H AYDN’S
21-24 August 2025
1—
2025 A HE
Haydn’s Sunrise MARCH
4—
Haydn’s Miracle AUGUST
2—
Schubert Songs with Dr David Greco MAY
5—
Haydn’s Sunrise Regional NSW Tour SEPTEMBER
3—
Mozart’s Salzburg with Erin Helyard JUNE
6—
Beethoven’s Eighth NOVEMBER
18TH CENTURY UNPACKED
PRE-CONCERT EVENTS
1—
Haydn & The String Quartet with Genevieve Lang & the AHE Quartet MARCH
4—
Haydn in London with Andrew Ford AUGUST
2—
Schubert’s Lieder with Dr David Greco APRIL
5—
Beethoven Arranged with Skye McIntosh OCTOBER
3—
Mozart & Salzburg with Dr Anthony Abouhamad JUNE
P ROGRAM DETAILS
Artists
Skye McIntosh, Artistic Director and violin
Matthew Greco, violin
Karina Schmitz, viola
Daniel Yeadon, cello
Mikaela Oberg, flute
Program
HAYDN
String Quartet Op. 76 No. 6 in E flat major Fantasia
SCHUBERT
String Quartet Op. 29 in A minor D. 804 Rosamunde
Interval
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 in London with Andrew Ford
Tuesday 19 August, 6pm The Friends Room, State Library of New South Wales.
The concert duration is approximately 2 hours including interval
Music has always had the power to astonish, to move, and, on occasion, to inspire legends and myths, like the (contested) story of the chandelier crash that gave Haydn’s Miracle Symphony its name. While the nickname may not be quite clear, the music itself is indeed miraculous.
We return to Haydn’s late Op. 76 quartets with No. 6 in E flat major, often called the Fantasia for its spellbinding slow movement which Haydn gives this indication to. The whole work is a display of Haydn’s limitless imagination, from the exuberant first movement to the playful rhythmic trickery of the finale - this is music that feels as fresh and surprising today as it was the day it was written.
Schubert’s A minor quartet, Rosamunde, is a marvel at 200 years old, striking in its poignancy and harmonic daring. Stripped back to its essence, performing this music on gut strings brings its originality to the fore: the wistful Rosamunde theme is transformed.
A RTISTIC DIRECTOR’S M
Following these grand quartets, we take a brief step further back in time to Purcell’s Fantasia in Four Parts, a miniature jewel of exquisite counterpoint, before leaping forward into the energy and joy of Haydn’s Symphony No. 96, arranged for chamber ensemble by Johann Salomon - a dear friend and regular collaborator of Haydn’s in London at the time.
Haydn, Schubert, and Purcell remind us that miracles do happen, hiding in plain sight in these beautiful, relevant and powerful works that have more than stood the test of time.
I trust you will enjoy them all!
Skye McIntosh Artistic Director &
Violin
The Australian Haydn Ensemble, (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh and is now in its thirteenth year. AHE 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 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.
T HE ENSEMBLE
T HE P ERFORMERS
Skye McIntosh / VIOLIN
Skye is the founder and Artistic Director of the Australian Haydn Ensemble, now in its thirteenth year. This audacious undertaking is a testament to Skye’s musicianship and entrepreneurial spirit.
AHE, known for its innovative and ambitious programming, was delighted to perform at the Adelaide Festival in 2022 and Canberra International Music Festival in 2022 and 2023, as well as continuing to tour to Canberra and across regional New South Wales each year.
Skye attended the Royal Academy of Music in London, the Queensland Conservatorium and the Sydney Conservatorium of Music, has made numerous concert appearances as soloist and director, and led the AHE on its first tour to the US in 2023, including a performance at Carnegie Hall. She has also toured nationally with the Australian Brandenburg Orchestra, as well as performing with the Orchestra of the Antipodes (Pinchgut Opera) and the Australian Romantic & Classical Orchestra.
ABC Classics has recently released AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major.
Skye is playing a violin by Tomaso Eberle, 1770, Naples
Matthew is a concertmaster, soloist and core member of some of the world’s leading period instrument ensembles. He has been a regular member of the Australian Brandenburg Orchestra and concertmaster of the Orchestra of the Antipodes (Pinchgut Opera) since 2006. In 2010 he moved to The Netherlands where he studied Baroque violin at The Royal Conservatoire The Hague and worked with leading European ensembles including De Nederlandse Bachvereniging and Les Talens Lyriques (France). He is a founding member of the Sydney-based ensemble The Muffat Collective.
