Delirious Love Concert Program 2019

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2019 Season 2

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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HANDEL & DELIRIOUS LOVE Skye McIntosh Artistic Director and Violin Benjamin Bayl Guest Director and Harpsichord Sara Macliver Soprano A. (F.?) Scarlatti (arr. Avison?)

Concerto No. 3 in F major from 6 Concerti in Seven Parts G.F. Handel Motet for soprano and instruments HWV 242 Silete Venti G.F. Handel Aria from Alcina ‘Tornami a vagheggiar’ A. Scarlatti (arr. Avison?)

Concerto No. 5 in D minor from 6 Concerti in Seven Parts G.F Handel, Cantata HWV 99, Il delirio amoroso

Canberra Thurs 26 September, 7pm Albert Hall, Yarralumla Berry Fri 27 September, 7pm Berry Uniting Church Hall

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Southern Highlands Sat 28 September, 3pm Burrawang School of Arts Sydney Sun 29 September, 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music Newcastle Tues 01 October, 7pm Newcastle Conservatorium of Music

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 Period Instruments Skye McIntosh Violin I Tomaso Eberle, 1770, Naples Matthew Greco Violin II David Christian Hopf, 1760, Quittenbach James Eccles Viola Hiroshi Iizuka, 1992, Philadelphia Anton Baba Cello Peter Elias, Aigle, Switzerland (2000) after Stradivarius Laura Vaughan Violine D violone, John Pringle USA, 2005, after G.P. Maggini, Brescia c.1610

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Amy Power Oboe Pau Orriels, Vilanova i la Geltrú, 2007, after Thomas Stanesby, London (1692-1754) Recorder Adrian Brown, Amsterdam, 2016, after Jacob Denner, Nuremburg (1681-1735) Simon Rickard Bassoon Mathew Dart, London 1994, After JC Denner, c. 1690 Simon Martyn-Ellis Theorbo Jiři Čepelak, 2004, Prague Baroque guitar Marcus Wesche, 2011, Bremen

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Artistic Director’s Message Our fourth concert series for 2019 is built around Handel’s wonderful canata Il Delirio Amoroso. Exploring the different guises of love, the Ensemble delves further into the earlier part of the eighteenth century presenting some stunning baroque gems by Handel and Scarlatti.

Handel’s Il Delirio Amoroso, a work of incredible beauty and virtuosity, was written during a visit to Rome and was first performed in 1707. The libretto for the work is particularly poetic and was written by his patron Cardinal Benedetto Pamphili (1653-1730). Unusually, the arias of the work are punctuated with dance movements that feature the musicians alone and the scoring is particularly virtuosic for the violin. Pamphili’s libretto inspired some beautiful writing on Handel’s part and the work tells a sorrowful tale of Chloris’s unrequited love for Thyrsis. Chloris mourns the death of her beloved Thyrsis who never responded to her love, so in her ‘delirium’ she imagines his punishment in hell. Even so, she enters the underworld to bring him back to life, yet still his love is not returned. Anger gives way to forgiveness and she spares him from the fiery part of Hades in favour of the Elysian Fields.

The program also features two other works

by Handel - his motet Silete Venti and the aria ‘Tornami a vagheggiar’ from Alcina. Silete Venti was written in England in the 1720s and it shares some material with Handel’s oratorio Ester. The work traverses a fine line between divine and mortal love and showcases extremely virtuosic writing for the singer, leading us to believe it

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must have been written for a performer of the highest skill of the time. Similarly, ‘Tornami a vagheggiar’, telling a love story, displays the incredible virtuosity of the singer and is one of Handel’s most loved arias. Interwoven with these works of Handel, we also have some beautiful works by the Scarlatti brothers, which complement the Handel pieces.

I am delighted to have the opportunity to present our audiences with slightly earlier repertoire than we normally perform, and to collaborate with two outstanding Australian artists: acclaimed Australian soprano Sara Macliver and Berlinbased Australian conductor and keyboardist, Benjamin Bayl.

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Sara Macliver is a wonderful singer with a beautiful voice and such a pleasure to work with.

Her ethereal tone and stunning virtuosity will delight audiences’ ears in these works by Handel.

Guest director, conductor and keyboardist, Benjamin Bayl, who regularly performs throughout Europe conducting many of the world’s finest baroque and classical period orchestras (as well as opera productions) is making his first appearance with the Ensemble.

We are delighted to have him on stage with us.

