S CHUBERT S ONGS
1—
2025 A HE
18th Century Unpacked Pre-Concert Event
Mozart in Salzburg with Dr Anthony Abouhamad JUNE
2—
Mozart’s Salzburg & Linz with Erin Helyard JUNE
4—
Haydn’s Miracle AUGUST
7—
Beethoven’s Eighth NOVEMBER
5—
AHE Spring Academy OCTOBER
3—
18th Century Unpacked Pre-Concert Event
Haydn in London with Andrew Ford AUGUST
6—
18th Century Unpacked Pre-Concert Event
Beethoven Arranged with Skye McIntosh OCTOBER
“It was a marvellous performance by the seven instrumentalists which did more than ample justice to Beethoven in this powerful rendition.”
SOUNDS LIKE SYDNEY, 2024
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Artists
David Greco, baritone
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Daniel Yeadon, cello
Program
P ROGRAM DETAILS
FELIX MENDELSSOHN String Quartet Op. 81 No. 1 Tema con variazioni
SCHUBERT Die Götter Griechenlands D. 677
SCHUBERT Der Jüngling und der Tod D. 545
SCHUBERT An den Mond D. 259
FELIX MENDELSSOHN Scherzo from Four Pieces for String Quartet Op. 81 No. 2
SCHUBERT Winterreise: Gute Nacht D. 911
SCHUBERT Winterreise: Frülingstraum D. 911
FELIX MENDELSSOHN Fugue from Four Pieces for String Quartet Op. 81 No. 4
SCHUBERT Winterreise: Der Leiermann D. 911
SCHUBERT Der Tod und das Mädchen D. 531
SCHUBERT Schwanengesang: Ständchen D. 957 No. 4
FELIX MENDELSSOHN Capriccio from Four Pieces for String Quartet Op. 81 No. 3
SCHUBERT Der Erlkönig D. 328 in E minor
Schubert lieder arrangements by Vi King Lim
This concert is approximately one hour with no interval.
Performances
CANBERRA INTERNATIONAL MUSIC FESTIVAL
Thursday 1 May, 7pm
Albert Hall, Yarralumla
SYDNEY
Friday 2 May, 7pm
Saturday 3 May, 2pm
The Paintings Galleries
The State Library of New South Wales
18th Century Unpacked
The Birth of Song: Haydn, Beethoven and Schubert with Dr David Greco
Tuesday 22 April, 6pm
The Friends Room
The State Library of New South Wales
A RTISTIC DIRECTOR’S
Schubert’s lieder and chamber music rank among the most moving and beautiful ever written. It is with great pleasure that we welcome friend, regular collaborator and renowned Australian baritone David Greco to perform this profound music with AHE.
This program weaves Schubert’s lieder, newly arranged for string quartet, with four exquisite string quartet movements by Felix Mendelssohn, published posthumously as his Op. 81. Vi King Lim has done a masterful job preparing these chamber arrangements and we are deeply grateful for the care and artistry he has brought to this project.
Our selection of Schubert’s lieder includes Der Erlkönig, Der Tod und das Mädchen (Death and the Maiden), Die Götter Griechenlands and movements from Winterreise—a song cycle widely regarded as one of classical music’s crowning glories. Winterreise is a powerful, brooding work that evokes profound emotion, drawing the listener into its stark and haunting world.
Interwoven with these songs are Mendelssohn’s Op. 81 movements— instrumental works that share a similar emotional depth. Composed in the final months of his life in the shadow of grief for his beloved sister Fanny, these pieces are both elegiac and intensely personal. Often regarded as Schubert’s spiritual successor, Mendelssohn offers a voice that echoes the same existential yearning, making his music the perfect complement to Schubert’s poignant narratives.
Together, these works create more than just a recital—they form a meditation on love, loss, and the passage of time. As we embark on this journey through Schubert’s musical world, may we find not only sorrow but also beauty—and, in the end, a renewed sense of life’s fragile and fleeting wonder.
Skye McIntosh Artistic Director & Violin
The Australian Haydn Ensemble, (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh and is now in its thirteenth year. AHE has quickly established itself as one of Australia’s leading period-instrument groups, 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 18th century.
AHE’s flexibility and inventiveness are inspired by Haydn’s fabled originality and the virtuosic musicians he worked with at the court of Esterházy for almost 30 years. It performs in a variety of sizes and combinations, ranging from quartet, quintet or septet, to chamber orchestra with special guest soloists to a full orchestra with choir.
