GENIUS AND WIT IN THE AGE OF ENLIGHTENMENT—
MOZART: VIENNESE STAR
REACH
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SEASON 2022
MOZART: VIENNESE STAR SKYE MCINTOSH ARTISTIC DIRECTOR
FOR THE
PROGRAM
LIVE PERFORMANCE DATES
HAYDN String Quartet Op. 33 No. 5 in G major How do you do?
CANBERRA Thursday 10 February, 7pm Wesley Uniting Church, Forrest
BOCCHERINI String Quartet Op. 32 No. 5 in G minor
BERRY Friday 11 February, 7pm Berry School of Arts
MOZART String Quartet No. 19 in C major K. 465 Dissonance
SOUTHERN HIGHLANDS Saturday 12 February, 4pm Burrawang School of Arts SYDNEY Sunday 13 February, 5pm Utzon Room, Sydney Opera House AUSTRALIAN DIGITAL CONCERT HALL Wednesday 16 February, 8pm LISMORE Wednesday 23 March, 7pm Lismore Regional Gallery BANGALOW Friday 25 March, 7pm Arts & Industry Hall
STARS
“AND IN THEIR MOTIONS HARMONY DIVINE” JOHN MILTON
MURWILLIMBAH Saturday 26 March, 5pm Tyalgum Hall
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// ARTISTIC
// THE ENSEMBLE
DIRECTOR’S MESSAGE I am delighted to open our 2022 season with this intimate program of string quartets written during the 1780s by Haydn, Boccherini and Mozart. These three elegant works were published close together but each quite different to the other, reflecting each composer’s distinct voice. Haydn’s fifth string quartet, nicknamed How do you do?, from his groundbreaking Op. 33 is yet another fine example of Haydn’s ability to combine wit and immense beauty. I often think, where would we be if Haydn had not pioneered the string quartet genre in the way that he did? He gave us so many beautiful string quartets and inspired so many others to follow suit. Boccherini and Haydn shared a mutual respect for one another as composers although they never managed to meet in person. Boccherini’s Op. 32 quartets from which we perform No. 5 in G minor were published in 1782 and again in 1785, and would have therefore been ‘new’ works to the public at precisely the same time as Haydn’s Op. 33. The works could not be more different however, with Boccherini’s
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unique textual style shining through. The first movement opens with a nostalgic melody and finishes with a capricious, folkinspired, writtenout violin cadenza which was unique at the time. Mozart’s Dissonance quartet from his set of six so-called ‘Haydn Quartets’ was published not long after and was certainly influenced by Haydn’s Op. 33 in 1785. The opening adagio from which it takes its nickname is a stunning harmonic surprise. It would have been interesting if Mozart had taken this direction further and for longer - but he doesn’t stray from the jolly and familiar harmonic path for long and delivers perhaps his most moving string quartet of all. We look forward to performing these wonderful works for you as we launch into our 10th anniversary.
Skye McIntosh
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, the City Recital Hall 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 2022 they are performing at the Adelaide Festival. 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.” To commemorate its 10th anniversary, the Ensemble will release its third CD, of music by Mozart, in mid-2022. The Ensemble has presented a host of unique chamber music and orchestral programs, working with a range of world-class musicians such as Erin Helyard, Neal Peres Da Costa (Australia), Catherine Mackintosh, Melvyn Tan, Benjamin Bayl (UK), Marc Destrubé (Canada), Midori Seiler (Germany) as well as singers Sara Macliver (Australia), Stephanie True (Canada), Simon Lobelson (Australia), Helen Sherman (UK) and David Greco (Australia). It is particularly interested in presenting unusual programs of eighteenthcentury 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 lesser-known 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
VIOLIN
VIOLIN
VIOLA
CELLO
Skye McIntosh Skye McIntosh is the founder and Artistic Director of the Australian Haydn Ensemble - now in its tenth year. This audacious undertaking is a testament to Skye’s musicianship and entrepreneurial spirit.
Matthew Greco 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 Royale 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.
Karina Schmitz American violist, Karina Schmitz, recently settled in Sydney and is thrilled to find herself immersed in the rich and vibrant musical scene in Australia. 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 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 seventeenth-century ensemble ACRONYM.
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. Originally from the UK, Daniel read physics at Oxford University and then completed his postgraduate studies at the Royal College of Music in London.
