AHE Season 2025

2025 ——

——

Matthew Greco — Period Violin, David Christian Hopf, c.1760, Quittenbach (Germany)

A HE 20 —— 25

1—

Haydn’s Sunrise MARCH

2—

Schubert Songs with David Greco MAY

3—

Mozart’s Salzburg & Linz with Erin Helyard JUNE

4—

Haydn’s Miracle AUGUST

5—

Beethoven’s Eighth NOVEMBER

—— M USIC TRANSCENDS As we continue to explore the music of the 18th century, I often think about why the music that AHE performs continues to play such an important role in our modern lives.

For me, this music resonates so deeply because it speaks to universal feelings and experiences – loss, joy, humour, longing, contemplation, excitement, love and drama.

There’s a quality to the way these emotions are expressed by composers such as Haydn, Beethoven, Mozart and Schubert that connects with audiences on a deeply personal level.

In today’s world, where people often feel a mix of hope and uncertainty, music like this reminds us that we’re not alone in our feelings, that someone centuries ago felt these things too and put them into music in the most brilliant way. It is our aspiration that you leave each concert with a new appreciation for the depth and range of emotion that music can express, particularly when played on instruments that bring you as close as we can to the sound worlds these composers knew.

In 2025 we have a wonderful array of music for you to enjoy, including the return of our great friends Erin Helyard and David Greco, some exciting new venues in Sydney and Canberra, our continuing exploration of historical chamber arrangements of Beethoven symphonies and, of course, music by Haydn, Mozart, Schubert and more.

I’m excited to introduce 18th Century Unpacked - our new pre-concert event series, offering you five curated events with wine, nibbles, and a deep dive into the music and historical context of our performances guided by guest experts. It’s the perfect chance to connect with other music lovers and deepen your enjoyment of this remarkable music.

My hope is that you will come away from a concert or a pre-concert event feeling a sense of connection - with yourself, with the music and with the people around you.

I do believe there is something ineffably unique about every live performance.

Each one is an occasion that we share and create together, and no two are ever the same.

I look forward to seeing you in the audience in 2025 and I trust that your experience stays with you long after the final note.

Skye McIntosh Artistic Director

“MUSIC the coldest Heart can warm, The hardest melt, the fiercest charm; ...Dispel our Cares, and Pains assuage; With Joy it can our Souls inspire,”

——Stephen Duck (circa 1705 - 1756)

T IME & PLACE ——

Skye McIntosh— Period Violin, Tomaso Eberle, 1770, Naples (Italy)

A BOUT

—— THE A USTRALIAN HAYDN ENSEMBLE

The Australian Haydn Ensemble, (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, and is now in its 14th year.

It has quickly established itself as one of Australia’s leading period-instrument groups, 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 18th century.

AHE’s flexibility and inventiveness are inspired by Haydn’s fabled originality and the virtuosic musicians he worked with at the court of Esterházy for almost 30 years. It performs in a variety of sizes and combinations, ranging from quartet, quintet or septet, to chamber orchestra with special guest soloists to a full orchestra with choir.

The Ensemble has developed a flourishing regular series at the City Recital Hall, the Sydney Opera House Utzon Room and in Canberra, where it was Ensemble in Residence at the Australian National University in 2014.

AHE also performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting 18th-century historical performance techniques.

AHE is particularly interested in presenting unusual programs of 18th-century chamber versions of works by Haydn, Mozart and Beethoven, as well as presenting the music of lesser-known composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister and Vanhal.

To commemorate its 10th anniversary, the Ensemble recorded its third CD, of music by Mozart, released in 2024. In October 2023 the Ensemble undertook its first international tour of the United States, including performances at Carnegie Hall and at the opening of the new Australian Embassy in Washington DC, garnering full houses, standing ovations and glowing reviews.