The Ensemble has developed a flourishing regular series at the City Recital Hall, the Sydney Opera House Utzon Room and in Canberra, where it was Ensemble in Residence at the Australian National University in 2014. AHE also performs throughout regional NSW and presents
education workshops to students of all ages, focusing on imparting 18th-century historical performance techniques.
AHE is particularly interested in presenting unusual programs of 18th-century chamber versions of works by Haydn, Mozart and Beethoven, as well as presenting the music of lesser-known composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister and Vanhal.
To commemorate its 10th anniversary, the Ensemble recorded its third CD of music by Mozart, released in 2024. In October 2023 AHE undertook its first international tour of the United States, including performances at Carnegie Hall and at the opening of the new Australian Embassy in Washington DC, garnering full houses, standing ovations and glowing reviews.
T HE ENSEMBLE
T HE P ERFORMERS
David Greco /BARITONE
“One of the foremost singers of his generation” (Limelight 2022). David is internationally regarded for his recordings of Schubert and Bach, having sung across Europe and in celebrated opera festivals.
He appears regularly with Australia’s finest orchestras, most recently as soloist in Verdi’s Requiem in the Sydney Opera House, Mahler’s Symphony No. 8 with West Australia Symphony Orchestra, and Duruflé’s Requiem with the Sydney Symphony Orchestra
He has been a principal artist with Opera Australia in The Eighth Wonder, The Love of Three Oranges, and Handel’s Theodora. In 2023 he made his debut with Christchurch Symphony Orchestra as Aeneas in Purcell’s Dido & Aeneas.
David has an impressive catalogue of recordings including Jack Body’s Poems of Love and War and J.S. Bach: Solo Cantatas for Bass with the Netherlands-based Luthers Bach Ensemble.
He is an active researcher into historical performance of 19th-century voice and his PhD led to the first Australian recordings of an historically informed performance of Schubert’s song cycles Winterreise and Die schöne Müllerin, the latter receiving an ARIA nomination for Best Classical Album in 2020. David’s album of Schubert’s Schwanengesang is an Australian first and is to be released shortly.
www.davidgreco.info
Skye McIntosh /VIOLIN
Skye McIntosh is the founder and Artistic Director of the Australian Haydn Ensemble, now in its twelfth year. This audacious undertaking is a testament to Skye’s musicianship and entrepreneurial spirit.
AHE, known for its innovative and ambitious programming, was delighted to perform at the Adelaide Festival in 2022 and Canberra International Music Festival in 2022 and 2023, as well as continuing to tour to Canberra and across regional New South Wales each year. Skye attended the Royal Academy of Music in London, the Queensland Conservatorium and the Sydney Conservatorium of Music, has made numerous concert appearances as soloist and director, and led the AHE on its first tour to the US in 2023, including a performance at Carnegie Hall. She has also toured nationally with the Australian Brandenburg Orchestra, as well as performing with the Orchestra of the Antipodes (Pinchgut Opera) and the Australian Romantic & Classical Orchestra.
ABC Classics has recently released AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major.
Skye is playing a violin by Tomaso Eberle, 1770, Naples
Matthew Greco /VIOLIN
Matthew is a concertmaster, soloist and core member of some of the world’s leading period instrument ensembles. He has been a regular member of the Australian Brandenburg Orchestra and concertmaster of the Orchestra of Antipodes (Pinchgut Opera) since 2006. In 2010 he moved to The Netherlands where he studied Baroque violin at The Royal Conservatoire of The Hague and worked with leading European ensembles including De Nederlandse Bachvereniging and Les Talens Lyriques (France). He is a founding member of the Sydney-based ensemble The Muffat Collective.
Matthew enjoys teaching baroque violin at the Sydney Conservatorium of Music as well as performing with a variety of international ensembles and festivals in Australia and Europe. Committed to producing a unique and individual sound based on historical performance practices, Matthew believes that 17th- and 18th-century music is full of vitality and emotions that speak to us now, as much as they did in the past.
