"Dark with Excessive Bright" AHE 2023 Season Brochure

AUSTRALIAN HAYDN ENSEMBLE

SEASON 2023

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

In the 18th century, the presence of light in abstract, artistic and scientific imagination was strong; igniting the minds of thinkers and artists of all kinds, particularly poets, composers and musicians.

The idea of light shining into dark places resonated throughout the century, carrying with it an incandescent explosion of creativity, including extraordinary music that often placed the question of the nature of light and darkness as central to ideas and themes.

Following our illuminating 10-year anniversary season in 2022, we are delighted to present you with a new season, one that steps boldly forward into our second decade. Along with our brilliant musicians, soloists and guests, I am delighted to bring you an array of programs that embody the dazzlingly brilliant rays of the 18th century sun and, of course, the velvet-dark that makes its radiance.

The 2023 AHE Series includes five signature programs exploring the music of Beethoven, Mozart, Boccherini, Haydn and their lesser-known contemporaries, subscriber concerts in Sydney, Canberra, the Southern Highlands and Berry, individual performances throughout regional NSW and a return to the Canberra International Music Festival.

I hope you can join us for a year of incredible music.

Skye McIntosh Artistic Director

“IN 2023 WE ARE DELIGHTED TO BRING YOU AN ARRAY OF PROGRAMS THAT EMBODY THE DAZZLINGLY BRILLIANT RAYS OF THE 18TH CENTURY SUN, AND, OF COURSE, THE VELVET-DARK THAT MAKES ITS RADIANCE.”

Skye McIntosh Leader and Artistic Director, Period Violin, Tomaso Eberlé, c.1770, Naples (Italy).

AHE 2023

Haydn’s Sun & Mendelssohn’s Stars FEBRUARY

The Mozarts, The Haydns & The Bear APRIL

Die Stille Nacht with David Greco JUNE

Beethoven’s Seventh AUGUST

Haydn’s Times of Day DECEMBER

DARK WITH EXCESSIVE BRIGHT

(MILTON - PARADISE LOST)

To open our 2023 series, the AHE String quartet performs Haydn’s Sun & Mendelssohn’s Stars – a program spanning the spectrum of light and dark. The program begins with the last of Haydn’s Op. 20, Sun quartets No. 6 in A major, and finishes with Mendelssohn’s passionate early string quartet No. 2, Op. 13, in A minor, said to be inspired by his yearning and mysterious love song, 'Is it true?'.

In April, we return to the Canberra International Music Festival with a lighthearted and joyous orchestral program that includes Haydn’s L’ours (The Bear) Symphony, Leopold Mozart’s Toy Symphony, J.C. Bach, and a selection of arias penned by a young Mozart. The combined forces of Guest Conductor Roland Peelman, soloists Andrew Goodwin (tenor), Chloe Lankshear (soprano) and the AHE bring you a concert that explores the musical ties that bind - from the enlightenment till now.

In June we are joined by Australian baritone David Greco for Die Stille Nacht (The Silent Night), a program that turns a dark night of the soul into a blissful place. David Greco’s ebony tones blend perfectly with dark velvet strings, while, against them, the baroque flute shines as delicately as a thin crescent of moonlight.

The program showcases music by Vivaldi, Telemann and Biber including arias from Vivaldi's Farnace, La Silvia and Armida al campo d’Egitto, while Melissa Farrow performs his incredible La Notte concerto for flute. The night theme concludes with selections from Biber's Serenade à 5 Der Nachtwächeter (The Night Watchman).

In August we continue our exploration of Beethoven’s symphonies in chamber form with Beethoven’s Seventh. We will be performing Mori’s version of this much-loved work, Masi’s arrangement of Beethoven's Overture to Fidelio and Boccherini’s String Quintet in C minor. These historical chamber versions bring new light and nuance to this incredible music; often surprising musicians and audiences alike with their intensity and colour.

