Schubert Songs 2018

NEW RELEASE

A groundbreaking recording of Beethoven's piano concertos in newly commissioned chamber arrangements in the style of the eighteenth century.

Recorded by Thomas Grubb in association with the Sydney Conservatorium of Music and ABC Classics, this recording represents the latest in historical research into Beethoven interpretation. The disc presents Beethoven's 1st & 3rd Concertos on a beautiful replica Conrad Graf fortepiano.

CDs can be ordered via our website and are available on the ABC Classics label via iTunes for digital download.

ABC

Classics

Schubert Songs Skye McIntosh, ArtisticDirector and Violin David Greco, Baritone SCHUBERT

Die Gotter Griechenlands D.677 in F sharp minor

FELICIEN DAVID

SCHUBERT

Les Quatre Saisons No. 6 Soiree de printemps

String Quartet No.13 in A minor (Rosamunde),D.804, Op. 29

FELICIEN DAVID

SCHUBERT

Les Quatre Saisons No. 5 Soiree d'automne

Winterreise: Frillingstraum in G major

SCHUBERT

FELICIEN DAVID

Der Jungling und der Tod D.545 in B flat minor/G major FELICIEN DAVID

Les Quatre Saisons No. 4e Soiree d'automne SCHUBERT

Les Quatre Saisons No. 3e Soiree de printemps

I. II. III. IV

Allegro ma non troppo Andante Minuetto: Allegretto -Trio Allegro moderato

SCHUBERT

Der Tod und <las Madchen inD minor

SCHUBERT

Winterreise: Der Leiermann in G minor

SCHUBERT

Der Erlkonig in E minor

INTERVAL [20 mins]

Winterreise: Gute Nacht in C minor

Berry

Friday 10 August, 7.00pm

Berry Uniting Church Hall

Sydney

Saturday 11 August, 7.00pm

Utzon Room, Sydney Opera House

Sydney

Sunday 12 August, 3.00pm

Independent T heatre, North Sydney

Canberra

Wednesday 15 August, 7.00pm

The Great Hall, University House

Newcastle

Friday I 7 August, 7.00pm

Newcastle Conservatorium of Music

AHE

AUSTRALIAN I HAYDN �-'::!�!:!BL�

f

facebook.com/theaustralianhaydnensemble

Y twitter.com/australianh aydn @ instagram.com/australianh aydn

3

The Ensemble 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 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 greatJoseph Haydn, a leading composer of the late eighteenth century, when style was transitioning from Baroque to Classical.

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 Destrube (Canada) and Melvyn Tan (UK). 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 lesser-known contemporaries of these composers, such as Abel, Albrechtsberger, C.P.E. Bach,J.C. Bach, Graun, Hoffmeister, and Vanhal.

The Ensemble 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.

Based around a small core of strings with flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet, to a full orchestra.

Members of the Australian H aydn 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, Concerto Koln, English Baroque Soloists, English Chamber Orchestra, Irish Chamber Orchestra,Julliard 415, Les Talens Lyrique, New Dutch Academy, Orchestra of the Age of Enlightenment and Orchestra of the Antipodes, to name a few.

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 20 I 7 AHE released a new CD on the ABC Classics label. Beethoven Piano Concertos No. 1 & 3 showcases 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 4

VIOLIN I/ LEADER & ARTISTIC DIRECTOR

CELLO

Skye McIntosh

James Bush

(Josef Panormo, 1800, London)

(Auguste S. P. Bernadel, 1842, ?Paris)

VIOLIN II

DOUBLE BASS

Simone Slattery

Jacqueline Dossor

(Claude Pierray, 1726, Paris)

(Unknown, c.1740, Northern Italian, Likely Bologna)

VIOIA

James Eccles (Hiroshi Iizuka, 1992, Philadelphia)

5

I LENGUIN From Australia's oldest wine region, the Hunter Valley, and helmed by Australia's 7th Master of Wine, Glenguin Estate production is extremely limited with just a few hundred cases of each wine made in good vintages.

Š

GLEN GUIN ESTATE.COM .AU

Artistic Director's Message Erlkonig, Der Tod und das Madchen (Death and a Maiden), Die Gotter Griechenlands, and movements from Winterreise. Schubert's Winterreise,

Schubert's Lieder and chamber music are amongst some of the most moving and beautiful music ever written, and it is with great pleasure that we have undertaken this collaboration with renowned Australian baritone David Greco.

considered by many to be one of the crowning glories of classical composition, is a powerful, brooding work and conjures up many emotions.

The program interweaves !eider, in newly commissioned arrangements for string quintet with double bass, with some beautiful seasonal movements from the little-known nineteenth century French composer, Felicien David. Vi King-Lim has done a magnificent job preparing chamber arrangements of the Schubert to correlate with the instrumentation of the David Saisons. We thank him for the care and skill he put into these arrangements for the Ensemble.

