HAYDN'S SUN & MENDELSSOHN'S STARS, Concert Program, Australian Haydn Ensemble

HAYDN’S SUN & MENDELSSOHN’S STARS

10 - 19 February 2023

AHE 2023

Haydn’s Sun & Mendelssohn’s Stars

FEBRUARY

The Mozarts, The Haydns & The Bear

APRIL

Die Stille Nacht with David Greco

JUNE

Beethoven’s Seventh AUGUST

Haydn’s Times of Day

DECEMBER

HAYDN’S SUN & MENDELSSOHN’S STARS

ARTISTS

AHE STRING QUARTET

Skye McIntosh, violin

Matthew Greco, violin

Karina Schmitz, viola

Daniel Yeadon, cello

PROGRAM

HAYDN

String Quartet in A major Op. 20 No. 6 (Sun Quartets)

BACH

Selections from The Art of Fugue

MENDELSSOHN

String Quartet in A minor Op. 13

The concert duration is approximately 1 hr 50 mins including interval.

Vale Eva Pascoe, our dear friend and long-term supporter.

PERFORMANCES

ARMIDALE

Thursday 10 February, 7pm

Friday 11 February, 7pm

The Armidale Playhouse

CANBERRA

Thursday 16 February, 7pm

Wesley Music Centre, Forrest

AUSTRALIAN DIGITAL CONCERT

HALL

Thursday 16 February, 7pm

BERRY

Friday 17 February, 7pm

Berry School of Arts

SOUTHERN HIGHLANDS

Saturday 18 February, 4pm

Burrawang School of Arts

SYDNEY

Sunday 19 February, 5pm

Utzon Room, Sydney Opera House

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ARTISTIC DIRECTOR’S MESSAGE

Following our memorable 10th anniversary season in 2022, filled with fantastic AHE projects, I am pleased to open our next decade with this beautiful program of music for string quartet by three titans of the 18th and 19th centuries. Each has a fascination for fugue: Haydn, J.S. Bach and Mendelssohn.

The fugue form is of course characteristic of the baroque and a musical form that Bach championed. His colossal work, The Art of Fugue, is both a celebration and a masterclass. Written in open scoring (on four staves) for an unspecified instrument, this music lends itself well to the string quartet genre. The entire work is made up of fourteen fugues and four canons of which we perform a selection: Contrapunctus I-IV.

Each individual movement explores a treatment of Bach’s single fugal idea and illustrates how this idea can be interpreted differently or at greater depth. The first autograph dates from 1740, and with Haydn’s early works being penned just 20 year later, this illustrates how rapidly styles were developing and changing at the time.

Haydn’s Op. 20 quartets, written in the 1770’s - known as his Sun Quartets - are often pinpointed as the moment when Haydn reached a pinnacle in development of the string quartet genre. Like the sun, they are at the very centre of the quartet universe and provided a model that has guided musicians and audiences for generations, each one finding something new and wonderful to experience and value. These works were written at a time in Haydn’s life when he was well entrenched in the Esterhàzy world, somewhat physically isolated, and seemingly far away from the excitement of Vienna and other great centres. In fact, these circumstances did not prevent Haydn from

becoming famous nor from absorbing many of the new philosophical ideas that were rapidly taking hold across Europe.

Haydn was by this time actively moving against the lighter ‘Galant’ musical compositional style that had become the latest fashion. He gives more equality to the roles of the four parts, experiments with folk idioms, adds detailed and specific performance directions to the players and returns to elements of the baroque such as the use of fugue.

Three of the Op. 20 quartets finish with fugues, a form that had been abandoned as overly academic. Of these, we perform the last of the group - No. 6 in A major. Haydn includes a stunning aria-like middle movement for the first violin alongside a minuet where he instructs all four players to play the entire movement on one string. The work ends with the beautiful and subdued fugue that Haydn indicates to always be performed at a pianissimo dynamic - provoking a calm, cathartic and reflective end to this ravishing work.

The program finishes with a work at the opposite end of the spectrum of passion - with Mendelssohn’s first ever string quartet, bursting with epic drama, melancholy and love. It’s a remarkable piece - one that seems to embody an emotional depth, awareness and maturity far beyond the tender years of a then seventeenyear-old. It is a pleasure to present this incredible quartet to you on period instruments, possibly for the first time in Australia.