AHE, known for its innovative and ambitious programming, is delighted to be performing at both the Adelaide Festival and Canberra International Music Festival this year, as well as continuing to tour to Canberra and across regional New South Wales. Skye attended the Royal Academy of Music, London, the Queensland Conservatorium and the Sydney Conservatorium of Music, has made numerous concert appearances as soloist and director and has performed internationally with the Australian Haydn Quartet at The Juilliard School. She has also toured nationally with the Australian Brandenburg Orchestra, as well as performing with Pinchgut Opera and the Australian Romantic & Classical Orchestra. In 2022 ABC Classics will release AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major. Skye is playing a violin by Tomaso Eberle, 1770, Naple
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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 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
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. For many years Daniel was a member of the renowned Fitzwilliam String Quartet and the exuberant period instrument ensemble Florilegium. He has made many awardwinning 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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AND THERE WAS LIGHT
HAYDN’S CREATION
ABOUT THE MUSIC FRANZ JOSEPH HAYDN (1732-1809) String Quartet Op. 33 No. 5 in G major How do you do?
Presented in partnership with the Canberra International Music Festival, and in collaboration with Sydney Chamber Choir, AHE celebrates a special 10 year anniversary project with Haydn’s magnum opus.
Vivace assai Largo e cantabile Scherzo: Allegro Allegretto Haydn always had a good head for business. How’s this for a sales pitch? I am issuing, by subscription, for the price of 6 ducats, a work consisting of 6 Quartets for 2 violins, viola and violoncello concertante, correctly copied and WRITTEN IN AN ENTIRELY NEW AND SPECIAL WAY (FOR I HAVE NOT COMPOSED ANY FOR TEN YEARS). This was the letter that Haydn’s regular patrons and subscribers received early in 1782, offering exclusive copies of his newest set of string quartets – Op. 33. Such letters were standard practice for eighteenth-century chamber composers; in the era before copyright, a composer could not hope to make any money from a work once published. What’s special about this letter is the claim that Haydn puts in capitals. Were these new quartets really so very different as to warrant the description of being written in an “Entirely New and Special Way”?
Canberra (CIMF) Friday 29 April, 7.30pm Saturday 30 April, 7.30pm Fitters’ Workshop cimf.org.au
Sydney Sunday 1 May, 5pm City Recital Hall cityrecitalhall.com
Well, take a look at the third movement of Op. 33 No. 5. Every quartet in Op. 33 has a Scherzo instead of a Minuet, and this was itself enough to give the set its nickname, “Gli scherzi”. A scherzo is a “joke”, and this in itself is telling. Haydn’s earlier quartets feature instrumental dialogue and some glorious inspirations; but with Op. 33, the idea of the quartet as a witty conversation between instruments became absolutely fundamental to the form for the first time.
Leadership of the ensemble changes from bar to bar, instruments move gracefully and swiftly from melody to accompaniment; and the very form of the musical ideas is derived from this conversational impulse. And the source of this revolution? In Charles Rosen’s opinion, it lies in the fact that Haydn had spent the previous decade writing comic operas for Prince Esterházy’s court theatre. Now he had transferred his comic timing into instrumental music. “This new conception of musical art changed all that followed it”, writes Rosen. But we don’t have to take his word for it. Just months after Op. 33 was published, Mozart began writing a set of six string quartets of his own. Four out of the six share keys with the Op. 33 quartets, and Mozart dedicated them to “My dear friend Haydn”. More of that presently; meanwhile Op. 33 No. 5 opens with a joke. Hans Keller thinks that the quartet “starts before the beginning” – though those two cheeky bars grabbed from the end of a phrase we haven’t even heard yet could equally be described as finishing before they’ve begun. English-speaking amateurs have solved the puzzle by fitting them to the words “How do you do?” – and the conversation that follows is as witty as it is warm. The Largo e cantabile is a melancholy, gloriously operatic aria for the first violin, with a throwaway shrug on the final note; the Scherzo slips into sideways cross-rhythms the minute you stop looking, and then finishes…well, does it? And we might hear the endless invention of the sicilienne final movement as merely playful, but as we’re about to discover, Mozart heard something very different indeed. This kitten has claws.