The Rosamunde Quartet, rarely performed on period instruments, is one of Schubert's great chamber works, full of melancholy and drama.

It is a treat for us to prepare and present this work for you.

Skye McIntosh Artistic Director & Violin

Felicien David, a contemporary of Schubert, is a relatively unknown composer even amongst rare music enthusiasts. The Four Seasons, Summer; Autumn, Winter and Spring, are each a set of six soiree movements that evolved over time following a number of chamber music gatherings with friends. When I first heard David's music, I immediately thought of Schubert and knew that his writing would be a fine pairing for the two.

The Leider selections we present include Der

7

About The Music he liked these songs better than all the others, and that they would come to love them too.

FRANZ SCHUBERT (1797-1828)

Der Erlkonig (1815) Der Jungling und der Tod (1817) Der Tod und das Madchen (1817) Die Gotter Griechenlands (1819) Winterreise (1827)

In keeping with a theme of the inevitability of loss, three of the songs on today's program personify death. Der Erlkiinig is one of Schubert's most famous works. Above the rhythm of the galloping horse, the child's desperation is contrasted with the father's attempts to calm him and the playful beckonings of death. In Der Jungling und der Tod, a dotted-rhythm prelude in the piano signifies the unyielding tread of death. The youth proclaims his desire to follow the setting sun into darkness, to leave the world behind. His tone changes as he beseeches death to take him, and there is tranquillity as death accepts. The arrival of death in Der Tod und das Madchen is depicted as an unavoidable home-coming, underscored by a shift from D minor to D major. However, the journey of the girl towards death is unwilling, and the music is heartbreaking as she pleads for her life to be spared. In all these works, death is seen as terrifying and tragic, but also as familiar and finally peaceful.

Song was an important genre for Franz Schubert. By the time he was 19 he had composed well over 300 of them, including such masterworks as Gretchen am Spinnrade and Der Erlkiinig. Earlier composers had tended to represent single words, such as tears, or sighing, in their song settings. Schubert used music to add a communicative layer to already profound texts. He wrote rhythms and melodies which heightened the poetry. He used juxtapositions of major and minor modes and surprising chords to highlight conflicts in text and meaning. The piano could also create captivating imagery, by turns a galloping horse, the drone of a hurdy gurdy, or the step of a broken-hearted lover.

The songs in today's program come from either end of Schubert's lifetime. Der Erlkiinig was one of the earliest, the songs of Winterreise some of his last. The differences are revealing: the earlier songs are full of youthful originality, the last painfully beautiful in their heartfelt loneliness and despair. Alw ays prone to bouts of melancholy, the reality of Schubert's syphilitic illness and approaching death lent many of his later works a darker quality than might otherwise have been the case. Winterreise is a masterwork, a cycle of songs which relate to each other and to the whole. At the time of its first performance, Schubert's friends were taken aback by its sadness. His answer was to say that

Die Glitter Griechenlands also explores loss - the death of a great civilisation. It reminds the listener of ancient songs and dances, so much so that one must wonder if Schubert had somehow heard music from Greece. It is a setting of only one of Schiller's 18 verses but carries all the nostalgia for a lost time which the original poem explores. The song is set in A minor, and Schubert takes his characteristic shifts to the parallel major to extremes. Every line is coloured with turns between major and minor, reflecting the ambivalence of yearning.

8

FELICIEN DAVID (1810-1876)

exploring the foreign landscape and listening to the music of its people. He may have stayed longer, but an outbreak of plague drove him to return to Marseille. He considered his muse to be 'too severe and too religious' for Parisian society; so he retreated to Igny, journeying to Paris once a week on foot. It was in this time that he composed the 24 miniature string quintets, Les Qyatre Saisons. These pieces have been largely overlooked, overshadowed by David's compositions celebrating the music he had heard during his travels, such as his ode-symphonie in three parts, Le Desert. The four Saisons are each comprised of six Soirees exploring different facets of evening gatherings.

Dancelike rhythms pervade them, and even when they take a darker turn they remain elegant and engaging. The accompanying figures which support the singing melodies are often reminiscent of Schubert songs, which David had almost certainly heard in French versions. The result is music to which it is easy to imagine images of nature and dancing from each of the seasons. The chosen movements for today's program celebrate autumn and spring. Of the Soirees, d'automne, No.5 has a humorous and carefree character with foot­ tapping off-beat rhythms. No.4, by contrast, has a gently rocking melody, passed between the instruments. The darkness of the minor key and the repeated rhythmic patterns of the accompanying figure are suggestive of flowing water in slowly fading autumn light. The Soiree de printemps No. 6 is a waltz - but one that is unsettling and shifts between rough caricature and flowing grace. No.3 has driving rhythms beneath sweet melodies, telling a tale of life waiting to burst forth after the winter.

Les Quatre Saisons: Soirees de printemps/ d' ete/ d'automne/ d'hiver ( 183 7) No. No. No. No.

