AHE Season 2024

AUSTRALIAN HAYDN ENSEMBLE SEASON 2024

Joel Raymond Period Oboe, Paul Hailperin, 2004, oboe after A. Grenser, c. 1810, Dresden (Germany).

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“...the Australian Haydn Ensemble...is not to be missed” New York Concert Review Inc, New York, Carnegie Hall, 2023

AHE 2024 LOVE & DEVOTION String quartets by Haydn, Mozart & Mendelssohn FEBRUARY HEAVENLY SOPRANOS Jewels of the Baroque with Celeste Lazarenko & Helen Sherman APRIL BEETHOVEN’S FIFTH Masterworks in chamber form JUNE PENRITH YOUTH ORCHESTRA JUNE MOZART’S HORN with Carla Blackwood SEPTEMBER AUSTRALIAN HAYDN ACADEMY OCTOBER HAYDN'S PASSION Sturm und Drang meets unbridled joy DECEMBER

“WE ARE THE MUSIC MAKERS, AND WE ARE THE DREAMERS OF DREAMS,” ODE, ARTHUR O’SHAUGHNESSY, 1873

I often feel that a live performance is both a profoundly personal and a mysteriously collective experience.

Musicians and audiences form a unique whole, a living thing, with an ephemeral energy that changes with every concert.

It is as if we are in a dream, created firstly by the vision and expression of the composer, then amplified and interpreted by the musicians (in this case the AHE) and finally, realised in the mind and spirit of the audience who are there to witness the music as it unfolds.

In 2024, we are delighted to present you with a new season of five beautiful main-stage concerts. Enjoy five signature programs exploring the music of Haydn, Beethoven, Mozart, Boccherini and their lesser-known contemporaries, with subscriber concerts in Sydney, Canberra, the Southern Highlands and Berry, as well as individual performances throughout regional NSW. Join me and the AHE in 2024, as, together, we become dreamers of dreams; dreams of joyous abandon, deep stillness and wild beauty.

Skye McIntosh Artistic Director

Skye McIntosh Artistic Director, Period Violin, Tomaso Eberlé, c.1770, Naples (Italy).

“ ...this was passionate, emotionally powerful and impactful playing...”

Jeffrey Williams, New York Concert Review Inc, Carnegie Hall, 2023

Jacqueline Dossor Period Double Bass, Unknown, c.1740, Northern Italian, likely Bologna (Italy).

ABOUT THE AUSTRALIAN HAYDN ENSEMBLE

The Australian Haydn Ensemble, (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, and is now in its twelfth year. It 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 eighteenthcentury 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, for imminent release.

In October 2023 the Ensemble 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.

“THIS WAS SUPERLATIVE PLAYING…” LIMELIGHT 2023

Daniel Yeadon Period Cello, William Forester II, 1781, London (England).

ARTISTS AHE STRING QUARTET PROGRAM HAYDN String Quartet Op. 20 No. 4 in D major

LOVE & DEVOTION

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STRING QUARTETS BY HAYDN, MOZART & MENDELSSOHN

MOZART String Quartet No. 15 in D minor K. 421 MENDELSSOHN String Quartet Op. 12 in E flat major PERFORMANCES BATHURST Schools Performance Wednesday 14 February, 11.30am Bathurst Memorial Entertainment Centre CANBERRA Thursday 15 February, 7pm Wesley Music Centre, Forrest BERRY Friday 16 February, 7pm Berry Uniting Church Hall SOUTHERN HIGHLANDS Saturday 17 February, 4pm Bowral Memorial Hall SYDNEY Sunday 18 February, 5pm Utzon Room, Sydney Opera House

AHE has lift off with a program of three immensely satisfying quartets. All have moments of such emotional intensity that they seem to come from a place of deep personal feeling. So is love in the air?

The D major is one of Haydn’s most enjoyable quartets.

So expressive is the second movement that an early biographer placed it in a sequence of works stemming from an “acute emotional crisis”. He even filled the evidence gap with the death of an invented lover. Of course, Haydn being Haydn, such heartbreaking tenderness butts rudely up against downright zaniness in the bamboozling minuet, so riddled with wrong accents as to defy toe tapping, and the hilarious finale, which positively encourages it with bursts of full-blooded abandon.