Matthew enjoys teaching baroque violin at the Sydney Conservatorium of Music as well as performing with a variety of international ensembles and festivals in Australia and Europe. Committed to producing a unique and individual sound based on historical performance practices, Matthew believes that 17th-century and 18th-century music is full of vitality and emotions that speak to us now, as much as they did in the past.
Matt is playing a violin by David Christian Hopf, 1760, Quittenbach
Matthew Greco / VIOLIN
VIOLA
Hailing from the east coast of the United States, American violist Karina Schmitz has settled in Australia and is thrilled to be immersed in its rich and vibrant musical scene. In addition to performing with the Australian Haydn Ensemble, she is principal violist with Orchestra of the Antipodes (Pinchgut Opera), and has performed with the Australian Chamber Orchestra, the Australian Romantic & Classical Orchestra, Van Diemen’s Band, Salut! Baroque, and Ensemble Galante.
In the United States, Karina was principal violist of the Handel & Haydn Society in Boston, principal violist of Apollo’s Fire in Cleveland, principal violist of the Carmel Bach Festival in California, and founding violinist/violist with New Yorkbased, 17th-century ensemble ACRONYM.
Karina holds viola performance degrees from New England Conservatory of Music (Boston) and the Cleveland Institute of Music. Her early music studies began as an undergraduate at Oberlin Conservatory with Marilyn McDonald, David Breitman, and Miho Hashizume, and she continued her training in the Apollo’s Fire Apprentice Program.
Karina is playing a viola by Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan
Daniel Yeadon / CELLO#
Dr Daniel Yeadon is a Senior 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 for 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 Romantic & 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 award-winning recordings.
Daniel is playing a cello by William Forster II, 1781, London
*Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music
Mikaela Oberg / FLUTE
Mikaela is a freelance flute and recorder player who specialises in historical performance practice. She holds a Master of Music and Bachelor of Music in Historical Performance from The Royal Conservatoire The Hague, and a Bachelor of Music in Music Education and Recorder Performance from the Sydney Conservatorium of Music. She performs as Principal Flute/Recorder with the Orchestra of the Antipodes (Pinchgut Opera) and Bach Akademie Australia, Principal Recorder with the Sydney Symphony Orchestra and with the Australian Chamber Orchestra. She has been a member of the Australian Brandenburg Orchestra since 2005, performing as soloist on regional and national tours. She also regularly performs chamber music and liturgical music throughout Sydney, NSW.
Mikaela is a respected teacher of old and new flutes, and the recorder. She has been an examiner for the Australian Music Examinations Board (AMEB) since 2019 and teaches at Queenwood School for Girls, Fort Street High School and from her home studio on Sydney’s Northern Beaches.
Mikaela is playing a flute by R. Tutz, 2007, Innsbruck, after H. Grenser, c.1810, Dresden
“It was a marvellous performance by the seven instrumentalists which did more than ample justice to Beethoven in this powerful rendition” Sounds Like Sydney, 2024
30 OCT – 8 NOV 2025
Canberra | Berry | Southern Highlands
Sydney | Port Macquarie
Lake Macquarie
A BOUT THE MUSIC
Franz Joseph Haydn (1732-1809)
String Quartet Op. 76
No. 6 in E flat major Fantasia
Allegretto
Fantasia (Adagio)
Menuetto (Presto)
Allegro spirituoso
When Haydn began work on his six string quartets Op. 76 in 1796, he was 64 years old. In the late 18th century, when average life-expectancy was in the mid-to-late 40s, that was considered remarkable enough. But for a composer in his mid-sixties to write music that was so adventurous, so imaginative and so joyously, vibrantly alive – well, the English music historian Charles Burney, encountering these quartets for the first time in 1799, summed up the general reaction:
They are full of invention, fire, good taste, and new effects, and seem the production, not of a sublime genius who has written so much and so well already, but of one of highly-cultivated talents, who had expended none of his fire before.
So although you’d barely notice it, in this last of the six Erdödy quartets Op. 76, Haydn is working a quiet revolution. What could be simpler than the short, square-cut theme that opens the Allegretto? But as Haydn walks through its possibilities, spotlighting each of the quartet’s four members in four successively more inventive variations before breaking, finally, into a fugal Allegro, he’s actually demonstrating that the classical sonata-form first movement is not, after all, an eternal law.
Headed Fantasia, Haydn’s slow movement actually begins without any written key signature. You can’t actually hear that radical fact – but you can feel the quiet sense of wonder, as Haydn’s imagination floats free. The headlong Menuetto has no central trio section at all; instead, Haydn simply plays a scale going down, and then a scale going up; and makes it sound completely new. (He called this section Alternativo, as well he might). And the finale – well, count for yourself, and just try and work out where the beat goes, as the 64-year-old composer combines a bravura sonata-form finale with a sense of rhythmic humour that continually pulls the rug from under player and listener alike.