I am thrilled to be welcoming you to our 2023 season and I hope you enjoy the concert.

Skye McIntosh Artistic Director

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 18th-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 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 awardwinning 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.

THE ARTISTS & THEIR PERIOD INSTRUMENTS

Skye McIntosh VIOLIN

Skye McIntosh is the founder and Artistic Director of the Australian Haydn Ensemble - now in its eleventh year. This audacious undertaking is a testament to Skye’s musicianship and entrepreneurial spirit.

AHE, known for its innovative and ambitious programming, is delighted to have performed 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 2023 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, Naples.

Matthew Greco VIOLIN

Matthew is a concertmaster, soloist and core member of some of the world’s leading period instrument ensembles. He has been a regular member of the Australian Brandenburg Orchestra and concertmaster of the Orchestra of Antipodes (Pinchgut Opera) since 2006. In 2010 he moved to The Netherlands where he studied Baroque violin at The 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.

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.

VIOLA

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 York-based 17th-century ensemble ACRONYM.

Karina holds viola performance degrees from New England Conservatory of Music (Boston) and the Cleveland Institute of Music. Her early music studies began as an undergraduate at Oberlin Conservatory with Marilyn McDonald, David Breitman, and Miho Hashizume, and she continued her training in the Apollo’s Fire Apprentice Program.

Karina is playing a viola by Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan.

Dr Daniel Yeadon CELLO

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 and Classical Orchestra, and Bach Akademie Australia. For many years Daniel was a member of the renowned Fitzwilliam String Quartet and the exuberant period instrument ensemble Florilegium. He has made many award-winning recordings.

Daniel is playing a cello by William Forster II, 1781, London.

Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music

THE MOZARTS, THE HADYNS & THE BEAR

A lighthearted and joyous orchestral program that includes families, friends and the musical ties that bind.

Skye Mcintosh, Lead Violin Roland Peelman, Guest Conductor Andrew Goodwin, Tenor

*Presented as part of the Canberra International Music Festival

ABOUT THE MUSIC

FRANZ JOSEPH HAYDN (1732-1809)

String Quartet in A major, Op. 20 No. 6

Allegro di molto e scherzando

Adagio

Menuetto

Finale: Fuga a 3 soggetti

When, in 1779, the publisher Hummel of Berlin issued the second edition of Joseph Haydn’s fifth set of string quartets, he added a flourish. On the front page of the score, amidst Grecian urns and lyres, he printed a little picture of a smiling sun. It was a printer’s stock image; a piece of 18th-century clip-art, if you like. But to this day, the six quartets that we now know as Haydn’s Op. 20 are still referred to as the “Sun” quartets. It just seemed right.

Haydn wrote these six quartets in 1772, and he was already thoroughly familiar with the combination of two violins, viola and cello. But in the decade since his Op. 1 quartets of 1762, he’d pushed its possibilities progressively further. Op. 20 takes this quiet revolution to a new level – liberating the lower instruments of the ensemble, and inviting them to join the musical conversation. It doesn’t sound much, but the potential was (and is) limitless.

Just listen to the results in this final quartet of the set, cast in the bright key of A major. Twelve months earlier Haydn might have opened with a brilliant first violin flourish. Instead, the three lower instruments comment on the off-beat while the first violin appears, briefly, to lose its footing and tumble downwards. Poise is quickly recovered, of

course; this was an age of elegance. But we know, the other players know, and Haydn knows: he’s headed the movement scherzando – “as if joking”. The whole movement – sometimes flowing, sometimes terse, always graceful but often rippling with laughter – becomes a conversation based on the assumption that we’re all in on a shared joke.

This shared understanding lends a wry lilt to the operatic second movement. The first violin is the most courteous of prima donnas, but as it pauses to elaborate on (and perhaps doubt) its own song, its three comrades keep tactfully (and knowingly) in their place. The Menuetto glints as it catches the light; in the central Trio, Haydn tells all four performers to play sopra una corda (on the same string), for added richness and soulfulness of tone.