“...superlative playing of what must be music in its purest form.…”

Limelight, AHE String Quartet, 2023—

Karina Schmitz— Period Viola, Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan (Italy)

HAYDN’S S UNRISE Program —

Artists —

HAYDN String Quartet Op. 76 No. 4 in B flat major Sunrise

The Australian Haydn String Quartet

BEETHOVEN String Quartet Op.18 No. 1 in F major

Skye McIntosh, violin Matthew Greco, violin Karina Schmitz, viola Daniel Yeadon, cello

FANNY MENDELSSOHN (HENSEL) String Quartet in E flat major

The AHE commences its season with two wonderful quartets that morph effortlessly from the lofty to the lowbrow. Then Fanny Mendelssohn’s quartet, apparently the first ever composed by a woman, offers an elegant, if far from ladylike, riposte.

Beethoven never set Shakespeare, even in translation, but his instrumental works often cryptically allude to his favourite plays.

When the mind’s eye of his lead violinist conjured a lovers’ farewell scenario to the wrenching despair of Op. 18 No.1’s Adagio, Beethoven confessed its secret link to Romeo and Juliet’s final scene. Interpolations on the sketches reveal a rare literal approach (“He enters the tomb… he kills himself…the dying sighs”) but the composer wisely decided to let the music speak for itself.

Haydn seemed never to be afforded that option, with public and publishers leaping to assign programmatic nicknames to his works. Whether the hazy, soft-focused opening to his Sunrise quartet is an actual depiction of dawn matters little: the first two of Op. 76 No. 4 are among the most rhapsodically beautiful of all quartet movements.

Neither teacher nor pupil suffer any qualms about getting their hands dirty in the remaining movements, however: brilliant counterpoint sits alongside tipsy hiccoughing and belching, and each culminate in the dizzy whirl of a country dance.

Listen, too, for a hint of Transylvania in the trio to Haydn’s Minuet.

Fanny’s sole Quartet in E flat, largely composed before she became Mrs. Hensel, is now justly popular and lauded for its formal and harmonic audacity. High rotation on classic radio has very nearly put its scintillating Allegretto in the warhorse stable, while the surrounding movements have long outgrown the need for special pleading: it’s a splendid work to experience live, and the lush finale generates a guaranteed adrenalin rush.

Performances — PARRAMATTA Sunday 9 March, 4pm Riverside Theatres, Parramatta CANBERRA Thursday 13 March, 7pm Wesley Music Centre, Forrest BERRY Friday 14 March, 7pm Berry Uniting Church Hall SOUTHERN HIGHLANDS Saturday 15 March, 4pm Bowral Memorial Hall SYDNEY Monday 17 March, 7pm Utzon Room, Sydney Opera House 18th Century Unpacked — HAYDN & THE STRING QUARTET with members of the AHE Quartet Tuesday 11 March 6.30pm Chippen Street Theatre

David Greco— Baritone

Karina Schmitz —

“Greco’s voice is rich in its lower range, straight-toned and pure, with a beautiful bloom in the upper register ... The combination...was magical, with the ensemble as ever, performing with verve and style.” Sounds Like Sydney, Die Stille Nacht, 2023—

SCHUBERT CHUBERT ONGS SONGS Program — SCHUBERT

with David Greco Artists —

David Greco, baritone Skye McIntosh, violin Matthew Greco, violin Karina Schmitz, viola Daniel Yeadon, cello

Much more than a lieder recital, this rare and beautiful concert features some of Schubert’s most darklyhued songs, superbly delivered

by David Greco’s mahogany bass-baritone, and intensified by rich and expressive string quartet accompaniments.

David has carefully structured his selection according to key and timbre, and the esteemed Australian Haydn Ensemble have chosen instrumental movements

by Felix Mendelssohn (at his most Schubertian!) to contrast or reinforce each song.

The movements date from the last tragic six months of Mendelssohn’s life, in which he battled both illness and bitter mourning for his sister Fanny. Published posthumously as Op. 81, the Andante, Scherzo, Capriccio and Fugue are strange and passionate stand-alone works that push into territory even more melancholy than his final quartet in F minor.

