers and stags in Raphael’s recitative, followed by worms and at last humans, as described by the archangel Uriel.

Two jubilant choruses follow the sixth day, setting the scene for the final day of rest that constitutes Part III.

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// THE CREATION Part 1 Introduction

hierarchy of Heav’n; and to th’ ethereal vaults resound the praise of God, and of the second day.

The Representation of Chaos

CHORUS

Recitative (Raphael, Uriel, Chorus)

And to th’ ethereal vaults resound the praise of God, and of the second day.

RAPHAEL In the beginning God created the Heaven, and the earth; and the earth was without form and void; and darkness was upon the face of the deep.

CHORUS And the spirit of God moved upon the face of the waters. And God said: Let there be Light, and there was Light.

URIEL And God saw the Light, that it was good; And God divided the Light from the darkness.

Aria with Chorus (Uriel, Chorus) URIEL Now vanish before the holy beams the gloomy dismal shades of dark; the first of days appears.

Disorder yields, to order fair the place. Affrighted fled hell’s spirits black in throngs; down they sink in the deep of abyss to endless night.

CHORUS Despairing cursing rage attends their rapid fall.

A new-created world springs up at God’s command.

Recitative (Raphael) And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament, and it was so. Outrageous storms now dreadful arose; As chaff by the winds are impelled the clouds. By Heaven’s fire the sky is enflamed and awful rolled the thunders on high. Now from the floods in steams ascend reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

Chorus with Soprano Solo (Gabriel, Chorus) GABRIEL The marv’lous work beholds amaz’d the glorious

Recitative (Raphael) And God said: Let the waters under the Heaven be gathered together unto one place, and let the dry land appear; and it was so. And God called the dry land Earth, and the gathering of waters called he seas; and God saw that it was good.

Aria (Raphael) Rolling in foaming billows uplifted roars the boist’rous sea. Mountains and rocks now emerge, their tops into the clouds ascend. Thro’ th’ open plains outstretching wide in serpent error rivers flow. Softly purling glides on thro’ silent vales, the limpid brook.

Recitative (Gabriel) And God said: Let the earth bring forth grass, the herb-yielding seed, and the tree yielding fruit after his kind, whose seed is in itself upon the earth; and it was so.

Aria (Gabriel) With verdure clad the fields appear delightful to the ravish’d sense; by flowers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs, here shoots the healing plant. By loads of fruit th’ expanded boughs are press’d; to shady vaults are bent the tufty groves; the mountain’s brow is crown’d with closed wood.

Recitative (Uriel) And the heav’nly host proclaimed the third day, praising God and saying: CHORUS Awake the harp, the lyre awake! In shout and joy your voices raise! In triumph sing the mighty Lord! For he the heavens and earth has clothed in stately dress.

16 Recitative (Uriel)

Recitative (Raphael)

And God said: Let there be lights in the firmament of heaven, to divide the day from the night, and to give light upon the earth; and let them be for signs and for seasons and for days and for years.

He made the stars also.

And God created great whales, and ev’ry living creature that moveth. And God blessed them, saying: Be fruitful all, and multiply! Ye winged tribes, be multiplied and sing on ev’ry tree!

Multiply, ye finny tribes, and fill each wat’ry deep!

Be fruitful, grow and multiply! And in your God and Lord rejoice!

Recitative (Uriel) In splendour bright is rising now the sun and darts his rays; an am’rous joyful happy spouse, a giant, proud and glad, to run his measur’d course.

With softer beams and milder light steps on the silver moon thro’ silent night.

The space immense of th’ azure sky in num’rous host of radiant orbs adorns, and the sons of God announced the fourth day in song divine, proclaiming thus his power: Chorus with Soloists CHORUS The heavens are telling the glory of God. The wonder of his works displays the firmament.

GABRIEL, URIEL, RAPHAEL Today, that is coming, speaks it the day; the night, that is gone, to following night.

CHORUS The heavens are telling the glory of God; The wonder of his works displays the firmament.

Recitative (Raphael) And the angels struck their immortal harps, and the wonders of the fifth day sung.

