Prussian Quartets Concert Program, Australian Haydn Ensemble (AHE)

PRUSSIAN QUARTETS HAYDN, MOZART AND PLEYEL

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Haydn & Bell: A Life in Letters | AUGUST

Mozart’s Prague DECEMBER

SEASON 2021

Beethoven’s Pastoral JUNE

LIVE SERIES ONE //

PRUSSIAN QUARTETS

PROGRAM

LIVE PERFORMANCE DATES

PLEYEL String Quartet in G minor Ben. 339 (Prussian Quartets)

SOUTHERN HIGHLANDS Sunday March 7, 4pm Burrawang School of Arts

SYDNEY Sunday March 14, 3pm City Recital Hall, Angel Place

HAYDN String Quartet Op. 50 No. 1 in B flat major (Prussian Quartets)

CANBERRA Thursday March 11, 7pm Wesley Uniting Church, Forrest

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MOZART String Quartet No. 23 K. 590 in F major (Third Prussian)

BERRY Friday March 12, 7pm Berry School of Arts

ARTISTS // Australian Haydn Ensemble Quartet Skye McIntosh, Violin Matthew Greco, Violin Karina Schmitz, Viola Daniel Yeadon, Cello

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LIVESTREAM Sunday March 14, 3pm Melbourne Digital Concert Hall

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ARTISTIC DIRECTOR’S MESSAGE After a turbulent year, we are extremely pleased to launch our 2021 season with this program of beautiful string quartets dedicated to the Prussian King Friederich Wilhelm II.

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Haydn’s Op. 50 quartets are not his best known, but they are filled with such stunning music that I consider them to be highly underrated. As with all three works on the program, the quartet is dedicated to the Prussian King. As the story would have it, Haydn dedicated the quartets to him in response to a gift of a golden ring enclosed in a letter of thanks to Haydn from the King. A set of quartets like these are definitely worthy of a golden ring and certainly valued at much more than one today!

Many composers wanted to win the favour of King Friederich Wilhelm II and knowing he was a keen cellist, deliberately filled the works with wonderful cello solos. Mozart was no exception to this, and his three Prussian quartets are known for their tricky cello passages. The third quartet, which we perform today, is quite fascinating in its rhetoric, at times sounding almost like late Beethoven. Mozart’s three quartets were published in December 1791 by Artaria as Op. 18, a few weeks after his death.

Friedrich was the nephew of King Frederick the Great and assumed the throne at his death. Whilst Friederich was not known for his military prowess, we do acknowledge his great patronage of the arts, as well as some fine buildings including, most

famously, the Brandenburg Gate. And of course thanks to him we have Mozart’s wonderful string quartets.

The lesser-known of the three works on the program is the quartet by Ignaz Pleyel. The G minor quartet is from a set dedicated in full to Friederich Wilhelm II. Pleyel was one of Haydn’s most famous pupils and in his lifetime was very successful, writing more than sixty string quartets.

One reviewer of the eighteenth century newspaper the Morning Herald of London (1791) said that Pleyel was “becoming even more popular than his master [Haydn], as his works are characterised less by the intricacies of science than the charm of simplicity and feeling.” In fact Haydn and Pleyel were rival directors at the time for two opposing concert series in London, namely, Cramer’s ‘Professional Concerts’ series and Salomon’s own series. We perform Pleyel’s G minor string quartet which is a charming work - wistful and full of character.

Many other composers wrote quartets for King Friederich II including Wranitzky, Boccherini, Pichl, Vanhal, Stamitz and Gyrowetz to name a few.

The King had an extensive collection of hundreds of string quartets by many different composers that are altogether too many to mention here.

A challenge for the future to perform them all perhaps!

Skye McIntosh Artistic Director

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), Stephanie True (Canada), 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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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 Violin Matthew Greco

Matthew began learning violin at the age of 12 and studied with Professor Janet Davies and 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 Professor Ryo Terakado and Professor Enrico Gatti, graduating in 2013.

Matthew 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 Sydney-based, baroque ensemble The Muffat Collective.

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

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

Karina is playing a viola by Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, Milan, 1793

Cello Daniel Yeadon

Dr Daniel Yeadon is a Lecturer at the Sydney Conservatorium of Music, University of Sydney, where he teaches cello and viola da gamba, coaches chamber music, and engages in research into learning, teaching and historical performance practices.

Daniel has a love of a wide range of musical genres and is an exceptionally versatile cellist and viola da gamba player, performing repertoire from the Renaissance through to Contemporary. Daniel is a passionate chamber musician, playing regularly with Australian Haydn Ensemble, Ironwood, Australian Chamber Orchestra (ACO), Australian Romantic & Classical Orchestra, and Bach Akademie Australia.