Mozart’s D minor quartet dates from a blissful period of his life just post his marriage to Constanze, but if it’s infused with love, it’s as much for his new friend and father figure, Haydn, as it is for his bride. This was one of the

quartets that prompted Haydn’s assessment of Wolfgang as “the greatest composer known to me either in person or by name”.

It is a superbly crafted piece, poignant, even tragic, in mood, and the finale’s set of variations is as deeply felt as those in the same key from the preceding work in the concert.

The AHE follow up 2023’s revelatory rendition of Mendelssohn’s A minor quartet with its companion piece in E flat.

Teen romances have produced few lasting works of art, but when the smitten composer is a prodigy to rival Mozart, you can expect more. The 18-year-old Felix dedicated his Opus 12 quartet literally to the girl-next-door, one Betty Pistor, but she responded by dumping him. The legacy of this doomed affair is a great, glorious, mature work as rich as romantic opera; brimming with melody and rule-smashing invention.

A concert by lovers for lovers, especially of wonderful music and music-making.

Karina Schmitz Period Viola, Francis Beaulieu, 2011, Montreal, after Pietro Giovanni Mantegazza, 1793, Milan (Italy).

“THE PERFORMANCES ARE GORGEOUS ...”

LIMELIGHT SACRO AMOR 2021

HEAVENLY SOPRANOS JEWELS OF THE BAROQUE WITH CELESTE LAZARENKO & HELEN SHERMAN

ARTISTS Celeste Lazarenko, soprano Helen Sherman, mezzo soprano The Australian Haydn Ensemble PROGRAM HIGHLIGHTS HASSE Selections from Oratorio Sanctus Petrus et Sancta Maria Magdalena and Motet Alte Nubes Illustrata PERGOLESI Stabat Mater PERFORMANCES PARRAMATTA Sunday 7 April, 4pm Riverside Theatres CANBERRA Thursday 11 April, 7pm Wesley Music Centre, Forrest BERRY Friday 12 April, 7pm Berry Uniting Church Hall SOUTHERN HIGHLANDS Saturday 13 April, 4pm Bowral Memorial Hall WYONG Sunday 14 April, 2pm The Art House SYDNEY Tuesday 16 April, 7pm City Recital Hall AUSTRALIAN DIGITAL CONCERT HALL Tuesday 16 April, 7pm

Two dear friends of AHE, and two of the most brilliant exponents of both early and contemporary singing techniques, collaborate on a ravishing program of familiar and neglected masterworks.

Celeste Lazarenko and Helen Sherman, both hatchlings of the Sydney Conservatorium of Music, have gone on to grace halls as illustrious as Wigmore, Royal Albert and Glyndebourne before returning to City Recital Hall, Sydney, in award winning roles.

Each voice is to die for, but their blend invites double the sacrifice, and how better a way to go than with a much-loved classic.

His untimely death at 26, combined with a tiny five years of creative output, caused Pergolesi to become the stuff of legend for centuries.

So affecting are the opening minutes of his Stabat Mater that it’s easy to imagine that the composer was put on earth to write them just before being whisked off to heaven.

Rousseau described this achingly beautiful chain of suspensions, with its exquisite interplay between soprano and mezzo, as “the most perfect and touching duet to come from the pen of any composer”.

The entire 40-minute minioratorio, while a product of the Baroque (Bach himself paid it homage) is written in the Italian ‘galant’ style that had its final flowering in Haydn and Mozart, so this is a rare opportunity to hear it as the composer imagined it.

The other items in the program, by a certain Johann Adolf Hasse, are worthy of the exalted company. Long-lived, and with opus numbers dwarfing those of Pergolesi, he was the most lauded operatic composer of his day, completing about 70 operas and writing hit arias for castrato superstar Farinelli, and the composer’s equally famous wife, mezzo soprano Faustina Bordoni. Posthumous fame, alas eluded him, although these handsome excerpts from some of his dramatic sacred works will convince you of its unfairness.

