Midori & Mozart Program - Australian Haydn Ensemble

MIDORI & MOZART

HAYDN, MOZART & BOCCHERINI

EMPERORS & ARMIES

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

MIDORI & MOZART DECEMBER 2019 Midori Seiler Guest Director and Violin Skye McIntosh Artistic Director and Violin

W.A. MOZART Symphony No. 33 in B flat major K. 319

Canberra Thursday 21 November, 7pm Albert Hall, Yarralumla

F.J. HAYDN Violin Concerto in C major Hob. VIIa/1

Sydney Sunday 24 November, 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music

Interval W.A. MOZART Violin Concerto No. 2 in D major K. 211 F.J. HAYDN Symphony No. 80 in D minor Hob. 1:80

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

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

Violin Skye McIntosh* Matthew Greco* Stephen Freeman Alice Rickards Emma Williams

Flute Melissa Farrow 1

Viola Gabrielle Kancachian* James Eccles

Bassoon Brock Imison* 2 Simon Rickard

Cello Anton Baba* Daniel Yeadon

Double Bass Jacqueline Dossor

Oboe Joel Raymond Kirstin Barry

Horn Carla Blackwood* 3 Doreé Dixon

* Section Leader

1. Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra 2. Brock Imison appears courtesy of the Melbourne Symphony Orchestra 3. Carla Blackwood appears courtesy of the University of Melbourne

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Artistic Director’s Message

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Our final program for 2019 is possibly one of our most exciting projects ever. It is always a treat to perform as a full orchestra, but to present one of the world’s leading baroque violinists is thrilling. Midori Seiler is an outstanding international artist. To have her make her Australian debut as Guest Director of the Australian Haydn Ensemble is something I am not only delighted about, but whch I have been looking forward to immensely.

The program features the music of Mozart and Haydn - two composers deeply connected and yet vastly different from one another.

Mozart’s Symphony No. 33 opens the program.

Interestingly, this is one of the few works of Mozart that one could mistakenly attribute at first hearing to Haydn. Mozart was, of course, hugely influenced by Haydn and looked up to him as ‘the father’ of composition. His set of six string quartets, dedicated to and modeled on the writing of Haydn, attests to that. Mozart’s other symphonies from around this time are scored for a larger orchestra and also reflect a more Italian influence than this one, which follows more closely the Austrian traditions.

During the program, Midori presents two beautiful classical violin concerti that showcase not only her stunning playing but also the differences between these two monumental composers. Mozart’s Violin Concerto No. 2 in D major was most likely written for himself

to perform as the soloist. Penned at a time in his life when he frequently featured as a solo violinist, it was also when he wrote the majority of his instrumental solo works. The concerto is delightful and a refreshing contrast to the more popular third, fourth, and fifth concertos more commonly programmed today.

Haydn’s Violin Concerto in C major was dedicated to Luigi Tomasini, the concertmaster of the orchestra at the Esterházy Palace. Written earlier than the Mozart concerto, it is a charming example of Haydn’s instrumental writing.

The work opens with a joyful and trumpetlike theme, showing off the violinist with virtuosic double-stopping and scalic flourishes.

These are accompanied by echoed orchestral accompaniments that are not unlike the symphonies of C.P.E. Bach.

The program finishes with Haydn’s wonderfully dramatic Symphony No. 80 in D minor. This work, written near the end of his time with the Esterházy’s, displays a great deal of Sturm and Drang spirit. It opens with a dark burst that gives way to delightful orchestral interjections. An excellent way to finish our 2019 series! I look forward to welcoming you back in 2020.

Skye McIntosh Artistic Director & Violin

About The Music Wolfgang Amadeus Mozart and Franz Joseph Haydn probably first met in 1783, when Haydn was a household name and Mozart’s fame was growing. There was much admiration and affection between them. Mozart looked up to Haydn, inviting him to give comment on rehearsals of his newest opera. The two of them played together in string quartets, and influenced one another’s compositions. But their lives were strikingly different. Mozart spent more than ten of his 35 years travelling, from Amsterdam to Pompei, London to Vienna, visiting the courts of Europe as a child prodigy and then in search of a permanent position. He claimed that travel was necessary for his inspiration. Haydn spent almost his entire career in Esterháza, and described his isolation as “forcing him to become original”.

At the end of his working life, Haydn was feted in London and Vienna and became a rich man.

Mozart remained a freelancer, obliged to meet standards of dress and lodgings expected by his upper-class students and clients, and ended his days in debt.

Wolfgang Amadeus Mozart (1756 – 1791) In 1773, Wolfgang and his father Leopold returned home to Salzburg from a successful tour of Italy. Leopold had been intent on finding a distinguished position for his son – a goal almost realised at the court of Milan. There the Archduke Ferdinand was deeply impressed by the Mozarts, until a despatch from his mother, Empress Maria Therese in Vienna, advised him not to encourage such people who ‘go about the world like beggars’.