Skye McIntosh Artistic Director & Violin

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About The Music

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The people of eighteenth century London took the arts very seriously. The colonies were pouring money and goods into the city and there was both time and appetite for entertainment. Music could be heard in the streets, pubs, and taverns, in private and public performance venues, in secular and religious settings. In the New Spring (now Vauxhall) pleasure gardens on London’s South Bank, music wafted through the heavily scented air from subterranean tunnels, where musicians were obliged to play to create a sense of enchantment. The gardens, accessible only by boat, had other spaces for performance beneath perfumed bowers and rotundas. Here, in the angle between the river Thames and Lower Kensington Lane, the likes of Charles Avison and George Friderick Handel (formerly Georg Friederich Händel) presented their own works alongside those of Rameau, Corelli, Geminiani, Domenico and Alessandro Scarlatti, and other well-known masters of the age. The variety of London venues and audiences for music encouraged composers to write in a wide diversity of styles and to arrange music for different purposes. Today’s program presents two concertos which may well have been heard in the pleasure gardens, set against vocal works of Handel which were more at home on the stage.

A. (F.?) Scarlatti (1660 – 1725) (arr.

Avison?)

Concerto No. 3 in F major from 6 Concerti in Seven Parts Allegro Largo Allegro Largo Allegro The history of music publishing is rife with

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intrigue, deception, theft, misattribution, doublehandling and above all, confusion. Modern scholars find themselves in the recesses of libraries wading through catalogues, contracts and correspondence seeking out the true provenance of a particular work (or in this case, set of works). Music publishing was booming in the early eighteenth century. Publishers large and small scrambled to produce new material, and arrangements and rearrangements for works – be they with or without the composer’s blessing – were the norm. The early eighteenth century also saw the burgeoning of European copyright law, and it was not uncommon for musical works to be at the centre of bitter legal battles.

The Sei Concerti in sette parti were printed and published in 1740 by Benjamin Cooke in London, marketed as being composed by Alessandro Scarlatti, who had died some 15 years earlier.

In fact, the collection is most probably a composite of rearranged works by Alessandro and his lesser-known and overshadowed brother Francesco – likely arranged (with a relatively heavy hand) by Charles Avison in Newcastle.

The Scarlatti brothers composed the original pieces as “sonate a quattro”, with Alessandro composing the four-voice sonatas in minor keys, and Francesco the two in major keys. The seven parts of the arrangement reflect the unique English preference for this grouping at the time, as opposed to quartets or quintets.

The F major concerto was therefore originally composed by Francesco as a quartet. Ever in the shadow of his older brother and his nephew, Domenico, Francesco never achieved significant recognition. He spent some time in London, possibly invited along with Domenico by G.F. Handel, before settling in Dublin as ‘Master of Musick’. There he spent his life in relative poverty. Perhaps Avison’s choice of Francesco’s

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sunny, Neapolitan-style concertos to balance the darker works by Alessandro will do something to bring him greater appreciation.

G.F. Handel (1685 – 1759) Motet for soprano and instruments HWV 242 Silete Venti Symphonia & Recitative: Silete venti Aria: Dulcis amor Recitative: O fortuna anima Aria: Date serta Aria: Alleluja The occasion for the motet Silete Venti is unknown.

By the eighteenth century, ‘motet’ generally denoted a vocal work with a liturgical text, and it may well have been performed on a stage rather than in a church. The piece was composed during the 1720s, around the same time that Handel became a naturalised British subject. London was the ideal place for Handel and here he enjoyed not only fame but creative freedom. Following his travels in Italy and his home country of Germany, he settled in London until his death in 1759. A commemorative statue – formerly in Vauxhall Gardens – now stands in Westminster Abbey.

Silete Venti consists mostly of music borrowed from earlier compositions, an approach which formed a significant part of Handel’s compositional output. However, this does not detract from its quality. It is highly expressive, dramatic and technically demanding – the final alleluia demands such dazzling vocal skills that it was probably intended for a professional singer, perhaps one of the famous Italian soloists of the time.

The work opens with a typically Handelian French-style sinfonia. Stately dotted rhythms and a brief fugato is interrupted by the entry of the soprano, bringing all movement to a halt. In an arresting recitative, the singer bids the rustling leaves to cease dancing so that her Christian soul can enjoy repose. In the aria that follows, she asks to be pierced by the love of the saviour.

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Chromaticism highlights carnal overtones – an exploration of the links between earthly and divine love, tempered by the purity of the vocal line and a dignified walking-bass. The walking bass continues in Date Serta, lending nobility to a celebration of garlands, palms and the breezes of heaven, and leading irrevocably to the joyous outburst of the final alleluia.