Lieder Arr. for Baritone and String Quartet by Vi King Lim

Strophe aus ‘Die Götter Griechenlands’ (Schiller) D. 677 Der Jungling und der Tod (von Spaun) D. 545

Paired here with lyrical and nightmarish evocations of loss (The Gods of Greece, Good Night, Dream of Spring and The HurdyGurdy Man from Winterreise), and visions of death both terrifying (The Erlking, Death and the Maiden) and comforting (The Youth and Death) the concert becomes a deeply satisfying and moving meditation in itself. The consistent scoring also prompts new insights about the profound connections between the lieder and Schubert’s quartets, and the impact his musical ‘existentialism’ had on future Romantics.

Go on this wild and sad journey; when you come up for the autumnal air, you’ll never feel more alive.

Gute Nacht, Frühlingstraum, Der Leiermann from Winterreise (Müller) D. 911 Der Tod und das Mädchen (Claudius) D. 531 Erlkönig (Goethe) D. 328 MENDELSSOHN Four movements for String Quartet Op. 81: Andante in E major, Scherzo in A minor, Capriccio in E minor, Fugue in E flat major Performances — CANBERRA INTERNATIONAL MUSIC FESTIVAL Thursday 1 May, 7pm Albert Hall, Yarralumla SYDNEY Friday 2 May, 7pm The Paintings Galleries The State Library of NSW 18th Century Unpacked — SCHUBERT’S LIEDER With Dr David Greco Tuesday 22 April, 6.30pm Chippen Street Theatre

Pippa Macmillan— Period Double Bass, Unknown, mid 18th century, Italy

“BRAVO! to the Australian Haydn Ensemble and Erin Helyard for a formidably nuanced performance of convincing spirit and sophistication” ClassikON, 2021—

M OZART’S SALZBURG & LINZ with Erin Helyard

Artists —

Erin Helyard, fortepiano Skye McIntosh, violin Matthew Greco, violin Karina Schmitz, viola Nicole Divall, viola Daniel Yeadon, cello Pippa Macmillan, double bass Mikaela Oberg, flute The Ensemble’s dear friend Erin Helyard returns to lead this beautiful all-Mozart program.

As composer and performer, Wolfgang was shaped by two Austrian cities: his birthplace, Salzburg, with which he had a lovehate relationship, and his chosen home of Vienna. Between the two, the picturesque town (now city) of Linz was never more than a vacation stopover, but as you’ll hear, it was an especially fruitful ‘working holiday’ musically speaking.

The Salzburg Symphony No. 3 K. 138 is actually the Divertimento in F, written at the tender age of 16, but containing a slow movement of precocious perfection even for the wunderkind. Biographer Jan Swafford describes its “trancelike, nocturnal beauty unique to Mozart” as sounding “like a yearning dream”.

A decade on, having ditched Salzburg for cosmopolitan Vienna, Wolfgang’s ‘making an honest

woman’ of his defacto Constanza Weber did little to un-sour relations with his sister and father. Journeying home from an abortive attempt at family reconciliation, the couple’s mini honeymoon in Linz was interrupted by Mozart’s having to whip up a little something for the local nobility: a thirty-five-minute Symphony, his No. 36 K. 425, was written, printed and rehearsed in 5 days!

Nestled between these two symphonic peaks, Erin has chosen one of Mozart’s earliest original keyboard concertos, No. 6 K. 238 (dating from 1776) and a familiar sonata with a misleading catalogue number. The concerto is rarely heard, so you’ll be lucky enough to encounter its beautiful slow movement, which looks ahead to one that’s heard very often indeed.

The B flat sonata K. 333 was long thought to have been written in Paris in 1778. But forensic analysis of the unusual manuscript paper on which it was penned (!) has traced it to the very same spoiled honeymoon in Linz.

While sparing a thought for poor neglected Constanza, you will hear that, like the symphony, it brims with the warmth, playfulness and love that characterised the final intimate relationship of Mozart’s life.

