1/2 “…a splendid concert with a lively program and a cracking performance by Artistic Director Skye McIntosh...” Limelight
“As we have come to expect from this ensemble, the playing was exemplary.”
Canberra City News
MOZART’S SPRING MARCH
BEETHOVEN’S FOURTH APRIL / MAY
DIVINE BOHEMIANS
JULY / AUGUST
STATE LIBRARY OF NSW
SEPTEMBER
HAYDN’S OXFORD OCTOBER / NOVEMBER
18TH CENTURY UNPACKED
MARCH
JULY
OCTOBER
Subscriptions available in:
Sydney | Melbourne | Canberra
Southern Highlands | Berry
Join our mailing list for more concert announcements during the year: australianhaydn.com.au
“To see a World in a Grain of Sand And a Heaven in a Wild Flower Hold Infinity in the palm of your hand And Eternity in an hour.”
William Blake Auguries of Innocence, The Pickering Manuscript circa 1803
In 2026, we take inspiration from the natural world - its colours, fine details and expansive emotional power. Composers across centuries have long reflected nature’s patterns and rhythms, from darkness to light, from beginning to fading. Their responses reveal themselves in the lilting breeze of a minuet, the dramatic storm of a symphonic movement, or the quiet unfolding of a melodic line. In many ways, live music is something grown rather than manufacturedalive, breathing and blooming under the gaze of its audience.
At the heart of our subscription season is the belief that music – like nature – speaks to something deep within us – and that hearing it live, in a shared space, is a kind of magic.
We are delighted to be extending the subscription season to encompass three concerts in Melbourne, as well as returning to our regular locations in Sydney, Canberra and regional New South Wales.
From the earthy charm of Haydn and the radiance of Mozart to the bold modernity of Beethoven, we invite you to be inspired, surprised and uplifted by the richness of each program.
Whether you’re joining us in a concert hall, a regional venue, or one of our popular pre-concert events, we look forward to sharing a year of wonderful music with you!
— Skye McIntosh Artistic Director & Founder Australian
Haydn Ensemble
“…like nothing I’ve ever heard before…An extraordinary experience.”
Limelight
The Australian Haydn Ensemble (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh and is now in its fourteenth year.
AHE 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 in Sydney, performing at the City Recital Hall, ACO On The Pier, and the Utzon Room, Sydney Opera House; and in Canberra, where it was Ensemble in Residence at the Australian National University in 2014. From 2026 the Ensemble begins a new chapter, presenting a
three-concert series at the Melbourne Recital Centre. 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 emerging composers and lesserknown composers, such as Boccherini, Wranitzky and Mysliveček.
To commemorate its 10th anniversary, the Ensemble recorded its third CD, entitled The Mozart Album , released in 2024. In October 2023 AHE 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.
Mozart, Haydn & Mendelssohn
Leave your scarves at home. For their opening concert of 2026 the Ensemble has decided to bypass Autumn and Winter and let you balmily bathe in sublime sunshine.
We don’t know who christened it Spring but Mozart’s String Quartet No. 14 K. 387 is so fresh you can almost smell the cut clover. The G (for green) major first movement teems with tunes: all four players toss them playfully at each other and, just when you think Mozart’s hooks can’t keep coming, he adds the sweetest little skipping phrase, like a lover impulsively returning for another embrace. Across the other movements, the tears that well during his brief shadowy sojourns are quickly turned to those of joy. The finale, which manages to meld sonata form with a double fugue (!) is so infectiously happy it brings to mind a supremely gifted student dashing off a counterpoint assignment so he can get to a party.
Wolfgang was a wise 28 year old when this quartet was published. To think that Felix Mendelssohn was only 14 when his very much un-published Quartet in E flat MWV R18 was penned, strains all credulity.
In maturity it dwarfs even the most precocious efforts of Mozart’s early teens. Not the Eb known as Op. 12 “No. 1”, this quartet, more like his “minus 1”, is rarely heard, but if you haven’t, you’ll think you have: its movements seem to have dropped into being perfectly formed. That’s especially true of the haunting song-withoutwords Adagio. Haven’t these melodies always existed? And if its fugal finale tries a bit too hard, what precedes it makes you just want to marvel all the more and bless this wunderkind’s little socks.