Our year concludes with an orchestral program, Haydn’s Times of Day, celebrating the beginning of Haydn’s relationship with the Esterházy family - including his three so-called times of day symphonies, Le Matin, Le Midi & Le Soir, along with seldom performed works for an unusual and fascinating instrument - the Baryton - a favourite of the Prince, and one that Haydn was also said to play.

ABOUT THE AUSTRALIAN HAYDN ENSEMBLE

Under the leadership of Artistic Director Skye McIntosh, the Australian Haydn Ensemble (AHE) is one of our country’s leading historically informed orchestras and chamber music groups. The ensemble’s repertoire is principally music of the early classical era and the late baroque.

Critically acclaimed and beloved of audiences, AHE brings together world-class musicians who excel in both research and historical performance on period instruments, taking audiences as close as possible to the music the composers heard when they created these works.

AHE undertakes inspiring period instrument workshops for aspiring musicians, regularly tours throughout the regions of NSW, the ACT and beyond and has released two highly successful recordings on the ABC Classic label, with a further release due in 2023.

“The orchestra with its treasure trove of historic instruments was absolutely on fire, beautifully realising Haydn’s genius.”

Sounds Like Sydney

“...a top-notch performance with tight ensemble work… thoroughly deserved the standing ovation.” Limelight

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

ARTISTS

AHE STRING QUARTET

Skye McIntosh, violin

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

PROGRAM

HAYDN

String Quartet in A major Op. 20 No. 6 (Sun Quartets)

BACH Selections from The Art of Fugue

MENDELSSOHN

String Quartet in A minor Op. 13

PERFORMANCES

CANBERRA

Thursday 16 February, 7pm Wesley Music Centre, Forrest

BERRY

Friday 17 February, 7pm

Berry School of Arts

SOUTHERN HIGHLANDS

Saturday 18 February, 4pm

Burrawang School of Arts

SYDNEY

Sunday 19 February, 5pm

Utzon Room, Sydney Opera House

DARK, DAZZLING & LOVELORN STRING QUARTETS

HAYDN’S SUN & MENDELSSOHN’S STARS

The stock image of a cheerful sun that decorated the first edition of Haydn’s six Opus 20 Quartets earned them a nickname that proved apt. Not due to their composer’s consistently cloudless disposition, but because of their central and epoch-making place in the string quartet universe.

The sixth, in A major, skirts the deep melancholy of some of its sister quartets, but beautiful shadows still flit across its bright face, which seems, like this concert, to look forward to the expressiveness of romanticism and backward to the intricacies of the baroque. In its genial-sounding finale - a rigorous three-subject fugue replete with inversions and retrogrades, no less- Joe gives the finger to those critics who were writing him off as a lightweight, and perhaps, indirectly, to Enlightenment guru Rousseau, who regarded counterpoint as a “barbaric invention”.

Haydn never encountered J S Bach’s mighty Art of Fugue, but a decade on from this quartet, at a Viennese salon for earlyEarly-Music-nerds, he probably heard his friend Mozart’s string arrangements of fugues from The Well-Tempered Clavier. He would have marvelled at the intricate clockwork of Bach’s final statement on the subject as performed here by quartet.

Beethoven worshipped such contrapuntal tapestries and paid them homage in his final quartets. As baffling as these were to the public, another musical prodigy, Felix Mendelssohn, not only “got them”, but, aged only 18, used the formidable A minor Op. 132 as a model for his first, in the same key.

Fugue and counterpoint are embedded in this miraculously mature work, which also brims with compelling, passionate melodies.

It seems to sing like an opera without words, and is haunted by a questioning musical motif (“Is it true?”) from an early song, which Mendelssohn requested be published with the first edition of the quartet and also wrote the lyrics:

Is it true, that you always wait for me by the vine-draped wall?

And that with the moonlight and the little stars you consult about me also?

Three brilliant minds generate musical energy to keep the dark at bay in this richly satisfying program.

Jacqueline Dossor Period Double Bass, Unknown, c.1740, Northern Italian, likely Bologna (Italy).