Program — MOZART Divertimento in F major K. 138 (Salzburg Symphony No. 3) MOZART Symphony No. 36 in C major K. 425 Linz Arr. Cimador MOZART Piano Concerto No. 6 in B flat major K. 238 Arr. Helyard MOZART Piano Sonata No. 13 in B flat major K. 333 Linz Performances — CANBERRA Friday 20 June, 7pm Gandel Hall, National Gallery of Australia SOUTHERN HIGHLANDS Saturday 21 June, 4pm Bowral Memorial Hall SYDNEY Sunday 22 June, 4pm The Neilson, Pier 2/3, Dawes Point 18th Century Unpacked — MOZART & SALZBURG With Dr Anthony Hamad Tuesday 10 June, 6.30pm Chippen Street Theatre

Mikaela Oberg— Period Flute, R. Tutz, 2007, Innsbruck, after H. Grenser, c.1810, Dresden (Germany)

“BRAVO! to the Australian Haydn Ensemble and Erin Helyard for a formidably nuanced performance of convincing spirit and sophistication” ClassikON, 2021—

HAYDN’S M IRACLE Program —

Artists —

Skye McIntosh, violin Matthew Greco, violin Karina Schmitz, viola Daniel Yeadon, cello Mikaela Oberg, flute

An audience so enraptured by a symphonic finale that they rush as one toward the stage at the very moment a chandelier crashes to the floor behind them. Alas, fake news, folks, but the fact that music has miraculous powers needs no checking, and here is a concert in which musical wonders never cease.

The AHE quartet returns to Haydn’s Op. 76 with No. 6 in E flat major.

It’s often called the Fantasia after its utterly captivating slow movement, but the true sense of the word - the composer’s “fancy” running freely applies equally to the whole quartet, from the euphoric riffing on a few chords in the first movement, to the finale’s MC Escher-like rhythmic illusions. Guaranteed to tie tapping toes in knots.

Another miracle: Schubert’s sublime Quartet in A minor was 200 years old last year! When you hear it leaping off the page on gut strings, stripped of vibrato-soaked varnish, it’s like a world premiere.

The harmonic language of the menuetto alone is literally marvellous: what creative process led him to take a jaded dance-form on such a mysterious and melancholy journey? And the transformation of the Rosamunde theme; again, truly fantastical.

HAYDN String Quartet Op. 76 No. 6 Fantasia

As Fantasy Genre permits, the Ensemble then briefly steps backwards in time to savour one of Purcell’s deliciously piquant Fantasias in 4 parts, No. 8 Z. 739 (originally for viols) before charging headlong into the (composed) first of Haydn’s London symphonies: No. 96 in D major.

The Miracle moniker is misleading because the Phantom of the Opera moment happened 5 symphonies down the track, but in any case, it’s more “merry” than miraculous, brimming as it is with infectious bon amie. The final movement is positively Buster Keatonian as a deadpan tune tries to surreptitiously tiptoe out of the hall only to be continually doused in storm and stress.

These days a chamber music audience forming a spontaneous mosh-pit in front of the band would indeed be worthy of official miracle status, but after a work as pleasurable as this, anything’s possible. Watch out, though, for falling masonry.

SCHUBERT String Quartet in A minor D. 804 Rosamunde PURCELL Fantasia in 4 parts No. 8 in D minor Z. 739 HAYDN Symphony No. 96 in D major Miracle Arr. Salomon Performances — CANBERRA Thursday 21 August, 7pm Wesley Uniting Church, Forrest BERRY Friday 22 August, 7pm Berry Uniting Church Hall SOUTHERN HIGHLANDS Saturday 23 August, 4pm Bowral Memorial Hall SYDNEY Sunday 24 August, 4pm The Neilson, Pier 2/3, Dawes Point 18th Century Unpacked — HAYDN & LONDON With Andrew Ford Tuesday 12 August, 6.30pm Chippen Street Theatre

Daniel Yeadon— Period Cello, William Forster II, 1781, London (England).

Karina Schmitz —

“…like nothing I’ve ever heard before. …An extraordinary experience.”