Haydn’s chirpy and charming Op. 33 No. 3 is nicknamed in honour of the unidentified bird who twitters throughout the first movement, but it also features a spirited à la russe finale to do in the thighs of its dedicatee (Catherine the Great’s errant son Paul), a glowing and lovely Adagio, and a second movement that’s bizarre even by Haydn’s standards: the Scherzo’s pompous, wheezy old gentleman is scandalously partnered with a sprightly and shrill Trio many years his junior. Well may we wonder at whom Haydn was flipping his bird.
ARTISTS
Skye McIntosh, violin
Matthew Greco, violin
Rafael Font, viola
Daniel Yeadon, cello
PERFORMANCES
BERRY
Friday 6 March, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday 7 March, 4pm Bowral Memorial Hall
SYDNEY
Sunday 8 March, 4pm
The Paintings Galleries, State Library of NSW
MELBOURNE
Wednesday 11 March, 7pm
Primrose Potter Salon, Melbourne Recital Centre
CANBERRA
Thursday 12 March, 7pm Gandel Hall, National Gallery of Australia
PROGRAM
HAYDN
String Quartet Op. 33 No. 3 in C major Bird
MENDELSSOHN
String Quartet in E flat major MWV R 18
MOZART
Sring Quartet No. 14 G major K. 387 Spring
Beethoven, Mozart & Boccherini
How does that one go again? Neglected even amongst Beethoven’s even-numbered “B-side” symphonies, No. 4 in B flat can be a little slow to spring to mind, but once that effervescent first subject banishes the portent of the mock-gloomy introduction, the delights of this work come flooding back. Really remarkable passages abound-suspension, resolution, modulation, deliberate confounding of expectation to comic effect; “masterclass” is applicable, but it’s far too much fun for that. Besides rescuing a bassoonist from a fiendish solo in the finale, the Watts arrangement for flute and string sextet lends a filigree of clarity to a warm and witty work that will leave you beaming.
Pre-interval also sees the AHE in miniature symphonic mode. In 2025, listeners loved the Linz , so roll on Mozart’s prequel, the Haffner Symphony, K. 385, also presented in Cimador’s bite-sized arrangement. Poor Wolfgang couldn’t put a foot right with his dad, who requested this as a flattery piece for a bigwig about to officially enter the aristocracy. The proverbial
dog ate Mozart’s homework (“up to his ears” as he was in Seraglio , newly weddedness and house-moving), and by the time it reached his livid father, Herr Haffner’s festoons had long been consigned to the family schloss’s landfill. Sometime later the symphony arrived back in Mozart’s mailbox and, while he’d forgotten literally every note of it, he discovered it was rather good. Generations of listeners agree: it brims over with opera buffa bravura and rollicking rhythm.
Boccherini may be short on symphonies to pare down, but his predilection for extra bottomend with his string quintets always gives them an ambition beyond the chamber. The one in A minor from 1778’s Op. 25 has the deep lustre and nobility of a substantial work. But as you’ll discover, there’s no shortage of Luigi’s unmistakable character: from galloping caballos to a closing rondo-in Turkish stylethat beats Mozart to the post.
Lean but lovely fare and a fourth to be reckoned with.
ARTISTS
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Rafael Font, viola
Daniel Yeadon, cello
Pippa MacMillan, double bass
Melissa Farrow, flute PROGRAM
BOCCHERINI
String Quintet in A minor Op. 25 No. 6
MOZART
Symphony No. 35 in D major Haffner arr. Septet (Cimador)
BEETHOVEN
Symphony No. 4 in B flat major arr. Septet (Watts)
PERFORMANCES
Berry
Friday 1 May, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday 2 May, 4pm
Bowral Memorial Hall
Sydney
Sunday 3 May, 4pm
The Neilson, ACO On The Pier
Canberra
Thursday 7 May, 7pm
Gandel Hall,
National Gallery of Australia
Bathurst
Sunday 10 May, 3pm
Bathurst Memorial
Entertainment Centre
Composers hailing from the now proud Czech Republic were surprisingly numerous in the 18th century and, while far from household names today, had a significant impact on some that are. These Bohemians were neither the free’n’easy chums who kissed tiny frozen hands in garrets nor the future pictorial romantics devoted to the fields and forests of their homeland. No, these guys skipped down the steps of their provincial alma maters straight onto express carriages bound for Austria, Germany or Italy, and never looked back.