G.F. Handel (1685 – 1759) Aria from Alcina ‘Tornami a vagheggiar’ Handel is credited with introducing Italian serious opera to London in 1711, with Rinaldo. The opera Alcina followed on the success of Rinaldo. It relates the story of the sorceress Alcina and the Knight Ruggiero, who comes to Alcina’s island and finds himself enchanted, forgetting his former life and his betrothed, Bradamante. In a desperate rescue attempt, Bradamante disguises herself as a man and in turn meets another Sorceress, Morgana, who quickly becomes besotted. This aria is sung by Morgana to her new infatuation.

It became one of Handel’s most famous, and is sometimes reassigned to the more significant character of Alcina. Its hopeful arpeggios and fluttering ornaments call for a virtuosic flexibility which was a hallmark of the Italian singers of the Theatre Royal in Covent Garden where it was first performed.

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Tornami a vagheggiar, te solo vuol’ amar quest’ anima fedel, caro, mio bene, caro!

Già ti donai il mio cor fido sarà il mio amor; mai ti sarò crudel, cara mia spene.

Come back to woo me, Only you does this faithful soul wish to love My dear, my beloved, my dear!

I have already given you my heart My love will be true; Never will I be cruel to you, my dear hope.

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A. Scarlatti (1660 – 1725) (arr. Avison?)

Concerto No. 5 in D minor from 6 Concerti in Seven Parts Allegro Grave Allegro Minuetto

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The Concerto No. 5 in D minor comes from the same set as the No. 3 in F major. This concerto certainly stems from the pen of Alessandro Scarlatti, and was probably arranged by Avison.

Like its sibling, Concerto No. 5 is in a concerto grosso format. This style of concerto was popular at the time, setting one or several instruments (the concertino) against the rest of the group (the ripieno). In the case of this set, the seven-part arrangement was a practical choice, designed to accommodate a trio of professional musicians supported by larger forces comprised of amateur players. It also allowed flexibility in the instrument groupings. It could be performed with a large ensemble, or with one instrument per part or even one player covering two parts. In these arrangements, the viola line is often doubled by other parts, reinforcing it. This is another clue that Avison is the arranger, as he had lamented the fact that it was often weaker players who were assigned to viola, so that it could not be heard.

From its opening bar, the D minor concerto presents quandaries brought about by publishing and arrangement. Both the original “sonate a quattro” and Avison’s score mark the opening bars as Largo, yet the published parts are marked Allegro, a difference of night and day. Further discrepancies between source and arrangement follow, most notably the omission of a triple metre central movement, also removed from the other works in the set, likely due to it being unsuitable for the adopted concerto grosso format. Navigating such issues, then as now, forms a challenge for scholars and performers alike.

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G.F Handel, Cantata HWV 99, Il delirio amoroso Introduzione Recitative – da quell giorno fatale Aria – Un pensiero voli in ciel Recitative – Ma fermati, pensier Aria – Per te lascial la luce Recitative – Non ti bastava, ingrato Aria – Lascia omai le brune vele Recitative – Ma siamo giunti in Lete Entrée Minuet – In queste amene piaggie serene Recitative – Si, disse Clori Minuet Like the motet, cantatas had evolved by the eighteenth century. Historically, whereas the motet could have both secular and sacred texts, the cantata was a liturgical work. The text for Il delirio amoroso (Love’s delirium) was provided by one of Handel’s first patrons, Cardinal Benedetto Pamphili (1653-1730) of Rome. Pamphili also roused Handel’s derision by comparing him to the mythical musician, Orpheus – a form of flattery which Handel despised, but which nevertheless shows the high regard Handel enjoyed in Italy.

Il delirio amoroso relates the delirium of Chloris, as she mourns the death of her beloved Thyrsis.

Her love was unrequited, and she imagines that Thyrsis is being punished in hell for his cruelty. Then she decides to rescue him from the underworld, but even in death he does not accept her. After her anger abates, Chloris resolves to help him leave the fires of Hades and enter the Elysian Fields.

The cantata begins with a lively orchestral introduction. There follow a series of recitatives, arias and dances in which the violin, cello and recorder feature in addition to the vocal part. The second aria is particularly arresting, featuring dialogue between vocalist and cello, its deep register perhaps reflecting Chloris’s appeals to Thyrsis who is down in Hades. There are also examples of word painting, including moments of eloquent silence as Chloris calls to Thyrsis, and warbling effects of birds.

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The Performers

Sara Ma Soprano

Sara Macliver Soprano

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Sara is one of Australia’s most popular and versatile artists, and is regarded as one of the leading exponents of Baroque repertoire.

She is a regular performer with all the Australian symphony orchestras as well as the Perth, Melbourne and Sydney Festivals, Pinchgut Opera, the Australian Chamber Orchestra and Australian Brandenburg Orchestra, Musica Viva, and a number of international companies.