Franz Schubert (1797-1828)
String Quartet Op. 29 in A minor
D. 804 Rosamunde
Allegro ma non troppo
Andante
Menuetto: Allegretto
Allegro moderato
For such a masterly work by such a beloved composer, we know frustratingly little about the creation of Schubert’s A minor quartet. On 31st March 1824 Schubert wrote to his friend Leopold Kupelweiser: “I have tried my hand at several instrumental things, and have composed two quartets…and want to write another quartetto, really wanting in this manner to pave the way to a big symphony”. The two quartets appeared in due course; the Quartet in D minor (Death and the Maiden) and this A minor quartet Op. 29. Or more properly, Op. 29 No. 1; the work’s title page promised that it was
A BOUT THE MUSIC
to be the first of “Trois Quatuors dediés à son ami I. Schuppanzigh”.
Yet Ignaz Schuppanzigh – the great Viennese violinist and champion of Beethoven’s late quartets – blew hot and cold. He led the premiere of the A minor quartet in Vienna on 14th March 1824; Schubert’s friend Moritz von Schwind was present and reported that “Schubert’s Quartet was performed, in his opinion rather slowly, but cleanly and tenderly. It is on the whole very delicate, but its melodies stay with one, like with a song – all feeling, and thoroughly expressive. It received much applause”. But Schuppanzigh spurned the D minor quartet, and that (along with worsening mental health) put an end to Schubert’s plans for further publications.
The quartet’s very opening serves notice of Schubert’s expressive aims: two bars of a restless accompaniment figure. At the centre of the movement, darkness re-asserts itself in a stormy development section, and it is in this mood - after sweet major-key episodes and moments of sudden melancholy stillness - that the movement ends. The Andante takes its theme from Schubert’s incidental music to Helmina von Chézy’s 1823 play Rosamunde, Princess of Cyprus. The play (to put it mildly) had not been a success, and Schubert obviously felt that his music needed rescuing.
From the first bar of the Menuetto we’re in an unmistakably Romantic sound-world, with the bleak opening figure echoing like desolate horn-calls. It’s another self-quotation, this time from Schubert’s 1819 song Die Götter Griechenlands. Its words are telling: “Fair world, where art thou?…Deserted mourn the fields; no god appears before my eyes…”. So, when Schubert finishes the quartet with a jaunty rondo in the Hungarian manner, its high spirits initially seem incongruous. But like the G major finale of Mozart’s G
minor quintet, they don’t so much resolve the drama which has passed, as serve to heighten its pathos.
Henry Purcell (1659-1695)
Fantasia in 4 parts
No. 8 in D minor Z. 739
Purcell wrote his Fantasies in Four Parts between June and August 1680, but no one knows why. Formally, they seem to have been a conscious glance back at a vanishing age. At the court of Charles II, the newly-fashionable violin was rapidly supplanting the viol. True, a small instrumental consort was employed at the Stuart court alongside the royal violin ensemble. But it was a “broken consort”, employing instruments of the violin family alongside their older counterparts.
And yet everything about Purcell’s Fantasies suggests that they were conceived purely for viols. Purcell himself wrote that a serious composer should emulate old masters: “to score much, and chuse [sic] the best authors”; and it seems that prior to the composition of his Fantasies he had studied the works not just of the English Tudor consortcomposers but also of Monteverdi. This was a composer who sought to renew his art at the same time as he rooted it in the past: the Fantasies would influence British composers through to the 20th century (where Benjamin Britten made his only recording as a viola player in a performance of Purcell’s five-part Fantasia on One Note. He played the one note).
Purcell was only an infant when Charles II was restored to the throne, but the trauma of civil war and Cromwell’s repressive Protectorate left an enduring scar on the English psyche. Roger North reported that the musicians of the deposed king’s court had played viol music behind closed doors – or as it were, underground: “many
chose rather to fiddle at home, than to goe out and be knockt on the head abroad”. If Purcell wrote his Fantasies as a private stylistic exercise, they also embody a profoundly English belief in the primacy of the private over the public, in tradition as the root of innovation, and in evolution as something infinitely more humane – and rewarding - than revolution.
