Beethoven's Pastoral Concert Program, Australian Hayden Ensemble (AHE)

BEETHOVEN’S PASTORAL MASTER WORKS IN CHAMBER VERSION

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Mozart’s Prague DECEMBER

SEASON 2021

Haydn & Bell: A Life in Letters | AUGUST

LIVE SERIES TWO //

BEETHOVEN’S PASTORAL

PROGRAM BOCCHERINI String Sextet in F minor Op. 23 No. 4 G. 457 MOZART Serenade in D major Haffner Serenade K. 250 Selections (arr. Masi, Scolaro & Lim) BEETHOVEN Symphony No. 6 in F major Op. 68 Pastoral (arr. Watts)

The concert duration is approximately 1 hr 50 mins including interval

CANBERRA Thursday June 3, 7pm BERRY Friday June 4, 7pm SOUTHERN HIGHLANDS Sunday June 6, 4pm SYDNEY Monday June 7, 7pm City Recital Hall, Sydney TAMWORTH Wednesday June 9, 7.30pm WESTERN SYDNEY Sunday June 13, 4pm LAKE MACQUARIE Sunday June 20, 5pm

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LIVESTREAM Monday June 7, 7pm Melbourne Digital Concert Hall

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ARTISTIC DIRECTOR’S MESSAGE Our second concert series is an exciting program based around Beethoven’s 6th Symphony (Pastoral) in a chamber arrangement by W. Watts for flute, 2 violins, 2 violas, cello and double bass. It was published by the London publishing house, Lavenu, in a set of three that included the 4th, 5th and 6th Symphonies.

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The title page of the work provides a few insights.

It states that it was originally performed at the Philharmonic Society, where Watts was the longterm secretary. According to the Philharmonic archives, Watts was the most active of the members of the Society, arranging Beethoven’s music at the time.

The creation of these types of chamber arrangements was quite normal in Haydn’s and Beethoven’s time and this particular set was probably arranged because the Philharmonic Society wanted to support and popularise Beethoven’s work in England.

Chamber performances of works of this size were a regular part of the Philharmonic’s concert programs. Although the records lack details about exactly when these versions were performed, we can assume that each of the arrangements in the set were performed at some of the Philharmonic’s concerts, as the title page of the original print edition attests.

Our program also includes Boccherini’s beautiful String Sextet in F minor. Set in one of the most melancholic of keys, it is full of the characteristic

flourishes and textures that we have come to know and love in association with Boccherini’s dark yet joyful and vibrant music. The work was originally scored to be performed with two cellos.

We perform the sextet with cello and double bass.

This was common in many of Boccherini’s string quintets which allowed for an alternate choice of two cellos or cello and double bass.

Also on the program is a similar chamber arrangement of one of Mozart’s most performed works, his Haffner Serenade. This was originally composed for a wedding of the Haffner family, then reduced from its original seven movements to five by Mozart in his own orchestral arrangement of the work. Masi’s chamber arrangement further reduces the work to four movements - possibly to fit what was becoming a more ‘standard’ symphonic structure at the time.

Unlike other arrangers of the time, Masi published his version as an adaptation of Mozart’s work.

This refers not only to the reduction from five movements to four, but also to the use of the compositional material. Masi’s version alters the writing of the parts slightly - perhaps to suit the different instrumentation of this particular chamber group which uses a flute in place of oboe and horns. Our performance presents a further ‘new’ adaptation of the work in collaboration with myself and our research partner and arranger, Vi King Lim. This new arrangement returns Masi’s adapted parts to Mozart’s original whilst remaining true to the nature of the eighteenth-century arrangement.

Skye McIntosh Artistic Director

THE ENSEMBLE The Australian Haydn Ensemble, founded in 2012

by Artistic Director and Principal Violinist Skye McIntosh, has quickly established itself as one of Australia’s leading period-instrument ensembles, specialising in the repertoire of the late baroque and early classical eras. It takes its name from the great Joseph Haydn, a leading composer of the late eighteenth century, when style was transitioning from Baroque to Classical.

Based around a small core of strings and flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet, to a full orchestra. It has developed a flourishing regular series at the Sydney Opera House Utzon Room and in Canberra, where it was Ensemble in Residence at the Australian National University during 2014. It also performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting eighteenth century historical performance techniques. In January 2019, AHE presented programs at the Peninsula Summer Music Festival and the Organs of the Ballarat Goldfields Festival in Victoria, receiving glowing reviews.

