C.P.E. BACH: UNIVERSE OF HARMONY Concert Program, Australian Haydn Ensemble

DARK WITH EXCESSIVE BRIGHT SEASON 2023

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C.P.E. BACH: UNIVERSE OF HARMONY

CHAD KELLY

Guest Director and Harpsichord

SKYE MCINTOSH

Artistic Director and Lead Violin

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DANIEL YEADON Cello PROGRAM

C.P.E. BACH Sinfonia in C major Wq. 182 No. 3

WILLIAM HERSCHEL

Sinfonia No. 8 in C minor C.P.E. BACH Cello Concerto in A major Wq. 172

--- Interval (20 mins) ---

J.A. BENDA Keyboard Concerto in F minor

TELEMANN Overture Suite in G major La Bizarre TWV 55:G2

// LIVE PERFORMANCE DATES

SYDNEY 11 December, 5pm City Recital Hall

BATHURST 13 December, 7.30pm Bathurst Memorial Entertainment Centre CANBERRA 14 December, 7pm Albert Hall, Yarralumla

AUSTRALIAN DIGITAL CONCERT HALL 11 December, 5pm

The concert duration is approximately 1 hr 50 mins including interval facebook.com/theaustralianhaydnensemble twitter.com/australianhaydn

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ARTISTIC DIRECTOR’S MESSAGE

I am thrilled to finish our 10th anniversary year with a dramatic program for strings and continuo centered on C.P.E. Bach and the theme of the discovery of the universe. It’s hard to imagine how little was known about the solar system in the late 18th century, yet easy to imagine the intense excitement that surrounded the many discoveries made at the time this music was written. While our knowledge of the universe, and of music, has come a long way, it is wonderful to think about how much more there is to know and explore in both worlds. By comparison, as with music, we have also come a long way, yet the power of this music to move us remains undiminished.

I have always found C.P.E. Bach’s music particularly powerful and thought provoking. Its dark harmonic corners and haunting and spacious lines juxtaposed against quirky melodic shapes are intended to shock and surprise. Its very essence draws my mind to thoughts of the great scope of a Universe beyond our earth and our imagination. His music is often associated with the dramatic Sturm and Drang (Storm and Stress) movement, and this quality comes through strongly in the two works in this program, the C major Sinfonia and the A major cello concerto. The slow movement of the cello concerto is one of the most sublime and mysterious I know and as performed by our principal cellist Daniel Yeadon will no doubt make a strong impression.

In his lifetime C.P.E. Bach was one of the most successful and respected composers. His published work, the True Art of Playing Keyboard Instruments, was a guide to many,

including Haydn. It is still a great source of information today. C.P.E. Bach was significantly influenced not only by his father (J.S. Bach), but also by his godfather - Telemann - and in this concert we perform Telemann’s playful suite from the first half of the 18th century, La Bizarre. While Telemann’s work is still firmly rooted stylistically in the baroque, it’s fascinating to realise that his musical output extended from the beginning of the 18th century all the way up to (and well after) the time of the two forward-looking works C.P.E. wrote (the cello concerto of 1750 and the sinfonia of the late 1770s).

Our program also features two lesserknown composers of the time. One, William Herschel, was better known for his discovery of Uranus in 1781 than for his stunning C minor sinfonia. The other is J.A. Benda, whose F minor keyboard concerto is performed by our phenomenal continuo player Chad Kelly.

I am delighted to welcome Chad Kelly as soloist and guest director of AHE for the first time. Chad brings a wealth of international experience and we are pleased to collaborate with him on this special project.

Thank you for all your support in 2022 - and I hope you enjoy this incredible music to ring out an extraordinary year.

Skye McIntosh

It is an immense pleasure to be collaborating with the Australian Haydn Ensemble as they celebrate a decade committed to bringing historically-informed ‘musicking’ to Australia. As the AHE – and, I dare say, many of us here today – look towards a bright future, it feels particularly fitting to present a programme exploring repertoire from the Age of Enlightenment, a period defined by scientific and social progress.

The music this evening is also indicative of an outward-looking and fertile musical landscape, one developed in the courts of musical centres such as Hamburg and Berlin. Telemann, C.P.E. Bach, and Jirí Benda are all composers from this lineage, and their music reveals an incredible scope of imagination, wit and individuality. Of particular interest this evening, too, is the music of William Herschel. A name better known in the field of Astronomy, his music, and its distinctive

German-British accent, has been a revelation to us.