“This was my first encounter with the Australian Haydn Ensemble and what a thrill – glorious individual and ensemble playing all night.” ClassikON

ARTISTS

Roland Peelman, guest conductor Andrew Goodwin, tenor Chloe Lankshear, soprano Skye McIntosh, lead violin The Australian Haydn Ensemble

PROGRAM

J.C. BACH

Symphony in G minor Op. 6 No. 6

MOZART

Selected arias including: ‘Va dal furor portata’ ‘Clarice cara mia sposa’ ‘Vorrei Spiegarmi’ ‘Misero! O sogno … Aura che intorno spiri’ ‘L'amerò, sarò costante’ from Il Re Pastore

MICHAEL HAYDN

Overture to Die Hochzeit auf der Alm (The Wedding on the Alp)

LEOPOLD MOZART

Cassation for Toys, 2 oboes, 2 horns, strings & continuo in G major (Toy Symphony)

HAYDN Symphony No. 82 in C major (The Bear)

PERFORMANCES

CANBERRA

Friday 28 April, 7.30pm* The Fitters’ Workshop SYDNEY Sunday 30 April, 5pm City Recital Hall

AUSTRALIAN DIGITAL CONCERT HALL Sunday 30 April, 5pm

*Presented as part of the Canberra International Music Festival

FAMILIES, FRIENDS & MUSICAL TIES THAT BIND

THE MOZARTS, THE HAYDNS & THE BEAR

If, to update Wordsworth, the child is father/mother of the man/ woman, to what extent are your mature tastes shaped by your earliest musical memories? Following on from last year’s Creation, Roland Peelman leads the full ensemble in a delightful concert that explores the idea, admittedly using an outlier, namely Wolfgang Mozart, as a test case. Childish things abound, including a 9-yearold’s first attempt at Italian opera, a novelty classic by his proud dad, and yes, there’s even a Bear in there.

On the London leg of their first world tour, father/manager Leopold showed off his prodigious progeny to J.C. Bach, then the most highly regarded composer in town. He famously sat with the wunderkind at the harpsichord and they took turns at improvising “very abstruse harmonies…in which the child beat the man”.

Wolfgang encountered subscription concerts and opera for the first time in these months. Did he hear Christian Bach’s splendidly stormy Symphony in G minor? A sketch book entry in the same key-which would prove a rare and important one for Mozartsuggests he did. Listen for the worms that may have invaded his little ears.

In England and Europe, operatic divas (neutered and whole) lined up to request impossibly advanced arias from the lad. Here, the radiant voices of Chloe Lankshear and Andrew Goodwin deliver some rare and beautiful examples from those tender years, including Il re pastore, one of the eight entire operas he composed between the ages of 11 and 17.

Joseph Haydn’s younger brother Michael was an uncle-figure, mentor and lifelong friend to Mozart. He was rather too fond of a drink, and Wolfgang occasionally finished overdue commissions for him on the quiet, but the operatic overture programmed here is all his own work. It’s charmingly bucolic, and not at all alcoholic.

The better-known-Haydn’s Symphony No. 82, (L’ours or The Bear) is celebrated for its fun, bagpipey dancing bear finale. Check out the grinding dissonances in its first movement, though. They clearly presage Beethoven’s Eroica. Did the teenaged Ludwig hear it in Vienna in 1787 on his pilgrimage to get lessons from Mozart?

Any concert featuring Leopold’s Toy Symphony is on for young and old, so bring your kids and grandkids-be they precocious or just precious.

"...exudes precision, elegance and spirit..." Sydney Arts Guide

Melissa Farrow Period Flute, R. Tutz, 2001 after H. Grenser, c.1810, Dresden. Made in Innsbruck (Austria).

BEAUTIFUL

BAROQUE WORKS

BY VIVALDI, TELEMANN & BIBER FEATURING DAVID GRECO

DIE STILLE NACHT

A dark night of the soul is not usually somewhere you’d venture voluntarily, but this beautiful concert turns it into a blissful place. The ebony tones of baritone David Greco blend perfectly with dark velvet strings, while, against them, the baroque flute shines as delicately as a thin crescent of moonlight.

