AHE | Concert Program | HAYDN'S PASSION | December 2024

HAYDN'S PASSION Joyous. Spirited. Thrilling.

1 - 3 December 2024

AHE 2024 “...the Australian Haydn Ensemble...is not to be missed” New York Concert Review Inc, New York, Carnegie Hall, 2023

THE MOZART ALBUM Out Now LOVE & DEVOTION String Quartets by Haydn, Mozart & Mendelssohn FEBRUARY HEAVENLY SOPRANOS Jewels of the Baroque with Celeste Lazarenko & Helen Sherman APRIL BEETHOVEN’S FIFTH Masterworks in chamber form JUNE PENRITH YOUTH ORCHESTRA JUNE MOZART'S HORN with Carla Blackwood SEPTEMBER AHE 2025 SUBSCRIPTIONS OPEN NOVEMBER HAYDN'S PASSION Sturm und Drang meets unbridled joy DECEMBER

2

PROGRAM DETAILS

ARTISTS Skye McIntosh, Artistic Director and violin PERFORMANCES

THE AUSTRALIAN HAYDN ENSEMBLE

SYDNEY Sunday 1 December, 4PM City Recital Hall AUSTRALIAN DIGITAL CONCERT HALL Sunday 1 December, 4PM CANBERRA Monday 2 December, 7 PM Gandel Hall, National Gallery of Australia SOUTHERN HIGHLANDS Tuesday 3 December, 7PM Bowral Memorial Hall

PROGRAM HAYDN Symphony No. 49 in F minor ‘La Passione’ MOZART Violin Concerto No. 3 in G major C.P.E. BACH Symphony in E minor MOZART Symphony No. 29 in A major The concert duration is approximately 2 hrs 20 mins including interval

facebook.com/TheAustralianHaydnEnsemble instagram.com/@australianhaydnensemble 3

ARTISTIC DIRECTOR’S MESSAGE I have always been fascinated by the contrasts of light and dark in Haydn's music, and this program reflects the intense emotional landscape of the late 18th century—a time when composers like Haydn and Mozart were pushing boundaries and exploring extremes.

Each piece on this program offers a distinct emotional lens. Haydn's Symphony No. 49, La Passione, captures a profound sense of passion; it's brooding, deeply introspective, and incredibly beautiful. It resonates with our times today, as people navigate complex emotions and seek balance.

In contrast, Mozart's Violin Concerto in G major brings a lighter, more playful elegance.

We then shift to C.P.E. Bach's Symphony in E minor, with its stormy, intense energy, before concluding with Mozart’s Symphony No. 29, which feels like a refreshing breath after the emotional depth of Haydn.

4

Together, these works create a dynamic arc that speaks to the whole spectrum of human experience, from darkness and intensity to lightness and resolution.

My hope is that you will come away feeling a sense of catharsis and connection, leaving the concert with a fresh appreciation for the depth and range of emotion that music can express, and perhaps a sense of peace or perspective.

Ultimately, I trust this is an experience that stays with you long after the final note, and that you enjoy the concert as much as we have enjoyed playing it for you.

Skye McIntosh Artistic Director Australian Haydn Ensemble

THE ENSEMBLE The Australian Haydn Ensemble, (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh and is now in its twelfth year.

AHE has quickly established itself as one of Australia’s leading periodinstrument 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 18thcentury 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, recently released. 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.

5

THE PERFORMERS

SKYE MCINTOSH VIOLIN

SKYE MCINTOSH IS THE FOUNDER AND ARTISTIC DIRECTOR OF THE AUSTRALIAN HAYDN ENSEMBLE, NOW IN ITS TWELFTH 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.

6

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) and the Australian Romantic & Classical Orchestra.

ABC Classics released AHE’s third CD in 2024, featuring Skye performing Mozart’s Violin Concerto in G major, which you will hear in this concert.