Thus rebuffed, father and son returned to their (in their view insufficiently esteemed) positions at the court of Salzburg. Georg Nikolaus von Nissen, in his 1828 biography of Mozart’s life, portrayed this time as one of suffering; neglected and passed over by the Prince-Archbishop, dominated by his

father, already doomed to an early grave. But the truth is more complex. Salzburg was evolving towards modernity, and the Mozarts were of the old guard. Archbishop Colloredo was embracing sciences and arts and no longer favouring the old musical traditions, some of which had been in place since the 1590s. He was inclined to import Italian musicians, who were often given comparatively generous remunerations.

The Mozarts felt slighted – for which we can be grateful, for it led to the creation of some of Wolfgang’s most beloved instrumental music.

Franz Joseph Haydn (1732 – 1809) In the 1760s, Haydn’s orchestra at the court of Prince Nikolaus Esterházy comprised only 13-15 players, with approximately 6 violins, 1 viola, 1 cello, 1 bass, 2 oboes, 2 horns and a bassoon, with a flute added where needed. Even at its height in the 1780s, the ensemble had only 22-24 members.

But its size was no indication of its quality – many of the players were virtuosi who remained in the Prince’s service for decades. Nikolaus was generous and freely dispensed extra gold ducats should he be pleased by his employees. The orchestra’s members included the famous Luigi Tomasini on violin, Joseph Weigl and Anton Kraft on cello, and Carl Franz on horn and baryton.

Haydn composed many of his concertos of the 1760s for these musicians, as well as parts in his early symphonies that challenge players to this day.

Haydn knew how fortunate he was to be employed

by Prince Esterházy. In the years prior to 1760, he described having to eke out a living as a freelance music teacher, indulging his zeal for composition at night. Although in Esterháza he felt isolated from the cultural world of Vienna and the other centres of Europe, he enjoyed his freedom to compose and became a close friend and confidant

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of Prince Nikolaus. Finally, given extended leave following the Prince’s death, he was able to accept the offer of the impresario Salomon to visit London. There he savoured his fame and became a rich man.

Mozart Symphony No. 33 in B flat major K. 319 (1779) Allegro assai Andante moderato Menuetto Finale: Allegro assai

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The year in which Mozart composed his Symphony No. 33 saw him accept a new position in Salzburg – that of court and cathedral organist, with an increased salary and generous leave.

Initially, his self-respect as a talented musician and composer was appeased and he applied himself diligently to his work, composing some of his best sacred works. However, it seems that his attentions to his work did not satisfy Colloredo, who upon appointing Michael Haydn as his successor in 1782 wrote: ‘we accordingly appoint [J.M. Haydn] as our court and cathedral organist, in the same fashion as young Mozart was obligated, with the additional stipulation that he show more diligence … and compose more often for our cathedral and chamber music’.

Part of the reason for Colloredo’s dissatisfaction may have been Mozart’s preoccupation with instrumental music, for which the court had little use. During this time, Mozart composed the symphonies K. 318, 319 and 338, as well as the ‘Posthorn’ Serenade, the Divertimento K. 334, the Sinfonia concertante for violin and viola K. 364, as well as incidental music for Thamos, König in Ägypten and Zaide.

Symphony No. 33 in B flat major was originally in three movements, with the minuet and trio added later for performances in Vienna. Overall, the symphony is a light-hearted work, of smaller dimensions than Mozart’s other late symphonies.

The first movement is unexpectedly in triple meter, with many surprising interjections and dramatic pauses. At first, it appears to be in standard sonata form, typical of the Classical era, in which an opening section introduces two themes which are then elaborated in the ‘development’ section, and repeated in the ‘recapitulation’. But when the development arrives, Mozart unexpectedly introduces new material. To add further delight, he takes the thematic material of this first development and uses it in the corresponding sections of each of the following movements of the symphony. Thus, a thematic connection is created across the whole work.

The Andante features the strings, the divided viola part continuing to add depth and colour at key moments. Its structure is typical of Mannheim, illustrating how Mozart gathered different compositional styles on his travels, absorbing them into his own work. The Minuet is of an unusually dark character, especially for a major key, only dissipated by the energy of the opera-like finale.

Haydn Violin Concerto No. 1 in C major Hob. VIIa/1 (1760s) Allegro moderato Adagio Finale: Presto The Violin Concerto No. 1 in C major is one of four surviving violin concertos, and is entitled fatto per il luigi – made for Luigi. The Luigi in question was Luigi Tomasini, concert master of the Esterhazá orchestra and a well-respected soloist and composer in his own right. The concerto is set in C major, a key associated with purity, innocence and naivety. The wide leaps and skipping steps, alongside showy solo passages, are typical of the Italian style popular at the time. These are apparent in the first and last movements, designed to lift the spirits and frame the weightier central movement. The Adagio has become well-

known in its own right. Composed in F major – an unusual choice in relation to C major – it begins with a poised introduction. Here the violin rises ever higher, as if in supplication. There follows a sweetly sorrowful song-like Adagio, accompanied by gently plucked pizzicato in the strings.