Under their Germanified aliases, Franz Xavier Richter and Paul Wranitzky made good in Europe; the first as violinist/ composer at the Mannheim court and the latter as Vienna’s most respected conductor (he premiered Beethoven’s 1st). In Venice then Rome, Josef Mysliveček so out-Italianed the Italians in spirited temperament (and libido) that they abandoned efforts to pronounce his surname and dubbed him il divino boemo (the divine bohemian). A dear friend and mentor to the young Mozart, their relationship touchingly survived the divino’s Lucifer-like fall from grace after a postoperative disaster left him with a Voldemortian visage and careening career.
The ensemble offers a tantalising degustation drawn from these expats’ insanely prolific works; a fascinating
Richter quartet from 1757 that pre-dates Haydn’s patent on the form, a sweet palate cleansing Mysliveček Larghetto worthy of his (less nasally challenged) protégée followed by a thrilling and top-notch late quartet by Wranitzky. Love at first listen is guaranteed, so fear not! There are old favourites too, by those who bore no trace of backwater mud on their boots, and were more than happy to wallow in Bohemian loot. The province’s Prince, Josef Franz of Lobkowitz was a sweet gentleman whose “foolish love of music” led to the creation of The Creation and many Beethoven masterworks, including his set of quartets Op.18.
The delightful 3rd of these is actually Ludwig’s first foray into the form perfected by his then aging teacher. Deceptively simple, you’d never think it would trigger in Haydn a fit of jealousy and self-doubt that led to his (contemporaneous) Op. 77 falling four works short of the six paid for by the prince. In his second to last quartet, you’ll find no evidence of waning powers, only consummate skill unmatched even by the brilliant upstart waiting in the wings. His short-changed patron could hardly complain upon hearing its sublime Adagio , Schubertian Menuetto and swirling folkdance finale. Czech this one out.
ARTISTS
Skye McIntosh, violin
Matthew Greco, violin
Rafael Font, viola
Daniel Yeadon, cello
PROGRAM
HAYDN
String Quartet Op. 77 No. 1 in G major
MYSLIVEČEK
String Quartet Op. 3 No. 6 Larghetto
F.X. RICHTER
String Quartet Op. 5 No. 5b in G minor
WRANITZKY
String Quartet Op. 49 in D minor
BEETHOVEN
String Quartet Op. 18 No. 3 in D major
PERFORMANCES
MELBOURNE
Wednesday 29 July, 7pm
Primrose Potter Salon, Melbourne Recital Centre
CANBERRA
Thursday 30 July, 7pm Gandel Hall, National Gallery of Australia BERRY
Friday 31 July, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday 1 August, 4pm
Bowral Memorial Hall
SYDNEY
Sunday 2 August, 4pm
The Neilson, ACO On The Pier
PORT MACQUARIE
Saturday 25 July, 7pm
The Glasshouse
Haydn’s London Symphonies, Part 1
Part 1! How enticing. If a CD revival eventually eclipses the current vinyl vogue, can we look forward to a 300th birthday / Brisbane Olympics “boxed set” of all 12 by 2032?
Violinist and impresario Peter Salomon was the guardian angel (slash shrewd businessman) who put Haydn on a boat to London after a younger “less enlightened” (ok, philistine) Esterházy sacked all his musicians and kept the composer on for domestic duties. English audiences went wild, symphonies poured out and sterling poured in but these “tours” represented a genuine sea-change in music history: the fans were middle to uppermiddle class music lovers, not diversion-seeking aristocrats. And in the absence of a foyer CD (let alone vinyl) stall, they were all ravenous to listen again at home. So… you guessed it, Salomon added a lucrative byline in downsized arrangements for amateur parlour use.
As AHE listeners will know, these versions, often for string sextet and flute, are a long way from pale imitations: newly imagined for the medium, they are actually a refreshing listen when compared to the brass and drum heavy “warhorse” school of orchestral playing.
Alright, pedants put up your quills: we know No. 92 Oxford is not officially a
Londoner. It premiered in Paris, but such was Salomon’s haste to get Haydn his doctorate, he didn’t have time to write any new ones and so white-lied in his exam by recycling his most recent, sweetened by some palindromic canons for the egg-headed panellists. Had he stopped at 92, it would be a summation of his art. The Rossini-like finale is especially fabulous: the hero, a scurrying staccato melody, is subjected to all manner of comic indignities; buffeted by giddying chromatic winds and turned every which way but loose.