Two ravishing and unusual works by Telemann – his solo cantata ‘Der am Ölberg zagende Jesus’, also known as Die Stille Nacht (The Silent Night), a set of arias and recitatives based on the original Garden of Gethsemane moment, and his tenderly anguished Sonata à 6 in F minor for strings – are woven together with works by Vivaldi in a similar nocturnal vein. The exquisite Flute Concerto in G minor, known as ‘La Notte’, is by turns ghostly and scintillating as the soloist’s metaphorical snowy owl soars and pounces,

ARTISTS

David Greco, baritone

Skye McIntosh, director & violin

Melissa Farrow, flute

The Australian Haydn Ensemble

before enigmatically merging with the darkness in its remarkably voiced final chord. David adds tempest and tragedy to the mix when he re-joins with a selection of arias from Vivaldi’s La Silvia and Farnace (now more often sung an octave higher by divas of diverse gender), including the famously spine-chilling ‘Gelido in ogni vena’.

A more crepuscular Concerto for Strings in F major (RV 136) opens proceedings, guiding us into the shadows by golden torchlight. The program concludes with selections from Biber's haunting Serenade à 5 Der Nachtwächeter.

Two hours of music sublime enough to, as Shakespeare’s Juliet put it, "make all the world in love with night and pay no worship to the garish sun."

PROGRAM HIGHLIGHTS

VIVALDI

Concerto for strings in F major (RV 136)

TELEMANN

Selections from the cantata Der am Ölberg zagende Jesus (Die Stille Nacht)

VIVALDI

Concerto for Flute in G minor La Notte

VIVALDI

‘Chi all copa’ from Armida al campo d’Egitto

‘Gelido in ogni vena’ from Farnace ‘Terrible e lo le scempio’ from La Silvia

TELEMANN

Sonata à 6 in F minor

TELEMANN

‘Guten nacht’ from the Passion Oratorio Siegels Erwägen

BIBER

Selections from Serenade à 5 Der Nachtwächeter

PERFORMANCES

PORT MACQUARIE

Friday 16 June, 7pm

The Glasshouse

WYONG

Sunday 18 June, 2pm

The Art House

SYDNEY

Monday 19 June, 7pm City Recital Hall

AUSTRALIAN DIGITAL

CONCERT HALL

Monday 19 June, 7pm

CANBERRA

Thursday 22 June, 7pm Wesley Music Centre, Forrest NOWRA Friday 23 June, 7pm Nowra School of Arts

SOUTHERN HIGHLANDS Saturday 24 June, 4pm Burrawang School of Arts

ARTISTS

AHE MUSICIANS

Skye McIntosh, violin

Matthew Greco, violin

Karina Schmitz, viola James Eccles, viola Daniel Yeadon, cello Jacqueline Dossor, double bass Melissa Farrow, flute

PROGRAM

BEETHOVEN

Overture to Fidelio Op. 72 (arr. Masi)

BOCCHERINI

String Quintet in C minor Op. 10 No. 3

BEETHOVEN Symphony No. 7 (arr. Mori)

PERFORMANCES

BATHURST

Wednesday 16 August, 7.30pm

Bathurst Memorial Entertainment Centre

CANBERRA

Thursday 17 August, 7pm

Wesley Music Centre, Forrest BERRY

Friday 18 August, 7pm

Berry School of Arts

PARRAMATTA

Sunday 20 August, 4pm

Riverside Theatres

SYDNEY

Monday 21 August, 7pm

City Recital Hall

AUSTRALIAN DIGITAL

CONCERT HALL

Monday 21 August, 7pm

LAKE MACQUARIE

Saturday 26 August, 2pm

Rathmines Theatre

SOUTHERN HIGHLANDS

Sunday 27 August, 4pm

Burrawang School of Arts

MASTERWORKS IN CHAMBER FORM INCLUDING THE OVERTURE TO FIDELIO & BOCCHERINI BEETHOVEN’S SEVENTH

AHE continues its exploration of historical arrangements of Beethoven’s works with the Seventh Symphony and the overture to Fidelio.