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LUIGI BOCCHERINI (1743-1805) String Quartet Op. 32 No. 5 in G minor Allegro comodo Andantino Menuetto con moto Allegro giusto When eighteenth-century music-lovers spoke of “The Wife of Haydn”, it wasn’t out of interest in the domestic life of the Father of the Symphony. It was the nickname, coined by the violinist Giuseppe Puppo, for Luigi Boccherini: virtuoso cellist and composer of some 20 symphonies, 12 cello concertos and countless chamber works. Born in Lucca, near Florence, he travelled to Vienna and Paris, before settling in Madrid in 1768. He spent much of the rest of his career under the patronage of various members of the Spanish royal family, and later (in a form of classical-era remote working) the cello-playing King Friedrich Wilhelm II of Prussia. But he lived in Madrid until his death, and performed and composed until the last. Still, the nickname (as nicknames will) shows just how widely Boccherini’s music was appreciated in his lifetime, and the affection in which it was held. He composed well over a hundred string quartets, and the six quartets Op. 32 date from 1780. Describing them as “opera grande”, Boccherini had them published in Paris in 1782, and again by Artaria in Vienna in 1785, where they would have found themselves competing with both Haydn’s recently-published Op. 33 and Mozart’s six quartets dedicated to Haydn. Or not, perhaps, competing so much as complementing. The market for chamber music in the 1780s was booming, and Boccherini had something distinctive
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to offer. Even today, there’s something Italianate, even operatic, about the singing melodies and florid ornamentation that are such a feature of his music. To eighteenth-century minds, this made his music “feminine”. Hence the nickname. The implication was that Boccherini was a master in the same class as Haydn but of a wholly different nature – a counterpart rather than a rival. That’s clear even in the first movement of this G minor quartet, which proceeds at a thoughtful and measured pace, laying its ideas open for enjoyment rather than heated debate (though not without occasional stabs of darker emotion). Boccherini the virtuoso cellist resists the temptation to launch the cello into flights of virtuoso fireworks (a favourite gambit in his string quintets), but uses it instead to add energy and power to passagework – or simply to underpin an expressive melody with rich, dark shadows.
WOLFGANG AMADEUS MOZART (1756-1791) String Quartet No. 19 in C major K. 465 Dissonance
paid by one genius to another, but an extraordinary example of how Mozart assimilated ideas and influences into music that was unambiguously his own.
Adagio - Allegro Andante cantabile Menuetto: Allegretto Allegro molto
Certainly, few composers have proved themselves more completely the master of their own voice than Mozart, in the astonishing opening bars of this C major quartet. Early performers assumed the first bar was a copyist’s error, and at least one editor tried to correct it. Even today, that sighing, piercing dissonance can still surprise. And yet, like everything Mozart wrote in adulthood, it couldn’t be other than it is. The logic is perfect. C major is one of the brightest and clearest-sounding of keys. An entire quartet in that key could be too much of a good thing. So, Mozart sets up his clear, buoyant C major first movement with a clouded, deeply-felt introduction in which all harmonic bets are off.
Mozart met Haydn for the first time in December 1781, shortly before Haydn published his Op. 33. He was fascinated, and in late 1782 he began a new set of string quartets of his own – his first in over nine years. Working with enormous care and concentration, he took over two years to complete the set. Only on 15th January 1785 did Wolfgang and Leopold Mozart and two friends finally play through the last three of the six new works for Haydn at Mozart’s apartment in Vienna. It was on that evening that Haydn took Leopold Mozart aside, and told him “Before God, and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name”.
The Andantino drops to an intimate hush (Boccherini marks it sotto voce sempre – “always whispered”), as the players unfurl their lines in a glowing E flat major, over a quietly throbbing bass. The ending is as graceful as it is poignant, and the brusque opening of the Menuetto comes as a jolt. The central Trio section offers both sweetness (dolcissimo) and a sliver of ice, when Boccherini instructs the first violin to play sul ponticello (on the bridge): a chilly, metallic sound. And to finish, there’s a bristling finale that develops a jaunty sense of humour before throwing off its corset with a flamboyant folk-fiddle cadenza for the first violin. And that’s not the last laugh – by any means…
Eight months later, when the quartets were published, Mozart returned the compliment handsomely. The front page bore the following dedication: To my dear friend Haydn: A father who had decided to send his children out into the wide world thought it best to entrust them to the protection and guidance of a famous man, who by good fortune also happened to be his best friend. Here they are then, O great Man and dearest Friend, these six children of mine, the fruit of long and laborious endeavour… To this day, these six works are known as Mozart’s “Haydn” quartets – not just one of the greatest compliments ever
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And throughout the quartet he finds elegant and expressive solutions to every problem that the quartet form throws up. When the cello sings a melody in a quartet, it creates a vacancy – the other instruments somehow have to become a surrogate bass. In Mozart’s tender F major Andante, though, cello and first violin duet expressively without ever breaking character. A boisterous minuet is subverted by a sly chromatic wink of an opening phrase; and its central Trio slips into a dark and urgent C minor. And in the playful finale, new keys, unexpected silences and ingenious little contrapuntal tricks whizz by so quickly and gracefully that you barely notice the art behind this supremely civilized entertainment. Haydn must surely have been flattered. Richard Bratby
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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? 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.