Trio (Gabriel, Uriel, Raphael) GABRIEL Most beautiful appear, with verdure young adorn’d, the gently sloping hills. Their narrow sinuous veins distil in crystal drops the fountain fresh and bright.

URIEL In lofty circles plays and hovers thro’ the sky the cheerful host of birds. And in the flying whirl the glitt’ring plumes are dy’d as rainbows by the sun.

RAPHAEL See flashing thro’ the wet in thronged swarms the fry on thousand ways around. Upheaved from the deep, th’ immense Leviathan sports on the foaming wave.

GABRIEL, URIEL, RAPHAEL

GABRIEL, URIEL, RAPHAEL

How many are thy works, O God!

In all the lands resounds the word,

Who may their numbers tell? Who? O God!

never unperceived, ever understood.

Part 2 Recitative (Gabriel)

Trio and Chorus (Gabriel, Uriel, Raphael and Chorus) GABRIEL, URIEL, RAPHAEL

And God said: Let the waters bring forth

The Lord is great, and great his might.

abundantly the moving creature that hath life, and fowl, that may fly above the earth in the open firmament of heaven.

His glory lasts for ever and for evermore.

Aria (Gabriel) On mighty pens uplifted soars the eagle aloft, and cleaves the sky in swiftest flight to the blazing sun.

His welcome bids to morn the merry lark, and cooing, calls the tender dove his mate. From ev’ry bush and grove resound the nightingale’s delightful notes. No grief affected yet her breast, nor to a mournful tale were tun’d her soft enchanting lays

CHORUS The Lord is great, and great his might. His glory lasts for ever and evermore.

Recitative (Raphael) And God said: Let the earth bring forth the living creature after his kind; cattle and creeping thing, and beasts of the earth after their kind.

Recitative (Raphael) Strait opening her fertile womb, the earth obey’d the word, and teem’d creatures numberless,

17 in perfect forms and fully grown. Cheerful roaring stands the tawny lion. In sudden leaps the flexible tiger appears. The nimble stag bears up his branching head. With flying mane and fiery look, impatient neighs the sprightly steed. The cattle in herds already seeks his food on fields and meadows green. And o’er the ground, as plants are spread the fleecy, meek and bleating flock. Unnumber’d as the sands in whirls arose the host of insects. In long dimensions creeps with sinuous trace the worm.

Aria (Raphael) Now heav’n in fullest glory shone; earth smiles in all her rich attire. The room of air with fowl is fill’d, the water swell’d by shoals of fish; by heavy beasts the ground is trod. But all the work was not complete. There wanted yet that wond’rous being, that grateful should God’s pow’r admire, with heart and voice his goodness praise.

Recitative (Uriel) And God created man in his own image, in the image of God created he him. Male and female created he them. He breathed into his nostrils the breath of life, and man became a living soul.

Aria (Uriel) In native worth and honour clad, with beauty, courage, strength adorn’d, to heav’n erect and tall he stands a man, the Lord and King of nature all.

The large and arched front sublime of wisdom deep declares the seat, and in his eyes with brightness shines the soul, the breath and image of his God. With fondness leans upon his breast, the partner for him form’d, a woman fair and graceful spouse. Her softly smiling virgin looks, of flow’ry spring the mirror, bespeak him love and joy and bliss.

Recitative (Raphael) And God saw ev’ry thing that he had made; and behold it was very good; and the heavenly choir in song divine thus closed the sixth day.

Chorus Achieved is the glorious work, the Lord beholds it and is pleas’d. In lofty strains let us rejoice! Our song let be the praise of God. Trio (Gabriel, Uriel, Raphael) GABRIEL, URIEL On thee each living soul awaits; from thee, O Lord,

they beg their meat. Thou openest thy hand, and sated all they are.

RAPHAEL But as to them thy face is hid: with sudden terror they are struck. Thou tak’st their breath away; they vanish into dust.

GABRIEL, URIEL, RAPHAEL Thou let’st thy breath go forth again, and life with vigour fresh returns. Revived earth unfolds new force and new delights.

Chorus Achieved is the glorious work. Our song let be the praise of God. Glory to his name forever; he sole on high exalted reigns, hallelujah.