It’s an exquisitely-gauged set-up to the astonishing finale, headed Fugue with Three Subjects: Baroque musical learning doesn’t get more solid and scholarly than a wellwritten fugue. But Haydn has something different in mind here. Even while he deploys every technique of contrapuntal mastery, he directs that it be played sempre sotto voce –“always whispered”. Learning, here, becomes barely-suppressed laughter in a conversation as light and as intricate as filigree – until the very end: the movement’s one and only forte as everyone arrives, joyously, at the same happy conclusion. If you know, you know…

ABOUT THE MUSIC

JOHANN SEBASTIAN BACH (1685-1750)

The Art of Fugue, BWV 1080: Contrapuncti I-IV

On the evening of 7th May 1747, Johann Sebastian Bach – aged 62 - arrived at the Prussian royal seat of Potsdam. Without even the chance to change out of his travelling clothes, Bach was summoned directly to the royal palace. A Berlin newspaper described what happened next:

[The King] went, at [Bach’s] entrance to the Forte-piano and condescended to play a theme for Kapellmeister Bach, which he should execute in a fugue. This was done so happily that His Majesty was pleased to show his satisfaction, and all those present were seized with astonishment.

In front of his court, the King then asked Bach to improvise a three-voice fugue, a six-voice fugue, and so on. Musical contests of this sort were an occupational hazard for an 18th-century composer, though for an organist, especially, improvisation was a basic professional requirement. Bach’s ability in this sphere fascinated his contemporaries. Add to that the fact that eminent baroque musicians often published works intended to expound their own prowess, at the same time as serving an educational function, and we can start to understand why Bach, for at least the last decade of his life, worked on a treatise designed to lay out the full scope of his mastery in the most complex and learned form of composition – the Fugue.

A Fugue is often mistaken for a fixed musical form: a single ”subject” (theme), taken up consecutively by two or more “voices” (different musical lines), is woven, through ingenious and imaginative counterpoint,

into a musical texture of increasing richness and complexity. In fact (as Haydn would demonstrate so brilliantly) it’s less a rigid form than an imaginative process; an endlessly adaptable creative technique, and in The Art of Fugue, Bach demonstrates its potential over some 20 fugues (each described as Contrapunctus), all based on a single subject.

Bach seems to have worked upon the collection from the early 1740s onwards, struggling against worsening eyesight (he is now thought to have suffered from diabetes, and at the end he was almost blind). The final Contrapunctus tails off, mid-flow – forever unfinished at Bach’s death on 28th July 1750. By now, Bach’s contrapuntal mastery was becoming unfashionable: solemnity was less popular than wit. But in the 1780s connoisseurs began to rediscover this music. Haydn and Mozart’s friend Gottfried van Swieten performed Bach fugues at select musical gatherings in Vienna, and there’s concrete evidence that both composers sat up and took notice.

Bach wrote each fugue in “open score”, with one musical line to each stave of the score. While it’s generally accepted that he conceived this music for the harpsichord, this has left performers’ options gloriously open, and Mozart was among the first to arrange Bach’s fugues for string chamber ensemble. And so today’s arrangements have a distinguished pedigree: not the only way (there can never be a definitive version) but certainly a deeply satisfying medium through which to engage with the brilliant, deeply moving final thoughts of one of music’s most beautiful minds.

ABOUT THE MUSIC

FELIX MENDELSSOHN-BARTHOLDY (1809-1847)

String Quartet No. 2 in A, Op. 13

Adagio - Allegro vivace

Adagio non lento

Intermezzo: Allegretto con moto - allegro di molto

Presto

Don’t be fooled by numbers. This Quartet, Mendelssohn’s Op. 13, placed second in the collected editions, was actually the first string quartet that Mendelssohn considered fit for publication. Completed in Berlin in October 1827, it pre-dates his Quartet No 1. Op. 12, by nearly two years – a big, imaginative experiment in the form; hardly what one would expect in any composer’s first serious attempt at a string quartet, let alone from an 18-year old boy! Take its key, for example. The Quartet begins and - as we’ll see - ends in A major; but for much of its course it tends towards a melancholy A minor. Beethoven’s A minor Quartet Op. 132 was published in 1827, and there’s every reason to suppose Mendelssohn knew it - the main theme of his finale is a nearquotation of Beethoven’s.

But having received his creative license from Beethoven, Mendelssohn does something utterly personal. He opens his quartet with an Adagio introduction - a warmly harmonised quotation from his own song Frage (Question), dating from that spring:

Is it true? Is it true that over there on the leafy path, you always wait for me by the vine-covered wall? And that with the moonlight and the little stars, you inquire about me also?