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
FOUNDING PATRON Dr Timothy Pascoe AM
THE CHAIR’S CIRCLE Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Mark Burrows AO * Tom & Sherry Gregory Kevin McCann AO & Deidre McCann * Ian & Pam McGaw Timothy & Eva Pascoe * Peter Young AM & Susan Young ESTERHÁZY $15,000+ Anonymous * (1) WALDSTEIN $10,000 - $14,999 Peter & Lisa Macqueen
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VAN SWIETEN $5,000 - $9,999 Reg & Kathie Grinberg * Agnes Sinclair * GALITZIN $1,000 - $4,999 Margot Anthony AM * Martin & Ursula Armstrong Mary Beare * Jan Bowen AM FRSN * Robert & Carmel Clark * Dr Terry & Julie Clarke John Claudianos & Dr Nena Beretin Jean Cockayne Mark & Stephanie Darling Michael & Manuela Darling Jeremy & Kate Eccles * Ron & Suellen Enestrom * Beatrice Farnsworth Dr Marguerite Foxon *
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OUR PATRONS CONTINUED Penny Le Couteur * Cecilia Lillywhite Peter Lowry OAM & Dr Carolyn Lowry OAM * Elbert Mathews Terry & Catherine McCullagh * Tim McDonald * Joanne McGrath Wendy Mcleod * Dr Patricia McVeagh Christine Melican Sue Mercer Paul & Betty Meyer * Helen Middleman Dr Jacqueline Milne * Louise Muir Carl Murphy * Phillip Murray Jan Marie Muscio * Heather Nash Dennis Nicholls Andrew O’Connor * Robin Offler * Louise Owen * Nick Payne Anne Pickles Jasmine Price * Susanna Price Geoff Randal Jan Redinbaugh * Heather Reid Pamela Roberts * John & Pam Rooney * Mary Rose-Miller * Jennifer Roseinnes Felicite Ross * Lesley Rowe Matthew Sait Anneke Scott * Greg & Wendy See*
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Robin Sevenoaks * Xavier Shea Carole Anne Shearer * Pam Shein * Ian Sheldrick Dr Richard Sippe Barbara Spencer * Michael & Rosemary Sprange* Keith & Janet Stanistreet Kaye Stevens Dr Rupert Summerson * Pamela Swaffield Susan Tanner * Kerry Thomas * David & Jill Townsend * David & Helen Turvey John Underwood* Gabriella Unsen Ailsa Veiszadeh * Herta Verge Penny Watsford * Nic & Elaine Witton * Wendy Yeomans Anonymous (17) incl 12 * * Indicates contributors to the 2021 Pozible Campaign to fund AHE’s 10th Anniversary CD This listing is correct as of 24 January 2022, and we gratefully recognise all donations received since 1 July 2021.
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Join us in the Summer Challenge by donating here: australianhaydn.com.au/donate-now
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BACKSTAGE
GOVERNMENT PARTNERS BOARD Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM FRSN Harriet Lenigas Adrian Maroya Kevin McCann AO Skye McIntosh (Artistic Director) Peter Young AM
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The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we perform. We pay our respects to Elders past, present, and emerging. Details in this program are correct at time of publication. Australian Haydn Ensemble reserves the right to add, withdraw or substitute artists and to vary the program and other details without notice. Full terms and conditions of sale available at our website australianhaydn.com.au or on request.
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STAFF Skye McIntosh – Artistic Director Tegan Redinbaugh – Chief Executive Officer Alison Dunn - Marketing and Communications Emma Murphy - Financial Controller Janine Hewett - Accountant Stephen Bydder – Administrator Marguerite Foxon – Front of House and Administrator* Vi King Lim – Score Services Richard Bratby – Programme Notes *In Kind Support IN KIND Jean Gifford, Canberra Greg & Wendy See, Berry IMAGES Images throughout by Helen White except pages 4 - 5 by Oliver Miller.
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REACH FOR THE STARS Join us for our 10 year anniversary season to celebrate a decade of enlightened music making.
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