For me, personally, it is a particular delight to be playing an original period harpsichord dating from 1775. Built in London by Jacob Kirckman, this characterful instrument has been skillfully and lovingly restored by the eminent Australian keyboard builder Carey Beebe. It is a privilege for me to play and, indeed, for us all to experience. What we on stage share with the composers of the Enlightenment, is our revelry in the rhetoric of music. Rhetorical music enables performers to speak to an audience: musical gestures are both arresting and affecting, shocking and moving. Be warned.

Chad Kelly

AUSTRALIAN HAYDN ENSEMBLE

GUEST DIRECTOR & SOLOISTS

GUEST DIRECTOR & SOLOIST

Chad Kelly

British keyboardist and director Chad Kelly emigrated to Australia at the end of 2021. Since arriving, he has received regular invitations to perform with the Australian Chamber Orchestra, as well as guest conducting engagements with the Australian Haydn Ensemble and Victorian Opera. He has also featured with Sydney and Tasmanian Symphony Orchestras.

In 2022 he joined the music staff of Opera Australia, having spent several seasons at the Bavarian State Opera (Munich) and at English National Opera (London).

His operatic conducting engagements in Europe include the Bavarian State Opera, Göttingen Händelfestpiele, Vienna’s Resonanzen Festival, The Globe’s Sam Wanamaker Theatre, Duke of York’s Theatre and the London Handel Festival.

Chad has a commitment to historicallyinformed performance practice. As an historical keyboard player and director, he has performed at all the major Bach festivals in Germany, and has enjoyed many fruitful collaborations with conductors such as Sir John Eliot Gardiner and Trevor Pinnock. He is principal keyboard player for the groups Opera Settecento and Solomon’s Knot, and enjoys regular guest directing engagements with groups such as the Academy of Ancient Music. Chad has an enduring collaboration with violinist Rachel Podger, both as a duo partner and helping to curate her Brecon

Baroque Festival. Chad and Rachel’s recording of Bach’s Goldberg Variations will be released in 2023.

Chad studied at Cambridge University and at the Royal Academy of Music. He became Lecturer in Music at Trinity College, Cambridge, and was elected Associate of the Royal Academy of Music in recognition of his contribution to the music profession. He continues his nurturing of young musicians as a guest lecturer at the Guildhall School of Music and Drama as well as at the University of Melbourne.

SOLOIST

Dr 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.

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 award-winning recordings.

Dr Daniel Yeadon appears appears courtesy of the Sydney Conservatorium of Music

THE ENSEMBLE

The Australian Haydn Ensemble, founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, has quickly established itself as one of Australia’s leading period-instrument ensembles, specialising in the repertoire of the late baroque and early classical eras. It takes its name from the great Joseph Haydn, a leading composer of the late 18th-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 City Recital Hall, 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 18thcentury 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 the Ensemble performed at the Adelaide Festival to great acclaim.

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 18th-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 recorded its third CD, of music by Mozart, for release in the coming months.

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, Chad Kelly (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 18thcentury 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.

Skye McIntosh

Leader and Artistic Director, Period violin, Tomaso Eberlé c.1770, Made in Naples

ARTISTS AND PERIOD INSTRUMENTS

GUEST DIRECTOR & HARPSICHORD

Chad Kelly

Eighteenth-century English double-manual harpsichord

Jacob & Abraham Kirckman, 1775, London Supplied and prepared by Carey Beebe

VIOLIN I

Skye McIntosh

Tomaso Eberle, 1770, Naples

Simone Slattery Claude Pierray, 1726, Paris

Anna McMichael* Camilli Camillus, 1742, Mantua

Annie Gard Klotz, c.1710, Mittenwald

Catherine Shugg Paulus Alletsee, 1710, Munich

VIOLIN II

Matthew Greco

David Christian Hopf, 1760, Quittenbach

John Ma

Richard Duke, c.1775, London

Ella Bennetts

André Mehler, 2014, Leipzig, after S. Serafino,1735, Venice

Marlene Crone J. Gedler, c.1770, Füssen

VIOLA

Karina Schmitz

Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan

David Rabinovici

Unknown, 19th century, Germany

CELLO

Daniel Yeadon * William Forster II, 1781, London

Martin Penicka Unknown, 18th century, England

DOUBLE BASS

Pippa Macmillan Unknown, mid-18th century, Bohemia

*Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music

* Anna McMichael appears courtesy of Monash University

ABOUT THE MUSIC

Few 18th century composers have left us an autobiography like Carl Philipp Emanuel Bach’s. But then few had quite as intriguing a story to tell. In his own words:

I, Carl Philipp Emanuel Bach, was born in March 1714, in Weimar. My late father was Johann Sebastian, kapellmeister at several courts and lastly music director in Leipzig. My mother was Maria Barbara Bach, youngest daughter of Johann Michael Bach, a thoroughly grounded composer. After completing studies at the Leipzig Thomasschule, I studied law first in Leipzig and later in Frankfurt an der Oder; in the latter place, I both directed and composed for a music academy as well as all the music for public ceremonies. In composition and keyboard playing I never had any other teacher than my father.

