1—
2025 A HE
Haydn’s Sunrise MARCH
4—
Haydn’s Miracle AUGUST
2—
Schubert Songs with David Greco MAY
5—
Beethoven’s Eighth NOVEMBER
18TH CENTURY UNPACKED
1—
Haydn & The String Quartet with Genevieve Lang & the AHE Quartet MARCH
4—
Haydn & London with Andrew Ford AUGUST
2—
3— Mozart’s Salzburg JUNE
PRE-CONCERT EVENTS
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
Performances
PARRAMATTA
Sunday 9 March, 4pm
Riverside Theatres, Parramatta
CANBERRA
Thursday 13 March, 7pm
Wesley Music Centre, Forrest
Artists
Skye McIntosh, Artistic Director and violin
Matthew Greco, violin
Karina Schmitz, viola
Daniel Yeadon, cello
Program
HAYDN
String Quartet Op. 76 No. 4 in B flat major Sunrise
BEETHOVEN
String Quartet
Op.18 No. 1 in F major
Interval
FANNY MENDELSSOHN (HENSEL)
String Quartet in E flat major
The concert duration is approximately 1 hr 50 mins including interval
BERRY
Friday 14 March, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday15 March, 4pm
Bowral Memorial Hall
SYDNEY
Monday17 March, 7pm
Utzon Room, Sydney Opera House
Pre-Concert Event
18TH CENTURY UNPACKED
Haydn & the String Quartet with Genevieve Lang 4 March, 6pm State Library of New South Wales
I am thrilled to open our 2025 season with Haydn’s Sunrise, a program that highlights the profound beauty and playful wit of the string quartet tradition. The music of Haydn, Beethoven, and Fanny Mendelssohn shifts effortlessly between the sublime and the spirited, the introspective and the theatrical.
Haydn’s Quartet, Op. 76 No. 4 Sunrise stands as a pinnacle of his craft. Its radiant opening seems to stretch upward like dawn breaking over the horizon. Yet, beyond this moment of serenity, Haydn’s signature ingenuity emerges—lyricism and elegance give way to robust energy, rustic dance, and mischievous humour. This is Haydn at his most inspired.
Beethoven’s Op. 18 No. 1 follows, a work that pulses with dramatic intensity. The heart of the quartet, its deeply expressive Adagio, carries an unmistakable theatrical weight—so much so that Beethoven himself acknowledged its secret inspiration: the final moments of Romeo and Juliet. Here, music and drama become one, with whispers of love and tragedy embedded in every phrase.
Fanny Mendelssohn’s String Quartet in E flat major is a revelation. As one of the earliest string quartets written by a woman, it shatters expectations with its bold harmonic language and expressive freedom. This is not a work that asks for recognition—it demands it. From the spirited Allegretto to the sweeping finale, Fanny’s voice is unmistakable: confident, compelling, and unbound by convention.
To perform these works with my esteemed colleagues in the AHE Quartet is a privilege. Each composer represented here—Haydn, Beethoven, and Fanny Mendelssohn—brings a unique voice to the quartet tradition, proving that great music, like great storytelling, transcends time and space.
Please enjoy the concert!
Skye McIntosh Artistic Director
A RTISTIC DIRECTOR’S M
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 eighteenth 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 its10th 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
Skye McIntosh /VIOLIN
Skye McIntosh 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 Greco /VIOLIN
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 Antipodes (Pinchgut Opera) since 2006. In 2010 he moved to The Netherlands where he studied Baroque violin at The Royal Conservatoire of 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 and 18th-century music is full of vitality and emotions that speak to us now, as much as they did in the past.
Matthew is playing a violin by David Christian Hopf, 1760, Quittenbach
P ERFORMERS
Karina Schmitz /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 York-based, seventeenthcentury 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
A rare and beautiful concert of some of Schubert’s most darkly-hued songs, superbly delivered by David Greco’s mahogany bass-baritone, intensified by rich and expressive string quartet movements by Mendelssohn.
A BOUT THE MUSIC
Franz Joseph Haydn (1732-1809)
String Quartet in B flat major
Op. 76 No. 4 Sunrise
Allegro con spirito
Adagio
Menuet: Allegro
Allegro ma non troppo
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 midto-late 40s, that was a remarkable age for a composer to be working at all. But for an elderly composer to be writing music that was so adventurous, so imaginative and so joyously, vibrantly alive – well, contemporaries were left struggling for words. The English music historian Charles Burney, hearing 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.
Beethoven’s first six string quartets, published in 1801, sound almost clumsy by comparison. “Papa” Haydn, in his mid60s, was still running rings around his pupils. And if you wanted to choose just one of these six quartets to demonstrate exactly why, many players would point you straight to this one. The fourth quartet of the set takes its nickname from the long, ascending melody at the very opening of the work. It sounds so effortless and natural that the comparison with a sunrise suggested itself easily to the work’s earliest
listeners; that the second subject is simply this opening theme turned upside down is a magnificent example of Haydn’s mature imagination finding the unexpected within the (superficially) obvious.