In 2016 the group released its debut ABC Classics recording The Haydn Album which reached number one on the Australian Aria Classical charts. It received rave reviews, one claiming that the Ensemble stood “proudly shoulder to shoulder with the many period instrument ensembles found in Europe.”. In October 2017 AHE released Beethoven Piano Concertos 1 & 3 on the ABC Classics label, showcasing newly-commissioned chamber versions of the works in the style of the eighteenth century, in collaboration with Aria award winning historical keyboardist Dr Neal Peres Da Costa. Reviewers have been extremely enthusiastic: “This recording is remarkable not

only for the pianist’s wonderfully free and fluent playing, but also for the excellent performance of the Ensemble.”

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

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

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THE PERFORMERS Violin & Artistic Director Skye McIntosh Skye is the founder and Artistic Director of the Australian Haydn Ensemble. She has appeared as principal 2nd violin for Pinchgut Opera, as principal 2nd violin with the Australian Romantic & Classical Orchestra, and as a regular member of the Australian Brandenburg Orchestra since 2010.

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Skye completed her Bachelor of Music with First Class Honours at the Queensland Conservatorium in 1999. In 2004 she travelled to the UK to study at The Royal Academy of Music, was a regular member of the Britten Pears young artist program, and performed at several UK Festivals. Skye completed a Master of Music degree, at the Sydney Conservatorium in 2011.

Skye has made many concert appearances as soloist and director, and in 2013 attended the Banff Centre with the Australian Haydn Quartet for a Winter Residency, and also performed at The Julliard School.

Skye is playing a violin by Tomaso Eberle, 1770, Naples

Violin Matthew Greco Matthew began learning violin at the age of 12 and studied with Professor

Janet Davies and Professor Neal Peres Da Costa at the Sydney Conservatorium of Music. At the age of 19 he was engaged by Australia’s leading period orchestras - the Australian Brandenburg Orchestra and Orchestra of the Antipodes.

He later undertook further study in historical performance at the Royale Conservatoire of The Hague, with Professor Ryo Terakado and Professor Enrico Gatti, graduating in 2013.

Mat performs as a soloist, concertmaster and core member of some of the world’s leading period instrument ensembles, including the Australian Brandenburg Orchestra, Orchestra of the Antipodes (Pinchgut Opera), Australian Haydn Ensemble, Salut! Baroque, De Nederlandse Bachvereniging (Netherlands Bach Society), Les Talens Lyriques (Paris), Festival D’Aix en Provence, Opera Nationale de Paris, L’Académie baroque européenne d’Ambronay, Capella Mediterranea (Switzerland) and Pacific Baroque Orchestra (Canada). He is a founding member of the Sydney-based, baroque ensemble The Muffat Collective.

Matthew is playing a violin by David Christian Hope, 1760, Quittenbach

Viola Karina Schmitz Karina is principal violist of Handel and Haydn Society in Boston, Apollo’s Fire in Cleveland, and the Carmel Bach Festival Orchestra. She is also a founding member of 17th century ensemble ACRONYM, and violinist/violist of Duo Corbetta. For eleven years she served as principal second violinist with

THE PERFORMERS Philadelphia based Tempesta di Mare. Hailing from the USA, Karina holds degrees from New England Conservatory and the Cleveland Institute of Music, and studied early music at Oberlin Conservatory and in the Apollo’s Fire Apprentice Program.

Karina has collaborated with many ensembles including Van Diemen’s Band, the Boston Early Music Festival Orchestra, Boston Camerata, and the American Opera Theater in Washington, D.C. Photo: Roger Mastroianni

Karina is playing a viola by Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, Milan, 1793

Viola James Eccles James studied at the Sydney Conservatorium of Music and ANAM, and gained his Masters in Ireland. Following this he worked with the Konzerthaus Orchester and avant-garde rock band AGE in Berlin.

Returning to Sydney in 2007, James has become a sought-after violist, performing with new-music groups such as Ensemble Offspring, presenting and performing in children’s concerts at the Sydney Opera House, performing solo with SBS Youth Orchestra, and working as principal viola with Sydney Philharmonia Choirs. As a period instrumentalist, he performs with Pinchgut Opera, and the Australian Brandenburg Orchestra. James has premiered many new works and has also commissioned new Australian works in his role as director of the 2014 Aurora Festival and as co-

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director of The NOISE String Quartet.

