Emperors & Armies Concert Program

EMPERORS & ARMIES

“A WINNING COMBINATION OF MUSIC AND MUSICIANS” SOUNDS LIKE SYDNEY

A BEAUTIFUL BAROQUE VOICE

VIVALDI'S GARDEN

2 TWO MASTERWORKS IN CHAMBER VERSION

BEETHOVEN’S PASTORAL

STRING QUARTETS TO DRIFT AWAY AND DREAM WITH

HAYDN’S DREAM & THE GOLDBERG ERIN HELYARD DIRECTS A PROGRAM OF PLANETARY POWER AND BOHEMIAN INFLUENCE

MOZART & MERCURY

EMPERORS & ARMIES Skye McIntosh Founder & Artistic Director

Boccherini Flute Quintet in D major Op. 19 No. 6 Las Parejas Haydn String Quartet No. 62 in C major Op. 76 No. 3 Emperor/Kaiser INTERVAL Mozart String Quartet No. 21 in D major First Prussian/The Violet K. 575 Haydn Symphony No. 100 in G major The Military (arr. Salomon)

The concert duration is approximately 1 hr 50 mins including interval.

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Canberra Thursday 6th February, 7pm Wesley Uniting Church, Forrest ___________________________________________ Berry Friday 7th February, 7pm Berry Uniting Church Hall, Berry ___________________________________________ Southern Highlands Saturday 8th February, 2.30pm The Rose Room, Burradoo ___________________________________________ North Sydney Sunday 9th February, 2.30pm The Independent Theatre ___________________________________________ Sydney Tuesday 11th February, 7pm Utzon Room, Sydney Opera House

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ARTISTIC DIRECTOR’S MESSAGE

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In a musical context, we often remember the eighteenth century patrons and the artistic legacy they left behind by way of the composers they supported or the works they commissioned.

We do not perhaps reflect on their role as political leaders, or think of the daily military activities that may have occupied them outside their artistic endeavours. Our opening 2020 season program is inspired by this thought.

Haydn’s great string quartet The Emperor takes its name from his hymn God Save Emperor Franz that would later become the national anthem of Austria.

Having returned from a trip to London in the 1870s where he heard the British anthem, God Save the King, Haydn had the idea to pen something for the Austrian royalty. Soon after writing the hymn, he included it as a theme and variations in this stunning string quartet from his Op. 76 string quartets; it quickly became one of his most loved works and remains so today.

In contrast to this, we perform Salomon’s eighteenth century chamber arrangement of Haydn’s Military Symphony, which was the eighth of his London Symphonies. In this work, Haydn conjures up the sounds of battle with the roll of the timpani and the bugle call. After the premiere of the work, a writer from the newspaper ‘Morning Chronicle’ wrote: “It is the advancing to battle…And the march of men, the sounding of the charge, the thundering of the onset, the clash of arms, the groans of the wounded, and what may well be called the hellish roar of war increased to a climax of horrid sublimity.”

Haydn used timpani and trumpets to create these ‘military’ effects in his original version, but how is this translated into a quintet arrangement for

flute and strings by Haydn’s colleague Salomon?

As always, Haydn’s genius comes through in the core of the musical essence. The ear is drawn to the beautiful elegant tones of the wooden flute, which shines as the silver lining to Haydn’s joyous and energetic string writing.

Boccherini’s flute quintet, Las Parajes (The Couples) is reminiscent of his more famous piece The Night Streets of Madrid that conjures up the sounds of the night military watch. It opens with an arresting unison theme in the Entrada that seems to imitate the solo drum of a military band, and is followed by a March entitled Galop.

Mozart’s string quartet K. 575 is the first of a set of three quartets dedicated to the King of Prussia, Fredrich Wilhelm II. Friedrich was the nephew of Frederick the Great and assumed the throne at his death. The quartets were posthumously published as Op. 18 in December 1791 by Mozart’s publisher Artaria & Co, only a few weeks after his death.