Matthew is playing a violin by David Christian Hopf, 1760, Quittenbach
Karina Schmitz /VIOLA
Hailing from the east coast of the United States, American violist Karina Schmitz has settled in Australia and is thrilled to be immersed in its rich and vibrant musical scene. In addition to performing with the Australian Haydn Ensemble, she is principal violist with Orchestra of the Antipodes (Pinchgut Opera), and has performed with the Australian Chamber Orchestra, the Australian Romantic and Classical Orchestra, Van Diemen’s Band, Salut! Baroque, and Ensemble Galante.
In the United States, Karina was principal violist of the Handel & Haydn Society in Boston, principal violist of Apollo’s Fire in Cleveland, principal violist of the Carmel Bach Festival in California, and founding violinist/violist with New Yorkbased, 17th-century ensemble ACRONYM.
Karina holds viola performance degrees from New England Conservatory of Music (Boston) and the Cleveland Institute of Music. Her early music studies began as an undergraduate at Oberlin Conservatory with Marilyn McDonald, David Breitman, and Miho Hashizume, and she continued her training in the Apollo’s Fire Apprentice Program.
Karina is playing a viola by Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan
Dr Daniel Yeadon is a Senior 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. Originally from the UK, Daniel read physics at Oxford University and then completed his postgraduate studies at the Royal College of Music in London.
Daniel has a love for 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 Romantic & Classical Orchestra, and Bach Akademie Australia. 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 Yeadon appears courtesy of the Sydney Conservatorium of Music
Daniel Yeadon* /CELLO
Miracles and Fantasies abound, including Haydn’s Miracle Symphony and Fantasia Quartet; Schubert’s Rosamunde and Purcell’s Fantasia No. 8.
A BOUT THE MUSIC
Franz Schubert (1797-1828)
Lieder arranged for baritone and string quartet by Vi King Lim
Die Götter Griechenlands D. 677 (1819)
Der Jüngling und der Tod D. 545 (1817)
Selections from Winterreise D. 911 (1827)
Gute Nacht, Frülingstraum & Der Leiermann
Der Tod und das Mädchen D. 531 (1817)
Der Erlkönig D. 328 (1815)
Beautiful world, where are you? Come back, beauteous blossom time of nature! Oh, it is only in the fairy tale land of song, that any trace of your magnificence lives on…
Melancholy words from a young composer. Franz Schubert was only 22 years old when, in November 1819, he set these lines from Schiller’s poem Die Götter Griechenlands. But in early 19th-century Vienna, pleasure often went hand in hand with the gloomy and the macabre. This was a city where plagues and wars inspired robust humour, but the closure of a favourite coffee house could trigger an existential crisis. And Schubert was the most Viennese of composers – the son of a city schoolmaster and a boy-chorister at Vienna’s Imperial Seminary.
That all ended when his voice broke. Reluctantly, he agreed to train as a teacher while privately aspiring to follow in the footsteps of Beethoven. Easier said than done for an unknown student from a lower middle-class family (he’d been mocked as a “millers’ boy” by his schoolmates because of his second-hand clothes). It was hard to get symphonies performed, let alone operas, and a young composer needs to earn a living as well as a reputation.
But Schubert did have one regular outlet for his genius. His young Viennese friends were a lively, sociable bunch. Money might be short, but for entertainment all they needed was a piano and a friend (male or female) with a decent voice. Over the course of his short life, Schubert wrote more than 600 lieder (songs) for voice and piano. Some he sold to publishers, others were intended for performance in coffee houses and at the social gatherings that came to be known as “Schubertiads”. As true Viennese, Schubert and his café followers understood that the most profound experiences in life can come from little things: a moment of solitude, a good cup of coffee, or a song shared with friends.
So, while he didn’t actually make these arrangements for string quartet, they’re very much in his spirit - none more so than Die Götter Griechenlands, whose haunting melody he later recycled in his String Quartet in A minor. Lovers of chamber music will already know about the new worlds that Schubert unlocked in his song Der Tod und das Mädchen (composed in February1817 to verses by Matthias Claudius) when he used it as the basis for the slow movement of his mighty D minor String Quartet of 1824.
The Quartet has overshadowed the song so completely that it’s worth pausing to notice just how remarkable the song really is. In a few short verses, Schubert has effectively composed a deeply-charged conversation (almost a miniature opera) for a single voice. It seems that Schubert’s friends rated it highly because just a few weeks later, one of them, the poet Joseph von Spaun, wrote a sort of sequel, Der Jungling und der Tod, which Schubert
A BOUT
promptly set to music. Here, the stakes have been reversed. Unlike the despairing Maiden, the Youth of the poem welcomes Death as a bringer of peace – and the Reaper is only too happy to oblige.