James is playing a viola by Hiroshi Iizuka, 1992, Philadelphia

Cello Daniel Yeadon Dr Daniel Yeadon is a Lecturer at the Sydney Conservatorium of Music, University of Sydney, where he teaches cello and viola da gamba, coaches chamber music, and engages in research into learning, teaching and historical performance practices. Originally from the UK, Daniel read physics at Oxford University and then completed his postgraduate studies at the Royal College of Music in London.

Daniel has a love of a wide range of musical genres and is an exceptionally versatile cellist and viola da gamba player, performing repertoire from the Renaissance through to Contemporary. Daniel is a passionate chamber musician, playing regularly with Australian Haydn Ensemble, Ironwood, Australian Chamber Orchestra (ACO), Australian Romantic and Classical Orchestra, and Bach Akademie Australia. For many years Daniel was a member of the renowned Fitzwilliam String Quartet and the exuberant period instrument ensemble Florilegium. He has made many awardwinning recordings.

Daniel is playing a cello by William Forster II, 1781, London Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music.

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Double Bass Bonita Williams After completing undergraduate studies at University of Melbourne under the tutelage of Sylvia Hosking, Bonita received a Master of Music degree at Boston University, USA. While there, she worked with several orchestral ensembles such as the Boston Philharmonic Orchestra, Cambridge Philharmonic Orchestra, and as Principal Bass of the Cantata Singers Orchestra, a prestigious early music ensemble.

She has also worked with other orchestras such as the Hawaii Symphony and the Auckland Philharmonia.

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Bonita performed regularly with Orchestra Victoria and the Melbourne Symphony Orchestra before becoming a permanent member of the Opera Australia Orchestra in 2016. Since moving to Sydney, she has also performed with the Pinchgut/Orchestra of the Antipodes, the Australian Chamber Orchestra, and the Australian Haydn Ensemble.

Bonita is playing a Double Bass, maker Unknown, c.1820, Northern Italy Flute Melissa Farrow Melissa has been principal flute with the Australian Brandenburg Orchestra since 2003, and a core member of the Australian Haydn Ensemble since its formation.

She performs and records regularly with groups including Pinchgut Opera, the Australian Chamber Orchestra, Ironwood, The Australian Romantic and Classical Orchestra, The Marais Project, and Latitude 37, among others.Her numerous solo performances have been with the AHE, NZ Barok, the Australian Brandenburg Orchestra,

and Pinchgut Opera. She is featured as soloist in Gretry’s L’amant Jaloux, in the Australian Brandenburg Orchestra’s Brandenburg Celebrates, on Smorgasbord with The Marais Project, and on touchons du bois with Erin Helyard.

After graduating from the Sydney Conservatorium, Melissa undertook post-graduate study in modern flute, recorder, and traverso in Amsterdam. She maintains a busy home studio teaching flute and recorder, and teaches period flute at the Sydney Conservatorium. She has also presented Baroque style workshops and masterclasses to modern flautists in NZ, Flute Connections Studio (Sydney), the Australian Flute Festival (Canberra), MLC School (Sydney), Camberwell Grammar (Melbourne), in Penrith with Australian Brandenburg Orchestra, and at the Sydney Conservatorium.

Melissa is playing a flute by L F. Aurin 2016 Dusseldorf, Germany after W. Liebel, Dresden, c.

1830 Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra

ABOUT THE MUSIC Luigi Boccherini (1743 – 1805) Sextet in F Minor, Op. 23, No. 4 G.457 I. Allegro Moderato: soave e appassionato II. Minuetto: con moto – trio – Minuetto da capo III. Grave assai IV. Finale: ma non presto Before settling in Madrid in the late 1760s, Luigi Boccherini received a cosmopolitan instruction in music. His first teacher was presumably his father, Leopoldo Boccherini (1712–66), who was a singer and double bassist at the Cappella Palatina in the north Italian town of Lucca where the Boccherini family lived. As a young boy in the 1750s, Boccherini had lessons with leading court musicians in Lucca and Rome including the cello virtuoso Domenico Francesco Vannucci.

Shortly thereafter, he was performing alongside his father regularly in Vienna’s Easter festivals where Boccherini also gave solo cello recitals. As northern Italians, the Boccherinis were well connected with the Imperial Habsburg Capital, which looked to Italy for its musical inspiration. In addition to Luigi, Leopoldo’s other children were to become actively engaged in Vienna’s music scene during their professional careers. Giovanni Gastone (1742 – c.1800), Luigi’s older brother, was to become one of the city’s leading dramatic poets composing librettos including that of Joseph Haydn’s oratorio Il ritorno di Tobia (1775).

