Beethoven Four Concert Program 2019

BEETHOVEN FOUR

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2019 Season

Handel & Delirious Love 26 September, Canberra 27 September, Berry 28 September, Southern Highlands 29 September, Sydney 1 October, Newcastle Avison/Scarlatti (After D. Scarlatti) Concerto Grosso No. 3 in D minor Handel Motet for soprano and instruments HWV 242 Sileti Venti Handel Aria from Alcina Tornami a vagheggiar

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A. Scarlatti Concerto Grosso No. 5 from Six Concerti in Seven Parts in D minor Handel Cantata Il delirio amoroso HWV 99

Midori & Mozart 21 November, Canberra 24 November, Sydney Mozart Symphony No. 33 in B flat major K.319 Mozart Violin Concerto No. 2 in D major K.211 Haydn Violin Concerto in C major Hob VII:a1 Haydn Symphony No. 80 in D minor

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BEETHOVEN FOUR Skye McIntosh Artistic Director and Violin

Boccherini Sextet (Divertimento) for flute and strings in A major G.463 Op.16/3 Mozart String Quartet in D minor K.421/417B INTERVAL Beethoven Symphony No. 4 in B flat major Op. 60 arr. Watts

Canberra Thurs 8 August, 7pm Albert Hall, Yarralumla Berry Fri 9 August, 7pm Berry Uniting Church Hall Southern Highlands Sat 10 August, 3pm Burrawang School of Arts Sydney Sun 11 August, 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music

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

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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.

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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

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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.

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Artists and Instruments Skye McIntosh Violin I Josef Panormo, c.1800, London

James Bush Cello Auguste S. P. Bernadel, 1842, ?Paris

Simone Slattery Violin II Claude Pierray, 1726, Paris

Jacqueline Dossor Double Bass Unknown, c. 1740, Northern Italian, likely Bologna

Karina Schmitz Viola Francis Beaulieu, Montreal, 2011, after Pietro Giovanni Mantegazza, Milan, 1793

Melissa Farrow Period Flute R. Tutz, Innsbruck, 2001, after H. Grenser, Dresden, c. 1810

James Eccles Viola Hiroshi Iizuka, 1992, Philadelphia

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Artistic Director’s Message

Our third concert tour is an exciting program based around the Australian premiere of Watts’ chamber arrangement of Beethoven’s wonderful fourth symphony. It was published by the London publishing house Lavenu, and the title page provides a few insights into the work. Firstly that it was “performed at the Philharmonic Society” and secondly that it was published as part of a set that included the 4th, 5th and 6th Symphonies. Watts was the long-time secretary of the Philharmonic Society and according to their archives, was the most active Society member in arranging Beethoven’s music.

Such chamber arrangements were quite common in Haydn and Beethoven’s time and this particular set was probably produced because the Philharmonic Society wanted to support and popularise Beethoven’s work in England.

The Society also commissioned various other arrangements from Watts including Symphony No. 9.

Chamber performances of works of this size were quite popular with the Philharmonic patrons and although the records don’t go into enough detail about when these versions were performed, we can assume that they were performed at some of the Society’s concerts as attested by the title page of the original print edition.

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Our program also includes a beautiful flute sextet

by Boccherini. It is a highly virtuosic work for the flute, full of the characteristic flourishes and textures that we have come to know and love in Boccherini’s joyful and vibrant music. Boccherini is one of our favourite composers and it is a pleasure to feature our wonderful flautist Melissa Farrow as soloist.

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The third work in the program is one of the most dramatic and hauntingly beautiful string quartets

by Mozart. The String Quartet in D minor was written as part of a set he dedicated to Haydn.

Compared to his collective output, Mozart wrote relatively few works in the minor key, and this is the only one in this set. In Mozart’s hands it is a passionate and haunting key, and the same that he chose for his famous Requiem.

Skye McIntosh Artistic Director & Violin

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About The Music Luigi BOCCHERINI (1743-1805) Flute Sextet Op. 16/3 in A major G.463 (1773) Allegretto moderato Allegro assai Amoroso

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Luigi Boccherini’s career began like many others: a talented child in a musical family. His father was a double bass player in the northern Italian town of Lucca and acted as teacher, orchestra colleague, and travelling companion. When he was old enough, Boccherini was sent to Rome to study; but he soon returned to Lucca and began seeking permanent employment. He was already an accomplished cellist, and it was in these years that he began to hone his skills as a composer.