The Adagio is one of Haydn’s great hymn-like late slow movements; a gentle sextuplet-figure brings poignancy to the central and closing sections. The Menuet, as so often in Haydn, is more of a scherzo than a courtly dance, and this one has a hint of waltz-rhythm about it, while the Trio evokes the pungent folk-harmonies of Haydn’s rural youth. Haydn concludes with a brief but dazzlingly-worked sonata finale, rounded off by an unusually lengthy coda that actually increases in inventiveness and brilliance as it speeds towards the finish. This sun has well and truly risen.
Ludwig van Beethoven (1770-1827)
String Quartet in F major Op. 18 No. 1 Allegro con brio
Adagio affettuoso ed appassionato
Scherzo: Allegro molto Allegro
“Dear Beethoven! You go to realise a long-desired wish: the genius of Mozart is still in mourning and weeps for the death of its disciple…By diligent study, receive the spirit of Mozart from the hands of Haydn.”
That was the plan, anyway. Late in 1792, Ferdinand, Count von Waldstein sent this message to his 22 year-old protégé Beethoven as he set out from provincial Bonn for Vienna – where Waldstein had arranged for him to study with Haydn. At first, all went well. Generous as ever, Haydn took Beethoven on for a tiny fee,
A BOUT THE MUSIC
and set him a series of counterpoint exercises. Beethoven was initially polite: his pocket-book contains a note: 22 Groschen – Haidn and me – chocolate (he often misspelt Haydn’s name). Haydn recognised his talent, and wrote to the Elector of Bonn requesting financial support for his student – enclosing a bundle of Beethoven’s latest works: “Connoisseurs and nonconnoisseurs must candidly admit, from these present pieces, that Beethoven will in time fill the position of one of Europe’s greatest composers”.
He was in for a shock. The Elector wrote back, frostily, that “since he composed and performed this music here in Bonn long before he undertook his journey to Vienna, I cannot see that it indicates any evidence of his progress”. Beethoven had given the trusting Haydn a bundle of old compositions; meanwhile, tiring of Haydn’s formal exercises, he’d been taking his homework to another composer, Johann Schenk. Haydn quietly dropped his plan to take Beethoven with him to London in the autumn of 1793, and it’s not hard to guess why.
But if Haydn the man proved a disappointing teacher for an artist of Beethoven’s temperament, Haydn’s music supplied inspiration in abundance – and never more so than when Beethoven finally turned to the string quartet. Following the example of Haydn’s Op. 76 (which had been published earlier that year) he completed the first three quartets of his Op.18 set in the autumn of 1799, and he was determined that each of the six quartets of the set should have a distinctive character of its own. The second quartet that he completed was in F major, and in the summer of 1799 he’d sent a first draft to his friend Karl Amenda. Amenda was
immediately struck by the slow movement, telling Beethoven that he’d heard it as depicting “the parting of two lovers”. “Good” replied Beethoven. “I thought of the tomb scene in Romeo and Juliet”.
It was a surprising admission. We don’t tend to think of Beethoven as a literaturelover, but the evidence is unarguable.
When grilled about the meaning of his Piano Sonata Op. 31 No. 2 of 1802, he reportedly told his secretary Anton Schindler “Just read Shakespeare’s Tempest”. Beethoven certainly had: he owned a 13-volume edition of Shakespeare, in Johann Eschenburg’s German translation, and by all accounts it was well-thumbed. And the manuscript of his string quartet Op.18 No.1, completed in 1800, is covered with scribbled descriptions of scenes from Shakespeare – for some reason, in French. But then, the string quartet was a new genre for him, and one that was quickly developing a formidable reputation as a test of a composer’s skill (Mozart himself had confessed that his six quartets dedicated to Haydn had cost him “long and arduous labour”). Possibly another of Beethoven’s teachers, the opera composer Antonio Salieri, had encouraged him to use literature as imaginative scaffolding until his ideas were ready to take flight.
But they certainly do take flight: Beethoven decided early on that this second quartet would be published as his first, and he was out to make an impression. The opening motif sounds deceptively simple; in fact, he’d sketched numerous different versions of it before settling on this one – and when you hear the movement he generates from it, you can tell why. The Adagio (marked affettuoso ed appassionato
– “emotionally and passionately”) tells its own tale, with or without literary associations; the scherzo’s buoyant crossrhythms subvert all expectations – even before the bucking bronco of a central trio section. And the finale opens with a little whirlwind and ends in a joyous flurry of energy and wit. Student steps forward as master: Haydn (who certainly heard this quartet) must have been proud.