Still, it’s almost tender compared to the icy, blasted emotional world of what many listeners regard as Schubert’s greatest song-cycle, Winterreise (Winter Journey), composed between February and October 1827. His friends were startled. “We were taken aback at the dark mood of these songs” remembered Spaun. Schubert replied that “I like these songs better than any of my others – and you will grow to like them too’”.
The cycle is narrated by a spurned lover wandering through a frozen landscape whose bleakness first reflects, and then comes to embody the desolation in his soul. In the opening song, Gute Nacht, there’s still a certain resolution – even defiance – as he walks purposefully out into the cold. Frühlingstraum, near the middle of the journey, finds tender memories turning to bitter ashes. And by the end, as the grotesque figure of Die Leiermann (“The Hurdy-Gurdy Man”) hobbles on thin ice, grinding out melodies that no-one wants…well, when we read that months later, on his deathbed, Schubert sang this in his delirium, it’s hard to repress a shudder.
To finish, a vision of the young genius in full, Romantic flight. To many contemporaries (and also later listeners, when Schubert’s music found a posthumous audience) the piano seemed too small a vehicle for a vison as wild and powerful as Der Erlkönig (The Alder King) (1815) – the 18 year old Schubert’s terrifying mini-drama of a father and son
pursued on horseback by a malevolent spirit. A string quartet adds an extra dimension. But be warned: German romanticism had a sinister side, and not every fairy tale ends with a happily-everafter…
Felix Mendelssohn-Bartholdy (1809-1847)
Four Pieces for String Quartet, Op. 81
Andante Scherzo Capriccio Fugue
Mendelssohn’s playing was to him what flying is to a bird. No-one wonders why a lark flies; it is inconceivable without that power. In the same way, Mendelssohn played because it was his nature. He possessed great skill, certainty, power and rapidity of execution, a lovely full tone – in fact all that a virtuoso could desire – but these qualities were forgotten while he was playing…music streamed from him with all the fullness of his inborn genius. Mendelssohn’s great friend Ferdinand Hiller was remembering Mendelssohn’s skill as a pianist – but he might have been talking about any aspect of his artistry. By his early teens, Mendelssohn was said to be able to play practically any orchestral instrument, and he handled the violin and viola with equal flair in his family’s Sunday afternoon chamber music sessions. “He might become a great violin player” wrote his teacher Carl Zelter to Goethe soon after Felix’s fourteenth birthday. It didn’t quite work out like that, but Mendelssohn never missed a chance to join a quartet party. “He never
THE MUSIC
touched a string instrument the whole year round” recalled Hiller in 1839, the year after Mendelssohn completed this String Quartet in D major, Op. 44 No. 1 “but if he wanted to, he could do it – as he could most other things”.
Hiller was speaking primarily of Mendelssohn’s skill as a pianist, but throughout his creative life, Mendelssohn conceived his musical ideas not as abstract forms, but as things to be performed and heard. It was entirely natural to him – when working through a particular compositional problem, or testing his ideas – that he should do so through the discipline and clarity of the string quartet, even if the resulting works were never published by the composer.
Certainly, the four posthumous works that Mendelssohn’s publisher Breitkopf & Härtel issued in 1850 as the Four Pieces Op. 81, were never meant to be heard as a group. But like all of Mendelssohn’s string music, they were simply too imaginative, too poetic and too beautifully finished to be left unheard. Mendelssohn’s short life, which had begun amid inspiration and joy, ended in exhaustion and heartbreak a few months after the sudden death, in May 1847, of his beloved sister Fanny. His last substantial work was a string quartet (his sixth) in F minor, Op. 80, composed near Interlaken in the Swiss Alps as he tried to regain his shattered health. An English visitor, Henry Chorley, spent some time with him that summer: “My very last [memory] is the sight of him turning down the road to wend back to Interlaken alone”. He recalled:
I thought even then, as I followed his figure, looking none the younger for the loose
dark coat and the wide-brimmed straw hat bound with black crape [sic] which he wore, that he was much too depressed and worn, and walked too heavily!