Part 3 Recitative (Uriel) In rosy mantle appears by tunes sweet awak’d, the morning young and fair. From the celestial vaults pure harmony descends on ravished earth. Behold this blissful pair, where hand in hand they go! Their flaming looks express what feels the grateful heart.

A louder praise of God their lips shall utter soon.

Then let our voices ring united with their song!

Duet and Chorus (Eve, Adam and Chorus) EVE AND ADAM By thee with bliss, O bounteous Lord, the heav’n and earth are stor’d. This world, so great, so wonderful, thy mighty hand has fram’d.

CHORUS For ever blessed be his pow’r. His name be ever magnified!

ADAM Of stars the fairest, O how sweet thy smile at dawning morn! How brighten’st thou, o sun, the day, thou eye and soul of all!

CHORUS Proclaim in your extended course th’ almighty pow’r and praise of God! EVE And thou that rul’st the silent night, and all ye starry host, spread wide and ev’ry where his praise in choral songs about.

ADAM Ye strong and cumb’rous elements, who ceas’less

18 changes make, ye dusky mists and dewy steams that raise and fall thro’ th’ air …

EVE, ADAM … Resound the praise of God our Lord!

CHORUS Resound the praise of God our Lord!

ALL Resound the praise of God our Lord! Great his name, and great his might.

EVE Ye purling fountains, tune his praise, and wave your tops, ye pines! Ye plants exhale, ye flowers breathe at him your balmy scent!

ADAM Ye that on mountains stately tread, and ye that lowly creep; ye birds that sing at heaven’s gate, and ye that swim the stream …

EVE O thou, for whom I am! My help, my shield, my all!

Thy will is law to me. So God, our Lord, ordains, and from obedience grows my pride and happiness.

Duet (Adam and Eve) ADAM Graceful consort! At thy side softly fly the golden hours. Ev’ry moment brings new rapture; ev’ry care is put to rest.

EVE Spouse adored! At thy side purest joys o’erflow the heart. Life and all I am is thine; my reward thy love shall be.

ADAM The dew-dropping morn, O how she quickens all!

EVE The coolness of ev’n, O how she all restores!

EVE, ADAM

ADAM

… Ye living souls, extol the Lord!

How grateful is of fruits the savour sweet!

CHORUS

EVE

Ye living souls, extol the Lord!

How pleasing is of fragrant bloom the smell!

ALL

ADAM, EVE

Him celebrate, him magnify!

But without thee, what is to me the morning dew, the breath of ev’n, the sav’ry fruit, the fragrant bloom? With thee is ev’ry joy enhanced, with thee delight is ever new, with thee is life incessant bliss; thine it whole shall be.

ADAM, EVE Ye valleys, hills and shady woods, our raptur’d notes ye heard; from morn till eve you shall repeat our grateful hymns of praise!

CHORUS

Recitative (Uriel)

Hail, bounteous Lord! Almighty hail! Thy word call’d forth this wond’rous frame. Thy pow’r adore the heav’n and earth. We praise thee now and evermore.

O happy pair, and always happy yet, if not misled by false conceit, ye strive at more, as granted is, and more to know, as know ye should!

Recitative (Adam and Eve)

Sing the Lord ye voices all! Utter thanks ye all his works! Celebrate his pow’r and glory, let his name resound on high! The Lord is great, his praise shall last for aye. Amen. Sing the Lord, utter thanks!

Amen, Amen.

ADAM Our duty we performed now, in off’ring up to God our thanks. Now follow me, dear partner of my life!

Thy guide I’ll be, and ev’ry step pours new delights into our breast, shews wonders ev’rywhere.

Then may’st thou feel and know the high degree of bliss the Lord allotted us, and with devoted heart his bounty celebrate. Come, follow me! Thy guide I’ll be.

Chorus with Soloists

//

MATCHING CHALLENGE

It’s our Matching Challenge!

Your donations to AHE are invaluable – and in the Matching Challenge your donation will be MATCHED dollar for dollar by the Federal Government.

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, through our new Mozart CD being released in mid-2022.