Whilst this particular Frederick was not renowned for his military prowess, he was known for errecting some fine buildings including, most famously, the Brandenburg Gate, and for his great patronage of the arts including Mozart’s wonderful string quartets. I hope you enjoy this opening program of our 2020 season.

Skye McIntosh Artistic Director & Violin

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“... SPIRITED, CONSUMMATE PERFORMANCES...”

CLASSIKON

THE ENSEMBLE The Australian Haydn Ensemble, founded in 2012

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

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

In 2016 the group released its debut ABC Classics recording The Haydn Album which reached number one on the Australian Aria Classical charts. It received rave reviews, one claiming that the Ensemble stood “proudly shoulder to shoulder with the many period instrument ensembles found in Europe.”. In October 2017 AHE released Beethoven Piano Concertos 1 & 3 on the ABC Classics label, showcasing newly-commissioned chamber versions of the works in the style of the eighteenth century, in collaboration with Aria award winning historical keyboardist Dr Neal Peres Da Costa. Reviewers have been extremely

enthusiastic: “This recording is remarkable not only for the pianist’s wonderfully free and fluent playing, but also for the excellent performance of the Ensemble.”

The Ensemble has presented a host of unique chamber music and orchestral programs, working with a range of world-class musicians such as Neal Peres Da Costa, Erin Helyard, Catherine Mackintosh (UK), Marc Destrubé (Canada), Melvyn Tan (UK) and Simon Martyn-Ellis (USA) as well as singers Sara Macliver (Australia), Simon Lobelson (Australia) and David Greco (Australia).

It is particularly interested in presenting unusual programs of eighteenth century chamber versions of larger orchestral symphonic and concerto works by Haydn, Mozart and Beethoven, as well as bringing to a wider audience some of the lesserknown contemporaries of these composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister, and Vanhal.

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

THE PERFORMERS Violin & Artistic Director Skye McIntosh Skye is the founder and Artistic Director of the Australian Haydn Ensemble.

She has appeared as principal 2nd violin for Pinchgut Opera, as principal 2nd violin with the Australian Romantic & Classical Orchestra, and as a regular member of the Australian Brandenburg Orchestra since 2010.

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

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

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

Cello Anton Baba

Anton is an Australian born violoncellist specialising in historically informed performance practice.

He obtained degrees in classical cello at the Eastman School of Music in USA (2006), completed his Master’s Degree in baroque cello at the Royal

Conservatory, The Hague (2013), and also undertook studies in viola da gamba.

Throughout his career, Anton has performed with such distinguished ensembles as the Amsterdam Baroque Orchestra, the Wallfisch Band, Holland Baroque Society, Arte dei Suonatori, the Australian Brandenburg Orchestra, Pinchgut Opera, and Vox Luminis, among others. Anton is passionate about performing chamber music and is a founding member of the Emras Octet, La Gazetta Musicale and Les Nations, all vibrant and passionate early music ensembles dedicated to contrasting periods and styles of music ranging from French baroque to the romantics of the 19th Century.

Anton is playing a cello by Peter Elias, 2000, Aigle, after Stradivarius.

Viola James Eccles

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

Returning to Sydney in 2007, James has become a sought-after violist, performing with new-music groups such as Ensemble Offspring, presenting and performing in children’s concerts at the Sydney Opera House, performing solo with SBS Youth Orchestra, and working as principal viola with Sydney Philharmonia Choirs. As a period instrumentalist, he performs with Pinchgut Opera, and the Australian Brandenburg Orchestra.

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THE PERFORMERS James has premiered many new works and has also commissioned new Australian works in his role as director of the 2014 Aurora Festival and as codirector of The NOISE String Quartet.

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

Violin Matthew Greco

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Matthew began learning violin at the age of 12 and studied with Professor Janet Davies and Professor Neal Peres Da Costa at the Sydney Conservatorium of Music. At the age of 19 he was engaged by Australia’s leading period orchestras - the Australian Brandenburg Orchestra and Orchestra of the Antipodes. He later undertook further study in historical performance at the Royale Conservatoire of The Hague, with Ryo Terakado and Enrico Gatti, graduating in 2013.