Through a performing tour, which took him to Paris and then Spain, Boccherini’s reputation grew as a composer and cello virtuoso. His growing reputation led to the offer of a position as compositore e virtuoso di camera (composer and chamber virtuoso) in the court of Don Luis in Aranjuez in 1770. Don Luis, who was in internal exile having lost his claim to the Spanish throne, was a patron of the arts. Perhaps in a show of appreciation of his employer, Boccherini dedicated

his opus 23 sextets to Don Luis.

The sextet in F minor, the fourth in the set, demonstrates Boccherini’s mastery of the genre.

Scored for two violins, two violas and two cellos, Boccherini passes the musical material in this composition between each of the instruments.

While most of the melodic material belongs to the first violin, the intricate accompaniments provided by the other instruments give the sextet a rich and harmonious texture.

Boccherini must have taken great care in composing this work. The first movement, for instance, develops from limited melodic materials that consist mainly of short pairs of sighing notes (appoggiaturas). The appoggiatura was an idiomatic feature of late eighteenth-century composition and evokes a heightened sense of intimacy and expression. Communicating this highly affected mood to the performers, Boccherini adds the expression “soave, e appassionato” (suave and passionate) to the usual tempo indication that begins this movement. Of equally striking intensity is the Grave assai, the third movement in the sextet. Opposing this are the second and fourth movements, which carry lighter affections. The second movement Minuet and Trio, the favourite dance of eighteenth-century audiences, has its usual courtly air. In contrast, the finale that ends the sextet portrays a rustic character.

Wolfgang Amadeus Mozart (1756 – 1791) Serenade in D major (Haffner Serenade), K. 250 Selections (arr. Masi, Scolaro & Lim) I. Andante – Allegro II. Minuet galante III. Andante IV. Adagio – Allegro

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Mozart composed his now famous serenade (K. 250) in 1778 for the wealthy Haffner family from Salzburg. Originally scored for an orchestra of strings, woodwinds and brass, Masi adapted this serenade for a string sextet (two violins, two violas and two cellos) and flute. While chamber music arrangements of orchestral compositions were becoming increasingly common at the turn of the nineteenth century, Masi’s version of Mozart’s serenade differs from those one usually encounters. Not only does he reduce the number of movements from seven in Mozart’s serenade to four in his own arrangement, but he also changes some of the original musical material. The Allegro section that proceeds the opening Adagio in the fourth movement, for instance, does not appear in Mozart’s serenade and is entirely Masi’s work.

In the opening movement, furthermore, Masi composes an entirely original flute part.

Without any contemporary documentation explaining Masi’s arranging process, it is not possible to state with certainty why the composer made such radical changes to Mozart’s serenade.

One could hypothesise that Masi was attempting to modernise Mozart’s work to suit the clientele he was hoping to attract. Mozart wrote his serenade for a specific purpose – as a piece of music accompanying the wedding celebrations of Elisabeth Haffner. As such, the serenade was not a concert piece attentively listened to by an audience. Rather, it served as incidental music. Masi, on the other hand, arranged the serenade for a more intimate setting – domestic home entertainment. In this setting, the musical material is highly exposed and Masi exploits this by providing each performer in the septet with intricate passagework. It may therefore appear ironic that publishers promoted arrangements such as Masi’s as suitable for the musical ‘amateur’.

Unlike today, however, the eighteenth-century amateur was a highly skilled musician (usually of aristocratic or bourgeois status) but not one who practised music for a living.

Another important factor to note is that Masi essentially transplanted the serenade from its aristocratic ritualistic setting into the homes of Europe’s growing number of wealthy middleclass citizens. Such a change of environment is not insignificant as it directly affects musical style. Separating aristocrats from the common bourgeoisie in the eighteenth century was a code of manners and customs that writers at the time collectively termed ‘galant’. Galant music, consequently, was music that reflected this courtly way of life and was explicitly composed for the tastes of galant men and women. The ‘Minuet galante’ from the serenade is Mozart explicitly acknowledging the Haffners as members of galant society. The minuet itself, furthermore, was considered the most courtly and noble dance of all in the late eighteenth century. While Masi kept this movement’s original title in his arrangement, it is unlikely that his target market of buyers was aware of the galant idioms Mozart used in his serenade to flatter the Haffner family and their guests.