Join us in the Matching Challenge by donating here: australianhaydn.com.au/donate-now

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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* Tom & Sherry Gregory Kevin McCann AO & Deidre McCann* Ian & Pam McGaw Timothy & Eva Pascoe* Peter Young AM & Susan Young ESTERHÁZY $15,000+ Peter & Lisa Macqueen Anonymous* [1] WALDSTEIN $10,000 - $14,999 Reg & Kathie Grinberg* Robert & Myriame Rich

VAN SWIETEN $5,000 - $9,999 Jeremy Eccles FRSN & Kate Eccles OAM* Harriet Lenigas Keith & Robyn Power Agnes Sinclair* Roger & Ann Smith* The Hon. Anthony Whealy Q.C. & Annie Whealy GALITZIN $1,000 - $4,999 Margot Anthony AM* Martin & Ursula Armstrong John Baird* Mary Beare* Mark Bethwaite AM & Jill Bethwaite Clive Birch Celia Bischoff* Jan Bowen AM FRSN*

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OUR PATRONS CONTINUED Robert & Carmel Clark* Dr Terry & Julie Clarke John Claudianos & Dr Nena Beretin Alison Clugston-Cornes Jean Cockayne Dr Peter Craswell Judy Crawford Mark & Stephanie Darling Michael & Manuela Darling Robert & Jane Diamond Ron & Suellen Enestrom* Ralph Evans AO & Maria Evans* John Fairfax AO & Libby Fairfax* Beatrice Farnsworth* Dr Marguerite Foxon* Bunny Gardiner-Hill* Christine Goode* Jamie Hardigg The Hon. Don Harwin Andreas & Inn Ee Heintz Karin Keighley Diccon & Liz Loxton David Maloney AM & Erin Flaherty* Adrian Maroya Paul & Anne Masi Julianne Maxwell Nick & Carolyn Minogue* Nola Nettheim Pieter and Liz Oomens Trevor Parkin* Libby Plaskitt David & Elizabeth Platt Penelope Seidler AM Anthony Strachan Dr Jenepher Thomas* Anonymous (4) incl 2*

LOBKOWITZ $500 - $999 Keith Brodie* Sylvia Cardale George H Clark Wendy Cobcroft* Peter & Prudence Davenport* Ann Douglas John & Liza Feeney* Jean Gifford* Paul Hopmeier & Janice King* Anne Lander Andrew & Abbey McKinnon Dr Jacqueline Milne* Ken & Liz Nielsen* Mark & Lise Rider* Susan Roberts David Thompson & Margaret Kyburz Kay Vernon* Dr Frances Whalan Dr Margot Woods Anonymous (2) RAZUMOWSKY $50 - $499 Derek Abbott David & Jill Adams Gaby Aitkin* Alliance Legal Services* Catherine Andrews Helen Anglias Wayne Arthur Anthony Bailey* Dr Susan Ballinger Margaret Bassal Ken & Annabel Baxter Andrew Blanckensee Dion Boehme Dr Hannes & Barbara Boshoff Ian & Bea Bowie Jeffrey Bridger Rob Bridger Fiona Burns Gerry Burns

Claire Burrell-McDonald Dr Andrew Byrne Lloyd Capps & Mary Jo Capps AM* Sean Conkey & Tegan Redinbaugh* Christine Cooper James & Stuart Coughlan* Catherine Cowper Susan Cox Isabel Crawford Ruth Crosby Peter Cumines David Cummins Judith Dare Catherine Davies Dr John Dearn* Jennifer Dewar Dr Robert Dingley* Nick Dinopolous* George Drew Malcolm Druery* Christine Ducker AM* Sandra Duggan Alison Dunn* Dr Meredith Edwards Susan Ernst* Richard Fawdry & Carla Bosch Gary Feeney* Barry Firth* Denise Fisher Marion Flynn Michael Fong* Ivan Foo & Ron Gouder Andrew Ford* Denys & Jennifer Garden* David Geer* Dr Robin Gibson Alexander & Sue Gordon Gavin Gostelow Prof Pru Goward Rosemary Greaves Toby & Helen Greenacre* John Greenwell