Then there is a moment of repose, space for an expressive cadenza by the violin, before a repeat of the opening introduction and a leap into the spirited final movement.

Mozart Violin Concerto No. 2 in D major K. 211 (1775) Allegro moderato Andante Rondeau, Allegro Mozart composed all five of his violin concertos between 1773 and 1775, as a teenage concertmaster at the court of Archbishop Colloredo. It is likely that the concertos were written for his own performance as soloist.

However, perhaps due to Colloredo’s desire that Mozart should compose sacred music, they were not particularly well received.

The concerto No. 2 in D Major is simpler than his keyboard concertos, but charming and wellconstructed. Contrasting passages between soloist and orchestra are derived from Baroque concerto grosso forms. However, the central slow movement shows some elements of Mozart’s mature style. It has melodic patterns which remind the listener of some of Mozart’s operatic arias from this time, and the occasional irregular phrases were to become a hallmark, possibly an influence from Haydn. The final movement is a Rondeau, with a repeating theme, varied through changing accompaniments and offering many opportunities for virtuosity.

HAYDN Symphony No. 80 in D minor Hob. 1:80 (1784) Allegro spiritoso Adagio Menuetto Finale: Presto Symphony No. 80 opens with a dramatic tremolo, driven forwards by the bass line, a typical Sturm und Drang (Storm and Stress) gesture.

There follow the expected strong rhythms and dynamic contrasts which gave this style its name.

But in true Haydnesque form, an unexpected dance-like theme interrupts and the movement gains a new dimension, a jokiness emphasised through sudden pauses and unexpected musical statements. Unlike Haydn’s earlier symphonies, which were composed for the Esterházy court, No. 80 was composed with publishers in mind. The symphonies of this time are accessible and witty, combining delightful melodies, interesting effects, as well as impeccable craftsmanship and enough scholarly depth for connoisseurs. Haydn also described them as “easy to play”, to endear them to the amateur paying public.

The second movement is expansive, an emotional journey as it moves between warmth, entreaty and bitter-sweet melancholy. The minuet brings a return of the minor key, giving it a raw character.

There is little connection to the elegant minuets of the early eighteenth century, only the form and the triple meter harking back to the dance.

The finale begins quietly, creating an unsteady, humorous effect with syncopated rhythms and creative instrumentation leading to a dramatic close.

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Midori Seiler Midori Seiler Guest Director

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Midori Seiler, Bavarian-Japanese daughter of two pianists, grew up in Salzburg. Her musical education took her to Basel, London and Berlin – her teachers included the modern violinists Helmut Zehetmair, Sandòr Végh, Adelina Oprean, David Takeno and Eberhard Feltz, as well as two specialists in early music, Stephan Mai and Thomas Hengelbrock.

As a long time member and one of the concertmasters of Akademie für Alte Musik Berlin, Midori was a leading member during the ensemble’s international breakthrough from 1992 to 2014. Numerous CD recordings from this fruitful period present Midori as a soloist. Since 2016 she has also been the Artistic Director of the Bach Collective of the Köthen Bach Festival.

Midori Seiler is one of very few violinists of historical performance practice who feel at home in different musical eras. She is equally comfortable playing baroque violin concerti with orchestras like Budapest Festival Orchestra or Tafelmusik Toronto as she is performing classical

or romantic violin concerti with orchestras such as Anima Eterna, Concerto Köln or Akademie für Alte Musik Berlin. “To me, historical performance practice of post-baroque times is a field that has not yet been sufficiently developed. To explore it, with the treasure-trove of knowledge of previous times in my luggage is extremely fascinating.”

Midori is also a passionate teacher. From 2013 to 2016, she led the Schwetzinger Court Music Academy with cellist Jaap ter Linden, teaching the music of the southwestern courts of the 18th century to the musicians of tomorrow. She has given masterclasses in Brugge, Antwerp, Weimar, Verona, Innsbruck, Zürich and Stuttgart, and between 2010 and 2013 she was professor of baroque violin and viola at the Hochschule für Musik Franz Liszt in Weimar. In October 2014, she was appointed professor of baroque violin and viola at the University Mozarteum Salzburg. In 2015, Seiler was awarded the Saxon Mozart Prize, which acknowledged her artistic and pedagogical contributions towards increased understanding of the works of Mozart.