Originally from the UK, Daniel read physics at Oxford University and then completed his

Continued

postgraduate studies at the Royal College of Music in London. For many years Daniel was a member of the renowned Fitzwilliam String Quartet and the exuberant period instrument ensemble Florilegium. He has made many award-winning recordings.

Daniel is playing a cello by William Forster II, 1781, London Daniel appears courtesy of the Sydney Conservatorium of Music.

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ABOUT THE MUSIC IGNAZ JOSEPH PLEYEL (1757–1831) String Quartet in G minor, Ben. 339 (1786) I. Allegro II. Adagio non troppo III. Allegro moderato – Menuetto cantabile – Allegro

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This quartet by Pleyel is the third of a set that was dedicated to King Friedrich Wilhelm II of Prussia, a keen amateur cellist. Pleyel was so quick to react to the coronation with his inscription on the score, that it is likely that the quartets were already composed and almost ready for print.

Those familiar with past AHE programs will also recognise in Pleyel the tale of a composer who was very successful and appreciated in his day, and who – due to the work of musicologists and a new generation of historically-informed musicians – is again beginning to receive renewed attention around the world.

Listeners today may recall having played through beginner duets on flute or violin written by Pleyel, or perhaps have seen or heard of the Pleyel model piano – for later in life he founded Pleyel et Cie, piano manufacturers and Chopin’s brand of choice. However years before that, Pleyel left his hometown in north-eastern Austria to take up a music director position at the Strasbourg Cathedral – eventually being appointed maître de chapelle after the death of Mannheim pioneer Franz Xaver Richter. Pleyel composed at least 40 symphonies, 70 string quartets, as well as operas and liturgical music. The French Revolution put a quick end to that and Pleyel travelled to London, by coincidence organising concerts there at the same time as Haydn. He had studied with Haydn years before, and when Pleyel returned to France he set up a publishing company in Paris – Maison Pleyel. They were not only the first to produce

miniature study scores, but also published the complete Haydn string quartets, along with thousands of other editions of works by composers from Boccherini, Mozart, Hummel to Beethoven.

While the quartet is not directly autobiographical, listening to it with the knowledge that it came from the imagination of such a well-versed, adventurous and capable character as Ignaz Pleyel, adds greatly to our appreciation of his contribution to the Classical-era repertory.

FRANZ JOSEPH HAYDN (1732–1809) String Quartet Op. 50 No. 1 in B flat major, Hob. III:44 (1787) I. Allegro II. Adagio non lento III. Menuetto: Poco allegretto IV. Finale: Vivace A new compositional flavour for Haydn is signalled right at the beginning of the first movement of the Op. 50 No. 1 – his first set since the Op. 33 Russian Quartets. The opening solo cello notes serve first of all as a reminder that this set of six quartets was dedicated to the Prussian cellist monarch. Yet, the repeated tones also manage to cast an austere and pensive shadow onto the music that follows, and suggest that Haydn intended these quartets to signify more than lighthearted entertainment.

Even as the other strings enter above, their optimism is more hopeful than permanent, and the darker cello voice insists on remaining in view.

One of the luxuries we have now when listening to this music, is to be able to easily compare it to that which Haydn wrote in the years before and after.

In that light, the second movement comes across as if Haydn is deliberately writing in the style of Haydn. A reassuringly-gentle theme is presented,

and this is followed by three connected variations.

The first of these introduces embellishments, the second heads off to the minor, and the third morphs into chorale-like verse. A short coda gives the game away, with a sudden ascent to the skies, a spiralling unison, then a few short syllables in a stage whisper to finish.

The Menuetto reaffirms Haydn’s mastery at reworking and extending thematic material in a succinct way. There are snippets of melodic motifs from the earlier movements, but these are well hidden amongst the accents that fill the cracks to throw the original dance spirit of the movement off kilter. Listen out for the occasional appearance of impassioned descending chromatic lines, like little echoes of the symphony orchestra. Haydn’s cunning is also imprinted across the final quick movement, and he creates a miniature that appears to oscillate between a rondo and sonata form.

Spoiler alert – watch out for the false ending!

WOLFGANG AMADEUS MOZART (1756–91) String Quartet No. 23 in F major, KV. 590 (1790) I. Allegro moderato II. Andante III. Menuetto: Allegretto IV. Allegro Written just a year before Mozart’s death, No. 23 is the final in a set of three also dedicated to the Prussian king. It was created during a time of relatively sparse compositional activity for the composer, but Mozart’s command of the string quartet as a genre as well as influences from other musical idioms shines through. Despite Mozart’s own accounts in letters, it remains doubtful that King Friedrich Wilhelm II either commissioned the works or even set eyes on them. Nevertheless, Mozart wrote prominently for the cello throughout and his sense of balance has resulted in all of the instruments being treated with equal care. In this way, it makes a somewhat more extravagant impression than the quartets by Haydn and Pleyel

– the movements are longer and more operatic in scope.