5 Soiree d'automne 4e Soiree d'automne 6 Soiree de printemps 3e Soiree de printemps

Les Qyatre Saisons are a set of 24 miniature string quintets, composed for string quartet with the addition of either a second cello or bass. The use of bass was unusual in this context, but it allows a breadth of sound which is characteristic of the compositions of Felicien David.

David led an extraordinary life. Orphaned at the age of 6, he was fortunate to receive an education in music and literature. In 1830 he fulfilled a childhood dream by becoming a student at the Conservatoire de Paris. Here he studied counterpoint and organ, becoming a qualified organist. These pursuits are clearly audible in David's compositional style, which is filled with interweaving voices and different combinations of orchestral instruments to create effective timbres, like organ stops. But it was David's poor life situation in Paris which would determine his future direction. He was extremely poor and was heard to exclaim in frustration that poverty killed inspiration. It is therefore little wonder that he was attracted to the Saint-Simonians. This movement was based on the conviction that poverty, intolerance, wars, and feudalism belonged to the old world and that society stood before a radical change. Over time, the movement became a brotherhood with which David became deeply involved. When, in 1832, the authorities forced the Saint-Simonians to leave France, he accompanied them on the long journey to Egyp t. Here they believed that they would contribute to rebuilding the glorious time of the pharaohs.

David lived in Egypt for two years. He spent a great deal of time travelling in the desert, 9

similar to Schubert's setting of Gretchen am Spinnrade. Following this is the first dramatic

FRANZ SCHUBERT (1797-1828)

String Quartet No.13 in A minor

turn - the music moves forward in all four voices to begin a sophisticated spinning-out of ideas, always returning to familiar material. It is this combination of elements of song and instrumental composition which characterise Schubert's later works. His earliest compositions relied heavily on Classical forms and structures and can be compared with the works of Beethoven or Mozart at a similar age. Yet the late works are characterised by a flexibility of form and creative use of harmony and effect which are distinctly Schubertian.

(Rosamunde), D.804, Op. 29 (1824) I. Allegro ma non troppo II. Andante III. Minuetto: Allegretto - Trio IV Allegro moderato Schubert's String Quartet No.13 is one of the three great quartets of his final years. It was written at a time when Schubert was seriously ill and hospitalised. The onset of the symptoms of syphilis in early 1823 had coincided with an explosion of popularity as a composer which had propelled him to stardom in Vienna. His illness also marked the end of his "double life" as a divinely-inspired musician and a hedonistic pleasure-seeker "covered in slime". Little is known about the details of Schubert's lifestyle prior to his illness, but there are many accounts of the disparities presented by his particular combination of Viennese humour, strong sensuality, and melancholy.

The second movement opens with a theme from Schubert's setting of the play Rosamunde, hence the name by which the quartet is often known. But the movement is developed far beyond this theme, including an extended coda to finish. The third movement contains yet another link to song with a quotation from Die Gotter Griechenlands. This movement returns to the dark mood of the first movement, unusual in a minuet but supportive of the cyclic nature of this work in which the movements relate to each other. The final movement continues the minuet theme in a more reassuring and uplifting permutation. However, voices of doubt soon interject and the minor mode begins to make itself felt. However, the first, happy melody always returns, and the movement closes with a satisfied air of achievement.

It could be said that all these facets of Schubert's personality are present in the String Quartet No.13. The first movement is long and dramatic, dark but with moments of hope. It opens in a distinctly song-like manner with a restless accompaniment in the second violin, soon joined by the main melody in the first violin. This melody has short, poetic motives to which it is easy to imagine a text, perhaps

Schubert songs: translations Die Gotter Griechenlands, 1819 (Schiller)

The Gods of Greece, 1819

Schone Welt, wo hist du? - Kehre wieder, Holdes Bliithenalter der Natur!

Ach, nur in dem Feenland der Lieder Lebt noch deine goldne Spur.

Ausgestorben trauert das Gefilde,

Beautiful world, where are you? - return again, Sweet flowering Spring of nature!

Alas, only in the fairy land of song Still lives your golden memory.

The barren fields mourn,

10

Keine Gottheit zeigt sich meinem Blick, Ach, von jenem lebenwarmen Bilde Blieb nur das Gerippe mir zuriick.

No god reveals himself to my sight, Alas, of that warm, living image Naught but a shadow remained to me.

Der Jingling und der Tod, 1817

The Youth and Death, 1817

(Spaun) Der Jungling: Die Sonne sinkt, o ki:innt' ich mit ihr scheiden!

Mit ihrem letzten Strahl entfliehen!

Ach diese namenlosen Qualen meiden Und weit in schi:in're Welten zieh'n.

T he Youth: T he sun is sinking, would that I could depart with it, To flee with its last beams!

To escape this nameless torture And travel far into a fairer world.

0 komme, Tod, und lose diese Bande! lch liichle dir, o Knochenmann, Entfiihre mich leicht in getriiumte Lande, 0 komm' und riihre mich doch an.