A spectacular evening guaranteed to levitate your soul and the hairs on your neck.

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BEETHOVEN’S FIFTH MASTERWORKS IN CHAMBER FORM ARTISTS The Australian Haydn Ensemble PROGRAM HIGHLIGHTS FERDINAND RIES Flute Quintet Op. 107 in A minor BOCCHERINI Night Music of the Streets of Madrid Op. 30 No. 6 (G. 324) BEETHOVEN Symphony No. 5 (arr. Watts) PERFORMANCES SOUTHERN HIGHLANDS Saturday 22 June, 4pm Bowral Memorial Hall PORT MACQUARIE Sunday 23 June, 5pm The Glasshouse CANBERRA Thursday 27 June, 7pm Wesley Uniting Church BERRY Friday 28 June, 7pm Berry Uniting Church Hall WOLLONGONG Saturday 29 June, 2pm St Francis Xavier Cathedral SYDNEY Sunday 30 June, 4pm City Recital Hall AUSTRALIAN DIGITAL CONCERT HALL Sunday 30 June, 4pm

Arguably saving the best ‘til last, AHE offers you the chance to get up close and personal with Beethoven’s mighty C minor, reduced down to septet, but if anything intensifying its fiery flavour in the process.

Symphonies don’t come any more ‘progressive’ than the Fifth. It’s hard to imagine hearing it for the first time, but when minor turned to major at the start of the finale, it must have felt like the world had crashed into the concert hall.

Suddenly music was about more than just music and could never be the same again.

We can’t offer blazing brass leaping into the fray like a Delacroix stallion but, as with the Ensemble’s past performances of these symphonies in miniature, you will hear it afresh, with all its intricate contrapuntal clockwork unobscured.

William Watts, who made the arrangement, would have led the violins or violas at its British premiere in 1816, when the canons of Waterloo were still resounding.

As secretary of the newly formed London Philharmonic Society, he was only two degrees of separation from the composer, the link being Ferdinand Ries, Beethoven’s talented pupil, who married an Englishwoman and found himself on the Society’s advisory board.

Without the tireless Royal lobbying from Ries and the society, there

would be no Beethoven’s Ninth to top the ABC Classic charts.

Ferdinand was a humble, longsuffering acolyte. Until he left for England, he was Beethoven’s “PA”, (can you imagine?) keeping him fed, sheltered and alive, handling his creditors, and attempting to be his “ears”. The genius cursed and walked all over him, but loved him too, and was genuinely appreciative of his talent. His distinctive voice is on display in the flute quintet presented here. It’s delightful, not lightweight, and full of fascinating eccentricities to amuse the teacher whose presence, real or ghostly, must always have been looking over his shoulder.

Boccherini’s colourful quintet depicting everything from church bells, street singers and night-watch drums in the streets of Madrid, completes the program. It includes the famous instruction for the two basses to strum their instruments horizontally, guitar-style.

AHE’s approach to this repertoire takes a leaf out of the London Philharmonic Society’s old mission statement “ to re-kindle in the public mind, that taste for excellence in instrumental music, which has so long remained in a latent state”.

Don’t miss this one.

“AUSTRALIAN HAYDN ENSEMBLE’S MAGNIFICENT SEVEN NAIL A STRIPPED BACK BEETHOVEN CLASSIC.” LIMELIGHT, 2023

Matthew Greco Period Violin, David Christian Hopf, c.1760, Quittenbach (Germany).

Carla Blackwood Classical Horn, Andreas Jungwirth, Vienna, 2010, after Johann Anton Lausmann, Graslitz, c.1790.

“I loved every minute... I think the Ensemble is one of the finest in the country. I can't wait to hear them again.”