Together, the Prussian quartets provide an opportunity to glimpse some of the compositional differences between Haydn and Mozart. Except as an effect, Haydn’s melodies tend not to be chromatic, but after only a few steps into the first movement of No. 23, Mozart unfurls an arch of harmonic colours that expand and become richer as the movement progresses. The siciliana mood of the second movement is an intricate demonstration of how each instrumental voice occupies an important melodic role. Their variations grow outward from the opening rhythmicallysynchronised chords, imitating the intriguing stories of separate characters on a theatre stage.

Opinions continue to be aired in the Menuetto, and Mozart’s volume shifts add emotion and humour to the melodic shapes, where Haydn would have more likely had the dynamics serve his rhythmic or harmonic surprises. Mozart goes further in the final movement, deliberately obscuring the layout by building in phrases of uneven lengths.

And rather than outright stops or silences, he unsettles the listener instead with sudden tempo changes. Touchingly, and with a light snap of the fingers, Mozart has the final word and exits without ceremony.

Notes by Dr Charles MacInnes

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HISTORICALLY INFORMED PERFORMANCE 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?

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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.

SUPPORT AHE //

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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.

MATCHED FUNDING This year we have another 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 2021 plans as we share the masterworks of the eighteenth century musical world.

Times change, and we change with them. Join us as we continue our musical discovery in 2021 and return to sharing live performances and new explorations of eighteenth century music.

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Your support is greatly appreciated and makes it possible for the AHE to continue to grow.

All donations over $2 are tax deductible.

DONATE ONLINE www.australianhaydn.com.au/ how-to-support DIRECT DEPOSIT Pay direct from your account into: The Australian Haydn Ensemble Inc. Public Fund BSB: 082 088 Account: 845262651 Please include your name and mark it as a donation in your transaction, and email us at info@australianhaydn.com.au to let us know you have donated.

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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?

PATRON Professor the Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON Dr Timothy Pascoe AM CHAIRMAN’S CIRCLE Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Mark Burrows AO Dr Hannes Boshoff Tom & Sherry Gregory Ian & Pam McGaw Timothy & Eva Pascoe Peter Young AM & Susan Young

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ESTERHÁZY $15,000+ Martin & Ursula Armstrong Marco Belgiorno-Zegna AM & Angela BelgiornoZegna Mark Burrows AO John Fairfax AO & Libby Fairfax Tom & Sherry Gregory The Hon. Nick Greiner AC & Carolyn Fletcher AM Reg & Kathie Grinberg Kevin McCann AO & Deidre McCann Ian & Pam McGaw Timothy & Eva Pascoe Rob & Myriame Rich WALDSTEIN $10,000-$14,999 Karin Keighley Peter Young AM & Susan Young

VAN SWIETEN $5,000 - $9,999

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AHE

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IN 2021 WE BRING YOU OUR FIRST EVER DIGITAL SERIES OF THREE CREATIVE CONCERT FILMS ALONGSIDE OUR LIVE PERFORMANCES ACCESSIBLE VIA OUR NEW DIGITAL MEMBERSHIP PROGRAM, AHE DIGITAL PASS.

Sacro Amor MAY

Grand Sonatas SEPTEMBER

Haydn & Bell: A Life in Letters NOVEMBER

BACKSTAGE Administration Alicia Gibbons - General Manager Stephen Bydder - Administrator Marguerite Foxon - Front of House and Administrator Vi King Lim – Score Services Patron Professor the Honourable Dame Marie Bashir AD CVO

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

Board Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM Harriet Lenigas Adrian Maroya Kevin McCann AO Skye McIntosh Peter Young AM

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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DIGITAL SERIES ONE

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SACRO AMOR

VIVALDI & HASSE

PROGRAM

DIGITAL - CREATIVE CONCERT FILM

VIVALDI Concerto for Strings in F major RV 136

Available from May 2021 On AHE Player

VIVALDI Sum in medio tempestatum Motet for soprano, strings and continuo RV 632 VIVALDI Concerto for flute Op. 10 No. 2 in G minor RV 439 La Notte VIVALDI Aria 'Vedrò con mio diletto' from Il Giustino HASSE Concerto for Flute in B minor HASSE Alta Nubes Illustrata Motet for soprano, strings and continuo