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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 John Claudianos & Dr Nena Beretin Mark Burrows AO 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 Anonymous (1)

Waldstein $10,000 - $14,999 John Fairfax AO & Libby Fairfax Dr Marguerite Foxon

Karin Keighley Justice Anthony Whealy & Annie Whealy Anonymous (2)

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

Galitzin $1,000 - $4,999 Antoinette Albert Margot Anthony AM Ann Armstrong John Baird Rosalind Baker Carey Beebe Linda Bergin OAM Clive Birch Tony Burrell & Hilary Steel Dr Michael & Dr Colleen Chesterman Robert & Carmel Clark Dr Terry & Julie Clarke Alison Clugston-Cornes Janet Cooke Dr Nola Cooke Peter Craswell Peter & Prudence Davenport Catherine Davies

Dr John Dearn Robert & Jane Diamond Dr Paul Edwards Richard Fisher AM & Diana Fisher Marian Flynn Ivan Foo Suzanne Gerozisis Christine Goode Tony Grey The Hon Don Harwin MLC Andreas & Inn Ee Heintze Paul Hopmeier & Jan King Peter & Margaret Janssens Peter & Linda Kurti Garth Mansfield OAM & Margaret Mansfield OAM Libby Manuel Jacqueline Milne Nick Minogue John Nethercote Beverley Northey Pieter & Liz Oomens Nick Payne Susan Perrin-Kirby Susan Roberts Ian Reid Mary Rose-Miller Peter & Carol Scott Gregory & Wendy See David & Daniela Shannon Roger & Ann Smith The Smithers Family Michael & Rosemary Sprange Dr Jenepher Thomas Tim & Vincie Trahair Kay Vernon Dr Margot Woods In Memory of Bill Harris AO Anonymous (7)

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 Anthony Strachan Dr Rupert Summerson Susan Tanner Jill Townsend Dr Frances Whalan Lady Meriel Wilmot-Wright In memory of Frank Bradley Anonymous (2)

Razumowsky $50 - $499 Gary & Joanna Barnes Jeffrey Bridger Diana Brookes Dr William Brooks Dr Andrew Byrne

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Patrons

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Sylvia Cardale George H Clark Christine Cooper James Coughlan Elizabeth Gee Sally Herman Gerard Joseph Diccon & Liz Loxton Peter & Lisa Macqueen Elbert Mathews Alan McCormack Terry & Catherine McCullagh Alex & Edwina McInnes Tony Minchin Frank & Jenny Nicholas Dr Rosalind Page Deidre Rickards Anthony Strachan Dr Rupert Summerson Susan Tanner Jill Townsend Dr Frances Whalan Lady Meriel Wilmot-Wright In memory of Frank Bradley Anonymous (2) Razumowsky $50 - $499 Geoff & Rosie Adams 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 Beatrice Botvinik Jan Bowen AM

Continued

Margaret Bradley Janet Britton Malcolm Brooks Russell Burgess Robert & Josephine Carr Lynette Casey Wendy Cobcroft Linda Collings Margaret Cooper Megan Curlewis Rhonda Dalton Pastor de Lasala OAM Jennifer Dewar George Drew Marilyn Edmond Maria & Bob Elliot Ian & Susan Ernst Garry Feeney Michael Fong Warwick Franks Julia Fredersdorff Rosemary Greaves John Greenwell Victoria Hartstein Judith Healy Dr Erin Helyard Ann Hordern Elizabeth Howard John & Pat Howard Catherine Ikin Paul & Carol James Margaret Julian Gabrielle Kancachian Janice King Dr Joan Kitchin Lynette Kok George Lawrence Andrew Lloyd-James & Dr Patricia Richardson Stephen McDonald & Mindy Green Wendy McLeod

Paul & Betty Meyer Patrick Mullins Heather Nash Narelle Nelson Dr Peter & Patricia O’Brien Henry O’Connor Catherine Peel Louise Petersen Jock Pharey & Prue Skinner Colin Rea Adrian Read Michael Richards Josie Ryan Barbara Sergi Heather Shelley Keith & Janet Stanistreet Rob Starling Libby Steeper Elizabeth Storrs Janet Tomi Frances Tsoukalidis The Hon. Penelope Wensley AC Anonymous (17) Cumulative donations made from 2017 onwards.

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: 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

Backstage

Administration Alicia Gibbons - General Manager Stephen Bydder - Administrator Marguerite Foxon - Front of House and Administrator Vi King Lim – Score Services Keeping Company - Bookkeeping Board Marco Belgiorno-Zegna AM Chair Carolyn Fletcher AM Tom Gregory Skye McIntosh Peter Young AM In-Kind Supporters Maria Cox Marguerite Foxon Thank you to our patrons who kindly provide accommodation for our out-of-town performers.

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.

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HAYDN, MOZART & BOCCHERINI

EMPERORS & ARMIES 6 – 11 FEBRUARY

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