No. 95 is the only one that threatened to disappoint the aficionados (What? Minor key? No slow intro?) but, statistically, major thirds crowd out the tragic E flats and the sun-drenched final movement is as gloriously contrapuntal as the one that closes Mozart’s Jupiter
No. 103 in E flat needs no introduction (but of course has one); it’s simply one of the greatest symphonies of the era. The splendid finale is an epic tapestry tightly woven from a simple short horn call motif. How will they pull off the drumroll though? Wait and see.
3 down and 7 to go, roll on Parts 2, 3 and 4. An exciting, dramatic and thoroughly satisfying season’s end.
ARTISTS
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Rafael Font, viola
Daniel Yeadon, cello
Pippa MacMillan, double bass
Mikaela Oberg, flute
PERFORMANCES
BERRY
Friday 30 October, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday 31 October, 4pm
Bowral Memorial Hall
SYDNEY
Monday 2 November, 7pm
Sunday 8 November, 4pm
The Neilson, ACO On The Pier
MELBOURNE
Wednesday 4 November, 7pm
Primrose Potter Salon, Melbourne Recital Centre
CANBERRA
Thursday 5 November, 7pm
Gandel Hall, National Gallery of Australia
PROGRAM
HAYDN
Symphony No. 92 in G major Oxford arr. Salomon
HAYDN
Symphony No. 95 in C minor arr. Salomon
HAYDN
Symphony No. 103 in E flat major Drumroll arr. Salomon
In addition to our subscription series, the State Library of NSW will be presenting a major work from Skye McIntosh as part of the Library’s 200th Anniversary program in 2026.
Skye has been working on plans for this piece as part of a Creative Residency with the Library during 2025, and whilst it’s still tightly under wraps, we can tell you it is a hugely exciting project which we think you will love.
We will let you know all the details when the Library makes its big announcement in 2026.
Special Guest Presenter Genevieve Lang & The AHE Quartet
Join the AHE for this innovative three-part series of lecture recitals, designed to deepen your connection with our mainstage touring programs. Join like-minded music lovers for a relaxed and informative event in the glorious surrounds of the Friends Room in the State Library of New South Wales.
ARTISTS
Genevieve Lang, Guest Presenter Skye McIntosh, violin
Matthew Greco, violin
Rafael Font, viola Daniel Yeadon, cello
EVENTS
MOZART & HAYDN
Thursday 5 March, 6-8pm, Friends Room, State Library of NSW
BOHEMIAN COMPOSERS IN VIENNA
Thursday 23 July, 6-8pm
Friends Room, State Library of NSW
HAYDN’S LONDON CONNECTION
Thursday 29 October, 6-8pm
Friends Room, State Library of NSW
Our patrons enable us to continue presenting wonderful concerts, and we could not do what we do without them - we are so grateful to them all.
AHE donor categories are named after famous 18th-century patrons who supported and commissioned many of the works of Haydn, Mozart, Beethoven many others that we are re-discovering today.
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.
Patron
Her Excellency the Honourable Margaret Beazley AC KC
Governor of New South Wales
Founding Patron
The Late Dr Timothy Pascoe AM
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
Anthony Strachan
Peter Young AM & Susan Young
Anonymous (1)
The Artistic Directors Circle is a group of passionate supporters who have made a commitment to supporting the education program of the Australian Haydn Ensemble and the vision of the Artistic Director
Carolyn Fletcher AM
Adrian Maroya Jon & Susanne North
Peter & Vivienne Skinner
Musicians Chair
Skye McIntosh, Artistic Director & Leader’s Chair
Supported by Mrs W.G. Keighly
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 and LIsa Macqueen
Kevin McCann AO & Deidre McCann
Anthony Strachan
Anonymous (1)
Esterházy $15,000 - $24,999
— Ian & Pam McGaw
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Waldstein $10,000 - $14,999
—
Adrian Maroya
Van Swieten $5,000 - $9,999
—
Martin & Ursula Armstrong
Clive Birch
Carolyn Fletcher AM
Reg & Kathie Grinberg
Jon & Susanne North
Peter & Vivienne Skinner
Peter Young AM & Susan Young
In Memory of Tom Gregory & Timothy Pascoe
Anonymous (1)
Galitzin $1,000 - $4,999
Antoinette Albert James Ashburner Mark Bethwaite AM & Jill Bethwaite
Keith & Louise Brodie
Dr Andrew Byrne & Allan Gill
Jason Catlett Chapman Eastway Charitable Foundation
Dr Michael & the late Dr Colleen Chesterman
George H. Clark
Robert & Carmel Clark
Dr Terry & Julie Clarke
Jean Cockayne Dr Peter Craswell
Peter & Prudence
WHEN YOU MAKE A DONATION TO THE AUSTRALIAN HAYDN ENSEMBLE YOU:
Continue to build on AHE’s considerable success. 1 2 3 4
Bring the music of Haydn, Mozart, Beethoven and lesser-known composers like Boccherini, Wranitzky and Mysliveček to new life, bringing audiences into the sound-world the composers knew.