Fanny Mendelssohn (Hensel) (1805-1847)
String Quartet in E flat major (1834)
Adagio ma non troppo
Allegretto
Romanze
Allegro molto vivace
“I have taken a great liking to Mme Hensel” wrote Clara Schumann, shortly after meeting Fanny Hensel in Berlin early in 1847. “Her conversation is always interesting; only one has to accustom oneself to her rather brusque manner”.
Fanny Hensel was born in Hamburg as Fanny Mendelssohn-Bartholdy - part of a highly cultured and intensely artistic family that traced its descent from the GermanJewish philosopher Moses Mendelssohn. The young Mendelssohns grew up surrounded by chamber music – Felix was the violinist, younger brother Paul was the cellist and Fanny was both a pianist and a composer from her early childhood. Paul pursued a career in finance, but Felix and Fanny both went on to be published composers, with Felix initially publishing several of Fanny’s songs under his own name. It was not felt respectable that a woman of marriageable age should appear in print. But when Fanny married the painter Wilhelm Hensel in 1829, he was warmly supportive of her composing. She travelled extensively in Europe, meeting fellow artists including Clara Schumann and Charles Gounod, and from 1846 she began to publish her songs and piano music - although only a fraction of her 450-plus
compositions was published before her sudden and untimely death in 1847.
Fanny’s only completed string quartet originated as a rewrite of a piano sonata that she’d sketched shortly before her wedding in 1829, almost certainly with a view to performance at one of the family’s regular domestic concerts. The Mendelssohn family home at 3 Leipzigerstrasse, Berlin, was palatial – big enough that the newlywed Hensels could be given an entire wing of their own, in which Fanny hosted regular semi-private concerts for Berlin’s musical cognoscenti. Usually, these occasions involved two pianos and classics by Beethoven, Bach and Mozart, but on 15th June that year a small orchestra was assembled and Fanny had directed the first performance of her Overture in C major. “Mother will have told you how I stood up there with a baton in my hand like Jupiter the Thunderer” she wrote to Felix.
Emboldened, she returned to her piano sonata sketches and completed her String Quartet between 26th August and 23rd October 1834. She’d been immersing herself in Beethoven, and some listeners have heard the sighing motif that opens the quartet as an echo both of Beethoven’s Quartet Op. 74 and of Felix’s Calm Sea and Prosperous Voyage, itself a homage to Beethoven. But Fanny’s approach is entirely individual: a lyrical, questioning first movement finds its release in a rhythmically-driven C minor scherzo, prefiguring the way the richlyharmonised, bittersweet Romanze yields to a brilliant, bustling finale, exuberantly written for all four instruments. It’s wholly original, and Felix reacted with surprise when she showed him the score in January 1835: he worried that Fanny’s freedom with classical form might lead the piece to sound “undefined”. “Though” he admitted, “I do not know if I could have done any better”.
Richard Bratby
Y OUR
SUPPORT IS V ITAL
Skye McIntosh Artistic Director
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—
Professor the Honourable Dame Marie Bashir AD CVO
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
Anthony Strachan
Peter Young AM & Susan Young
Anonymous (1)
Artistic Director’s Circle—
The Artistic Director’s Circle is a group of passionate supporters who have made a commitment to supporting the AHE education program and the vision of the Artistic Director
Jan Bowen AM FRSN
Carolyn Fletcher AM
Adrian Maroya
Jon & Susanne North
OUR PATRONS
MARIA THERESA $25,000
David & Anne Eustace Foundation
Sherry & the late Tom Gregory
Howarth Foundation
Karin Keighley
Anonymous (1)
ESTERHÁZY $15,000 – $24,999
Marco Belgiorno-Zegna AM & Angela
Belgiorno-Zegna
Peter & Lisa Macqueen
Ian & Pam McGaw
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Peter Young AM & Susan Young
WALDSTEIN $10,000 – $14,999
Jan Bowen AM FRSN
Carolyn Fletcher AM
Kevin McCann AO & Deidre McCann
Anthony Strachan
Kim Williams
VAN SWIETEN $5,000 – $9,999