Completed in 1812, when Beethoven was on a roll, the Seventh is a symphony of which he was especially proud. Premiered with an orchestra of Mahlerian dimensions (some 70 in the string section alone) it blew the audience away, and while the potboiler “Battle Symphony” was undoubtedly the hit of the night, a great performance of the finale today retains the wild “rock concert” energy and visceral sonic intensity of that legendary concert.

Pushing ever more ambitiously on with its fascinating exploration of Beethoven masterworks in “parlour” arrangements, the ensemble presents a version for which you can leave your earplugs at home, and revel instead in the inner details so easily overlooked. The interplay between the four strings and their revolutionary use as drivers of rhythm rather than expression is especially striking. A piece you think you know back-to-front will leap into new focus. A similar arrangement of the Fidelio overture will get things off to a bang and have you searching the stage for invisible kettle drums.

Ludwig was still in nappies when Luigi Boccherini, newly promoted to the court of the King of Spain’s brother, wrote three sets of six string quintets. All are remarkably mature, intelligent and very forward-looking works. The C minor Op. 10, No. 3 juxtaposes trademark Spanish rhythmic vivacity with melodic and harmonic writing of almost Schubertian richness.

An exhilarating night with the ensemble at the top of their game.

“It was just splendid. And astonishing.”

Audience member, Beethoven's Eroica

James Eccles Period Viola, Unknown, C1730. Made in Tyrol Region (Austria).

ARTISTS

Skye McIntosh, director & violin Daniel Yeadon, cello Laura Vaughn, baryton The Australian Haydn Ensemble

PROGRAM

HAYDN Symphony No. 6 in D major Le Matin HAYDN Symphony No. 7 in C major Le Midi HAYDN Selections from Baryton Trio No. 97 in D major HAYDN Divertimento à 8 for Baryton, 2 horns & strings No. 1 in D major HAYDN Symphony No. 8 in G major Le Soir

PERFORMANCES

CANBERRA

Thursday 14 December, 7pm Albert Hall, Yarralumla SYDNEY

Friday 15 December, 7pm City Recital Hall

AUSTRALIAN DIGITAL

CONCERT HALL

Friday 15 December, 7pm

AHE PERFORMS HAYDN’S MORNING, NOON & NIGHT SYMPHONIES

HAYDN’S

TIMES OF DAY

Once upon a time, if you were sufficiently wealthy, you could stand and halt a performance that impressed you in order to offer the composer a gig for life.

In 1761, thus did Prince Paul-Anton of Esterházy to the 29-year-old Joseph Haydn. Having scooped up the cream of European musicians for his court orchestra, the aristocratic connoisseur was now in need of “content” that would satisfy his tastes, and (even more challenging) keep the musos from getting bored.

The so-called Morning, Noon and Night symphonies were among his first compositions for the Esterházy band. To Haydn, in his brand-new servant’s livery, they were a kind of double audition, and he passed with honours. He flattered his boss (who had asked for a new Four Seasons!) with a charming portrait of palace life from sunup to sundownreplete with singing lessons, servants bustling to serve lunch, a little operatic scene, and a late summer storm. And he flattered his musicians by giving all the principals, even the violone player, the chance to show off their solo skills in the presence of their illustrious patron.

The AHE performed these utterly delightful and quirky works across the course of a whole day at the 2022 Adelaide Festival, to great acclaim. The less time-rich can experience them here in a single wonderful concert, with a fascinating bonus:

The Times of Day were followed by some 70 Esterházy symphonies, in which Haydn and his band single-handedly carved out a new course for the river of musical history. It sadly rolled on past the hundreds of compositions commissioned by the new Prince Nicholas for his favourite instrument, the baryton. By 1800, this viola da gamba/ lute hybrid had gone the way of the dodo.