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

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

Continued

Period Flute Melissa Farrow*

Melissa has been principal flute of the Australian Brandenburg Orchestra since 2003, and a core member of the Australian Haydn Ensemble since its formation. She performs and records regularly with groups including Pinchgut Opera, the Australian Chamber Orchestra, Ironwood, The Australian Romantic & Classical Orchestra, The Marais Project, Sydney Philharmonia Orchestra, Latitude 37, and the Australian Opera and Ballet Orchestra, among others.

Her numerous solo performances have been with the AHE, NZ Barok, the Australian Brandenburg Orchestra, and Pinchgut Opera. She is featured as soloist in Gretry’s L’amant Jaloux, in the Australian Brandenburg Orchestra’s Brandenburg Celebrates, on Smorgasbord with The Marais Project, and on touchons du bois with Erin Helyard.

After graduating from the Sydney Conservatorium of Music Melissa undertook post-graduate study in modern flute, recorder, and traverso in Amsterdam.

She teaches period flute as well as baroque performance style to modern flute students at the Sydney Conservatorium, and was guest baroque flute lecturer at the Newcastle Conservatorium during 2017-19.

Melissa is playing a traverso by R. Tutz, 2001, Innsbruck, after H Grenser, Dresden, c. 1810. *Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra

ABOUT THE MUSIC LUIGI BOCCHERINI (1743 – 1805)

flute and oboe, which he used to great effect.

Flute Quintet Op. 19 No. 6, Las Parejas (1774)

The Op. 19 set of flute quintets was composed in 1774. He designated them in his catalogue as ‘quintettini’, implying shorter, two-movement works, as opposed to ‘quintetti’, which he reserved for larger, four-movement compositions. Op. 19 No. 6 is unusual in its three-movement form, presumably shaped by its programmatic elements.

Entrada-Marcia Galope Entrada-Marcia “Las Parejas” (“The Couples”) depicts the pomp and parading of a Spanish horse race. Such races were a time for people of different cities and states to come together, clad in the finery of official colours and emblems, to pit horses against each other, place bets and enjoy entertainment. The horses were not raced together in a field, but matched and run in pairs, so close that their riders were often able to hold hands.

The Flute Quintet Op. 19 No. 6 is one of several works that show Spanish influence on the Italian Boccherini, who came to Spain from his hometown of Lucca in 1768. He was then already well known as a virtuoso cellist and a composer of “very effective” music. His original destination had been quite different - he had been en route to London to seek his fortune, but in Paris he was offered a position in Madrid by the Spanish Ambassador.

This offer was sweetened by the prospect of travelling to Spain as a member of an Italian opera company that included soprano Clementina Pellicia, who would later become Boccherini’s wife. By 1770, Boccherini was in Aranjuez in the service of Don Luis, Infante of Spain. His duties included composition of at least three sets of works per year, each comprising six pieces. Consequently, his accustomed output increased significantly. He produced an extraordinary number of quartets and quintets, the latter formed by the addition of a cello – played by himself – to Don Luis’ existing string quartet. Boccherini was also quick to include other instruments in the combination, notably guitar,

What to listen for: This quintet is characterised primarily by its rhythms. An entrada with three beats per bar introduces the first movement, announcing the imminent arrival of the race contestants. Here the cello, viola and violins play a unison D for the first few bars – listen to the way the beat is divided to raise expectations, until it arrives in a D major arpeggio flourish. Then the flute joins the strings and the march begins, skipping dotted rhythms and wide melodic leaps conveying dignity while trills and runs decorate the procession.

The second movement is the horse race proper.

The pulse shifts to a swinging six-beats per bar, emphasised by the articulated, leaping quavers in the cello. Throughout, the cello holds a steady pulse against the upper strings, who repeatedly shift emphasis to different beats of the bar – the galloping of the horses and the manoeuvring of the riders vying for the lead.