Sara records for ABC Classics with more than 35 CDs and many awards to her credit.

In 2017/18 Sara sang with Sydney Symphony Orchestra, West Australian Opera, West Australian Symphony Orchestra and Adelaide Symphony Orchestra, the Australian String Quartet, St George’s Cathedral, the Auckland Philharmonic Orchestra and in several programs with the Melbourne Symphony Orchestra; she also sang with Bangalow Festival, St George’s Cathedral and Collegium Musicum amongst many other projects. Sara recorded a CD of Calvin Bowman songs which was released last year.

In 2019 Sara is singing with the West Australian, Tasmanian, Queensland and Adelaide Symphony Orchestras, Sydney Philharmonia, Ten Days on the Island, the Peninsula Summer Festival, Brisbane Camerata and ANAM amongst others.

Sara has been awarded an honorary doctorate from the University of Western Australia in recognition of her services to singing.

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Sara is one of Australi artists, and regarded a of the lead exponents Baroque repertoire.

She is regular performer with all the as well as t Festivals, P Chamber O Orchestra, internation

ent the d Haydn in

The Performers

Continued

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Benjamin Bayl Guest Director/Harpsichord 12

Benjamin Bayl is co-founder of the Australian Romantic & Classical Orchestra and Associate Director of The Hanover Band. Born and raised in Sydney, he was the first Australian Organ Scholar of King’s College Cambridge, and then studied conducting at the Royal Academy of Music. An alumnus of the National Opera Studio, he became Assistant Conductor to the Budapest Festival Orchestra and Iván Fischer, and was also mentored by and assisted Sir John Eliot Gardiner, Yannick Nézet-Séguin, Richard Hickox, Harry Bicket and Ivor Bolton. He served as Assistant Artistic Director to the Gabrieli Consort and Paul McCreesh, and also worked with Fischer at the Konzerthausorchester Berlin.

He recently made his conducting debut in the Amsterdam Concertgebouw with Collegium Vocale Gent and Akademie für Alte Musik Berlin, and was re-invited to conduct them on a European tour. Working extensively in the early music field (both as conductor or directing from the keyboard) recent and regular collaborations include The Hanover Band, Concerto Copenhagen, Concerto Köln, Wroclaw Baroque Orchestra, B’Rock, Akademie für Alte Musik Berlin and Warsaw Chamber Opera.

Benjamin has made highly successful debuts in recent seasons with such orchestras as Mahler Chamber Orchestra, Hong Kong Philharmonic Orchestra, Malaysian Philharmonic Orchestra, ANAM, Royal Philharmonic Orchestra, Orquesta Sinfónica del Principado de Asturias, Taipei Symphony Orchestra, Bochumer Symphoniker, Britten Sinfonia, Bremer Philharmoniker, Sinfonieorchester Aachen, Netherlands Youth Orchestra, Orchestra Haydn di Bolzano, and Orchestra Filharmonica di Torino, as well as numerous orchestras throughout Scandinavia, conducting a broad range of repertoire from the great Viennese classics, historically informed Baroque and Romantic music, and new commissions. He is often invited to present the major works of Bach, Handel, Mozart and Haydn in particular.

Harpsichord Flemish Double Harpsichord by Carey Beebe, Sydney 1982. Soundboard painting by Carol Zdesar.

Originally commissioned for Flinders Street School of Music, Adelaide. Kindly loaned and prepared by Joanna Tondys.

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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 Reg & Kathie Grinberg Kevin & Deidre McCann Ian & Pam McGaw Timothy & Eva Pascoe Rob & Myriame Rich Peter Weiss AO & Doris Weiss Anonymous (1)

Waldstein $10,000 - $14,999 John Fairfax AO & Libby Fairfax Dr Marguerite Foxon 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 (2)

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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 Beatrice Botvinik 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

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Continued

Michael Fong 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 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 Elizabeth Storrs Lady Penny Street Jane Styles Matt Taylor Janet Tomi Ian Tonking Frances Tsoukalidis Ailsa Veizedeh The Hon. Penelope Wensley AC Brian & Helen Wilder Gerard Windsor & Louella Kerr Michael Winnett Anonymous (21) 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 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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Midori & Mozart The daring and virtuosic Bavarian-Japanese violinist, Midori Seiler makes her Australian debut leading a program of Mozart and Haydn.

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Mozart Symphony No. 33 in B flat major K.319

Haydn Symphony No. 80 in D minor

Mozart Violin Concerto No. 2 in D major K.211

Haydn

Violin Concerto in C major Hob VII:a1

21 November Canberra 24 November Sydney

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