Audience member, Canberra

ARTISTS Carla Blackwood, horn The Australian Haydn Ensemble

MOZART’S HORN

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WITH CARLA BLACKWOOD

PROGRAM HIGHLIGHTS HAUFF Horn Quintet in E Flat major MOZART String Quintet No. 4 in G minor K. 516 MICHAEL HAYDN Romance in A flat major for Horn and String Quartet MH806 MOZART Horn Quintet in E Flat major K. 407 PERFORMANCES WINDSOR Friday 20 September, 7pm St Matthews Anglican Church ORANGE Saturday 21 September, 7pm Orange Civic Theatre SYDNEY Tuesday 24 September, 7pm City Recital Hall AUSTRALIAN DIGITAL CONCERT HALL Tuesday 24 September, 7pm CANBERRA Thursday 26 September, 7pm Wesley Uniting Church, Forrest BERRY Friday 27 September, 7pm Berry Uniting Church Hall SOUTHERN HIGHLANDS Saturday 28 September, 3pm Robertson School of Arts LAKE MACQUARIE Sunday 29 September, 2pm Rathmines Theatre

Long gone are the days when even Early Music aficionados put up with natural horns as, at a polite function, they would an uncouth uncle that they wished had remained outside. The arcane tricks necessary to smooth this curled tube’s journey from the hunt to the concert hall have now been mastered by great players, and it’s finally clear what so many composers saw in it.

AHE soloist Carla Blackwood is such a player. Without any sense of coaxing or cajoling, her scintillating technique lets you simply revel in this instrument’s mellifluous and glowing sound-world.

Mozart loved the horn, and the finest player of the day, Ignaz Leutgeb, happened to be an old friend of the family. Pester power eventually rewarded him with what would become the most enduringly popular horn concertos of all time, and Wolfgang threw in sonatas and chamber works, like this delightful Quintet, which they could perform together.

With a slow movement characterised as a ‘little love duet’ between horn and violin, this work is a joyous expression of their friendship. You knew how much you meant to Mozart when you got a handwritten dedication like this: “W A Mozart has taken pity on Leutgeb, ass, ox and fool, at Vienna, 27 March 1783.”

The program starts with an even more virtuosic Quintet by Mozart’s Dutch contemporary Wilhelm Hauff, and includes the Romance in A major for the same forces, an arrangement of one of Mozart’s Concerto movements, most likely by his dear and often penniless friend Michael Haydn.

The AHE balances this bright cornucopia with perhaps the most emotionally troubled work that Mozart ever wrote: the magnificent String Quintet in G minor. Springing from a time of deep financial worry and a limbo of recriminating silence from his dying father, this is a rare dark utterance from a steadfastly undepressed artist. There’s a happy end, of course, but it’s one shaded by the sublimely sorrowful music that has come before.

In Mozart’s Horn the AHE invite you to explore both sides of Mozart’s mercurial nature, and to simply marvel that a device designed to frighten wolves could produce such showy and elegant sounds.

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HAYDN'S PASSION

STURM UND DRANG MEETS UNBRIDLED JOY.

The season finale is a cracker of a concert, jam-packed with stormy sounds, flights of fancy finger-work and hurtling horsehair.

ARTISTS Skye McIntosh, director, violin The Australian Haydn Ensemble PROGRAM VANHAL Symphony in G minor Bryan G1 MOZART Symphony No. 29 in A Major K. 201 MOZART

Violin Concerto No. 3 in G Major K. 216 HAYDN

Symphony No. 49 in F minor La Passione PERFORMANCES SYDNEY Sunday 1 December, 4pm City Recital Hall AUSTRALIAN DIGITAL CONCERT HALL Sunday 1 December, 4pm CANBERRA Monday 2 December, 7pm Gandel Hall, National Gallery of Australia SOUTHERN HIGHLANDS Tuesday 3 December, 7pm Bowral Memorial Hall

Two key works from Mozart’s late teens, his 29th symphony and 3rd Violin Concerto, are featured alongside one of Haydn’s most unusual symphonies, and a less familiar but just as exciting work by their Czech contemporary, J B Vanhal.

Skye, who solos in the concerto, has chosen two perennial favourites containing some of Mozart’s loveliest writing, arguably the first time it crossed the line from “gifted” to “immortal”. The concerto’s celebrated Adagio is a ravishing aria without words, the violin soaring over the flutes and muted strings fluffy white clouds, while the A major symphony, from its delectable opening to its galloping finale, is uninterruptedly joyous – biographer Jan Swafford says the composer “never wrote anything more amicable and warm-hearted”.