Limelight, Beethoven’s Fifth, 2024—

B EETHOVEN’S EIGHTH Program —

FERDINAND RIES Symphony No. 5 in D minor Op. 112 - 1st movement Arr. Ries

Artists —

Skye McIntosh, violin Matthew Greco, violin Karina Schmitz, viola Nicole Divall, viola Daniel Yeadon, cello Pippa Macmillan, double bass Mikaela Oberg, flute

Ah, those summer nights in Eastern Europe, 1812. A week after Napoleon invades Russia, Ludwig van Beethoven almost certainly says “Yes, tonight Josephine” to the love of his life, the unhappily married and recently jilted but socially impossible match, Countess Jozefina Brunszvik.

Three days later he pours forth - with the pencil (!) he souvenired from the tryst - the 10 little pages of hopeless devotion that have spawned thousands of pages of academic speculation. He hastily concludes in order to make the next post, then scrunches them in his pocket for the rest of his life.

This superb program revolves around the tantalizing enigma of the Immortal Beloved letters.

Young Sydney composer Ella Macens, whose tender and expressive work with the Goldner and Flinders Quartets has demonstrated a special affinity with chamber strings, embraces baroque tuning with a new commission inspired by Ludwig’s passionate Declarations.

Exactly nine months after the clandestine Spa-town rendezvous, the countess bore a daughter that she christened Minona

(hint: spell it backwards).

No paternity mystery shrouds the other fruit of the encounter though, Beethoven’s Eighth Symphony, whose gestation period was considerably shorter. This utterly delightful homage to Haydn, so full of wit and musical slapstick, is lightyears from the mindset of the letters, even though he started composing it then and there in the same hotel room.

Is that why he didn’t make it to the post office? Heard in the Ensemble’s by now familiar “unplugged” style, it’s guaranteed to banish frustration and consternation to your back pockets too.

Also on the bill, the remarkable rip-off that is the Fifth Symphony in D minor by Beethoven’s friend, pupil and long-suffering PA, Ferdinand Ries (written after his narrow escape from Bonaparte-ravished Russia, when fate led him to knock on the door of the London Philharmonic), and one of the first string sextets ever written, Boccherini’s Op. 23 No. 6 in F major. A sumptuous masterpiece that deserves classic status.

Celebrate the onset of balmy evenings with this heady musical fling.

BOCCHERINI String Sextet in F major, Op. 23 No. 6 ELLA MACENS String Sextet (World Premiere - New Commission)

BEETHOVEN Symphony No. 8 in F major Op. 83 Arr. F.W. Crouch (1821) Performances — CANBERRA Thursday 30 October, 7pm Gandel Hall, The National Gallery of Australia BERRY Friday 31 October, 7pm Berry Uniting Church Hall SOUTHERN HIGHLANDS Saturday 1 November, 4pm Bowral Memorial Hall SYDNEY Monday 3 November, 7pm City Recital Hall PORT MACQUARIE Thursday 6 November, 7pm The Glasshouse, Port Macquarie LAKE MACQUARIE Saturday 8 November, 2pm Rathmines Theatre, Rathmines 18th Century Unpacked — BEETHOVEN ARRANGED With Skye McIntosh Tuesday 31 October, 6.30pm Chippen Street Theatre

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 18th-century patrons who supported and commissioned many of Haydn, Mozart and Beethoven’s works that we know and love today. Where would we be without them?

About our Patron Categories Marie Theresa The Queen was a patron of Viennese music, and Haydn wrote his Te Deum at her request.

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.

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

The Chair’s Circle — The Chair's Circle is a group of dedicated supporters who have made a multi-year commitment to supporting the long-term vision of the Australian Haydn Ensemble Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Sherry & the late Tom Gregory Karin Keighley Peter & Lisa Macqueen Kevin McCann AO & Deidre McCann Ian & Pam McGaw The late Dr Timothy Pascoe AM & the late Eva Pascoe Anthony Strachan Peter Young AM & Susan Young Anonymous (1) Artistic Director’s Circle — The Artistic Director’s Circle is a group of passionate supporters who have made a commitment to supporting the AHE education program and the vision of the Artistic Director Jan Bowen AM FRSN Carolyn Fletcher AM Adrian Maroya Jon & Susanne North