Oh, come, Death, free me from these bonds!

I smile at you, oh Man of Bone.

Lead me easily into the land of dreams, Oh, come and touch me now.

Der Tod: Es ruht sich kiihl und sanft in meinem Armen, Du rufst! lch will mich deiner Qual erbarmen.

Death: You will rest, cool and gentle, in my arms, You call! I show mercy and end your torment.

Gute Nacht- Winterreise, 1827 (Miiller)

Good night- Winterreise, 1827

Fremd bin ich eingezogen, Fremd zieh' ich wieder aus.

Der Mai war mir gewogen Mit manchem BlumenstrauB. Das Miidchen sprach von Liebe, Die Mutter gar von Eh' Nun ist die Welt so triibe, Der Weg gehiillt in Schnee. lch kann zu meiner Reisen Nicht wiihlen mit der Zeit, MuB selbst den Weg mir weisen In dieser Dunkelheit.

Es zieht ein Mondenschatten Als mein Gefahrte mit, Und auf den weiBen Matten Such' ich des Wildes Tritt.

Was soil ich liinger weilen, DaB man mich trieb hinaus?

LaB irre Runde heulen Vor ihres Herren Haus; Die Liebe liebt das Wandern Gott hat sie so gemacht Von einem zu dem andern.

Fein Liebchen, gute Nacht!

Will dich im Traum nicht sti:iren, War schad' um deine Ruh'.

Sollst meinen Tritt nicht hi:iren Sacht, sacht die T iire zu!

Schreib im Voriibergehen

I came here a stranger, A stranger I depart.

May favoured me With bunches of flowers.

T he girl spoke of love, Her mother even of marriage Now the world is gloomy, T he road shrouded in snow.

I cannot choose the time To begin my journey, I must find my own way In this darkness.

A moon-shadow travels With me as my companion, And upon the white ground I seek the deer's track.

Why should I tarry here So that people can drive me away?

Let mad dogs howl Before their master's house; Love loves to wander God made it that way From one to the other, My dearest, good night!

I do not wish to disturb your dreaming, It would be a shame to wake you.

You won't hear my step, Softly, softly the door closes!

I write in passing 11

Ans Tor dir: Gute Nacht, Damit du mi:igest sehen, An dich hab' ich gedacht

On your gate: Good night, So that you may see That I thought of you.

Friihlingstraum - Winterreise, 1827 (Miiller)

Dream of Spring - Winterreise, 1827

Ich traumte von bunten Blumen, So wie sie wohl bliihen im Mai; Ich traumte von griinen Wiesen, Von lustigem Vogelgeschrei.

Und als die Hahne krahten, Da ward mein Auge wach; Da war es kalt und finster, Es schrien die Raben vom Dach.

Doch an den Fensterscheiben, Wer malte die Blatter da?

Ihr lacht wohl iiber den Traumer, Der Blumen im Winter sah? lch traumte von Lieb um Liebe, Von einer schi:inen Maid, Von Herzen und von Kiissen, Von Wonne und Seligkeit.

Und als die Hahne krahten, Da ward mein Herze wach; Nun sitz' ich hier alleine Und denke dem Traume nach.

Die Augen schlieB' ich wieder, Noch schlagt das herz so warm.

Wann grunt ihr Blatter am Fenster?

Wann halt' ich mein Liebchen im Arm?

I dreamed of colourful flowers, The w ay they bloom in May; I dreamed of green meadows, Of merry cries of birds.

And when the roosters crowed, Then my eye awakened; It was cold and dark, The ravens shrieked on the rooÂŁ But at the window panes, Who painted the leaves there?

You probably laugh at the dreamer Who saw flowers in winter?

I dreamed of love reciprocated, Of a beautiful maiden, Of hearts and kissing, Of joy and delight.

And when the roosters crowed, Then my heart awakened; Now I sit here alone And think about the dream.

I close my eyes again, My heart still beats so warmly.

When will the leaves at the window turn green?

When will I hold my love in my arms?

Der Leiermann - Winterreise, 1827 (Miiller)

The Hurdy-Gurdy Man - Winterreise, 1827

Driiben hinterm Dorfe Steht ein Leiermann Und rnit starren Fingern Dreht er was er kann.

BarfuB auf dem Eise Wankt er hin und her Und sein kleiner Teller Bleibt ihm immer leer.

Keiner mag ihn hi:iren, Keiner sieht ihn an, Und die Runde knurren Um den alten Mann.

Und er laBt es gehen, Alles wie es will, Dreht, und seine Leier Steht ihm nimmer still.

Wunderlicher Alter!

There beyond the village Stands an organ-grinder, And with numb fingers He plays as best he can.

Barefoot on the ice, He sways back and forth, And his little plate Is always empty.

No one listens to him, No one looks at him, And the dogs growl Around the old man.

And he just lets it happen, As it will, Turns, and his hurdy-gurdy Is never still.