More recently, instrument makers have revived the strange beast from, as it were, fossilized remains, and here the wonderful gamba virtuoso Laura Vaughn gives you the rare chance of hearing its magical sound in a trio, and possibly the first performance of an octet that features it in 250 years.

"...playing was excellent throughout... " Limelight

Karina Schmitz Period Viola, Francis Beaulieu, 2011 after Pietero Giovanni Mantegazza, 1793, Milan. Made in Montreal (Canada).

Julia MagriSpring Academy ParticipantViolone.

AUSTRALIAN HAYDN YOUTH PROGRAM AHA! ACADEMY

Led by AHE Artistic Director and violinist Skye McIntosh, this annual program brings together regional NSW music students with tertiary level historical performance students from across Australia for an intensive course encompassing baroque and classical orchestral rehearsals, instrumental sectionals, baroque dance, Alexander Technique and chamber music.

Throughout the week participants will be coached and play alongside AHE's expert musicians and learn how baroque dance can enhance their performance. The AHA! Academy will build performance practice knowledge and offer participants the chance to perform in concert alongside their tutors.

Applications for our 2023 program will open in early 2023. To find out more, sign up to our education mailing list and check our website. www.australianhaydn.com.au/education

“My favourite aspect was playing with all of the wonderful AHE musicians."

Anton Baba Period Cello, Peter Elias, 2000, after Stradavarius. Made in Aigle (Switzerland).

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?

PATRON

Professor the Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON Dr Timothy Pascoe AM

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+ Anonymous [1]

WALDSTEIN $10,000-$14,999 Reg & Kathie Grinberg * Peter & Lisa Macqueen

VAN SWIETEN $5,000 - $9,999 Jan Bowen AM FRSN * Jeremy Eccles FRSN & Kate Eccles OAM * Harriet Lenigas Adrian Maroya Peter & Libby Plaskitt Robert & Myriame Rich Agnes Sinclair * Nigel & Penelope Stewart

GALITZIN

$1,000 - $4,999

Antoinette Albert Margot Anthony AM * Martin & Ursula Armstrong Jock Baird * Mary Beare * Clive Birch Celia Bischoff *

Keith & Louise Brodie * Robert & Carmel Clark *

Dr Terry & Julie Clarke

John Claudianos & Dr Nena Beretin

Jean Cockayne

Judy Crawford

Mark & Stephanie Darling Michael & Manuela Darling

Peter & Prudence Davenport * Robert & Jane Diamond

Ron & Suellen Enestrom *

Ralph Evans AO & Maria Evans *

John Fairfax AO & Libby Fairfax *

Beatrice Farnsworth *

Dr Marguerite Foxon * Bunny Gardener-Hill *

Christine Goode * Prof Pru Goward

Jamie Hardigg Don Harwin Andreas & Inn Ee Heintze

Karin Keighley

David Maloney AM & Erin Flaherty * Paul & Anne Masi Nick & Carolyn Minogue * Nola Nettheim Trevor Parkin * Nick Payne

Susan Perrin-Kirby

David & Elizabeth Platt

Keith & Robyn Power

Penelope Seidler AM Xavier Shea

Roger & Ann Smith * David & Isabel Smithers

Anthony Strachan

Dr Jenepher Thomas * Kay Vernon *

The Hon. Anthony Whealy K.C. & Annie Whealy

Anonymous (6) incl 2 *

LOBKOWITZ

$500 - $999

Gary & Ruth Barnes Lloyd Capps & Mary Jo Capps AM * Sylvia Cardale

George H Clark Wendy Cobcroft * Richard & Cynthia Coleman Sean Conkey & Tegan Redinbaugh*

Dr Peter Craswell Dr John Dearn * Ann Douglas Alison Dunn * Dr Meredith Edwards John & Liza Feeney * Jean Gifford * Paul Hopmeier & Janice King * Dr Gerard Joseph Anne Lander Diccon & Liz Loxton Chris Matthies* Andrew & Abbey McKinnon Dr Jacqueline Milne * Ken & Liz Nielsen *

Beverley Northey Pieter & Liz Oomens

Mark & Lise Rider * Susan Roberts Greg & Wendy See * Dr Richard Sippe David Thompson & Margaret Kyburz

Dr Frances Whalan Dr Margot Woods Anonymous (2) incl 1 *

* Indicates contributors to the 2021 Pozible Campaign to fund AHE's 10th Anniversary CD

This listing is current as of 11 October 2022, and we gratefully recognise all donations above $500 received since 1 July 2021.