This listing is correct as of 9 Nov 2024, and we gratefully recognise all donations received since 1 July 2023

Maria Theresa $25,000 — Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna David & Anne Eustace Foundation Sherry & the late Tom Gregory Howarth Foundation Karin Keighley Peter & Lisa Macqueen Anonymous (1) Esterházy $15,000 - $24,999 — Ian & Pam McGaw Philanthropy Initiative Australia, a giving fund of the APS Foundation Anthony Strachan Waldstein $10,000 - $14,999 — Jan Bowen AM FRSN Carolyn Fletcher AM Kevin McCann AO & Deidre McCann Jon & Susanne North Kim Williams Peter Young AM & Susan Young Van Swieten $5,000 - $9,999 — Martin & Ursula Armstrong Dr Terry & Julie Clarke Reg & Kathie Grinberg Adrian Maroya Peter & Libby Plaskitt Peter & Vivienne Skinner In Memory of Tom Gregory & Timothy Pascoe Anonymous (1) Galitzin $1,000 - $4,999 — Antoinette Albert Mark Bethwaite AM & Jill Bethwaite Clive Birch Keith & Louise Brodie Dr Andrew Byrne & Andrew Gill Dr Michael & Dr Colleen Chesterman George H. Clark Robert & Carmel Clark Jean Cockayne

Dr Nola Cooke Dr Peter Craswell Peter & Prudence Davenport Rob Diamond Alison Dunn Jeremy Eccles FRSN & Kate Eccles OAM David, Katrina & Madeline Evans Terry Fahy John Fairfax AO & Libby Fairfax Richard Fisher AM & Diana Fisher Dr Marguerite Foxon The Hon. Ben Franklin MLC Bunny Gardiner-Hill Prof Pru Goward AO Sharon Green The Hon Don Harwin The late Elizabeth Howard Michael & Anna Joel Sarah de Jong Lucy Kalangi David Kent OAM & Angela Kent Diccon & Liz Loxton David Maloney AM & Erin Flaherty Rod & Diane McAllery Paula McLean Trevor Parkin The late Dr Timothy Pascoe AM & the late Eva Pascoe Nick Payne Susan Perrin-Kirby David & Elizabeth Platt Keith & Robyn Power Michael & Anna Rennie Deidre Rickards Greg & Wendy See Danielle Smith The Smithers Family Augusta Supple Kay Vernon The Hon. Anthony Whealy K.C. & Annie Whealy Lady Meriel Wilmot-Wright Anonymous (10) Lobkowitz $500 - $999 — Patricia Adey Jock Baird Lloyd Capps & Mary Jo Capps AM Wendy Cobcroft Richard & Cynthia Coleman Matt Costello & Bernie Heard Todd Denney & Jacqui Smith

Sandra Duggan Dr Terence & Deborah Dwyer Dr Meredith Edwards Jean Gifford Stephen & Jill Goggs Gerard Joseph Dr Jacqueline Milne Beverley Northey Jennifer Rose-Innes Penelope Seidler AM Roger & Ann Smith David & Jill Townsend Ailsa Veiszadeh Dr Margot Woods Anonymous (4) Razumovsky $250 - $499 — Ann Armstrong James Ashburner Tony Barnett Walter Bilas & Phillip Sadler Jeffrey Bridger Christine Cooper Dr John Dearn Giles & Heather Edmonds Michael Fong Kate Guilfoyle Dr Judith Healy Ann Hoban Patrick McIntyre & Yianni Faros Dr Paul & Betty Meyer Jeremy Morris Henry O’Connor Dr Richard Sippe Dr Ann Young Anonymous (7) Foundations — David & Anne Eustace Foundation Howarth Foundation Jibb Foundation Sir Asher & Lady Joel Foundation Key Foundation Philanthropy Initiative Australia, a giving fund of the APS Foundation Sinsay Pty Ltd Stoneglen Foundation