In 1766, when Boccherini was 23, his father died. He had been the compass of the young man’s life, and now Boccherini sought a new direction. He planned a tour with his close friend Manfredi, an acclaimed violinist. They set off with a plan to go to London – always a tantalising city for musicians. But in Paris they found that Boccherini’s fame had preceded him, and they tarried to give concerts. There in the city of love he met fellow Italian Clementina Pelliccia, a singer with an opera company touring Paris from Aranjuez. In 1768 both Boccherini and Manfredi joined this company and made their way to Spain. Boccherini married Pelliccia the following year. He soon found employment in the service of the Infante Luis Antonio Jaime of Bourbon, younger brother of the King, and would remain permanently in his new country.

The sextets Op. 16 were written for flute, two violins, viola and two cellos, with double bass ad

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libitum. The addition of a double bass was not unusual for Boccherini, perhaps reflecting his love for his father’s instrument. The third sextet of the set is a charming and well-crafted composition. It opens with an inviting gesture from the strings, a repeated statement supplicating the flute to join. There follow flirtatious exchanges, leading to a journey through related keys in which the darker timbre of cross-fingerings for the flute are used to great effect. A dramatic chordal statement begins the second movement. Here, the flute takes the lead, and the movement unfolds with masterful use of tone colour and articulation. The piece closes with a celebration of love, an amoroso.

The gentle, three-beat pulse carries an elegant conversation between flute and violin, full of sighs and delicate ornaments. A shift to the minor mode heralds a moment of dissent. But it runs its course and returns to the first melody to end in the warmth of affection.

Wolfgang Amadeus MOZART (1756-1791) String Quartet No. 15 in D minor K.421/417B (1783) Allegro moderato Andante Menuetto and Trio. Allegretto Allegretto ma non troppo On the 18th June 1783, Mozart wrote from Vienna to his father in Salzburg: “Mon trés cher Pére!

I congratulate you, you are a grandpapa! Early yesterday morning, the 17th, at half past six, my dear wife [Constanze] was happily delivered of a fine, big, sturdy, fat boy! The pains began at half past one in the morning, so it was over with no rest or sleep for either of us that night! By four o’clock I sent for my mother-in-law, and then for

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the midwife. By half past six all was over”.

At the time of little Raimund Leopold’s birth, Mozart was composing his String Quartet in D minor. Many years later, when Constanze was in her sixties, she would describe how the sounds of her labour are captured in the quartet, especially in the Minuet. She did not say exactly where in the music these sounds might be heard, and musicologists have spent many happy hours searching for clues in unusual melodic leaps and changes of dynamic. Similar searches of music written at other key points in Mozart’s life – such as following the deaths of his parents or children - have been equally inconclusive.

Tantalising glimpses emerge, but we are reminded that personal expression was rarely the goal of composers of the Classical era. Rather, positive influence on the listener was paramount, so that even the most dreadful musical subject should never “offend the ear”.

Mozart dedicated the D minor quartet to Haydn.

The older composer had always been an influence from afar, and his style can be heard in the unpredictable phrases and motivic melodies of this work. The first movement is virtuosic and unsettled. The first theme has a singing character, betrayed by the accompaniment which reminds of an anxiously beating heart. The character is one of emotional indecision and the listener is kept unbalanced by unexpected turns. The Andante shifts to a major key, seeming to calm, but almost immediately, rhythmic anticipations reintroduce a sense of breathlessness. Rhythmic structures become more predictable in the development section, but here harmonic timbre creates a growing intensity. The Minuet returns to the minor key with a dramatic flourish. But the Viennese-flavoured trio, with its plucked string accompaniment, provides an almost comical foil.

The final movement is a theme and variations, built on a theme with the gently rocking pulse of a siciliano. The abrupt ending with a major chord

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has been likened by some to the sudden arrival of Mozart’s baby boy.

Ludwig van BEETHOVEN (1770-1827) Symphony No. 4 in B flat major Op. 60 arr.

Watts (1817) Adagio – Allegro vivace Adagio Menuetto: Allegro vivace Allegro ma non troppo 1806 was a difficult year for Beethoven. His opera Fidelio had failed and his relationship with his brother, Karl, had deteriorated. Visiting his long-time patron, Prince Lichnowsky, in upper Silesia, Beethoven lost his temper and threatened the Prince with a chair. Thankfully, Count Franz von Oppersdorff intervened, and transferred Beethoven to his own nearby estate.