Haydn’s 49th Symphony, La Passione, by contrast, almost never sets foot in a major key, has the nervous energy and unpredictability of CPE Bach, but also seems to look backwards towards the Italian baroque; its cascading passages, with horns blazing, conjuring Titian-like dark skies. Thought now to be recycled theatre music rather than a depiction of Christ’s final hours, it’s still seriously dramatic stuff.

Johann Vanhal was admired by both composers, and not just because of his enviable rise from serfdom (literally) to rich, self-made freelancer.

His quintessential Sturm und Drang symphonies were very influential on their minor-key masterworks.

A dazzling evening for a twenty-first century ensemble of soloists to rival Haydn’s beloved band.

“The Australian Haydn Ensemble is clearly a treasure.”

Alan Holley, ClassikON, May 2023

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

Made in Innsbruck (Austria).

AUSTRALIAN HAYDN ACADEMY BAROQUE AND CLASSICAL SPRING INTENSIVE AND EDUCATION PROGRAM

COURSE TUTORS Skye McIntosh artistic director & violin Simon Rickard baroque dance tutor & bassoon AHE MUSICIANS INCLUDING: Melissa Farrow flute Daniel Yeadon cello Karina Schmitz viola

“The baroque dance was great fun and well taught. ... consolidated my knowledge of the time.” (flute student)

COURSE DATES October 2024 - school holidays LOCATION GOSFORD Central Coast Conservatorium of Music

The Australian Haydn Ensemble is committed to creating engaging experiences for young, early career and professional musicians in both regional NSW and metropolitan areas.

AHE loves working with musicians who have (or think they might like to have) an interest in historical performance practice, and is passionate about providing opportunities to learn the specialist skills involved in Baroque and Classical period instrument performance.

The Australian Haydn Academy tutors are all leading historical performance experts and also have extensive teaching experience.

“The orchestral program was incredible.

Just playing with strings is such a treat for me as there are none where I live, so hearing that beautiful sound was an amazing experience.” (harpsichord student)

Images Oliver Miller

“It was as though I was hearing a brand new Beethoven symphony.”

Audience member Robertson School of Arts, August 2023

James Eccles Period Viola, Unknown, c. 1730, Tyrol Region (Italy).

OUR PATRONS

Our patrons enable us to continue presenting wonderful concerts, make recordings and tour to regional communities and internationally. We are so grateful to everyone who supports us and cannot thank you enough. Our Patron categories are named after famous eighteenth-century patrons who supported Haydn, Mozart and Beethoven and commissioned many of the works we know and love today. Where would we be without them?!

THE CHAIR'S CIRCLE Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna * Mark Burrows AO * Sherry & the late Tom Gregory * Peter & Lisa Macqueen * Kevin McCann AO & Deidre McCann * Ian & Pam McGaw * The late Timothy Pascoe AM & the late Eva Pascoe* Peter Young AM & Susan Young Anonymous * ARTISTIC DIRECTOR'S CIRCLE Martin & Ursula Armstrong * Emalyn Foundation

GALITZIN $1,000 - $4,999 Antoinette Albert Mark Bethwaite AM & Jill Bethwaite Clive Birch Jan Bowen AM FRSN * Keith & Louise Brodie * Lloyd Capps & Mary Jo Capps AM * George H Clark Robert & Carmel Clark * Dr Terry & Julie Clarke Jean Cockayne Peter & Prudence Davenport * Robert & Jane Diamond Alison Dunn * Ron & Suellen Enestrom * David, Katrina & Madeline Evans * Ralph Evans AO & Maria Evans * John Fairfax AO &

Libby Fairfax * Dr Marguerite Foxon * Bunny Gardiner-Hill * Prof Pru Goward AO Sharon Green * Jamie Hardigg The Hon Don Harwin Elizabeth Howard Sarah de Jong Dr Gerard Joseph David Maloney AM & Erin Flaherty * Garth Mansfield OAM & Margaret Mansfield OAM Paul & Anne Masi Jules Maxwell Paula McLean * Trevor Parkin * Nick Payne Susan Perrin-Kirby David & Elizabeth Platt Keith & Robyn Power Michael & Anna Rennie Robert & Myriame Rich Deidre Rickards *