JOSEPH HAYDN (1732-1809) String Quartet No. 62 in C major Op. 76 No. 3, The Emperor (1797/98) Allegro Poco adagio; cantabile Menuetto. Allegro Finale. Presto

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During his London visits in the early 1790s, Haydn heard the hymn “God save the King”. He was taken by the stately effect of the music and took it upon himself to create a similar work for his home country of Austria. The resulting “Emperor” hymn was the anthem of Austria for over one hundred years. When Austria changed its anthem, Haydn’s music was adopted with a text by Hoffmann as the national anthem of Germany, where it can still be heard today.

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In London, Haydn enjoyed the status of a celebrity.

He was recognised by passers-by on the street, received many invitations to noble homes, and became enormously rich. He often commented that it was only after his adulation by the English that he became well known in Germany and Austria. Upon his return to Vienna, the culturalpolitical establishment had warmed to him considerably. This led to a partnership with the indomitable and highly influential Baron van Swieten, and the creation of performances inspired by ideological as well as musical ideas. In this time, Haydn primarily composed sacred vocal works – oratorios and masses. But he also put considerable effort into string quartets.

The Op. 76 quartets were dedicated to Count Joseph Erdődy, a Hungarian noble from a family with substantial musical influence. The inclusion of the “Emperor” hymn as the theme of the second movement of No. 3 ensured that it was an instant success. However, Haydn’s agreement with Count Joseph meant that it could not be published until 1799. It was no accident that the public were clamouring for access to these pieces. Haydn was attuned to popular taste, and his late quartets are filled with original themes, strong contrasts and delightfully surprising changes of key.

What to listen for: The quartet opens in uplifting C major – a key that is associated with purity and nobility. But it does not stay in C major for long and the opening statement is immediately answered in a softer G

major, then emphatically reinforcing C major. This pattern is a common method of establishing key in Western Classical music. After we have heard C major, our ears hear G major (the ‘dominant’) as moving towards and arriving at C major. In the beginning of this quartet, C major is reinforced by chords on the strong beats of the bar and by the skipping dotted notes that follow. But then G major becomes the centre, with its own ‘dominant’ – D major. After the repeat of the first section, other keys are visited, avoiding C major, leading to a passage where the cello and viola create a drone, reminiscent of folk music. The key wanders through E major to E minor, unexpectedly arriving back at C major and the opening theme. But just when there is a sense of solid ground, Haydn shifts again, combining a new key with a change of rhythmic character. It is such toying with expectations that made Haydn’s music so beloved by audiences.

WOLFGANG AMADEUS MOZART (1756 – 1791)

String Quartet No. 21 in D major K. 575, First Prussian (1789) Allegretto Andante Menuetto Allegretto In 1789, Mozart set off on a journey to Berlin. He was accompanied by Prinz Karl Lichnovsky, a fellow member of a Masonic lodge in Vienna, and travelled with the intention of gaining favour with Friedrich Wilhelm II, King of Prussia. Friedrich Wilhelm was known as a patron of the arts. He was a gifted cellist and did much for his cultural and artistic environment (including commissioning works from the distant Boccherini). However, he proved to be ill-equipped to deal with the prevailing political climate, including the French Revolution. He was more inclined towards reducing the burden of taxes on his people and

ensuring that Christianity was ‘properly’ practised than maintaining the remarkable army built by his predecessor, Frederick the Great. Ultimately his rule saw changes to diplomacy and financial and military strategy that weakened Prussian presence in Europe. However, Mozart had good reason to hope for a warm and rewarding welcome at the Potsdam court. As he travelled north, he heard news that the King awaited him impatiently, excited at the prospect of meeting the famed composer.