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

VIOLIN 1 Skye McIntosh* Tomaso Eberle, 1770, Naples Alice Evans Sebastian Klotz, c.1750, Mittenwald Annie Gard Klotz, c.1710, Mittenwald Alice Rickards Allessandro Mezadri, 1720, Ferrara Anna McMichael1 Camilli Camillus, 1742, Mantua VIOLIN 2 Matthew Greco* David Christian Hopf, 1760, Quittenbach Ella Bennetts André Mehler, 2014, Leipzig, after S. Serafino,1735, Venice Bianca Porcheddu Paul Collins, 2001, Maldon, after Bartolomeo Giuseppe del Gesù Guarneri, c.1742, Cremona Sarah Papadopoulos Unknown, c.1790, France VIOLA Karina Schmitz* Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan John Ma Simon Brown, 2000, Sydney

DOUBLE BASS Pippa Macmillan Unknown, mid-18th century, Italy OBOE Joel Raymond* Joel Raymond, London, 2010 after Grundmann & Floth, c.1790, Dresden Kailen Cresp Wolfgang Kube, Berlin, 2019, after Grumman & Floth, 1795, Dresden FLUTE Mikaela Oberg* R. Tutz, 2007, Innsbruck, after H. Grenser, c.1810, Dresden Jessica Lee M. Wenner, 2012, Singen, after A. Grenser, c.1790, Dresden BASSOON Luis Tasso Athayde Santos Robert Cronin, Menlo Park, before 2000, after Grenser, c.1800, Dresden HORN Michael Dixon* Richard Seraphinoff, Bloomington, 2007, after Antoine Halari, 1810, Paris Dorée Dixon Richard Seraphinoff, Bloomington, 2009, after Antoine Halari, 1810, Paris

CELLO Daniel Yeadon*2 William Forster II, 1781, London Anton Baba Peter Elias, 2000, Aigle, after Stradivarius, Italy

Dr Anna McMichael appears courtesy of the Sir Zelman Cowen School of Music and Performance, Monash University.

1

Dr Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music

2

7

2025 —— S EASON 2025 —— ——

Subscriptions for the 2025 Season are now open!

Book now at australianhaydn.com.au

8

ABOUT THE MUSIC FRANZ JOSEPH HAYDN (1732-1809) Symphony No. 49 in F minor La Passione Adagio Allegro di molto Menuet e Trio Presto Sturm und Drang was the name of a 1776 play by the German dramatist Maximilian von Klinger. But it’s come to serve as a shorthand for an artistic mood that swept across the Germanspeaking world in the 1770s; a mood of dark, often violent emotion. It’s often applied to the symphonies that Haydn wrote at the first peak of his creative maturity, and when you listen to music as turbulent as this extraordinary symphony, it’s easy to hear why.

There’s only one problem. As far as we know, the symphony was written in 1768 at the great palace of Eszterháza, where Haydn was Kapellmeister to the powerful Hungarian nobleman Prince Nicolaus Esterházy. Built on reclaimed swampland near Lake Neusiedl, Eszterháza might as well have been on an island. “I was cut off from the world” said Haydn, years later. “There was no-one to confuse or torment me, and I was forced to become original”. So, any Stürm or Drang in his music came from his own creative imagination.

And what an imagination! The symphony is in the key of F minor – a key that Haydn seems to have associated with a particularly fierce and

bitter melancholy - and in a reversal of his normal practice, he places the slow movement first. The first music we hear is the sombre processional tread of the opening Adagio: a powerful way to establish an atmosphere (Mozart showed he’d learned the lesson at the start of his Requiem, 23 years later in 1791). The Allegro di molto that follows is restless and angular: Haydn’s modest wind section of two oboes, two horns and a bassoon add to its bite.

The minuet – usually a graceful dance – is stately and stern, yielding to a brighter central Trio section with a horn calling over sweet oboes. And like a lightning conductor, the finale gathers up, and then discharges, the symphony’s tension: a torrential musical downpour that sweeps with unrelenting drive from first bar to last.

So why is it called La Passione? The nickname seems to date from the 1780s or 1790s – perhaps because Haydn was known to have had the symphony played on Good Friday at Eszterháza, or perhaps because its mood made it seem particularly suitable for that purpose.