TICKET INFORMATION

HOW TO BOOK

Subscriptions are available in a minimum package of 3 concerts.

SUBSCRIBE ONLINE

Purchase your live subscription package online at australianhaydn.com.au Purchase your digital subscription package online at australiandigitalconcerthall.com

SUBSCRIBE BY PHONE

Call our friendly Box Office on 1800 334 388 and we’ll assist you to purchase your subscription.

SUBSCRIBE

BY BOOKING FORM

You will need to use a Booking Form to subscribe by post. If you do not have one already, please call 1800 334 388 or email: info@australianhaydn.com.au and we’ll get one to you.

SUBSCRIBE BY POST

Complete the booking form, indicating your preferred performances, price level and location. Post your booking form using the reply paid envelope provided to: AHE Subscriptions PO Box 400 Darlinghurst NSW 1300

Posted orders will be charged a booking and handling fee of $4.50 per order.

SINGLE TICKETS

For performances outside of Sydney go to australianhaydn.com.au or call 1800 334 388.

For performances at City Recital Hall go to cityrecitalhall.com or call (02) 8256 2222. For performances in the Utzon Room, Sydney Opera House go to sydneyoperahouse.com or call (02) 9250 7777

All livestream tickets go to: australiandigitalconcerthall.com.au

TICKET PRICES

SUBSCRIPTION PRICES

Subscription prices are listed per concert. To subscribe, a minimum selection of three (3) concerts is required.

City Recital Hall, Sydney

Adult | Concession

Premium $115 | $105

A Reserve $85 | $75

B Reserve $70 | $60

C Reserve $40 | $35

Under 30 |$35

Utzon Room, Sydney Opera House

Adult | Concession

Premium $115 | $105

A Reserve $85 | $75

Under 30 | $35

Canberra and regional centres

Adult $60 | Concession $50

Under 30 |$35

Australian Digital Concert Hall $85

SINGLE TICKET PRICES

Single tickets on sale November, 2022.

Ticket prices are listed per concert.

City Recital Hall, Sydney Adult | Concession Premium $125 | $115

A Reserve $95 | $85

B Reserve $75 | $65 (City Recital Hall only)

C Reserve $50 | $40 (City Recital Hall only)

Under 30 | $35

Utzon Room, Sydney Opera House

Adult | Concession Premium $125 | $115

A Reserve $95 | $85

Under 30 | $35

Canberra and regional centres

Adult $70 | Concession $60

Under 30 | $35

Australian Digital Concert Hall $24

AHE SEASON DATES

JUNE

DIE STILLE NACHT WITH DAVID GRECO

Port Macquarie

FEBRUARY

HAYDN'S SUN & MENDELSSOHN'S STARS

Canberra

Thursday 16 February, 7pm

Wesley Music Centre, Forrest Berry Friday 17 February, 7pm

Berry School of Arts

Southern Highlands Saturday 18 February, 4pm Burrawang School of Arts Sydney Sunday 19 February, 5pm Utzon Room, Sydney Opera House

APRIL

THE MOZARTS, THE HAYDNS & THE BEAR

Canberra Friday 28 April, 7.30pm*

The Fitters’ Workshop

Sydney Sunday 30 April, 5pm

City Recital Hall

Australian Digital Concert Hall Sunday 30 April, 5pm

* Presented as part of the Canberra International Music Festival

Friday 16 June, 7pm

The Glasshouse

Wyong Sunday 18 June, 2pm

The Art House Sydney Monday 19 June, 7pm

City Recital Hall

Australian Digital Concert Hall Monday 19 June, 7pm

Canberra Thursday 22 June, 7pm Wesley Music Centre, Forrest Nowra Friday 23 June, 7pm Nowra School of Arts Southern Highlands Saturday 24 June, 4pm Burrawang School of Arts