Curious old man, 12

Soll ich mit dir geh'n?

Willst zu meinen Liedern Deine Leier dreh'n?

Shall I go with you?

Will you play your hurdy-gurdy To my songs?

Der Tod und das Madchen, 1817 (Claudius)

Death and the Maiden, 1817

Das Miidchen: Yoriiber! Ach, voriiber!

Geh wilder Knochenmann! lch bin nochjung, geh Lieber!

Und riihre mich nicht an.

The Maiden: Pass me by! Oh, pass me by!

Go, savage man of bones!

I am still young - go, dearest!

And do not molest me.

Der Tod: Gib deine Hand, Du schon und zart Gebild!

Bin Freund, und komme nicht, zu strafen.

Sey gutes Muths! ich bin nicht wild, Sollst sanft in meinen Armen schlafen!

Death: Give me your hand, you fair and tender form!

I am your friend, I do not come to punish.

Be of good cheer! I am not savage, You shall sleep gently in my arms.

Der Erlki:inig, 181 7 (Goethe)

The Erlking, 1817

Wer reitet so spat <lurch Nacht und Wind?

Es ist der Yater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er faBt ihn sicher, er hiilt ihn warm.

Who rides, so late, through night and wind?

It is a father with his child.

He has the boy tight in his arm He holds him safely, he keeps him warm.

"Mein Sohn, was birgst du so bang dein Gesicht?"

"Siehst, Yater, du den Erlkonig nicht?

Den Erlenkonig rnit Kron' und Schweif ?" "Mein Sohn, es ist ein NebelstreiÂŁ"

"My son, why do you hide your face in fear?"

"Father, do you not see the Elf-king?

The Elven-king with crown and cape?"

"My son, it's a streak of fog."

"Du liebes Kind, komm, geh rnit rnir!

Gar schone Spiele spiel' ich mit dir; Manch' bunte Blumen sind an dem Strand, Meine Mutter hat manch gulden Gewand." -

"Dearest child, come, go with me!

I will play beautiful games with you; Many colourful flowers are on the beach, My mother has many a golden robe."

"Mein Yater, mein Yater, und horest du nicht, Was Erlenkonig mir leise verspricht?" "Sei ruhig, bleibe ruhig, mein Kind; In diirren Bliittern siiuselt der Wind." -

"My father, my father, can you not hear What the Elf-king softly promises me?"

"Be calm, stay calm, my child; The wind is sighing through rough, dry leaves."

"Willst, feiner Knabe, du rnit mir gehn?

Meine Tochter sollen dich warten schon; Meine Tochter fiihren den niichtlichen Reihn, Und wiegen und tanzen und singen dich ein." -

"Do you, fine boy, want to go with me?

My daughters shall wait on you attentively; My daughters lead the nightly dance, And sway and dance and sing to bring you in."

"Mein Yater, mein Yater, und siehst du nicht dort Erlkonigs Tochter am diistern Ort?" "Mein Sohn, mein Sohn, ich seh' es genau: Es scheinen die alten Weiden so grau. -"

"My father, my father, don't you see there The Elf-king's daughters in the gloomy place?"

"My son, my son, I see it clearly: There shimmer the old willows so grey."

"lch liebe dich, rnich reizt deine schone Gestalt; Und hist du nicht willig, so branch' ich Gewalt." -

"I love you, your beautiful form entices me; And if you're not willing, then I will use force."

13

"Mein Yater, mein Yater,jetzt fa13t er mich an!

Erlkonig hat mir ein Leids getan!"

"My father, my father, he's touching me now!

The Elf-king has done me harm!"

Dem Yater grauset's; er reitet geschwind, Er halt in Armen das ii.chzende Kind, Erreicht den Hof mit Miihe und Not; In seinen Armen das Kind war tot.

The father is horrified; he rides swiftly on, He holds the moaning child in his arms, Reaches the farm with struggle and peril; In his arms, the child was dead.

Program notes and translations by Megan Lang

David Greco The Eighth Wonder. He also appeared with the Sydney Symphony Orchestra in performances of Mozart's Missa Brevis. He performed the role of Wagner in Gounod's Faust in a co-production with Lyric Opera Chicago and the Macau International Music Festival.

International baritone David Greco, born in Australia, has worked on the cutting edge of the early music movement in Europe, performing with the Academy of Ancient Music under Richard Egarr and the Amsterdam Baroque Orchestra under Ton Koopman. He has appeared as a soloist in some of the world's most exceptional festivals, in productions such as Gluck's Alceste with Festival Aix-en Provence, and Glyndebourne Festival Opera's recent production of Purcell's The Fairy Qyeen, and has sung in the world's finest concert halls, from the Theatre des Champs Elysees to Vienna Konzerthaus. In 2017 David made his debut as a soloist with the Sydney Symphony Orchestra in Bach's cantata for solo baritone Ich habe Genug at the Sydney Opera House.