Ensure AHE continues to bring concerts of this wonderful music to audiences in regional areas of NSW, the ACT and, in 2026, in Melbourne.
Ensure rarely performed chamber arrangements of works by Haydn, Beethoven and Mozart are playedbringing new delights to new audiences.
1/2 “...showcased the Australian Haydn Ensemble’s elegance, invention and emotional depth.”
Limelight
1/2 “McIntosh’s virtuosity was on full display here. … She achieved what Mozart apparently saw as an ideal... Her cadenzas were virtuosic, faultless and performed confidently but never with pomp or ostentation. ”
State of the Arts
“The energy, stamina and skill displayed by the performers was massively impressive.”
ClassikON
JULY / AUGUST
Divine Bohemians
18th Century Unpacked
MARCH
Mozart’s Spring
18th Century Unpacked
Thursday 5 March, 6pm
Friends Room, State Library of NSW
Berry
Friday 6 March, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday 7 March, 4pm
Bowral Memorial Hall
Sydney
Sunday 8 March, 4pm
The Paintings Galleries, State Library of NSW
Melbourne
Wednesday 11 March, 7pm
Primrose Potter Salon, Melbourne Recital Centre
Canberra
Thursday 12 March, 7pm
Gandel Hall, National Gallery of Australia
MAY
Beethoven’s Fourth
Berry
Friday 1 May, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday 2 May, 4pm
Bowral Memorial Hall
Sydney
Sunday 3 May, 4pm
The Neilson, ACO On The Pier
Canberra
Thursday 7 May, 7pm
Gandel Hall, National Gallery of Australia
Bathurst
Sunday 10 May, 3pm
Bathurst Memorial Entertainment Centre
Thursday 23 July, 6pm
Friends Room, State Library of NSW
Port Macquarie
Saturday 25 July, 7pm The Glasshouse
Melbourne
Wednesday 29 July, 7pm
Primrose Potter Salon, Melbourne Recital Centre
Canberra
Thursday 30 July, 7pm
Gandel Hall, National Gallery of Australia
Berry
Friday 31 July, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday 1 August, 4pm
Bowral Memorial Hall
Sydney
Sunday 2 August, 4pm
The Neilson, ACO On The Pier
OCTOBER / NOVEMBER
Haydn’s Oxford
18th Century Unpacked
Thursday 29 October, 6pm Friends Room, State Library of NSW
Berry
Friday 30 October, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday 31 October, 4pm
Bowral Memorial Hall
Sydney
Monday 2 November, 7pm
Sunday 8 November, 4pm
The Neilson, ACO On The Pier
Melbourne
Wednesday 4 November, 7pm
Primrose Potter Salon, Melbourne Recital Centre
Canberra
Thursday 5 November, 7pm
Gandel Hall, National Gallery of Australia
Season 2026
Many of our concerts sell out - the best way to ensure your seat is to subscribe.
When you subscribe, feel free to let us know where you like to sit in The Neilson, ACO On The Pier and we will do our best to seat you there (subject to availability).
Subscribers in Canberra and the Southern Highlands are welcome to use our reserved seating area in our Gandel Hall and the Bowral Memorial Hall.
SAVE
Save up to on the cost of single tickets
Free ticket exchange, so you can swap your tickets for another concert in the AHE subscription season.