The message could hardly be clearer: we’re in a Romantic universe now, and Mendelssohn is clearly in love with shape of his melody - listen in particular to the rhythm of its final phrases. With a sudden, chilly swirl of semiquavers the key switches to the minor, and the Allegro vivace speeds off with a theme whose rhythm and shape derive from that same tune - though

how different it sounds! Even that first gust of semiquavers - such an evocative natureeffect, two years before the Hebrides overture - turns out to have a crucial role in driving the movement’s windswept central development section.

The connections continue in the Adagio non lento. While never quoting directly from earlier themes, the first and final sections of the movement frame a melancholy central episode which, as it builds in speed and intensity, refers back to the Allegro. The Intermezzo is a lilting foretaste of Brahms and Schumann, with a brilliant central interlude of purest gossamer – not for the first time, young Felix is on his personal hotline to fairyland.

And finally: melodrama! With a sudden tremolando and an impassioned recitative for the first violin, Mendelssohn launches his finale in high Romantic style. He quotes Beethoven, and launches a series of stormy ideas, all half-echoing the themes from the preceding three movements, and all (in turn) derived from the Frage introduction. So when Mendelssohn ends the quartet with a quiet A major restatement of that entire introduction, the circle is closed. The Op. 13 Quartet is nothing less than an extended, rigorous and passionate exploration of everything that, for Mendelssohn, lay behind and within that little melody - a wholly original self-portrait of the artist as a young man.

Some years later, Mendelssohn attended a performance of the Quartet in Paris. While the finale was playing, one audience member - unaware that he was sitting next to the composer - turned to him during the finale and whispered “That theme’s in one of his symphonies, too!” “Whose?” asked a bemused Mendelssohn. “Why - Beethoven, of coursethe composer of this quartet!” Praise indeed, if back-handed. “This”, mused the composer, “was bittersweet”.

Richard Bratby

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 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.

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

Peter & Lisa Macqueen

Kevin McCann AO & Deidre McCann*

Ian & Pam McGaw

Timothy and the late Eva Pascoe*

Peter Young AM & Susan Young

ARTISTIC DIRECTOR’S CIRCLE

Martin & Ursula Armstrong

ESTERHÁZY

$15,000+

Anonymous* (1)