But there’s a twist. One early source suggests that it was assembled from music intended for a play called “The Good-Humoured Quaker”: not so much an expression of religious emotions, but a remarkably accurate parody of them.

We’re unlikely ever to know for sure.

Haydn, whose own religious faith was as generous as it was sincere, would probably have smiled, and urged us simply to listen.

9

WOLFGANG AMADEUS MOZART (1756-1791) Violin Concerto No. 3 in G major K. 216 Allegro Adagio Rondo: Allegro Even more than composition, violinplaying was the Mozart family business.

In the year of Wolfgang's birth, his father Leopold had published his Elementary Violin-School - the definitive 18th-century violin textbook. So, there was never any chance that young Wolfgang would avoid the violin, and in November 1770, two months before his 15th birthday, he was appointed leader of the Salzburg Court Orchestra. Wolfgang’s creative genius, meanwhile, was so fertile that it seemed to grow from one work to the next. In Salzburg on 12th June 1775 he completed his Second Violin Concerto – a concise, polished work in a fashionable style, probably meant for Antonio Brunetti, the gifted but louche senior violinist of the Salzburg orchestra. On 12th September he signed off his Third.

He already knew exactly how to get the best out of string instruments, and his own playing was a source of genuine pride to him. In 1777 he wrote to his father from Augsburg that he'd played his “Strassburger Concerto” (probably this one) and “it went like oil. Everyone praised my beautiful pure tone"… it went like oil” - Mozart had called a favourite childhood fiddle his "butter violin", because of its soft, mellow sound. These were the qualities he prized in violin playing, and they're exactly the qualities his Violin Concerto No. 3 is designed to display The first movement has the bustle and grandeur of a big showpiece concerto, but reduced to a deliciously intimate scale. The oboes do duly as trumpets.

The orchestral violins use mutes in the Adagio so the soloist is free to sing, sweetly and expansively, over the gentlest 10

of accompaniments. And just as the finale seems settled into its buoyant, swinging dance-rhythm, Mozart deals us something completely unexpected - a poised, bittersweet Hungarian folksong in a completely different mood and tempo. (This was a melody known as “The Strassburger”; it’ll be familiar to anyone who's seen the film Master and Commander). Why? Why not? Mozart simply carries on as if nothing ever happened. Oboes and horns finish the concerto with a final, witty aside.

C.P.E. BACH (1714-1788) Symphony in E minor Wq. 178 Allegro di molto Andante Prestissimo

“A musician cannot move others unless he too is moved. He must feel all the emotions tha the hopes to arouse in his audience, for the revealing of his own humour will stimulate a like mood in the listener”. This famous quote from C.P.E. Bach reveals an artist in pursuit of deep emotional connection with his listeners, striving for a style of composition fit for the Enlightenment, that engaged not only with the whims and fancies of the ruling monarch but also with the philosophers, painters and poets who were beginning to define social and cultural discourse from a more secular standpoint.

This symphony is one of the great calling cards of Sturm und Drang style.

It was composed in the same year as the outbreak of the world's first 'global' conflict, the Seven Years war, after a shifting of allegiances among the great empires. The great music historian Charles Burney recounted that Johann Hasse, one of the most popular composers of his day, described this symphony as "the best he had ever heard". It is unclear whether he heard

the original version, Wq.177, for strings only, or this slightly later arrangement with wind instruments that increases the complexity and wildness of the timbres.

Regardless, the work is a magnificent example of C.P.E. Bach's inventive spirit.

Wq.177 was in fact the only symphony

by C.P.E. Bach composed during his 30 years in Berlin to be published in his lifetime (in Nuremberg, 1756). He wrote nineteen symphonies in all, nine of which were composed at the court of Frederick the Great in Berlin and the remaining ten after his arrival in Hamburg, where he took over as Music Director from his godfather Telemann In three parts and only around 11 minutes in length, this work bears more resemblance to the historical form of a sinfonia than a modern symphony.

What is a sinfonia you ask? During the 17 th century the Italian word was used interchangeably with canzona (song) and sonata (to sound), but generally implied an instrumental piece linking or introducing sections of other works, such as a scene change in an opera. Their purpose was often to generate tension and excitement and encourage a general hush amongst at times unruly audiences.