WALDSTEIN $10,000 - $14,999 The Hon. Nick Greiner AC & Carolyn Fletcher AM * Reg & Kathie Grinberg * Jon & Susan North * Karin Keighley Philanthropy Initiative Australia, a giving fund of the APS Foundation * VAN SWIETEN $5,000 - $9,999 Jeremy Eccles FRSN & Kate Eccles OAM * Richard Fisher AM & Diana Fisher Adrian Maroya Peter & Libby Plaskitt Anthony Strachan The Hon. Anthony Whealy K.C. & Annie Whealy Anonymous 1 * Greg & Wendy See * Penelope Seidler AM Xavier Shea David & Isabel Smithers Kay Vernon * Lady Meriel WilmotWright Anonymous (9) incl 6 * LOBKOWITZ $500 - $999 Patricia Adey Ann Armstrong John Baird * Dr Andrew Byrne Dr Sylvia Cardale Lynette Casey Wendy Cobcroft* Richard & Cynthia Coleman Dr Nola Cooke* Christine Cooper Matt Costello & Bernie Heard Dr John Dearn *

Todd Denney & Jacqui Smith * Dr Meredith Edwards Stephen & Jill Goggs * Celia Lillywhite Diccon & Liz Loxton Diane McAllery * Dr Jacqueline Milne * Beverley Northey Paul O'Donnell David & Jill Townsend * Ailsa Veiszadeh * Dr Margot Woods * Anonymous (6) incl 3 * * Indicates contributors to the 2021 and/or 2023 Pozible Campaigns to fund AHE's 10th Anniversary CD and US Tour.

This listing is correct as of 15 Nov 2023, and we gratefully recognise all donations received since 1 July 2022.

AHE SEASON DATES SEPTEMBER FEBRUARY LOVE & DEVOTION

String Quartets by Haydn, Mozart & Mendelssohn Bathurst Schools Performance Wednesday 14 February, 11.30am Bathurst Memorial Entertainment Centre Canberra Thursday 15 February, 7pm Wesley Music Centre, Forrest Berry Friday 16 February, 7pm Berry Uniting Church Hall Southern Highlands Saturday 17 February, 4pm Bowral Memorial Hall

MOZART’S HORN with Carla Blackwood

“…had the audience on their feet at the end with hooting and hollering and stamping of feet in appreciation.”

Graham McDonald, Canberra City News, August 2023

JUNE

PENRITH YOUTH ORCHESTRA

Sydney Sunday 18 February, 5pm Utzon Room, Sydney Opera House

Sunday 9 June, 3pm Richard Bonynge Concert Hall, Joan Sutherland Performing Arts Centre

APRIL

BEETHOVEN’S FIFTH

Jewels of the Baroque with Celeste Lazarenko & Helen Sherman

Southern Highlands Saturday 22 June, 4pm Bowral Memorial Hall

HEAVENLY SOPRANOS

Parramatta Sunday 7 April, 4pm Riverside Theatres Canberra Thursday 11 April, 7pm Wesley Music Centre, Forrest Berry Friday 12 April, 7pm Berry Uniting Church Hall

Masterworks in chamber form

Port Macquarie Sunday 23 June, 5pm The Glasshouse

Sydney Tuesday 24 September, 7pm City Recital Hall Australian Digital Concert Hall Tuesday 24 September, 7pm Canberra Thursday 26 September, 7pm Wesley Uniting Church, Forrest Berry Friday 27 September, 7pm Berry Uniting Church Hall Southern Highlands Saturday 28 September, 3pm Robertson School of Arts Lake Macquarie Sunday 29 September, 2pm Rathmines Theatre