Anyone familiar with J.S. Bach’s life story can picture the atmosphere of near-continual musical activity in which his fifth son Emanuel Bach (as contemporaries called him) grew up. Telemann was his godfather and after Emanuel graduated an offer to join the household of the 26-year old Crown Prince Frederick of Prussia (the future Frederick the Great) proved too exciting to refuse. By the time he arrived at Court, Frederick was king: I did not formally enter into his service until the start of his Prussian Majesty’s reign, in 1740. And I had the honour to accompany him alone at the harpsichord in the first flute solo that he played as king at Charlottenburg. From this time on, until November 1767, I stayed in the Prussian service continuously.

Accompaniment was Bach’s main role at court. He was hired primarily as a harpsichordist, and besides, the flute-playing king had numerous other composers on his staff. Bach wrote songs, keyboard sonatas and orchestral music as well as his Essay on the True Art of Playing the Keyboard (1753),

a “teach yourself” textbook which became a Europe-wide best-seller.

After taking over from his godfather Telemann in Hamburg in 1767, C.P.E. Bach found a second wind. He corresponded with the poet Klopstock and the philosopher Diderot, while his music was played by (among others) Haydn, the young Mozart and Beethoven’s future teacher Neefe. He also safeguarded the reputation and legacy of his father Johann Sebastian – though when he died on 14th December 1788 his fame far outstripped his father’s. If posterity has relegated him to second place, no 18th century composer was more admired – or imitated – in his own time. In the words of Wolfgang Amadeus Mozart, “He is the father – we are all his children”. And his music retains its capacity to delight what he called Kenner und Liebhaber (experts and amateurs) alike.

CARL PHILIPP EMANUEL BACH (1714-1788)

Sinfonia in C major Wq 182 No.3 Allegro assai Adagio Allegretto

In 1767 I obtained the appointment at Hamburg as Music Director, succeeding the late Kapellmeister Telemann! After persistent [and] most respectful petitions, I received my discharge from the king […] To be sure, since arriving here I again have had some very lucrative offers elsewhere, but I have always declined them

Whatever the splendours of Potsdam, Emanuel seems to have been profoundly happy to inherit his godfather Telemann’s position in the free Hanseatic city of Hamburg. He was responsible for music in five of the city’s major churches, and stepped up his production of sacred music, while his reputation as a composer for the keyboard

brought him ample teaching opportunities. After nearly three decades amid the etiquette and rigid hierarchies of a royal court, he was affluent, respected and relishing the bustling commercial life of a cosmopolitan port city. He could take on freelance work too: like a commission, in 1773, for six symphonies for string orchestra from Gottfried van Swieten – the Dutch-born diplomat and connoisseur who went on to write the libretto of Haydn’s The Creation. These so-called “Hamburg symphonies” are Emanuel unbound: volatile, flamboyantly inventive mini-masterpieces, perfectly calculated to thrill a patron who was both an expert and an enthusiast. There’s something of Hamburg’s restless skies, shifting tides and bracing sea breezes in the bracing first movement and expressive Adagio of this third of the set: an ebullience that even blows (to refreshing effect) through the urbane courtesies of the finale.

WILLIAM HERSCHEL (1738-1822)

Sinfonia No. 8 in C minor Allegro assai [Andante]

Presto assai

18th-century composers often cast their nets wide, but few looked quite as far afield as William Herschel. Born in Hanover, the regiment in which he served as a bandsman (he played the oboe) was posted to England during the Seven Years War. He settled in the seaport of Sunderland, County Durham, in 1759, and went on to hold important musical positions in Newcastle, Leeds and Bath, where he developed his interest in astronomy. By 1774 he had constructed his first telescope – grinding and polishing his own mirrors in a workshop behind his house - and on March 13th 1781 he was the first human to observe the planet now known as Uranus. In recognition of his discovery he was elected to the Royal Society and in May 1782 was appointed Astronomer Royal.

Although Herschel is sometimes described as an amateur composer, he was actually an

extremely capable and up-to-date professional musician. His works include 24 symphonies and 12 concerti, all lightly brushed by the sonic fingerprints of C.P.E. Bach. The Symphony No.8 in C minor, composed in Sunderland and published in 1761, has an energy and a passion that belies its brief length. Herschel, after all, is the only composer in this concert to have a crater on Mars named after him.