In 2017 David appeared as a soloist in the Australian Brandenburg Orchestra's tour of Handel's Messiah, Bach's Matthiius-Passion and Messiah (Sydney Philharmonia Choirs), the role of Seneca in Monteverdi's L'incoranazione di Poppea (Pinchgut Opera), and made his role debut in Monteverdi's L'Oifeo in Melbourne.

2018 includes engagements with Pinchgut Opera in Handel's Athalia, and concerts with Latitude 37, as well as in Holland, Germany, and the UK. David has an impressive catalogue of solo recordings, including the recently released 'Poems ef Love & War' featuring arias by New Zealand composer Jack Body on the Naxos Label. David's solo artist recording with ABC Classics label of Schubert's Winterreise featuring Erin Helyard on period fortepiano will be released in September.

David was appointed as a bass Lay Clark in Westminster Abbey Choir in 2012, and in 2014 he was appointed to a position with the Sistine Chapel Choir in the Vatican, Rome.

www.davidgreco.info

2016 saw David's debut as a principal artist with Opera Australia in The Love ef Three Oranges and

14

The Performers VIOLIN & ARTISTIC DIRECTOR

Antipodes, Adelaide Baroque, the Adelaide Symphony Orchestra, among others. Festival appearances include: the BBC and Snape Proms (UK), Huntington Estate Music Festival, and the Adelaide, Melbourne, Sydney and Perth International Arts Festivals.

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 Australian Romantic & Classical Orchestra, and as a regular member of the Australian Brandenburg Orchestra since 2010.

From 2011 to 2014 Simone was a Britten-Pears Young Artist, performing as concertmaster of both the modern and baroque orchestras. She recently completed her PhD creating editions and recordings of the little-known violin works of Ernest Bloch.

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.

VIOIA

James Eccles James studied at the Sydney Conservatorium of Music and ANAM, and gained his Masters in Ireland. Following this he worked with the Konzerthaus Orchester and avant-garde rock band AGE in Berlin.

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.

Returning to Sydney in 2007,James has become a sought-after violist, performing with new-music groups such as Ensemble Offspring, presenting and performing in children's concerts at the Sydney Opera House, performing solo with SBS Youth Orchestra, and working as principal viola with Sydney Philharmonia Choirs. As a period instrumentalist, he performs with Pinchgut Opera, and the Australian Brandenburg Orchestra.

VIOLIN

Simone Slattery Simone has a passion for music from a wide range of eras, performing on both modern and baroque violin.

She has appeared as soloist and chamber musician in Australia and overseas, and regularly performs with ensembles such as the Melbourne Chamber Orchestra, the Australian Brandenburg Orchestra, the Orchestra of the

James has premiered many new works and has also commissioned new Australian works in his role as director of the 2014 Aurora Festival and as co-director of The NOISE String Quartet.

15

CELLO

DOUBLE BASS

James Bush

Jacqueline Dossor

Winner of the TVNZ Young Musicians Competition and of the National Concerto Competition of New Zealand,James has performed as soloist with all of New Zealand's leading orchestras. He has worked regularly over the last 10 years with many of Europe's leading baroque orchestras including Akademie fiir Alte Musik Berlin and Concerto Koln, as well as principal cellist of Al Ayre Espanol.

James has also collaborated for many years with renowned dance company Sasha Waltz and Guests, performing from the Bach cello suites in 50 performances worldwide of the work Gezeiten. He can be heard performing on recordings released by Sony, Harmonia Mundi, Winter & Winter, and Challenge Classics.

Originally from Sydney,Jacqueline moved to the UK in 2004 when she was awarded a scholarship to study at the Royal Academy of Music in London. Since graduating,Jacqueline has continued to work regularly with a variety of UK orchestras and ensembles such as the English Chamber Orchestra, the Orchestra of the Age of Enlightenment, BBC National Orchestra of Wales, Welsh National Opera, English Touring Opera, and English National Ballet to name a few.

Jacqueline commutes regularly between the UK and Australia throughout the year, as the principal double bass player for the Australian Haydn Ensemble and occasionally performing as guest principal with Australia's other top period orchestras - Pinchgut Opera/ Orchestra of the Antipodes and the Australian Brandenburg Orchestra.

16

2018

Season Beethoven & Haydn 4-12 October 2018 Canberra/ Berry/ Southern Highlands/ Sydney/ Newcastle HAYDN Symphony No. 44 in E minor (The Trauer) FERDINAND RIES Flute Quartet in D minor ALBRECHTSBERGER String Sextet in E flat major Op. 13 No. I BEETHOVEN Symphony No. I in C major arr. Masi (1800) Haydn's Farewell 13-16 December 2018 Canberra/ Sydney J.C. BACH Symphony in G minor Op. 6 No. 6 MOZART Piano Concerto No. 12 in A major MOZART Rondo for Piano and Orchestra in A major K.386 HAYDN Symphony No. 45 in F sharp minor (The Farewell) Mozart Concert in partnership with Sydney Mozart Society Friday, 31 August 2018 at 8pm The Concourse, Chatswood. Tickets from The Concourse Box Office, Chatswood or from Ticketek agencies.