Free ticket exchange, so you can swap your tickets for another concert in the AHE subscription season.
DESIGN YOUR OWN SUBSCRIPTION BY LOCATION
Fancy a day in the Southern Highlands when you usually attend in Sydney? Feel free to subscribe across locations and choose your own subscription adventure.
1 2 3 4 5
“Skye McIntosh also led a terrific performance of a septet arrangement of Mozart’s immensely popular Symphony No 40”.
DAILY TELEGRAPH, NOVEMBER 2025
“It was a marvellous performance by the seven instrumentalists which did more than ample justice to Beethoven in this powerful rendition.”
SOUNDS LIKE SYDNEY
“Exciting, innovative, brave, refreshing and wonderfully musical.”
SYDNEY SUBSCRIBER 2025
“Berry couldn’t be luckier than to have these concerts.”
AUDIENCE MEMBER 2025
“A warm, spirited and colourful rendition of a surprisingly innovative work.”
LIMELIGHT
“For us, a real find. We haven’t experienced live, accessible chamber music like this before and watching close up we really felt included.”
SOUTHERN HIGHLANDS
AUDIENCE MEMBER 2025
“…this was a very special and rewarding concert. There can never be too much of this kind of music and music-making.”
CANBERRA CITY NEWS
“An ensemble of superlative skill playing symphonies with only seven instruments , but somehow enhancing the symphonic experience.”
CANBERRA AUDIENCE MEMBER
Subscriptions are available in a minimum package of 3 concerts.
Subscribe Online
Purchase your subscription online at australianhaydn.com.au
Subscribe by phone
Call our friendly Box Office on 1800 334 388.
Subscribe by post
Download the form from our website, call 1800 334 388 or email info@australianhaydn.com.au to have a form sent to you.
Complete and post to:
AHE Subscriptions
PO Box 400 Strawberry Hills NSW 2012
A minimum selection of three (3) concerts is required for a subscription. Choose from any AHE-presented concert in Sydney, Canberra, Melbourne, Berry, or the Southern Highlands.
Sydney (per concert)
The Nielson, ACO On The Pier
The Paintings Galleries, State Library of New South Wales
Adult | Concession
Premium $125 | $115
A Reserve $90 | $85
B Reserve $75 | $70
Seniors concessions A & B Reserve only
Melbourne (per concert)
Primrose Potter Salon, Melbourne Recital Centre
Adult $50 | Concession $45
Canberra & Regional NSW (per concert)
Gandel Hall, National Gallery of Australia, ACT
Berry Uniting Church Hall, Berry, NSW
Bowral Memorial Hall, Southern Highlands, NSW
Adult $70 | Concession $65
Single Tickets
Tickets to all concerts: australianhaydn.com.au or use the QR code
www.australianhaydn.com.au
Sydney
Adult | Concession
Premium $135 | $125
A Reserve $100 | $90
B Reserve $80 | $75
Under 30 $30
Seniors concessions A & B Reserve only
Melbourne
Adult $60 | Seniors $55 | Concession $50
Canberra & Regional NSW
Adult $75 | Concession $65
Under 30 $30
GOVERNMENT PARTNER—
PARTNERS—
SUPPORTERS—
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.
Board —
Kevin McCann AO (Chair)
Carolyn Fletcher AM (Deputy Chair)
Adrian Maroya
Skye McIntosh (Artistic Director)
Jon North
Peter Young AM
Vivienne Skinner
Marco Belgiorno-Zegna AM (Emeritus Chair)
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
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.
Behind the Scenes —
Skye McIntosh, Artistic Director & Executive Director
Alison Dunn, Marketing & Audience Development
Ailsa Veiszadeh, Administrator
Wayne McKenna, Financial Controller
Roderick van Gelder, Lighting Design & Production Management
Stephen Bydder, Ticketing
Kahlia Patrick, Bookkeeper
Marguerite Foxon, Front of House and assistance with Administration*
*In Kind Support
2026 Brochure Team—
Skye McIntosh, Creative Concept
Helen White, Creative Director of Photography
Yolanda Koning, Branding & Graphic Design
Special thanks to—
Alan John
Skye McIntosh
Alison Dunn
Marguerite Foxon
James & Edwyn Eccles
Photographs throughout by Helen White except Page 17 by Oliver Miller