A month passed before Mozart received an audience with the King. In the interim, he met with the King’s Master of Chamber music, the famed cellist Jean-Pierre Duport, and composed a set of variations on a theme by him - as was traditional for such visits. He then travelled to Leipzig to perform concertos and to play on Bach’s organ at the Thomaskirche before returning to wait in Berlin. Nothing is recorded of his meeting with Friedrich Wilhelm; however, later he wrote that he was invited to dedicate a set of string quartets to the King, and a set of ‘easy’ piano sonatinas to the King’s daughter. Indeed, he expressed hope that through their publications he would successfully address his financial woes. Unfortunately, this was not to be. His mounting expenses obliged him to sell three completed quartets for a fraction of their value. They were published shortly after his death in 1791, and lacked any dedication to the King of Prussia. The other three of the set were never finished.

What to listen for: The First Prussian quartet is beautifully crafted, the four voices in elegant conversation. The tempi are never rushed, and the textures are transparent, allowing each voice to be heard. Listen in particular for the cello: as if intended to please the Prussian King, it is featured on equal footing with the two violins and viola, often set in its high register. Also listen for the singing (‘cantabile’) quality of the melody in the second movement.

Mozart took this melody from an earlier song, “Das Veilchen” (“The Violet”), so that the quartet

is sometimes named after it. In this movement, the instruments are all in agreement, enjoying the sweetness of the moment.

JOSEPH HAYDN (1732-1809)

Symphony No. 100 in G major The Military (1793/4), arr. Salomon (ca. 1801) Adagio-Allegro Allegretto Menuetto; Moderato Presto Joseph Haydn’s visits to London were profound experiences. His compositions became monumental in response to the scale and attention of London audiences, and his output became more oriented towards large concert performances.

But Haydn may never have come to London were it not for the musician and impresario, Johann Peter Salomon (1745-1815). Haydn had previously received many invitations to visit the British capital. Salomon himself had sent a well-known publisher, Bland, to convince Haydn to come, to no avail. But upon hearing of the death of Haydn’s master, Prinz Nikolaus, Salomon himself made the two-week journey to Vienna to personally convince and accompany the legendary composer.

Haydn agreed and arrived in London for the first time in 1791.

Salomon was born in Bonn (coincidentally in the same house as Beethoven, 25 years later) and moved to London in 1780 as a mature musician.

There he earned a good living as a violinist, composer, orchestra director, concert entrepreneur and arranger. His decision to arrange Haydn’s twelve London symphonies reflects his business acumen as well as his excellent musical taste.

The symphonies were original and captivating, inspiring nicknames such as The Surprise, The Clock and The Drumroll. The Military was so named for terrifyingly loud outbursts in the second movement, intensified by impressive “Turkish” percussion.

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What to listen for: A chamber arrangement of a symphony for full orchestra is a challenge to which Salomon was more than equal. Listen for how the flute fulfils the dual roles of melodic instrument and woodwind orchestral timbre, playing many more notes than in the original version. Salomon’s skill means that the symphony’s characteristic contrasts between high spirits and sense of danger are retained, even without a battery of percussion: listen for how the instruments play tremolos and repeated notes to fill out the texture and create tension in some places, withdrawing to lighter accompaniment during melodic passages.

Notes by Dr Megan Lang

HISTORICALLY INFORMED PERFORMANCE 12

The Australian Haydn Ensemble is one of Australia’s leading ensembles performing on period instruments and specialising in what has come to be known as Historically Informed Performance (HIP).

What does historically informed performance mean?

Historically Informed Performance means taking an approach to music-making that is close to what the composers might have intended when they were alive. The players achieve this by performing on instruments of the time when a piece was written, with reference also to musical sources of the day. This approach is becoming much more commonplace in Australia.

Historically Informed Performance as we know it today emerged in Europe in the 1960s when some performers of baroque and classical works began to question how these pieces might have been performed when written. They began to examine historical sources such as composers’ original manuscripts and instrumental treatises written by performers and composers during the late seventeenth century through to the late eighteenth

century. This research led to the discovery of ‘new’ ways of interpreting old works that are drawn from these sources, and there is still much to be discovered.

AHE and Historically Informed Performance The Ensemble’s focus is on music written during the late baroque and early classical period when compositional styles of chamber music and orchestral writing had reached a new height in their development. Composers of this period were not only extending musical forms but also the virtuosic demands on instruments and performers.