The Count’s 13th century castle was complete with an orchestra, which promptly performed Beethoven’s second symphony. Afterwards, the Count pressed Beethoven to write a new symphony – the fourth. Beethoven agreed, and dedicated the work to the Count upon its completion. His Symphony No. 4 has a similar structure and character to the first and second symphonies, seeming to return to more familiar territory following the innovations of the third.

That said, a critic describing the symphony’s premiere voiced the thoughts of many when he observed: “that the composer follows an individual path in his works can be seen again in this work; just how far this path is the correct one, and not a deviation, may be decided by others.

To me the great master seems here, as in several of his recent works, now and then excessively bizarre, and thus, even for knowledgeable friends of art, easily incomprehensible and forbidding”.

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There followed the fifth and sixth symphonies, and in 1811 another critic described the fourth symphony as: “cheerful, understandable and

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The Performers

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engaging, closer to the composer’s justly beloved first and second symphonies than to the fifth and sixth”. Already, the fourth was becoming overshadowed by his later symphonies, which challenged musical norms to an exceptional degree. But it was not immune to the flights of fancy typical of Romanticism. Alongside Beethoven’s other works, Robert Schumann’s description of the fourth symphony as “a slender Grecian maiden between two Nordic giants” seems apt. However, for those hearing the music for the first time, its dark and dissonant introduction and the delayed arrival of the lively major mode must have been striking.

So, too, the operatic character of the second movement, in which an insistent accompaniment repeatedly unsettles the singing main melody.

The third movement, although titled a Menuetto, is marked by its energy and abrupt shifts as a Scherzo – often described as a musical joke. It is a substantial movement, distinct from the lighter Menuet of the Classical era. The final movement opens with joyous running semi-quavers, setting off an uplifting perpetuum mobile which releases tension and brings the journey of the whole work to a close.

William Watts was a violist and secretary of the newly formed Royal Philharmonic Society. He was also prolific as an arranger of Beethoven’s work, publishing all the symphonies as septets, followed by versions for piano duo. Such are the challenges of capturing or reimagining the textures and effects which exist in the original works that such arrangements can be regarded as compositions in their own right. Beethoven himself lauded Watts’ work, particularly the piano duo versions of the symphonies and of the Coriolan overture.

Watts himself doubtless enjoyed the financial reward of his labours, as well as supporting the Society’s goal of championing Beethoven’s music in England.

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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.

Cello James Bush Winner of the TVNZ Young Musicians Competition and of the National Concerto Competition of New Zealand, James has performed as soloist with all of New Zealand’s leading orchestras. He has worked regularly over the last

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10 years with many of Europe’s leading baroque orchestras including Akademie für Alte Musik Berlin and Concerto Köln, as well as principal cellist of Al Ayre Español.

James has also collaborated for many years with renowned dance company Sasha Waltz and Guests, performing from the Bach cello suites in 50 performances worldwide of the work Gezeiten.

He can be heard performing on recordings released by Sony, Harmonia Mundi, Winter & Winter, and Challenge Classics.

Photo: Ken Knoll

Double Bass Jacqueline Dossor Originally from Sydney, Jacqueline moved to the UK in 2004 to study at the Royal Academy of Music in London.

Since graduating, Jacqueline has worked regularly with UK orchestras and ensembles such as the English Chamber Orchestra, the Orchestra of the Age of Enlightenment, BBC National Orchestra of Wales, Welsh National Opera, English Touring Opera, and English National Ballet to name a few.

Jacqueline commuted between the UK and Australia until 2018, but is now based in Perth and is the principal double bass player for the Australian Haydn Ensemble. She also performs on occasions as guest principal with Australia’s other top period orchestras including Pinchgut Opera/Orchestra of the Antipodes and the Australian Brandenburg Orchestra.

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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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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 co-director of The NOISE String Quartet.

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

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The Performers 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.

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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 2017-18. *Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra

Viola Karina Schmitz Karina is principal violist of Handel and Haydn Society in Boston, Apollo’s Fire in Cleveland, and the Carmel Bach Festival Orchestra. She is also a founding member of 17th-century ensemble ACRONYM, and violinist/violist of Duo Corbetta. For eleven years she served as principal second violinist with Philadelphia based Tempesta di Mare. Hailing from the USA, Karina holds degrees from New England Conservatory and the Cleveland Institute of Music, and studied early music at Oberlin Conservatory and in the Apollo’s Fire Apprentice Program.

Karina has collaborated with many ensembles including Van Diemen’s Band, the Boston Early

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Continued

Music Festival Orchestra, Boston Camerata, and the American Opera Theater in Washington, D.C. Photo: Roger Mastroianni

Violin Simone Slattery Simone has a passion for music from a wide range of eras, performing on both modern and baroque violin.