BOCCHERINI Flute Quintet No. 8 in G minor Op.19 No. 2 MOZART String Quartet No.14 in G major (Spring) K.387 HAYDN String Quartet No. 35 in D minor Op. 42 Hob IIl:43 MOZART Flute Quartet No. I in D major K.285

For full performance and booking information visit australianhaydn.com.au/ events

17

Patrons Our patrons enable us to continue presenting wondeiful 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?

Esterhazy Prince Esterhazy was the main patron of Haydn.

Galitzin He was an amateur musician and is known particularly for commissioning three Beethoven string quartets Op. 127, 130 and 132

Waldstein Count Waldstein was an early patron of Beethoven

Lobkowitz He was a Bohemian aristocrat and a patron of Beethoven.

Van Swieten He was a keen amateur musician and patron of Haydn, Mozart, and Beethoven.

Razumowsky He commissioned Beethoven's Op. 59 String Quartets.

Patron Professor the Honourable Dame Marie Bashir AD CVO

Esterhazy $15,000+ Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna John Claudianos & Nena Beretin Carolyn Fletcher AM & The Hon. Nick Greiner AC Tom & Sherry Gregory Ian & Pam McGaw Timothy & Eva Pascoe Rob & Myriame Rich Peter Weiss AO

Waldstein $10,000-$14,999 Martin & Ursula Armstrong Mark Burrows AO Jeremy & Kate Eccles Kevin & Deidre McCann Justice Anthony Whealy & Annie Whealy Anonymous (2)

18

Van Swieten $5,000-$9,999

Paul Hopmeier &Jan King

Mary Rose-Miller

Peter & MargaretJanssens

Alex & Edwina Mclnnes

Mark & Carolyn Bethwaite

Peter & Llnda Kurti

Tony Minchin

Ron & Suellen Enestrom

Garth Mansfield OAM & Margaret Mansfield OAM

Beverley Northey

John Fairfax AO & Llbby Fairfax

Frank &Jenny Nicholas

Llbby Manuel

Nick Payne

Kelvin McIntosh

Mary Rose-Miller

Karin Keighley

Andrew & Abbey McKinnon

Jill Townsend

Paul & Anne Masi

Jacqueline Milne

David Mortimer AO & Barbara Mortimer

John Nethercote

Nola Nettheim

Trevor Parkin

Anonymous (1)

Susan Perrin-Kirby

Dr Marguerite Foxon Reg & Kathie Grinberg

Anonymous (1)

Pieter & Llz Oomens Razumowsky $50-$499

Keith & Robyn Power Peter & Carol Scott Galitzin $1,000-$4,999

Gregory & Wendy See

Stephen & Nanette Ainsworth

Penelope Seidler AM

Antoinette Albert

David & Daniela Shannon

Margot Anthony AM

Roger & Ann Smith

Carey Beebe

The Smithers Family

Pattie Benjamin

Michael & Rosemary Sprange

Eclci & Celia Bischoff

DrJenepher Thomas

Graham Bradley AM & Charlene Bradley

Tim & Vincie Trabair

Tony Burrell & Hilary Steel

Lesley Whalan & Wendy Calisle

Kay Vernon

Peter & Anita Carmody

Dr Margot Woods

Michael & Colleen Chesterman

Carla Zampatti AC

Robert & Carmel Clark

In Memory of Bill Harris AO

Terry &Julie Clarke

Anonymous (5)

Peter Craswell Peter & Prudence Davenport Catherine Davies DrJohn Dearn Dr Paul Edwards Bronwyn Eslick Ralph & Maria Evans Terry & Lynn Fern Richard Fisher AM & Dianna Marian Flynn

Glenn &Jillian Albrecht William Armitage James Ashburner Stephen Baggaley Anthony & Lurlene Bailey Timothy Bailey Gary &Joanna Barnes Dame Marie Bashir AD CVO Robin Bass Andrew Blanckensee Bruce & Graziella Bland Erica Booker Jennifer Bott Jan Bowen AM Malcolm Brooks