AUGUST

BEETHOVEN'S SEVENTH

Bathurst

Wednesday 16 August, 7.30pm Bathurst Memorial Entertainment Centre

Canberra Thursday 17 August, 7pm Wesley Music Centre, Forrest Berry

Friday 18 August, 7pm Berry School of Arts Parramatta Sunday 20 August, 4pm Riverside Theatres Sydney Monday 21 August, 7pm City Recital Hall

Australian Digital Concert Hall Monday 21 August, 7pm

Lake Macquarie Saturday 26 August, 2pm Rathmines Theatre Southern Highlands Sunday 27 August, 4pm

Burrawang School of Arts

DECEMBER

HAYDN’S TIMES OF DAY

Canberra

Thursday 14 December, 7pm Albert Hall, Yarralumla

Sydney Friday 15 December, 7pm City Recital Hall Australian Digital Concert Hall

Friday 15 December, 7pm

"It was well nigh perfect... a concert we will remember for a very long time." REGIONAL SUBSCRIBER

Adam Masters Period Oboe, Bernhard Schermer, 2022, after Grundmann, c.1785, Dresden. Made in Stäfa (Switzerland).

Jenny McLeod-Sneyd Period Horn, Meinl und Lauber, 2000 after early Viennese. Made in Geretsried (Germany).

GREAT REASONS TO SUPPORT

When you make a donation to the Australian Haydn Ensemble you help us to: // 1

Bring more music to more people in regional areas, around Australia and beyond. // 2

Introduce the joys of period instruments and historically informed practice to young musicians. // 3

Bring the music of Haydn, Mozart, Beethoven and lesser-known composers like Boccherini and C.P.E. Bach to new life. // 4

Bring audiences into the sound world originally created by Haydn, Mozart and Beethoven. // 5

Ensure rarely performed chamber arrangements of works by Beethoven and Mozart are played for the first time since the 19th century. // 6

Continue to build on our considerable success!

To support, please go to australianhaydn.com.au/donate

AUSTRALIAN HAYDN ENSEMBLE 2023 MUSICANS

Matthew Manchester Period

Trumpet, Andrew Naumann, 2004 after Johann Wilhelm Hass (1649-1723), Neuremberg. Made in Chicago (USA).

PARTNERS

GOVERNMENT PARTNER PRESENTING PARTNER

AHE

BOARD

Marco Belgiorno-Zegna AM (Chair)

Jan Bowen AM FRSN

Harriet Lenigas

Adrian Maroya

Kevin McCann AO

Skye McIntosh (Artistic Director)

Jon North Peter Young AM

FOUNDING PATRON

Dr Timothy Pascoe AM

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, present, and emerging

2023 BROCHURE TEAM

Creative Director & Photography – Helen White

Graphic Design – Yolanda Koning

Spring Academy photography – Oliver Miller

Special thanks to Alan John, Skye McIntosh, Alison Dunn, Genevieve Lang (editorial)

Vintage Collection – The Vintage Clothing Shop –supplied by Lorraine Foster & Grayson Cole

PATRON

Professor the Honorable Dame Marie Bashir AD CVO STAFF

Skye McIntosh – Artistic Director

Tegan Redinbaugh – Chief Executive Officer

Alison Dunn - Marketing and Communications

Emma Murphy - Financial Controller

Janine Hewitt - Accountant

Stephen Bydder – Box Office and Administration

Marguerite Foxon – Front of House and Administration*

Arnold Klugkist – Artistic Operations

Vi King Lim – Score Services

Richard Bratby – Program Notes

*In Kind Support

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

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.

Wine Partner

Livestream Partner Media Partner Audit Partner

is supported by the NSW Government through Create NSW.

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