This was achieved, even prior to the beginning of the Sturm und Drang period, using dramatic contrast and rhythmic effects very much favoured by the eccentric C.P.E WOLFGANG AMADEUS MOZART (1756-1791) Symphony No. 29 in A major K. 201 Allegro moderato Andante Menuetto Allegro con spirito The German poet Christian Friedrich Schubart visited Salzburg between 1772 and 1777 and reported that “the musical establishment is one of the best-manned

in all the German-speaking lands… their kapellmeister Mozart (the father) has placed it on an excellent footing”.

He made two other particularly telling observations: The Salzburgers are especially distinguished in wind instruments. One finds there the most admirable horn and trumpet players…Their folk songs are so comical and burlesque that one cannot listen to them without sidesplitting laughter. The Punch-and-Judy spirit shines through everywhere, and the melodies are mostly excellent and inimitably beautiful.

And it’s all there to be heard in Mozart’s Symphony No. 29 in A major, completed on 6th April 1774: the work of an 18-year-old junior konzertmeister at the provincial court of Salzburg. There’s the bass-rich string section, and that virtuoso horn-playing – Mozart must have been very confident of his performers to write for horns in the key of A, with their dazzling high register. Savour the contrast between the symphony’s dusky, expressive opening bars, and the sunlit blaze of orchestral sound that follows.

And could any melody be more “excellent and inimitably beautiful” than the romance-like muted D major Andante, with its warm woodwind shading? Mozart follows it with a minuet whose springy rhythms show that even at the age of 18 he knew the difference between a movement meant for dancing and one intended for a symphony. As for the “Punch and Judy spirit”: there’s something unmistakably carnivalesque about the buccaneering hunting-horn finale. Mozart’s eventual frustration with small-town Salzburg is well documented, but in 1774 it was still far from boiling point. If the Symphony No. 29 shows him making full, masterly use of local materials, it also points to altogether more theatrical musical destiny.

Richard Bratby 11

YOUR SUPPORT IS VITAL

Since the very beginning AHE has been strongly 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 even 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 12

"... deep understanding of the works and perfect blending as an ensemble."

Canberra, ACT, 2024

“Great music, performed magnificently.”

Southern Highlands, 2024

“Creative, inviting, challenging-and always welcoming to audiences.”

Berry NSW, 2024

WHAT OUR AUDIENCES SAY ABOUT AHE “Certainly don’t regret subscribing as I have the excitement of seeing future concert treats there, in my diary!”

Subscriber, Southern Highlands, 2024

“Loved all the choices made.”

Sydney, NSW, 2024

“Superb playing. The joy on the players faces.”

Canberra, ACT, 2024

“Five big, glowing stars. Loved this concert. …The Beethoven was just superlative; blew me away. It was the best concert I’ve been to this year, including several in Europe.”

Sydney, NSW, 2024

“Five stars, a riveting, masterful performance Southern Highlands, 2024

13

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 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 Marie Theresa The Queen was a patron of Viennese music, and Haydn wrote his Te Deum at her request.

Esterházy Prince Esterházy was the main patron of Haydn.

Waldstein Count Waldstein was an early patron of Beethoven.

Van Swieten He was a keen amateur musician and patron of Haydn, Mozart, and Beethoven.

Galitzin He was an amateur musician and is known particularly for commissioning three Beethoven string quartets Op. 127, 130 and 132.

Lobkowitz He was a Bohemian aristocrat and a patron of Beethoven.

Razumovsky He commissioned Beethoven’s Op. 59 String Quartets.