Of the many works that the perfectionist Mendelssohn left unfinished at his death in November 1847, two of these movements for string quartet are thought to date from that last year of creativity –and possibly to belong together. They are the Andante (a theme and variations) and the brilliant Scherzo that form the first two of the Four Pieces, and it’s generally assumed that they were intended as part of a new quartet. If that is the case, it was destined never to be completed –whether because it was interrupted by Fanny’s death, or was simply at odds with Mendelssohn’s mood after that tragedy, we don’t know. The Capriccio dates from happier times. Written in 1843, it has been heard as a preparatory exercise for the Violin Concerto of 1844 (both works share the key of E minor).
And the last is the first. The teenage Felix wrote the lovely, pensive Fugue for string quartet in E flat major in December 1827 as a counterpoint exercise for Zelter, shortly after completing his first string quartet (confusingly, published as his second, Op. 13). It’s a sort of homage to the spirit of Bach (whose St Matthew Passion he had recently discovered, and would eventually perform). But already, in this superbly assured little piece, we can hear how Bach influenced Mendelssohn’s own music: the twin worlds of the great 18th-century organist and the 19thcentury’s most brilliant young Romantic flowing calmly and eloquently together.
Richard Bratby
Y OUR
SUPPORT IS V ITAL
Artistic Director
OUR P ATRONS
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 18th-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—
Maria Theresa—
The Queen was a patron of Viennese music, and Haydn wrote his Te Deum at her request.
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.
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.
Razumovsky—
He commissioned Beethoven’s Op. 59 String Quartets.
OUR P ATRONS ——
Patron—
Her Excellency the Honourable Margaret Beazley AC KC
Governor of New South Wales
Founding Patron—
The late Dr Timothy Pascoe AM
The Chair’s Circle —
The Chair's Circle is a group of dedicated supporters who have made a multi-year commitment to supporting the long-term vision of the Australian Haydn Ensemble
Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna
Sherry and the late Tom Gregory
Karin Keighley
Peter & Lisa Macqueen
Kevin McCann AO & Deidre McCann
Ian & Pam McGaw
Peter Young AM & Susan Young
Anonymous (1)
Artistic Director’s Circle—
The Artistic Director’s Circle is a group of passionate supporters who have made a commitment to supporting the AHE education program and the vision of the Artistic Director
Jan Bowen AM FRSN
Carolyn Fletcher AM
Adrian Maroya
Jon & Susan North
Peter & Vivienne Skinner
OUR PATRONS
MARIA THERESA $25,000
David & Anne Eustace Foundation
Sherry & the late Tom Gregory
Howarth Foundation
Kevin McCann AO & Deidre McCann
Anonymous (1)
ESTERHÁZY $15,000 – $24,999
Marco Belgiorno-Zegna AM & Angela
Belgiorno-Zegna
Carolyn Fletcher AM
Peter & Lisa Macqueen
Ian & Pam McGaw
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Peter Young AM & Susan Young
WALDSTEIN $10,000 – $14,999
Jan Bowen AM FRSN
Anthony Strachan
Kim Williams
VAN SWIETEN $5,000 – $9,999
Martin & Ursula Armstrong
Dr Terry & Julie Clarke
Jeremy Eccles FRSN & Kate Eccles OAM
Reg & Kathie Grinberg
Adrian Maroya
Jon & Susanne North
Peter & Libby Plaskitt
Peter & Vivienne Skinner
In Memory of Tom Gregory &
Timothy Pascoe
GALITZIN $1,000 – $4,999
Priscilla Adey
Antoinette Albert
Mark Bethwaite AM & Jill Bethwaite
Clive Birch
Keith & Louise Brodie
Dr Andrew Byrne & Allan Gill
Dr Michael & Dr Colleen Chesterman
George H. Clark
Robert & Carmel Clark
Jean Cockayne
Dr Nola Cooke
Dr Peter Craswell
Peter & Prudence Davenport
Rob Diamond
Alison Dunn
David, Katrina & Madeline Evans
Ralph Evans AO & Maria Evans