WALDSTEIN $10,000 - $14,999

Peter & Libby Plaskitt

VAN SWIETEN $5,000 - $9,999

Jan Bowen AM FRSN*

Jeremy Eccles FRSN & Kate Eccles OAM*

Reg & Kathie Grinberg*

Harriet Lenigas

Adrian Maroya

Jon & Susan North

Robert & Myriame Rich

Nigel & Penelope Stewart

Anthony Strachan

The Stoneglen Foundation

GALITZIN $1,000 - $4,999

Antoinette Albert

Jock Baird*

Mark Bethwaite AM & Jill Bethwaite

Clive Birch

Keith & Louise Brodie*

George H Clark

Robert & Carmel Clark*

Dr Terry & Julie Clarke

Jean Cockayne

Judy Crawford

Mark & Stephanie Darling

Peter & Prudence Davenport*

Robert & Jane Diamond

Ron & Suellen Enestrom*

Ralph Evans AO & Maria

Evans*

John Fairfax AO & Libby

Fairfax*

Dr Marguerite Foxon*

Bunny Gardiner-Hill*

Prof Pru Goward AO

Don Harwin

Andreas & Inn Ee Heintze

Karin Keighley

David Maloney AM & Erin

Flaherty*

Paul & Anne Masi

Jules Maxwell

Trevor Parkin*

Nick Payne

Susan Perrin-Kirby

David & Elizabeth Platt

Keith & Robyn Power

Michael & Anna Rennie

Penelope Seidler AM

Xavier Shea

David & Isabel Smithers

The Hon. Anthony Whealy

K.C. & Annie Whealy

Anonymous (7) incl 2*

LOBKOWITZ $500 - $999

Gary & Ruth Barnes

Celia Bischoff*

Richard & Cynthia Coleman

Christine Cooper

Dr John Dearn*

Ann Douglas

Dr Meredith Edwards

Christine Goode*

Sharon Green

Dr Gerard Joseph

Celia Lillywhite

OUR PATRONS

Diccon & Liz Loxton

Chris Matthies*

Andrew & Abbey McKinnon

Dr Jacqueline Milne*

Beverley Northey

Pieter & Liz Oomens

Greg & Wendy See*

Dr Jenepher Thomas*

Kay Vernon*

Anonymous (4) incl 1*

RAZUMOWSKY $50 - $499

Ann Armstrong

Wayne Arthur

Anna-Rosa Baker

Andrew Blanckensee

Peter Bodor KC & Sally Bodor

Jeffrey Bridger

Graeme & Bronwyn Brown

Dr Andrew Byrne

Lloyd Capps & Mary Jo Capps AM*

Wendy Cobcroft*

Sean Conkey & Tegan

Redinbaugh*

Dr Nola Cooke

Susan Cox

Isabel Crawford

Dr Robert Dingley*

George Drew

Alison Dunn*

Paul & Ros Espie

Ivan Foo & Ron Gouder

Stephen Gates

Jean Gifford*

Allan Gill

Virginia Gray

Rosemary Greaves

Lesley Harland

Paul Hickman

Julia Hoffman

Paul Hopmeier & Janice King*

Lilla Ito

Heather Kenway

Susan Kingsmill

Pastor de Lasala OAM*

Karl Lindeson

Diane MacDonell

Dr Tim & Alice-Anne

Macnaught

Terry & Catherine McCullagh*

Joanne McGrath

Dr Patricia McVeagh

Paul & Betty Meyer*

Raoul & Helen Middlemann

Heather Nash

Prue Niedorf

Henry O’Connor

Lesley Potter

Lindsey Pratt

Ian Reed

Heather Reid

Deidre Rickards*

Susan Roberts

David Salter & Susan Young

Alan Singh*

Dr Richard Sippe

Jenny Stewart

Dr Brian & Patricia Stone

Dr Rupert Summerson*

Pamela Swaffield

Susan Tanner*

David & Jill Townsend*

Jeremy Wainwright

Dr Frances Whalan

Lesley Whalan & Wendy

Carlisle

Penny Wilson

In Memory of John Greenwell

Anonymous (11) incl 2*

This listing is correct as of 1 February 2023, and we gratefully recognise all donations received since 1 January 2022.

* Indicates contributors to 2021 Pozible Campaign to fund AHE’s 10th Anniversary CD.

AHA! EDUCATION PROGRAM

Thanks to our donors! In 2022 we were thrilled to undertake a collaboration with the Central Coast Conservatorium of Music to present an inspiring and immersive experience, alongside the professional musicians of the Australian Haydn Ensemble. This initiative is part of our new regionally focused intensivesbringing together young musicians from across NSW to experience the joy of period instruments.

2022 PARTICIPANT

Did you know you can now make a recurring tax deductible to support this initiative?

It’s easy to set up, and amount you are able to give makes a big difference. To initiate a recurring donation, please go to australianhaydn.com.au/donate

“ MY FAVOURITE PART WAS PLAYING WITH ALL OF THE WONDERFUL AHE MUSICIANS”

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

BACKSTAGE

BOARD

Marco Belgiorno-Zegna AM (Chair)

Jan Bowen AM FRSN

Harriet Lenigas

Adrian Maroya

Kevin McCann AO

Skye McIntosh (Artistic Director)

Jon North

Peter Young AM

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.

STAFF

Skye McIntosh – Artistic Director

Tegan Redinbaugh – Chief Executive Officer

Alison Dunn - Marketing & Communications

Emma Murphy - Financial Controller

Janine Hewett - Accountant

Stephen Bydder – Box Office & Administration

Arnold Klugkist – Artistic Operations

Marguerite Foxon – Front of House & Administration*

Vi King Lim – Score Services

Richard Bratby – Program Notes

*In Kind Support

IN KIND

Bruce McKenzie, Armidale

Jean Gifford, John Dearn, Canberra

Greg & Wendy See, Berry

Thank you to our supporters who kindly provide accommodation for our out-of-town performers.

IMAGES

Images throughout by Helen White, except pages 4 & 5 by James Mills and page 13 by Oliver Miller.

Australian Haydn Ensemble is a not for profit organisation.

ABN 26 202 621 166

PO Box 400

Darlinghurst NSW 1300

1800 334 388 (Freecall) | australianhaydn.com.au