OCTOBER

AUSTRALIAN HAYDN ACADEMY

Central Coast Conservatorium of Music, Gosford

DECEMBER

Berry Friday 28 June, 7pm Berry Uniting Church Hall

Sturm und Drang meets unbridled joy

Wollongong Saturday 29 June, 2pm St Francis Xavier Cathedral

Wyong Sunday 14 April, 2pm The Art House

Sydney Sunday 30 June, 4pm City Recital Hall

Australian Digital Concert Hall Tuesday 16 April, 7pm

Orange Saturday 21 September, 7pm Orange Civic Theatre

Canberra Thursday 27 June, 7pm Wesley Uniting Church, Forrest

Southern Highlands Saturday 13 April, 4pm Bowral Memorial Hall

Sydney Tuesday 16 April, 7pm City Recital Hall

Windsor Friday 20 September, 7pm St Matthews Anglican Church

Australian Digital Concert Hall Sunday 30 June, 4pm

HAYDN'S PASSION Sydney Sunday 1 December, 4pm City Recital Hall

Australian Digital Concert Hall Sunday 1 December, 4pm Canberra Monday 2 December, 7pm Gandel Hall, National Gallery of Australia Southern Highlands Tuesday 3 December, 7pm Bowral Memorial Hall

TICKET INFORMATION HOW TO BOOK Subscriptions are available in a minimum package of 3 concerts.

SUBSCRIBE ONLINE Purchase your live subscription package online at australianhaydn.com.au.

Purchase your digital subscription online at australiandigitalconcerthall.com.

SUBSCRIBE BY PHONE Call our friendly Box Office on 1800 334 388.

USE A BOOKING FORM TO SUBSCRIBE

BY POST You will need a booking form to subscribe by post.

If you do not have one already, please call 1800 334 388 or email info@australianhaydn.com.au and we’ll get one to you. You can also download and print a booking form from our website.

SUBSCRIBE BY POST Complete your booking form, including the performances, price level and location you wish to attend. Then post your booking form using the reply paid envelope provided to: AHE Subscriptions PO Box 400 Strawberry Hills NSW 2012 SINGLE TICKETS All performances at all venues are listed on our website australianhaydn.com.au.

All performances at City Recital Hall via cityrecitalhall.com or call (02) 8256 2222.

All performances in the Utzon Room, Sydney Opera House via sydneyoperahouse.com or call (02) 9250 7777.

All livestream tickets via australiandigitalconcerthall.com.au.

TICKET PRICES SUBSCRIPTION PRICES

SINGLE TICKET PRICES

Subscription prices are listed per concert.

The minimum subscription package is three (3) concerts.

Single tickets on sale November 2023.

Ticket prices are listed per concert.

City Recital Hall, Sydney Adult | Concession Premium $117 | $105 A Reserve $85 | $75 B Reserve $70 | $60 C Reserve $40 | $25 Under 30 $25 Utzon Room, Sydney Opera House Adult | Concession Premium $117 | $105 A Reserve $85 | $75 Under 30 $25 AHE presented concerts in regional New South Wales and Canberra Adult $60 | Concession $50 Under 30 $40

City Recital Hall, Sydney Adult | Concession Premium $127 | $117 A Reserve $97 | $87 B Reserve $77 | $62 C Reserve $50 | $25 Under 30 $25 Utzon Room, Sydney Opera House Adult | Concession Premium $127 | $117 A Reserve $97 | $87 Under 30 $25 AHE presented concerts in regional New South Wales and Canberra Adult $72 | Concession $62 Under 30 $40 Australian Digital Concert Hall $24

GREAT REASONS TO SUBSCRIBE // 1 Never miss out — many of our concerts do sell out — when you subscribe you are guaranteed a seat!

// 2 Your favourite seat When you subscribe we offer you the opportunity to let us know where you like to sit in the City Recital Hall (allocated on a first come first served basis, so subscribe early!)

Subscribers to AHE presented concerts in Canberra and the Southern Highlands welcome to enjoy a preferential seating area.

// 3 Save Save up to 15% on the cost of single tickets.

// 4 Flexibility Free ticket exchange, so you can swap your tickets for another concert in the AHE subscription season, in any available location.

// 5 You’re in the know!

Subscribers receive priority booking periods, special offers and invitations to events.

Jacqueline Dossor Period Double Bass, Unknown, c.1740, Northern Italian, likely Bologna (Italy).