She has appeared as soloist and chamber musician in Australia and overseas, and regularly performs with ensembles such as the Melbourne Chamber Orchestra, the Australian Brandenburg Orchestra, the Orchestra of the Antipodes, Adelaide Baroque, the Adelaide Symphony Orchestra, among others.

Festival appearances include: the BBC and Snape Proms (UK), Huntington Estate Music Festival, and the Adelaide, Melbourne, Sydney and Perth International Arts Festivals.

From 2011 to 2014 Simone was a Britten-Pears Young Artist, performing as concertmaster of both the modern and baroque orchestras. She recently completed her PhD creating editions and recordings of the little-known violin works of Ernest Bloch.

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ACE

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REPL

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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

Esterházy $15,000+ Martin & Ursula Armstrong Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Mark Burrows AO John Claudianos & Nena Beretin Jeremy & Kate Eccles Tom & Sherry Gregory The Hon. Nick Greiner AC & Carolyn Fletcher AM Kevin & Deidre McCann Ian & Pam McGaw Timothy & Eva Pascoe Rob & Myriame Rich Peter Weiss AO Anonymous (1)

Waldstein $10,000 - $14,999 John Fairfax AO & Libby Fairfax Dr Marguerite Foxon Reg & Kathie Grinberg Karin Keighley

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Justice Anthony Whealy & Annie Whealy Anonymous (2)

Van Swieten $5,000 $9,999 Mark & Carolyn Bethwaite Jean Cockayne Ron & Suellen Enestrom Ralph & Maria Evans Paul & Anne Masi David Mortimer AO & Barbara Mortimer Nola Nettheim Trevor Parkin Keith & Robyn Power Lesley Whalan & Wendy Calisle Peter Young AM & Susan Young

Galitzin $1,000 - $4,999 Stephen & Nanette Ainsworth Antoinette Albert Margot Anthony AM Ann Armstrong John Baird Rosalind Baker Carey Beebe Pattie Benjamin Linda Bergin OAM Clive Birch Ecki & Celia Bischoff Graham Bradley AM & Charlene Bradley Tony Burrell & Hilary Steel Peter & Anita Carmody Dr Michael & Colleen Chesterman Robert & Carmel Clark Terry & Julie Clarke Alison Clugston-Cornes Janet Cooke Dr Nola Cooke Peter Craswell

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Peter & Prudence Davenport Catherine Davies Dr John Dearn Robert & Jane Diamond Dr Paul Edwards Bronwyn Eslick Terry & Lynn Fern Richard Fisher AM & Diana Fisher Marian Flynn Ivan Foo Suzanne Gerozisis Christine Goode The Hon. Don Harwin, MLC Garrick & Evelyn Hawkins Andreas & Inn Ee Heintze Paul Hopmeier & Jan King Peter & Margaret Janssens Peter & Linda Kurti Garth Mansfield OAM & Margaret Mansfield OAM Libby Manuel Andrew & Abbey McKinnon Jacqueline Milne Nick Minogue John Nethercote Beverly Northey Pieter & Liz Oomens Nick Payne Susan Perrin-Kirby Ian Reid Mary Rose-Miller Peter & Carol Scott Gregory & Wendy See Penelope Seidler AM David & Daniela Shannon Roger & Ann Smith The Smithers Family Michael & Rosemary Sprange Dr Jenepher Thomas Tim & Vincie Trahair Kay Vernon Dr Margot Woods Carla Zampatti AC

In Memory of Bill Harris AO Anonymous (8)

Lobkowitz $500 - $999 Garry & Joanna Barnes Jeffrey Bridger Diana Brookes Dr William Brooks Dr Andrew Byrne Sylvia Cardale George H Clark Christine Cooper James Coughlan Elizabeth Gee Kent Harrisson & Niky Rovis Sally Herman Gerard Joseph Trevor Kennedy & Lisa Delaney Kirsten Lock Diccon & Liz Loxton Peter & Lisa Macqueen David Malouf Elbert Mathews Jules Maxwell Alan McCormack Terry & Catherine McCullagh Alex & Edwina McInnes Tony Minchin Frank & Jenny Nicholas Dr Rosalind Page Deidre Rickards Dr Rupert Summerson Susan Tanner Jill Townsend Dr Frances Whalan Lady Meriel Wilmot-Wright In memory of Frank Bradley Anonymous (1)