CARL PHILIPP EMANUEL BACH (1714-1788)

Cello Concerto in A major Wq 172 Allegro Largo Allegro assai

Emanuel Bach’s reputation rested not just on his technical skill, and the liveliness and imagination of his music, but his mastery of the newly fashionable empfindsamer Stil (sensitive style) – which charged his compositions with character and emotion. As an artist-craftsman in the Age of Sensibility it was only natural that Bach’s personality should find an outlet in his music. “It seems to me that music primarily must touch the heart”, he wrote in his autobiography. Emanuel made it his business to study and assimilate the newest Europe-wide musical trends: in particular, he prized operatic melody, perfectly suited to the new fashion for emotional intensity (the so-called sturm und drang movement reached its peak during his career). But like any professional 18th-century composer, he was ready to adapt his music to any circumstance that his courtly duties demanded. This A major Cello Concerto was written in 1751, most probably for one of King Frederick’s staff cellists, the Italian Carlo Graziani or the Bohemian Ignaz Mara, and its combination of buoyant, bustling energy (in the outer movements) and genial lyricism give only a hint of the fact that this piece was originally written as a concerto for Bach’s own instrument, the harpsichord. But in the melancholy shade of the central Largo he lets the cello sing: a lovely, bittersweet tenor

aria for the cello - true to his lifelong creed that music is nothing unless it speaks to the emotions.

J.A. (GEORG) BENDA (1722-1795)

Harpsichord Concerto in F minor Allegro Larghetto

Allegro di molto Sanssouci (“Without Cares”), Frederick the Great’s summer palace at Potsdam outside Berlin, was a regular nest of singing birds. Quite apart from the King’s own flute-playing and composing, the royal staff contained (at various times) the composers Joachim Quantz and Carl Heinrich Graun and the brilliant Czech brothers František (Germanised into “Franz”) and Jiří (“Georg”) Benda. It’s little wonder that Bach occasionally felt like something of a spare part. Franz had joined Frederick’s household in 1732, and found it so congenial that he moved his parents to Berlin. In 1741 he persuaded Georg – already, at 19, a skilled violinist and composer – to join the royal household.

Naturally, Frederick‘s musicians performed with – and riffed off – each other. Georg was just as alert as Emanuel to the new currents of emotional expression in European music, and as a skilled opera composer (Mozart was a fan) even his instrumental works are charged with theatricality. This keyboard concerto (one of eleven from his pen, believed to date from the early 1760s) surrounds the grace of its central Larghetto with music of bristling, headlong drama.

GEORG PHILIPP TELEMANN

(16811767)

Overture Suite in G major, La Bizarre TWV 55:G2 Ouverture Courante Gavotte en rondeau Branle Sarabande Fantaisie Menuets I et II Rossignol

In the summer of 1722, by a unanimous vote, Georg Philipp Telemann was offered the post of Kantor at St Thomas’s Church in Leipzig. He turned it down, instead forging a prolific and prosperous career in Hamburg. Disappointed, the chairman of the appointments committee declared that “since the best man could not be hired, a mediocre one will have to be tolerated instead” - and gave the post to Johann Sebastian Bach. It’s a story that makes modern jaws drop, but there were absolutely no hard feelings between the two men: quite the contrary. The “Philipp” in C.P.E. Bach’s name was a direct compliment to Telemann; his godfather, and a lifelong mentor, colleague and friend. Hamburg, then as now, was a city where cultures met and mixed, with an insatiable thirst for novelty (It’s no coincidence that the Beatles found their voice there). Telemann’s inexhaustible imagination and deep knowledge of changing musical tastes (he corresponded with composers across Europe) made him ideally-suited to quench that first, and this spirited orchestral suite takes its cue from French fashions – an overture followed by six distinctly Gallic dance movements, each with a twist, or a quirk of attitude or tempo that makes it just a little unexpected (or if you prefer, “bizarre”). There’s a manic Gavotte, a Fantaisie in which the strings run madly to-and-fro, and to finish, a pecking, chirruping musical portrait of a nightingale - or perhaps a whole startled flock of them.

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Our patrons enable us to continue presenting wonderful concerts. We are so grateful to everyone who supports us and cannot thank you enough. Patron categories are named after famous 18th-century patrons who supported and commissioned many of Haydn, Mozart and Beethoven’s works that we know and love today. Where would we be without them?

About Our Patron Categories

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.

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