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Erik Haan* Lesley Harland Dr Stuart & Pamela Harris Vicki Hartstein Susan Hawick Meredith Hellicar* Jenni Hibbard* Anne Hinkley Julia Hoffman Stephen Holmes* Elizabeth Howard John Howard Ralph Hunt Wayne Hutchins* Catherine Ikin* Judy Jacovides Paul & Carol James* Ron James Peter & Margaret Janssens Eddie & Annie Jones* Gabrielle Kancachian* Thora Karras* Poss Keech* Heather Kenway Jenny Kerr Siew-Ean Khoo Susan Kingsmill Pastor de Lasala OAM* Penny Le Couteur* Cecilia Lillywhite Peter Lowry OAM & Dr Carolyn Lowry OAM* Elbert Mathews Terry & Catherine McCullagh* Tim McDonald* Joanne McGrath Wendy Mcleod* Dr Patricia McVeagh

Christine Melican Sue Mercer Paul & Betty Meyer* Helen Middleman Louise Muir Carl Murphy* Phillip Murray Jan Marie Muscio* Heather Nash Dennis Nicholls Andrew O’Connor* Robin Offler* Louise Owen* Nick Payne Anne Pickles Lesley Potter Jasmine Price* Susanna Price Geoff Randal Jan Redinbaugh* Heather Reid Pamela Roberts* John & Pam Rooney* Mary Rose-Miller* Jennifer Roseinnes Felicite Ross* Lesley Rowe Matthew Sait Anneke Scott* Greg & Wendy See* Robin Sevenoaks* Xavier Shea Carole Anne Shearer* Pam Shein* Ian Sheldrick Alan Singh* Dr Richard Sippe Barbara Spencer*

Michael & Rosemary Sprange* Keith & Janet Stanistreet Kaye Stevens Jenny Stewart Dr Rupert Summerson* Pamela Swaffield Susan Tanner* Kerry Thomas* David & Jill Townsend* David & Helen Turvey John Underwood* Gabriella Unsen Ailsa Veiszadeh* Herta Verge Penny Watsford* Nic & Elaine Witton* Wendy Yeomans In Memory of John Greenwell Anonymous (18) incl 12* *Indicates contributors to the 2021 Pozible Campaign to fund AHE’s 10th Anniversary CD This listing is correct as of 10 April 2022, and we gratefully recognise all donations received since January 2021.

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// OUR PARTNERS AHE GOVERNMENT PARTNERS

AHE is supported by the NSW Government through Create NSW.

CANBERRA INTERNATIONAL MUSIC FESTIVAL GOVERNMENT PARTNERS

SYDNEY CHAMBER CHOIR PARTNERS

Sydney Chamber Choir is supported by the NSW Government through Create NSW

Sydney Chamber Choir thanks their Leading Lights, Guiding Lights and other donors for their generous support of the choir’s 2022 season.

AHE SUPPORTERS Wine Partner

Livestream Partner

Media Partner

GLENGUINESTATE.COM.AU

Audit Partners Australian Haydn Ensemble is a COVID safe organsiation.

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//

BACKSTAGE

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*

The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we perform.

We pay our respects to Elders past, present, and emerging.

Vi King Lim – Score Services

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.

*In Kind Support IN KIND Thank you to our patrons who kindly provide accommodation for our out-oftown performers.

IMAGES AHE images throughout by Helen White, in addition to Pg 2: Anthony Browell Pg 6: James Mills and Anthony Browell Pg 7: Julie Ewing Pg 8 & 9: Pedro Greig Pg 20: Tony Lewis

Australian Haydn Ensemble is a not for profit organisation.

ABN 26 202 621 166 PO Box 400, Darlinghurst NSW 1300 1800 334 388 (Freecall) | australianhaydn.com.au

AHE 2022

// REACH FOR

THE STARS

Join us for our 10-year anniversary season to celebrate a decade of enlightened music making.

BEETHOVEN’S EROICA Three revolutionary Symphonies in chamber form 4 – 14 August HAYDN SPEAKS John Bell tells the story of the rise of a great composer 14 – 22 October C.P.E. BACH: UNIVERSE OF HARMONY Discover rich and strange new musical worlds, with guest director Chad Kelly 11 - 14 December

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