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Razumowsky $50 - $499 David & Jill Adams Geoff & Rosie Adams Glenn & Jillian Albrecht

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Patrons

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William Armitage Corinne Arter James Ashburner Stephen Baggaley Anthony & Lurlene Bailey Timothy Bailey Eric Baker Dame Marie Bashir AD CVO Robin Bass Ken Baxter Andrew Blanckensee Erica Booker Jennifer Bott Jan Bowen AM Margaret Bradley Janet Britton Malcolm Brooks Charlotte Brown Russell Burgess Joanna Capon OAM Robert & Josephine Carr Lynette Casey Richard Chisholm Myee Clohessy Wendy Cobcroft Linda Collings Margaret Cooper Harriet Cunningham Megan Curlewis Sarah Curro Rhonda Dalton Pastor de Lasala OAM Don Debus Jennifer Dewar Nick Dinopoulos George Drew Marilyn Edmond Maria & Bob Elliot Constance Ellwood Ian & Susan Ernst Garry Feeney Michael Fong

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Continued

Warwick Franks Julia Fredersdorff Richard Gorrell Rosemary Greaves John Greenwell Erik & Marilyn Haan Victoria Hartstein Judith Healy Dr Erin Helyard Jenni Hibbard Peter Hislop Ann Hordern Elizabeth Howard John & Pat Howard Catherine Ikin David Irving Paul & Carol James Margaret Johnson Margaret Julian Gabrielle Kancachian Lisa Kawai Janice King Dr Joan Kitchin Lynette Kok George Lawrence Harriet Lenigas Andrew Lloyd-James & Dr Patricia Richardson Peter Lowry OAM & Dr Carolyn Lowry OAM Charles Manning Kathleen Marriott Kirsty McCahon Stephen McDonald & Mindy Green Wendy McLeod Paul & Betty Meyer Richard Milner Dr David & Michelle Moddel Giancarla Montagna Dr Mary-Jane Mountain Tony Mountstevens

Patrick Mullins Heather Nash Elizabeth Neild Narelle Nelson Dr Peter & Patricia O’Brien Henry O’Connor Patricia Parker Catherine Peel Louise Petersen Jock Pharey & Prue Skinner Eric Pozza Alex Ralph Colin Rea Adrian Read Michael Richards Dr Lyn Riddett Josie Ryan Carole Salter Anneke Scott Barbara Sergi Heather Shelley Keith & Janet Stanistreet Rob Starling Libby Steeper Lisa Stewart Tony Stirton Elizabeth Storrs Lady Penny Street Jane Styles Matt Taylor Janet Tomi Ian Tonking Frances Tsoukalidis Ailsa Veizedeh Theanne Walters The Hon. Penelope Wensley AC Brian & Helen Wilder Gerard Windsor & Louella Kerr Michael Winnett Anonymous (22) Correct at time of printing.

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Support AHE The generosity and loyalty of our donors has enabled AHE to bring the music of Haydn and his contemporaries to audiences and students in Australia and abroad.

Help us to continue with this vital work by contributing through our website or sending a donation to:

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Australian Haydn Ensemble Level 1, 16-18 Oxford Square Darlinghurst 2010

Find out more about how you can support the Ensemble at australianhaydn.com.au/how-to-support All donations over $2 are tax deductible.

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Partners Media Partners

Venue Partners

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Administration Partners

Wine Partner

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Backstage

Administration Alicia Gibbons - General Manager Stephen Bydder - Administrator Marguerite Foxon - Development Manager Vi King Lim – Score Services Keeping Company - Bookkeeping Board Marco Belgiorno-Zegna AM Chair Carolyn Fletcher AM Tom Gregory 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

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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 Jacqueline Dossor Marguerite Foxon Gregory and Wendy See Thank you to our patrons who kindly provide accommodation for our out-of-town performers.

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Handel & Delirious Love One of Australia’s most loved and acclaimed sopranos, Sara Macliver and Australian-born International conductor Benjamin Bayl join the Australian Haydn Ensemble for a stunning program of Handel and Scarlatti.

26 September – 1 October Canberra/Berry/ Southern Highlands/ Sydney/ Newcastle Avison/Scarlatti (After D. Scarlatti) Concerto Grosso No. 3 in D minor Handel Motet for soprano and instruments HWV 242 Sileti Venti Handel Aria from Alcina Tornami a vagheggiar A. Scarlatti Concerto Grosso No. 5 from Six Concerti in Seven Parts in D minor Handel Cantata Il delirio amoroso HWV 99

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