Franz Joseph Haydn (1732-1809)
Symphony No. 96 in D major
Miracle (arr. Salomon)
Adagio - Allegro
Andante
Menuetto and Trio: Allegretto
Finale: Vivace
The nickname Miracle has stuck to this symphony since at least the mid-1790s, and Haydn’s biographer and friend Albert Dies explained why. At a concert at the King’s Theatre, London, on 2 February 1795, Haydn took his seat at the keyboard, and the audience – keen to see one of the celebrities of the age – surged forward to get a closer look:
The seats in the middle of the floor were thus empty, and hardly were they empty when the great chandelier crashed down and broke into bits, throwing the numerous gathering into great consternation. As soon as the first moment of fright was over and those who had pressed forward could think of the danger they had luckily escaped and find words to express it, several persons uttered the state of their feelings with loud cries of “Miracle! Miracle!”
There’s just one problem: it’s the wrong symphony. The work that was interrupted by the falling chandelier was the one we know as No. 102. Today’s symphonynow known as No. 96 – had been premiered early in Haydn’s very first London season, in the spring of 1791 (the precise date is unknown).
But then, everything Haydn touched in that first London season turned to gold. “Never, perhaps, was there a richer musical treat”
wrote The Morning Chronicle on 12 March 1791, the morning after the first concert:
Is it not wonderful that to souls capable of being touched by music, HAYDN should be an object of homage, and even of idolatry; for like our own SHAKSPEARE [sic] he moves and governs the passions at will.
And even at this early stage in his London career, we can hear Haydn’s imagination responding to the potential of the virtuoso orchestra assembled by the concert promoter Johann Salomon (who had brought Haydn to England at his own expense). The coaxing slow introduction (with its interplay of light and minor-key shade); the quiet opening of the Allegro and the brilliant explosion of its first tutti –these were all conceived to surprise and charm. The graceful Andante blossoms into an extended solo cadenza for the woodwinds - possibly Haydn’s homage to the baroque concerto grosso, popular in London long after it had faded in mainland Europe – and in the minuet’s central Trio section, the solo oboe, played here by the flute, a polite but unmistakably Viennese dance. The finale is a carnival of quickfire wit, and it ends with jubilant trumpets and drums. Miracle enough, surely?
Certainly, Salomon saw its commercial potential. Before the existence of recorded sound, the easiest way to get to know a masterpiece was to play a scaled-down version at home, either alone at the piano, or with musical friends. In June 1798, with Haydn’s full endorsement, Salomon published his own domestic version of the twelve London symphonies, skilfully arranged for “Quintetto” – in his own words “Two Violins, a German Flute, a Tenor [viola], and a Violoncello: with an Accompaniment for the Piano Forte ad libitum”. By playing this version today, we’re paying tribute not just to Haydn but to one of his greatest musical friends and supporters – and sharing his Miracle in an authentically 18th century fashion.
Richard Bratby
SUPPORT
IS V ITAL
Since the very beginning AHE has been firmly committed to bringing beautiful music to the regions of New South Wales and beyond. And we can’t do it the way we do it without you! Your support is vital, and all gifts are very much appreciated. You can make a recurring gift over 12 months, and any amount over $2 is tax deductible.
Thank you
Skye McIntosh Artistic Director
WAYS TO DONATE
Online— by using this QR code or going to australianhaydn.com.au/donate
Call us— on 1800 334 388 to donate over the phone For a confidential conversation about Planned Giving or Bequests, please call Alison Dunn on 0412 434 823
OUR P ATRONS
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—
Maria 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.
OUR P ATRONS ——
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 and 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
Peter Young AM & Susan Young Anonymous (1)
Artistic Director’s Circle—
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
Jan Bowen AM FRSN
Carolyn Fletcher AM
Adrian Maroya
Jon & Susanne North
Peter & Vivienne Skinner
Musician’s Chairs—
Skye McIntosh, Artistic Director and Leader’s Chair
Supported by Mrs W.G. Keighly
Planned Giving— Bequest
The Australian Haydn Ensemble warmly acknowledges the bequest it has received from the Estate of Elizabeth Howard
Pledged Bequests—
We are hugely appreciative of all those who have pledged a bequest to the Australian Haydn Ensemble.