An Historically Informed Performance approach brings the music to life by providing a context to both the performer and listener. Period or original instruments often make it technically more difficult for the performer, but they also allow greater freedom to colour the sound in a way that is not possible on modern instruments.

In each concert program this year we will feature a section on Historically Informed Performance, detailing how this approach informs the Ensemble’s sound world.

www.glenguinestate.com.au

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PATRONS

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?

About Our Patron Categories 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.

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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.

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

PATRON Professor The Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON Dr Timothy Pascoe AM

ESTERHÁZY $15,000+

Martin & Ursula Armstrong Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Mark Burrows AO John Claudianos & Dr Nena Beretin Jeremy & Kate Eccles Tom & Sherry Gregory The Hon. Nick Greiner AC & Carolyn Fletcher AM Reg & Kathie Grinberg Kevin & Deidre McCann Ian & Pam McGaw Dr Timothy & Eva Pascoe Rob & Myriame Rich Peter Weiss AO The Hon. Anthony Whealy Q.C. & Annie Whealy Anonymous (2)

WALDSTEIN $10,000 - $14,999 Karin Keighley

Van Swieten $5,000 $9,999 Mark Bethwaite AM & Carolyn Bethwaite Jean Cockayne Ron & Suellen Enestrom John Fairfax AO & Libby Fairfax Andreas & Inn Ee Heintze Trevor Parkin Keith & Robyn Power Kay Vernon Lesley Whalan & Wendy Calisle Peter Young AM & Susan Young

Galitzin $1,000 $4,999 Antoinette Albert Margot Anthony AM Ann Armstrong John Baird Rosalind Baker Carey Beebe Clive Birch Ecki & Celia Bischoff Tony Burrell & Hilary Steel Dr Michael & Dr Colleen Chesterman George H Clark Robert & Carmel Clark Dr Terry & Julie Clarke Alison Clugston-Cornes Dr Nola Cooke Dr Peter Craswell Peter & Prudence Davenport Catherine Davies Dr John Dearn Robert & Jane Diamond Dr Paul Edwards Ralph Evans & Maria Cordony Richard Fisher AM & Diana Fisher Ivan Foo Dr Marguerite Foxon

Arthur & Suzanne Gerozisis Christine Goode Tony Grey The Hon Don Harwin MLC Peter & Margaret Janssens Peter & Linda Kurti Garth Mansfield OAM & Margaret Mansfield OAM Paul & Anne Masi Jacqueline Milne Nick Minogue David Mortimer AO & Barbara Mortimer John Nethercote Nola Nettheim Beverley Northey Pieter & Liz Oomens Nick Payne Susan Perrin-Kirby Ian Reid Susan Roberts Greg & Wendy See David & Daniela Shannon Roger & Ann Smith The Smithers Family Dr Jenepher Thomas Tim & Vincie Trahair Dr Margot Woods In Memory of Bill Harris AO Anonymous (7)

Lobkowitz $500 - $999 Gary & Joanna Barnes Linda Bergin OAM Jan Bowen AM Jeffrey Bridger Diana Brookes Dr William Brooks Dr Andrew Byrne Sylvia Cardale Janet Cooke Christine Cooper James Coughlan

Elizabeth Gee Sally Herman Paul Hopmeier & Jan King Paul & Carol James Peter & Lisa Macqueen Libby Manuel Elbert Mathews Alan McCormack Terry & Catherine McCullagh Peter & Jan McGovern Alex & Edwina McInnes Paul & Betty Meyer Tony Minchin Dr Rosalind Page Deidre Rickards Mary Rose-Miller Michael & Rosemary Sprange Anthony Strachan Dr Rupert Summerson Susan Tanner Jill Townsend Dr Frances Whalan Lady Meriel Wilmot-Wright Anonymous (3)