“I felt invited to enjoy and feel involved. I will be a regular!”

Audience member, Robertson School of Arts, August 2023

“The AHE tore into the stormy first movement with a roiling intensity that caught my attention right away – this was passionate, emotionally powerful and impactful playing…

It was an impressive start to the evening.”

Jeffrey Williams, New York Concert Review; New York, NY Carnegie Hall, 2023

“A living treasure and such a boon for Berry that we are one of their venues” Subscriber, Berry, 2023

Simon Rickard Classical Bassoon, Mathew Dart, London, 1996, after JH Grundmann, 1792, Dresden (Germany).

GREAT REASONS TO SUPPORT When you make a donation to the Australian Haydn Ensemble you help us to:

// 1

Bring more music to more people in regional areas, around Australia and beyond.

// 2

Introduce the joys of period instruments and historically informed practice to young musicians.

// 3

Bring the music of Haydn, Mozart, Beethoven and lesser known composers like Boccherini and C.P.E. Bach to new life.

// 4 Bring audiences into the sound world originally created by Haydn, Mozart and Beethoven.

// 5

Ensure rarely performed chamber arrangements of works by Beethoven and Mozart are played for the first time since the nineteenth century, bringing new delights to new audiences.

AUSTRALIAN HAYDN ENSEMBLE 2024 ARTISTS Skye McIntosh Artistic Director and Lead Violin Celeste Lazarenko Soprano Helen Sherman Mezzo Soprano Matthew Greco Second Violin Ella Bennetts Violin Myee Clohessy Violin Alice Evans Violin Stephen Freeman Violin Annie Gard Violin Anna McMichael Violin Alice Rickards Violin Simone Slattery Violin Karina Schmitz Viola James Eccles Viola John Ma Viola Daniel Yeadon Cello^ Anton Baba Cello Anthony Albrecht Cello Jacqueline Dossor Double Bass Pippa Macmillan Double Bass Melissa Farrow Principal Flute* Mikaela Oberg Flute Kirsten Barry Oboe Emma Black Oboe Joel Raymond Oboe Carla Blackwood Horn+ Dorée Dixon Horn Simon Rickard Bassoon Anthony Hamad Harpsichord ^Daniel Yeadon appears courtesy of Sydney Conservatorium of Music, The University of Sydney *Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra +Carla Blackwood appears courtesy of Melbourne Conservatorium of Music, The University of Melbourne

PARTNERS GOVERNMENT PARTNERS

PARTNERS Sydney Eisteddfod

AHE is supported by the NSW Government through Create NSW.

Penrith Youth Orchetsra

Central Coast Conservatorium of Music

AHE is assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

FOUNDING PATRON

PATRON

The late Dr Timothy Pascoe AM

Professor the Honorable Dame Marie Bashir AD CVO

BOARD

STAFF

Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM FRSN Carolyn Fletcher AM Harriet Lenigas Adrian Maroya Kevin McCann AO Skye McIntosh (Artistic Director) Jon North Peter Young AM

Skye McIntosh – Artistic Director Jacqui Smith – Chief Executive Officer Alison Dunn – Marketing and Communications Director Jai Tosniwal – Financial Controller Stephen Bydder – Administration Marguerite Foxon – Administration* Vi King Lim – Score Services Richard Bratby – Program Notes *In Kind Support

SUPPORTERS Livestream Partner

Media Partner

Audit Partner

The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we live, work and perform. We pay our respects to musicians and elders past, present, and emerging.

2024 BROCHURE Creative Director & Photographer – Helen White Graphic Design – Yolanda Koning Styling: Olivia Simpson Vintage Collection: The Vintage Clothing Shop - supplied by Lorraine Foster and Grayson Cole.

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.

The Australian Haydn Ensemble is a not-for-profit organisation with deductible gift recipient (DGR) status.

For a private conversation about supporting AHE or information about setting up a bequest, please email Chief Executive Officer Jacqui Smith or call our office.

ABN 26 202 621 166 PO Box 400 Strawberry Hills NSW 2012, Australia 1800 334 388 (Freecall) | info@australianhaydn.com.au | australianhaydn.com.au

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