Martin & Ursula Armstrong
Dr Terry & Julie Clarke
Reg & Kathie Grinberg
Adrian Maroya
Jon & Susanne North
Peter & Libby Plaskitt
Peter & Vivienne Skinner
In Memory of Tom Gregory & Timothy Pascoe
GALITZIN $1,000 – $4,999
Priscilla Adey
Antoinette Albert
Mark Bethwaite AM & Jill Bethwaite
Clive Birch
Dr Andrew Byrne & Allan Gill
Dr Michael & Dr Colleen Chesterman
George H. Clark
Robert & Carmel Clark
Jean Cockayne
Dr Nola Cooke
Dr Peter Craswell
Peter & Prudence Davenport
Rob Diamond
Alison Dunn
Jeremy Eccles FRSN & Kate Eccles OAM
David, Katrina & Madeline Evans
Ralph Evans AO & Maria Evans
Terry Fahy
John Fairfax AO & Libby Fairfax
The Hon. Ben Franklin MLC
Bunny Gardiner-Hill
Sharon Green
The Hon Don Harwin
The late Elizabeth Howard
Michael & Anna Joel
Sarah de Jong
Lucy Kalangi
Celia Lillywhite
Diccon & Liz Loxton
David Maloney AM & Erin Flaherty
Dr Jacqueline Milne
Nick Payne
Susan Perrin-Kirby
David & Elizabeth Platt
Keith & Robyn Power
Michael & Anna Rennie
Greg & Wendy See
OUR PATRONS ——
Danielle Smith
The Smithers Family
Augusta Supple
Kay Vernon
The Hon. Anthony Whealy K.C. & Annie
Whealy
Anonymous (7)
LOBKOWITZ $500 – $999
Jock Baird
Tony Barnett
Dr Chris Blaxland
Jeffrey Bridger
Keith & Louise Brodie
Lloyd Capps & Mary Jo Capps AM
Richard & Cynthia Coleman
Christine Cooper
Matt Costello & Bernie Heard
Sandra Duggan
Dr Terence & Deborah Dwyer
Dr Marguerite Foxon
Jean Gifford
Dave Jordan & Louise Walsh
Gerard Joseph
Rod & Diane McAllery
Dr Paul & Betty Meyer
Beverley Northey
Deidre Rickards
Penelope Seidler AM
Roger & Ann Smith
Mike & Rosie Sprange
David Whitehouse
Anonymous (3)
RAZUMOVSKY $250 - $499
Ann Armstrong
Wayne Arthur James Ashburner
Wendy Cobcroft
Dr John Dearn
Dr Meredith Edwards
Michael Fong
Rosemary Greaves
Kate Guilfoyle
Heather Kenway
Patrick McIntyre & Yianni Faros
Jeremy Morris
Jan Marie Musico
Henry O’Connor
Jennifer Rose-Innes
Dr Richard Sippe
David & Jill Townsend
Alicia Williams
Anonymous (2)
This listing is correct as of 9 Feb 2025, and we gratefully recognise all donations received since 1 July 2024.
GOVERNMENT PARTNER
AHE
SUPPORTERS
Media Partner
Partner
FOUNDATIONS
David & Anne Eustace Foundation. Howarth Foundation
Jibb Foundation
Sir Asher & Lady Joel Foundation
Key Foundation
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Sinsay Pty Ltd
Stoneglen Foundation
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
UNPACKED
Enhance your concert experience with our exclusive pre-concert series, designed for anyone curious about 18th-century music, historical performance, and period instruments. Held in conjunction with the State Library of NSW, this program offers you a series of curated pre-concert events, each including a welcome glass on arrival, nibbles, and a deep dive into the music and historical context of our performances, guided by guest experts. Bring a friend or come solo and connect with other local music-lovers.
All sessions held in the Friends Room of the State Library of New South Wales.
Coming up
Session 2— Schubert Lieder with Dr David Greco
Tues 22 April
Session 3— Mozart in Salzburg with Dr Anthony Abouhamad
Tues 10 June
Session 4— Haydn in London with Andrew Ford
Tues 19 Aug
Session 5—
Beethoven Arranged with Skye McIntosh
Tues 21 Oct
Tickets available— australianhaydn.com.au/ 18th-century-unpacked
BACK S TAGE ——
BOARD
Marco Belgiorno-Zegna AM (Chair Emeritus)
Kevin McCann AO (Chair)
Carolyn Fletcher AM (Deputy Chair)
Jan Bowen AM FRSN
Adrian Maroya
Skye McIntosh (Artistic Director)
Jon North
Vivienne Skinner
Peter Young AM
TEAM
Skye McIntosh Artistic Director
Ailsa Veiszadeh Administrator
Alison Dunn Marketing & Communications
Arnold Klugist Tour & Operations Manager
Stephen Bydder Box Office & Administration
Marguerite Foxon Front of House & Administration*
Lorrae Collins Accountant
Richard Bratby Program Notes
*In Kind Support
IMAGES
Images throughout by Helen White except pages 6 -7 by James Mills and page 12 by Oliver Miller.
IN KIND
John Dearn, Canberra
Jean Gifford, Canberra
Greg & Wendy See, Berry
Felicity & Stuart Coughlan, Berry
Mary & Steve Beare, Berry
Louise & Keith Brodie, Berry
Rob & Antoinette Sampson, Bowral
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.