March — HAYDN’S SUNRISE Parramatta Sunday 9 March, 4pm Riverside Theatres, Parramatta Canberra Thursday 13 March, 7pm Wesley Music Centre, Forrest Berry Friday 14 March, 7pm Berry Uniting Church Hall Southern Highlands Saturday 15 March, 4pm Bowral Memorial Hall Sydney Monday 17 March, 7pm Utzon Room, Sydney Opera House May — SCHUBERT SONGS With David Greco

A HE YEAR

Canberra Thursday 1 May, 7pm Albert Hall, Yarralumla Canberra International Music Festival Sydney Friday 2 May, 7pm The Paintings Galleries, The State Library of NSW June — MOZART’S SALZBURG & LINZ With Erin Helyard Canberra Friday 20 June, 7pm Gandel Hall, The National Gallery of Australia Southern Highlands Saturday 21 June, 4pm Bowral Memorial Hall Sydney Sunday 22 June, 4pm The Neilsen, Pier 2/3, Dawes Point

August — HAYDN’S MIRACLE Canberra Thursday 21 August, 7pm Wesley Uniting Church, Forrest Berry Friday 22 August, 7pm Berry Uniting Church Hall Southern Highlands Saturday 23 August, 4pm Bowral Memorial Hall Sydney Sunday 24 August, 4pm The Neilson, Pier 2/3, Dawes Point October/November — BEETHOVEN’S EIGHTH Canberra Thursday 30 October, 7pm Gandel Hall, The National Gallery of Australia Berry Friday 31 October, 7pm Berry Uniting Church Hall Southern Highlands Saturday1 November, 4pm Bowral Memorial Hall Sydney Monday 3 November, 7pm City Recital Hall Port Macquarie Thursday 6 November, 7pm The Glasshouse Lake Macquarie Saturday 8 November, 2pm Rathmines Theatre

AT A GLANCE

Subscriptions are available in a minimum package of 3 concerts.

Subscribe online Purchase your live subscription package online at australianhaydn.com.au Subscribe by phone Call our friendly Box Office on 1800 334 388.

Subscribe by post

You will need to use a booking form to subscribe by post. If you do not have one already, please download from our website, call 1800 334 388 or email info@australianhaydn.com.au.

Single Tickets

Tickets to all concerts via australianhaydn.com.au Sydney Opera House Tel 02 9250 7777 sydneyoperahouse.com

INFO

How to book —

T ICKET The Nielson aco.com.au City Recital Hall Tel 02 8255 2222 cityrecitalhall.com

Complete your booking form, including the performances, price level and location you wish to attend. Post your booking form to: AHE Subscriptions: PO Box 400, Strawberry Hills, NSW 2012 Ticket prices: Subscription —

Ticket prices: Single tickets —

A minimum selection of three (3) concerts is required for a subscription, and you can choose any AHE-presented locations to create your own subscription. AHE-presented locations are in Sydney, Canberra (excluding the CIMF), Berry and the Southern Highlands.

Single tickets on sale late 2024.

— Subscriptions in City Recital Hall Sydney (per concert) Adult | Concession Premium $120 | $102 A Reserve $90 | $80 B Reserve $70 | $65 C Reserve $35 | $30 Under 30 $30 Subscriptions in the Utzon Room, Sydney Opera House Adult | Concession Premium $120 | $102 A Reserve $90 | $80 Under 30 $30 Subscriptions in the State Library of NSW or the Nielson, Pier 2/3 (per concert) Adult | Concession Premium $120 | $102 A Reserve $90 | $80 B Reserve $70 | $65 Under 30 $30 Subscriptions in Canberra, Berry and the Southern Highlands (per concert) Adult $65 | Concession $55 Under 30 $30

Sydney – City Recital Hall Adult | Concession Premium $130 | $120 A Reserve $100 | $90 B Reserve $80 | $75 C Reserve $55 | $35 Under 30 $30 Sydney – Utzon Room, Sydney Opera House Adult | Concession Premium $130 | $120 A Reserve $95 | $85 Under 30 $30 Sydney – The State Library of NSW and the Nielson, Pier 2/3 Adult | Concession Premium $130 | $120 A Reserve $100 | $90 B Reserve $80 | $75 Under 30 $30 Canberra and regional New South Wales Adult $75 | Concession $65 Under 30 $30

G REAT —— REASONS 1—

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Never miss out Many of our concerts do sell out — when you subscribe you are guaranteed a seat!