Razumowsky $50 $499 Geoff & Rosie Adams William Armitage Corinne Arter James Ashburner Stephen Baggaley Anthony & Lurlene Bailey Carole Bailey Timothy Bailey Eric Baker Dame Marie Bashir AD CVO Robin Bass Ken Baxter Andrew Blanckensee Jennifer Bott Beatrice Botvinik Margaret Bradley

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PATRONS

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Janet Britton Russell Burgess Robert & Josephine Carr Lynette Casey Wendy Cobcroft Alan Coleman Linda Collings Margaret Cooper Michael Crivelli Megan Curlewis Rhonda Dalton Jennifer Dewar Robert Dingley George Drew Pamela Duncan Marilyn Edmond Maria & Bob Elliot Garry Feeney Marian Flynn Michael Fong Warwick Franks Bunny Gardener-Hill Rosemary Greaves John Greenwell Victoria Hartstein Judith Healy Dr Erin Helyard Ann Hordern Elizabeth Howard John & Pat Howard Gerard Joseph Margaret Julian Gabrielle Kancachian Dr Hosen & Wendy Kiat Janice King Dr Joan Kitchin Pastor de Lasala OAM George Lawrence Diccon & Liz Loxton Peter McDonald Stephen McDonald &

Continued Mindy Green Wendy McLeod Tony Mountstevens Patrick Mullins Heather Nash Narelle Nelson Frank & Jenny Nicholas Dennis Nicholls Henry O’Connor Catherine Peel Jock Pharey & Prue Skinner Kathy Raynauds Colin Rea Michael Richards Josie Ryan Barbara Sergi Heather Shelley Keith & Janet Stanistreet Libby Steeper Elizabeth Stewart Elizabeth Storrs Janet Tomi Frances Tsoukalidis David & Jill Weekes The Hon. Penelope Wensley AC In memory of Dr Frank Bradley Anonymous (16) Cumulative donations made since 2017 onwards.

Correct at time of printing.

PERFORMER’S CHAIRS Artistic Director Chair Skye McIntosh supported by Dr Timothy Pascoe & Eva Pascoe Contribute to a Performer’s Chair in 2020 and support the position of one of AHE’s Ensemble members.

For more information on how to contribute contact gm@australianhaydn.com.au.

SUPPORT AHE EDUCATION

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

INTERNATIONAL TOUR

AHE has been invited to perform at the “Haydnregion Niederosterreich” Festival (Austria) in 2020 and at the Lapwing Festival (Cuckmere, UK). Help us to send the Ensemble to Europe which will also enable the players to enrich their knowledge and performance practice.

MATCHED FUNDING

This year we have an even larger group of generous supporters who have pledged to match your tax deductible donations dollar for dollar to enable us to raise $40,000 and continue our successful matched funding campaign for another year. Help us continue our vital work by investing in the Ensemble’s 2020 plans as we share the masterworks of the eighteenth century musical world. Step through the frame of time and join us on our musical discovery in 2020.

Tax deductible donations can be made on our website or by sending a donation to: Australian Haydn Ensemble Level 1, 16-18 Oxford Square, Darlinghurst NSW 2010 www.australianhaydn.com.au

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PARTNERS Funding Partners

This project is supported by the NSW Government through Create NSW.

Media Partners

18 Venue Partners

Administration Partners

Wine Partner

BACKSTAGE Administration Alicia Gibbons - General Manager Stephen Bydder - Administrator Marguerite Foxon - Front of House and Administrator Vi King Lim – Score Services Board Marco Belgiorno-Zegna AM Chair Jan Bowen AM Carolyn Fletcher AM Skye McIntosh Peter Young AM

Australian Haydn Ensemble is a not for profit organisation ABN 26 202 621 166 Level 1/16-18 Oxford Square Darlinghurst NSW 2010 1800 334 388 (Freecall) australianhaydn.com.au admin@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.

In-Kind Supporters Maria Cox Greg and Wendy See Marguerite Foxon Thank you to our patrons who kindly provide accommodation for our out-of-town performers.

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VIVALDI'S GARDEN A BEAUTIFUL BAROQUE VOICE 16-21 APRIL

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