14

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 & 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 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

15

OUR PATRONS MARIA THERESA $25,000 Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna David & Anne Eustace Foundation Sherry & the late Tom Gregory Howarth Foundation Karin Keighley Peter & Lisa Macqueen Anonymous (1) ESTERHÁZY $15,000 – $24,999 Ian & Pam McGaw Philanthropy Initiative Australia, a giving fund of the APS Foundation Anthony Strachan WALDSTEIN $10,000 – $14,999 Jan Bowen AM FRSN Carolyn Fletcher AM Kevin McCann AO & Deidre McCann Jon & Susanne North Kim Williams Peter Young AM & Susan Young VAN SWIETEN $5,000 – $9,999 Martin & Ursula Armstrong Dr Terry & Julie Clarke Reg & Kathie Grinberg Adrian Maroya Peter & Libby Plaskitt Peter & Vivienne Skinner In Memory of Tom Gregory & Timothy Pascoe Anonymous (1)

16

GALITZIN $1,000 – $4,999 Priscilla Adey Antoinette Albert Mark Bethwaite AM & Jill Bethwaite Clive Birch Keith & Louise Brodie Dr Andrew Byrne & Andrew 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 Terry Fahy John Fairfax AO & Libby Fairfax Richard Fisher AM & Diana Fisher Dr Marguerite Foxon The Hon. Ben Franklin MLC Bunny Gardiner-Hill Prof Pru Goward AO Sharon Green The Hon Don Harwin The late Elizabeth Howard Michael & Anna Joel Sarah de Jong Lucy Kalangi David Kent OAM & Angela Kent Celia Lillywhite Diccon & Liz Loxton David Maloney AM & Erin Flaherty Rod & Diane McAllery Paula McLean Trevor Parkin The late Dr Timothy Pascoe AM & the late Eva Pascoe

Nick Payne Susan Perrin-Kirby David & Elizabeth Platt Keith & Robyn Power Michael & Anna Rennie Deidre Rickards Greg & Wendy See Danielle Smith The Smithers Family Augusta Supple Kay Vernon The Hon. Anthony Whealy K.C. & Annie Whealy Lady Meriel Wilmot-Wright Anonymous (10) LOBKOWITZ $500 – $999 Jock Baird Lloyd Capps & Mary Jo Capps AM Wendy Cobcroft Richard & Cynthia Coleman Matt Costello & Bernie Heard Todd Denney & Jacqui Smith Sandra Duggan Dr Terence & Deborah Dwyer Dr Meredith Edwards Jean Gifford Stephen & Jill Goggs Dave Jordan & Louise Walsh Gerard Joseph Dr Jacqueline Milne Beverley Northey Jennifer Rose-Innes Penelope Seidler AM Roger & Ann Smith David & Jill Townsend Ailsa Veiszadeh Dr Margot Woods Anonymous (4)

RAZUMOVSKY $250 - $499 Ann Armstrong James Ashburner Tony Barnett Walter Bilas & Phillip Sadler Jeffrey Bridger Christine Cooper Dr John Dearn Giles & Heather Edmonds Michael Fong Kate Guilfoyle Dr Judith Healy Ann Hoban Patrick McIntyre & Yianni Faros Dr Paul & Betty Meyer Jeremy Morris Henry O'Connor Dr Richard Sippe Dr Ann Young Anonymous (7) This listing is correct as of 13 Nov 2024, and we gratefully recognise all donations received since 1 July 2023

17

OUR PARTNERS GOVERNMENT PARTNER

AHE is supported by the NSW Government through Create NSW.

SUPPORTERS Livestream Partner

Audit Partner

Media 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

18

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

BACKSTAGE BOARD

Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM FRSN Carolyn Fletcher AM (Deputy Chair) Adrian Maroya Kevin McCann AO Skye McIntosh (Artistic Director) Jon North Vivienne Skinner Peter Young AM

TEAM Skye McIntosh Artistic Director Alison Dunn Market Development Ailsa Veiszadeh Administrator Breanne Hickey Tour Manager Stephen Bydder Ticketing Marguerite Foxon Front of House and Administration* Lorrae Collins Accountant Richard Bratby Program Notes *In Kind Support

IN KIND

John Dearn, Canberra Jean Gifford, Canberra Alison Dunn, Sydney 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.

IMAGES Images throughout by Helen White except page 6 (James Mills) and pages 12 - 13 (Oliver Miller).

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.

19

SPECIAL OFFER! When you join our mailing list by using the QR code or going to www.australianhaydn.com.au