Win back the value of your subscription All subscribers go into the draw for a chance to win back the value of their subscription. Drawn prior to the first concert of 2025.

Your favourite seat When you subscribe we offer you the opportunity to let us know where you like to sit in the City Recital Hall. (Allocated on a first come, first served basis).

Subscribers in Canberra and the Southern Highlands are welcome to use our reserved seating area in general admission venues.

Save Save up to 15% on the cost of single tickets.

Flexibility Free ticket exchange, so you can swap your tickets for another concert in the AHE subscription season.

Design your own subscription location Fancy a day in the Southern Highlands when you usually attend in Sydney?

Feel free to subscribe wherever an AHE-presented concert is played and choose your own subscription adventure.

—— T O SUBSCRIBE

Nikki Divall— Viola, Bronek Cison, 2012, Chicago (USA)

“I loved every minute... I think the Ensemble is one of the finest in the country.

I can’t wait to hear them again.” Audience member, Canberra—

“The Australian Haydn Ensemble, led by director and violinist Skye McIntosh... played with crisply articulated stylishness, strong bass and attentively unanimous ensemble playing.”

Sydney Morning Herald, 2024—

G REAT —— REASONS —— T O SUPPORT 1— Bring the music of Haydn, Mozart, Beethoven and lesser-known composers like Boccherini and C.P.E. Bach to new life, bringing audiences into the sound world the composers knew.

2— Ensure AHE continues to bring concerts of this wonderful music to audiences in regional areas of NSW and the ACT.

3— Allow others to be inspired and uplifted by rarely performed historical chamber arrangements of works by Beethoven, Mozart and others.

4— Continue to build on AHE’s considerable success.

“The string quintets were outstanding. Truly exhilarating experiences to listen to.” Berry, 2024—

W HAT —— OUR —— A UDIENCES SAY “... deep understanding of the works and perfect blending as an ensemble.” Canberra, 2024—

“Five big, glowing stars. ... blew me away. It was the best concert I’ve been to this year, including several in Europe.” Sydney, 2024— “Creative, inviting, challenging--and always welcoming to audiences.” Berry, 2024— “Certainly don’t regret subscribing as I have the excitement of seeing future concert treats there, in my diary!” Southern Highlands, 2024—

“The music, the playing, the atmosphere....the lot.

Superb performance.” Canberra, 2024—

PARTNERS Education Partners—

Government Partner—

Penrith Youth Orchestra AHE is supported by the NSW Government through Create NSW.

Founding Patron—

Patron—

The late Dr Timothy Pascoe AM

Professor the Hon. Dame Marie Bashir AD CVO

Board— Board— Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM FRSN Carolyn Fletcher AM (Deputy Chair) Adrian Maroya Kevin McCann AO Skye McIntosh (Artistic Director) Jon North Vivienne Skinner Peter Young AM

Team— Skye McIntosh—Artistic Director Alison Dunn—Market Development Ailsa Veiszadeh—Administrator Stephen Bydder—Ticketing Marguerite Foxon—Front of House and Administration* Lorrae Collins—Accountant *In Kind Support

Supporters— Media Partner

Audit Partner

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

2025 Brochure Team— Creative Director & Photographer—Helen White Graphic Design—Yolanda Koning Special thanks to Tim Eustace, Alan John, Skye McIntosh, Alison Dunn, Bell Street Vintage, Marguerite Foxon, Ailsa Veiszadeh Details in this program are correct at the 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 are available at our website australianhaydn.com.au or on request.

The Australian Haydn Ensemble is a not-for-profit organisation ABN 26 202 621 166 PO Box 400 Strawberry Hills NSW 2012, Australia 1800 334 388 (Freecall) info@australianhaydn.com.au | australianhaydn.com.au

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