Jean Cockayne Dr Nola Cooke

Geoff & Rosie Adams

Margaret Bradley

Alison Clugston-Cornes Janet Cooke

David &Jill Adams

Lobkowitz $500-$999 Ann Armstrong

Charlotte Brown Russell Burgess Edmund Capon AM OBE &Joanna Capon OAM

John Baird Rosalind Baker

Robert &Josephine Carr

Clive Birch

Richard Chisholm

Jeffrey Bridger

George H Clark

Diana Brookes

Myee Clohessy

Sylvia Cardale

Margaret Cooper

Christine Cooper

Harriet Cunningham

James Coughlan

Megan Curlewis

Kent Harrisson & Niky Rovis

Sarah Curro

Sally Herman

Rhonda Dalton

Ivan Foo

GerardJoseph

Pastor de Lasala OAM

Suzanne Gerozisis

Trevor Kennedy & Llsa Delaney

Don Debus

Kirsten Lock

Jennifer Dewar

Diccon & Llz Loxton

Nick Dinopoulos

Christine Goode Don Harwin Garrick & Evelyn Hawkins Andreas & Inn Ee Heintze

David Malouf

George Drew

Jules Maxwell

Marilyn Edmond

19

Maria & Bob Elliot

Harriet Lenigas

Adrian Read

Constance Ellwood

Andrew Lloyd:James & Dr Patricia Richardson

Dr Lyn Riddett

Ian & Susan Ernst Garry Feeney Michael Fong Warwick Franks Julia Fredersdorff Elizabeth Gee Richard Gorrell Rosemary Greaves John Greenwell Erik & Marilyn Haan Victoria Hartstein Judith Healy Jenni Hibbard Peter Hislop Ann Hordern Elizabeth Howard John & Pat Howard Catherine lkin David Irving Paul & CarolJames MargaretJohnson Margaret Julian Gabrielle Kancachian Lisa Kawai Janice King Dr Joan Kitchin Lynette Kok

Peter LowryOAM & Dr Carolyn LowryOAM Charles Manning Kathleen Marriott Elbert Mathews

Josie Ryan Carole Salter Kenneth Saxby Anneke Scott Barbara Sergi Heather Shelley

Kirsty McCahon

Keith &Janet Stanistreet

Alan McCormack Terry & Catherine McCullagh Stephen McDonald & Mindy Green Wendy McLeod Paul & Betty Meyer Richard Milner Dr David & Michelle Moddel Giancarla Montagna Tony Mountstevens Patrick Mullins

Rob Starling Libby Steeper Lisa Stewart Elizabeth Storrs Lady Penny Street Jane Styles Dr Rupert Summerson Susan Tanner Matt Taylor Janet Tomi

Heather Nash

Ian Tanking

Elizabeth Neild

Frances Tsoukalidis

Narelle Nelson Dr Peter & Patricia O'Brien Neville Olliffe

Ailsa Veizedeh Theanne Walters Dr Frances Whalan

Patricia Parker

Brian & Helen WIider

Catherine Peel

Gerard Windsor & Louella Kerr

Louise Petersen

Michael Winnett

Eric Pozza

Anonymous (23)

Alex Ralph Colin Rea

Correct at the time of printing

20

SupportAHE The generosity and loyalty of our donors has enabled AHE to bring the music of Haydn and his contemporaries to audiences and students in Australia and abroad. Help us to continue with this vital work by contributing through our website or sending a donation to: Australian Haydn Ensemble Level 1, 16-18 Oxford Square Darlinghurst 2010

Find out more about how you can support the Ensemble at

australianhaydn.com.au/how-to-support All donations over $2 are tax deductible.

Partners MEDIA PARTNERS

LIMELIGHT

ABC

AUHRAIIA·s CtASSICAI MUSIC MiD ARTS MAGAZINF

Classics

Artsound�

rm 90.3��fln 92.7

GOVERNMENT PARTNER

creative partnerships australia

Australian Government Catalyst-Australian Arts and Culture Fund

VENUE PARTNERS

�NEwcAsTtE ,..._

,._- AUSTRALIA

ADMINISTRATION PARTNERS

Chamberworks

Bartier Perry

;vi.y❖�/j FRANK CLUNE & SON BUSINESS & FINANCIAL ADVISERS

est.1923

WINE PARTNER

GLENGUINESTATE.COM.AU

22

keepingco. empowering your business

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

Administration

Patron

Alicia Gibbons

Professor the Honourable Dame Marie Bashir AD

General Manager

Stephen Bydder Administrator

Marguerite Foxon Development Manager

Jacqueline Dossor 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.

cvo

Digital Media

James Eccles

Board Marco Belgiorno-Zegna AM Chair

Carolyn F letcher AM

Education Programs

Tom Gregory

Vi King Lim

Skye McIntosh

Score Services

Raktive Paul Bookkeeper

In-Kind Supporters Maria Cox

Gregory and Wendy See

Jacqueline Dossor

Annie and Anthony Whealy

Marguerite Foxon

23

Beethoven & Haydn 4 - 12 OCTOBER 2018

I CANBERRA • BERRY • SOUTHERN HIGHLANDS • NEWCASTLE • SYDNEY

HAYDN

ALBRECHTSBERGER

Symphony No. 44 in E minor (The Traner)

String Sextet in E flat major Op. 13 No. 1

arr. Dr. Hague (1810)

BEETHOVEN Symphony No. 1 in C major arr. Masi (1800)

FERDINAND RIES Flute Quartet in D minor

AHE

AUSTRALIAN I HAYDN

���t�,��_E

TICKETS AVAILABLE FROM

WWW.AUSTRALIAN HAYDN.COM.AU