To recover the nuances of Mozart’s original serenade, Skye McIntosh and Vi King Lim have reworked Masi’s arrangement of the serenade for performance by the Australian Haydn Ensemble.

To recover the nuances of Mozart’s original serenade, Skye McIntosh, Emma Scolaro and Vi King Lim have reworked Masi’s arrangement (c. 1810) of the serenade for performance by the Australian Haydn Ensemble.

Ludwig van Beethoven (1770 – 1827) Symphony No. 6 in F major, Op. 68 Pastoral (arr. Watts) I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Cheerful sentiments awaken on arrival in the countryside) Allegro ma non troppo II. Scene am Bach (Scene by the brook) Andante molto moto III. Lustiges Zusammensein der Landleute (Merry gathering of countryfolk) Allegro IV. Gewitter. Sturm (Thunder. Storm)

Allegro Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd’s song. Cheerful and thankful feelings after the storm) Allegretto While the name William Watts may be obscure to musicians today, the English violist was a wellknown figure in early nineteenth-century London music scene. An acquaintance of Beethoven himself, Watts arranged all his symphonies as septets for flute, two violins, two violas, cello and double bass. In fact, Beethoven’s fame in London was due in part to Watt’s arrangements and his personal contacts with the composer. It was through Watt’s efforts as General Secretary of London’s Royal Philharmonic Society (established in 1813), for instance, that Beethoven’s ninth symphony received its premier performance in the English capital, which was fast becoming the world’s economic centre. The wealth amassed by the city attracted many of Europe’s firstrank composers and virtuosos, such as Felix Mendelsohn and Jan Ladislav Dussek.

We see this narrative explicitly played out in the Pastoral symphony. In earlier programmatic music like Vivaldi’s and Haydn’s representations of the seasons, the composers saw music as a means of logically ordering the chaos of nature. In this sense, human reason imposed a rational framework on the irrational. In Beethoven’s sixth symphony, on the other hand, we see this idea in reverse; music would celebrate nature’s raw, unbridled beauty.

This romanticised outlook is distinctly visible in Beethoven’s programmatic descriptions for each movement in this symphony. The first movement carries the title “cheerful sentiments awaken on arrival in the countryside”. Here, it is nature that influences humanity’s joy. And where nature is not the main subject, such as in movements three and five, it is the peasantry (the countryfolk in movement three and the shepherds in movement five) that Beethoven celebrates. Whereas Beethoven’s Austrian predecessor Joseph Haydn caricatured these less noble classes, it appears that their simplistic nobility is elevated to a heroic status in the sixth symphony.

London society had become well-acquainted with chamber ensemble arrangements of famous symphonies by Watt’s time. Preceding Watts’ works, Johann Peter Salomon’s arrangements of Haydn’s London Symphonies for flute, string quartet and keyboard were popular amongst the city’s musical amateurs and connoisseurs.

Because of their reduced forces, these arrangements brought the symphonic repertoire into the domestic sphere. In earlier times, by contrast, large-scale orchestral music was for the exclusive enjoyment of the aristocratic class.

Another cataclysmic turn of events, hastened by changing aesthetic values brought about by the French Revolution, was the emancipation of instrumental music from its status of imitation; in the eighteenth century, the purpose of music was to metaphorically represent the human affections.

Unlike those in Haydn’s generation, musicians in Beethoven’s time came to see music as an absolute, independent art form that could simply represent itself.

Notes by Dr Anthony Abouhamad

V.

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EDUCATION In 2019 the Ensemble presented 15 student workshops that took us to the Southern Highlands, Armidale, Shoalhaven, Lismore, Murwillumbah, Bellingen and Bangalow. With the support of donors like you, we can continue educating, inspiring and enlightening students by sharing our knowledge of eighteenth century performance practice.

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DIGITAL SERIES TWO

BEETHOVEN

GRAND SONATAS

PROGRAM

BEETHOVEN Sonata for Violin and Piano No. 5 in F major Op. 25 The Spring BEETHOVEN Sonata for cello and piano in G minor Op. 69 No. 2 BEETHOVEN Piano Sonata No. 8 in C minor Op. 13 Pathétique

DIGITAL - CREATIVE CONCERT FILM Available from September 2021 On AHE Player DIGITAL SERIES THREE ON AHE PLAYER

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