Terry Fahy
John Fairfax AO & Libby Fairfax
Richard Fisher AM & Diana Fisher
The Hon. Ben Franklin MLC
Bunny Gardiner-Hill
Sharon Green
The Hon Don Harwin
The late Elizabeth Howard
Michael & Anna Joel
Sarah de Jong
Lucy Kalangi
David Kent OAM & Angela Kent
Celia Lillywhite
Diccon & Liz Loxton
David Maloney AM & Erin Flaherty
Dr Jacqueline Milne
Trevor Parkin
Nick Payne
Susan Perrin-Kirby
David & Elizabeth Platt
OUR PATRONS ——
Keith & Robyn Power
Greg & Wendy See
Danielle Smith
The Smithers Family
Augusta Supple
Kay Vernon
The Hon. Anthony Whealy K.C. & Annie Whealy Anonymous (7)
LOBKOWITZ $500 – $999
James Ashburner
Jock Baird
Tony Barnett
Dr Chris Blaxland
Jeffrey Bridger
Lloyd Capps & Mary Jo Capps AM
Richard & Cynthia Coleman
Christine Cooper
Matt Costello & Bernie Heard
Sandra Duggan
Dr Terence & Deborah Dwyer
Dr Marguerite Foxon
Jean Gifford
David Jordan & Louise Walsh
Gerard Joseph
Rod & Diane McAllery
Dr Paul & Betty Meyer
Beverley Northey
Deidre Rickards
Penelope Seidler AM
Roger & Ann Smith
Mike & Rosie Sprange
David Whitehouse
Anonymous (3)
RAZUMOVSKY $250 - $499
Ann Armstrong
Wayne Arthur
Wendy Cobcroft
Dr John Dearn
Dr Meredith Edwards
Michael Fong
Rosemary Greaves
Kate Guilfoyle
Heather Kenway
Patrick McIntyre & Yianni Faros
Jeremy Morris
Jan Marie Musico
Henry O’Connor
Jennifer Rose-Innes
Dr Richard Sippe
David & Jill Townsend
Alicia Williams Anonymous (3)
This listing is correct as of 22 April 2025, and we gratefully recognise all donations received since 1 January 2024.
OUR PARTNERS
GOVERNMENT PARTNER SUPPORTERS
Presenting Partner, Schubert Songs, Sydney
Education Partner
Media Partner Audit Partner
FOUNDATIONS
David & Anne Eustace Foundation
Howarth Foundation
Jibb Foundation
Sir Asher & Lady Joel Foundation
Key Foundation
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Sinsay Pty Ltd
Stoneglen Foundation
Australian Haydn Ensemble is a not for profit organisation. ABN 26 202 621 166 PO Box 400 Strawberry Hills NSW 2012 1800 334 388 (Freecall) | australianhaydn.com.au
UNPACKED
Enhance your concert experience with our exclusive pre-concert series, designed for anyone curious about 18th-century music, historical performance, and period instruments.
Held in conjunction with the State Library of NSW, this program offers you a series of curated pre-concert events, each including a welcome glass on arrival, nibbles, and a deep dive into the music and historical context of our performances, guided by guest experts. Bring a friend or come solo and connect with other local music-lovers.
All sessions held in the Friends Room of the State Library of New South Wales.
Events
MOZART IN SALZBURG
with Dr Anthony Abouhamad
Musical excerpts by Skye McIntosh & Dr Anthony Abouhamad 10 June, 6pm
HAYDN IN LONDON with Andrew Ford
Musical excerpts by members of the AHE 19 August, 6pm
BEETHOVEN ARRANGED with Skye McIntosh
Musical excerpts by members of the AHE 21 October, 6pm
Tickets available— australianhaydn.com.au/ 18th-century-unpacked
BACK S TAGE ——
BOARD
Kevin McCann AO (Chair)
Carolyn Fletcher AM (Deputy Chair)
Jan Bowen AM FRSN
Adrian Maroya
Skye McIntosh (Artistic Director)
Jon North
Vivienne Skinner
Peter Young AM
Marco Belgiorno-Zegna AM (Chair Emeritus)
TEAM
Skye McIntosh
Artistic Director
Ailsa Veiszadeh Administrator
Alison Dunn
Marketing & Communications
Mary Scicchitano
Education Programs
Stephen Bydder Box Office & Administration
Marguerite Foxon Front of House & Administration*
*In Kind Support
IMAGES
Images throughout by Helen White except pages 6-7 supplied & James Mills; page12 Oliver Miller.
The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we live, rehearse and perform. We pay our respects to Elders past and present.
Details in this program are correct at time of publication. The 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.