OUR PATRONS
MARIA THERESA $25,000
Sherry & the late Tom Gregory
Howarth Foundation
Karin Keighley
Kevin McCann AO & Deidre McCann
Anonymous (1)
ESTERHÁZY $15,000 – $24,999
Marco Belgiorno-Zegna AM & Angela
Belgiorno-Zegna
David & Anne Eustace Foundation
Peter & Lisa Macqueen
Philanthropy Initiative Australia, a giving fund of the APS Foundation
WALDSTEIN $10,000 – $14,999
Jan Bowen AM FRSN
Adrian Maroya
Ian & Pam McGaw
Anthony Strachan
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
GALITZIN $1,000 – $4,999
Antoinette Albert
Mark Bethwaite AM & Jill Bethwaite
Keith & Louise Brodie
Dr Andrew Byrne & Allan Gill
Chapman Eastway Charitable Foundation
- James & Claire Kirby Sub Fund
Dr Michael & the late Dr Colleen
Chesterman
George H. Clark
Robert & Carmel Clark
Dr Terry & Julie Clarke
Jean Cockayne
Dr Peter Craswell
Peter & Prudence Davenport
Rob Diamond
Jeremy Eccles FRSN & Kate Eccles OAM
David, Katrina & Madeline Evans
Ralph Evans AO & Maria Evans
John Fairfax AO & Libby Fairfax
Richard Fisher AM & Diana Fisher
Dr Marguerite Foxon
Bunny Gardiner-Hill
Prof Pru Goward AO
Sharon Green
James Hardigg
The Hon Don Harwin
Ann Hoban
Sarah de Jong
Lucy Kalangi
David Kent OAM & Angela Kent
Celia Lillywhite
David Maloney AM & Erin Flaherty
Bronwyn McNaughton
Dr Jacqueline Milne
Jeremy Morris & Kate Guilfoyle
Trevor Parkin
Nick Payne
David & Elizabeth Platt
Kay Vernon
The Hon. Anthony Whealy K.C. & Annie Whealy
Anonymous (6)
OUR PATRONS ——
LOBKOWITZ $500 - $999
Priscilla Adey
Mary Ashton
Jock Baird
Tony Barnett
Dr Chris Blaxland
Lloyd Capps & Mary Jo Capps AM
Richard & Cynthia Coleman
Christine Cooper
Stuart & Felicity Coughlan
Dr John Dearn
Sandra Duggan
Dr Meredith Edwards
Jean Gifford
David Jordan & Louise Walsh
Gerard Joseph
Diccon & Liz Loxton
Dr Paul & Betty Meyer
Janet Nash
Deidre Rickards
Lisbeth Roberts
Greg & Wendy See
Penelope Seidler AM
Mike & Rosie Sprange
David Whitehouse
Anonymous (3)
RAZUMOVSKY $250 - $499
Ann Armstrong
Wayne Arthur
James Ashburner
Patrick Batho MBE & Jenny Batho
Richard Bloor
Jeffrey Bridger
Wendy Cobcroft
Dr Nola Cooke
Michael Fong
Rosemary Greaves
Henry O’Connor
David & Jill Townsend
Alicia Williams Anonymous (3)
This listing is correct as of 20 July 2025, and we gratefully recognise all donations received since 1 July 2024.
GOVERNMENT PARTNER
Education Partner
SUPPORTERS
Media Partner
Audit Partner
FOUNDATIONS
Chapman Eastway Charitable Foundation
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
Australian Haydn Ensemble is a not for profit organisation. ABN 26 202 621 166 PO Box 400 Strawberry Hills NSW 2012 1800 334 388 (Freecall) | australianhaydn.com.au
W HAT OUR AUDIENCES SAY ABOUT AHE
“We LOVED IT” Berry 2025
“We go to every concert wouldn’t miss one for quids!!” Canberra, 2025
“The addition of Erin Helyard & the beautiful forte piano was superb. The acoustics were wonderful in the hall ...”
Bowral Memorial Hall, 2025
“The musicians, music and performances are wonderful with some spine tingling moments.”
The Nielson, Sydney 2025
“David Greco was superb. The arrangement of the accompaniment for string quartet was a brilliant innovation. It was a pure listening indulgence from start to finish.”
State Library of New South Wales, Sydney 2025
“AHE is now established as an important force in the classical music scene”
The Nielson, Sydney 2025
B ACKSTAGE
BOARD
Kevin McCann AO (Chair)
Carolyn Fletcher AM (Deputy Chair)
Adrian Maroya
Skye McIntosh (Artistic Director)
Jon North
Vivienne Skinner
Peter Young AM
Marco Belgiorno-Zegna AM (Chair Emeritus)
TEAM
Skye McIntosh
Artistic Director
Ailsa Veiszadeh Administrator
Alison Dunn
Marketing & Communications
Roderick van Gelder
Lighting Design
Stephen Bydder
Box Office & Administration
Marguerite Foxon
Front of House & Administration*
*In Kind Support
IN KIND
John Dearn, Canberra
Jean Gifford, Canberra
Greg & Wendy See, Berry
Stuart & Felicity Coughlan, Berry
Steve & Mary Beare, Berry
Keith & Louise Brodie, Berry
Rob & Antoinette Sampson, Bowral
Images throughout by Helen White except pages 6 & 7 James Mills, pages 12 and 18 Oliver Miller.
The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we live, rehearse and perform. We pay our respects to Elders past and present.
Details in this program are correct at time of publication. The 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.