BEETHOVEN'S SEVENTH, Concert Program, AHE (Australian Haydn Ensemble)

BEETHOVEN’S SEVENTH

Masterworks in chamber form including Beethoven's Symphony No. 7, the Egmont Overture and Boccherini

16 – 27 August 2023

AHE 2023

Haydn’s Sun & Mendelssohn’s Stars

FEBRUARY

A HE Young Artists Concert

MARCH

T he Mozarts, The Haydns & The Bear

APRIL

Die Stille Nacht with David Greco & Melissa Farrow

JUNE

Beethoven’s Seventh AUGUST

Australian Haydn Academy Spring Intensive In collaboration with the Central Coast Conservatorium of Music

SEPTEMBER

USA Tour

OCTOBER

Haydn’s Times of Day

DECEMBER

PROGRAM DETAILS

THE AUSTRALIAN HAYDN ENSEMBLE

Skye McIntosh, Artistic Director and violin

Matthew Greco, violin

Karina Schmitz, viola

James Eccles, viola

Daniel Yeadon, cello

Jacqueline Dossor, double bass

Melissa Farrow, flute

PROGRAM

BEETHOVEN

Egmont Overture Op. 84 (arr. Mori)

BOCCHERINI

String Quintet in C minor Op. 10 No. 3 G. 267

BEETHOVEN

Symphony No. 7 in A major Op. 92 (arr. Mori)

The concert duration is approximately 1 hr 50 mins including interval

PERFORMANCES

BATHURST

Wed 16 August 7.30pm

Bathurst Memorial Entertainment Centre

CANBERRA

Thu 17 August 7pm

Wesley Music Centre

BERRY

Fri 18 August 7pm

Berry School of Arts

PARRAMATTA

Sun 20 August 4pm

Riverside Theatres

SYDNEY

Mon 21 August 7pm

City Recital Hall

AUSTRALIAN

DIGITAL

CONCERT HALL

Mon 21 August 7pm

WINDSOR

Fri 25 August 7pm

St Matthews Church

LAKE MACQUARIE

Sat 26 August 2pm

Rathmines Theatre

SOUTHERN HIGHLANDS

Sun 27 Aug 4pm

Robertson School of Arts

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ARTISTIC DIRECTOR’S MESSAGE

AHE has always been passionate about reviving the eighteenth century custom of performing large-scale symphonic works in chamber version. It has been a wonderful journey over these last few years, as we have continued to explore original arrangements of these masterworks. I find they reveal such an incredible level of detail and dynamism to audiences and players alike.

These arrangements were a large part of everyday life at the time and bringing these arrangements to the contemporary concert stage provides a fascinating and often surprising window into the music-making of the day. Many of the works we have performed in this manner in the past, have not, as far as we know, been performed since the time they were first published in the first or second decades of the nineteenth century. Our program today, Beethoven’s Seventh, presents two such chamber versions of works by Beethoven alongside a gorgeous string quintet by Boccherini.

The program opens with Beethoven’s Egmont Overture in an arrangement by Nicholas Mori and finishes with his Symphony No. 7 in an arrangement or ‘adaptation’ by Nicholas Mori.

Mori is an interesting character and this is the first time we have programmed one of his arrangements. A child prodigy and son of an Italian wigmaker, he was born in London in 1796 and first performed publicly at age seven at the King's Theatre in 1804, which was coincidentally the same year that Boccherini died.

Mori married the widow of the music publisher Lavenu, whose business he carried on at 28 New Bond Street.

The arrangement of Beethoven’s Symphony No. 7 was published by Lavenu under his watch.

The creation of these particular types of chamber arrangements was quite a normal part of everyday life in Haydn and Beethoven’s time. Chamber performances of works of this size were quite popular throughout London, used for salon concert programs and also as works that could be played at home. It was also a great way for composers to sell their works to the public - much in the same way people purchase albums or download tracks on iTunes today. Also on the program is a beautiful string quintet by Boccherini in C minor, which was published in 1774. Boccherini wrote a large amount of chamber works and many string quintets. The quintet can be performed with either two violins, viola and two cellos or as we perform it today, with two violins, two violas and one cello from the Janet et Collette edition of the work. Janet et Cotelle was an interesting French publishing house that was founded in 1810; they catalogued and created early editions of over 2,500 works including many early editions of Boccherini, Beethoven and Haydn’s works.

Thank you for coming along, and I do hope you enjoy the concert.

Skye McIntosh Artistic Director Australian Haydn Ensemble

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 eighteenth century, when style was transitioning from Baroque to Classical. Based around a small core of strings and flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet, to a full orchestra. AHE 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, and performed at the 2022 and 2023 Canberra International Music Festival. AHE also regularly performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting eighteenthcentury 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 eighteenth century, in collaboration with Aria award-winning historical keyboardist Dr Neal Peres Da Costa. Reviewers have

been extremely enthusiastic: “This recording is remarkable not only for the pianist’s wonderfully free and fluent playing, but also for the excellent performance of the Ensemble.”

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). AHE 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, 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, Apollo’s Fire and Orchestra of the Age of Enlightenment.

To commemorate its 10th anniversary, the Ensemble recorded its third CD, with music by Mozart, for release in the coming months. In October 2023, the Ensemble will undertake a tour of the United States including performances at Carnegie Hall and at the opening of the new Australian Embassy in Washington DC.

THE PERFORMERS

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, was delighted to perform at the Adelaide Festival and Canberra International Music Festival in 2022 and 2023, as well as continuing to tour to Canberra and across regional New South Wales each year.

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 the Orchestra of the Antipodes (Pinchgut Opera) and the Australian Romantic & Classical Orchestra.

ABC Classics will soon be releasing 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 seventeenth and eighteenth-century music is full of vitality and emotions that speak to us now, as much as they did in the past.

Matt is playing a violin by David Christian Hopf, 1760, Quittenbach.

/VIOLA

Hailing from the east coast of the United States, American violist Karina Schmitz has settled in Sydney and is thrilled to be 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 & Classical Orchestra, Van Diemen’s Band, Salut! Baroque, and Ensemble Galante. In the United States, Karina was principal violist of the 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 seventeenthcentury 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.

James Eccles /VIOLA

James is a Sydney-based violist who has performed with many of Australia’s leading ensembles including the Australian Haydn Ensemble, Orchestra of Antipodes (Pinchgut Opera), Australian Brandenburg Orchestra, Sydney Dance Company, and as principal viola with Sydney Philharmonia Choirs. As a champion of new Australian music, James has premiered, commissioned and created many new works over the years with groups like Ensemble Offspring, as Artistic Director of the Aurora Festival of Living Music and as Co-Director of The Noise String Quartet.

James holds a Master of Arts in Classical String Performance, a Graduate Diploma in Arts Management, and is a graduate of ANAM.

James is playing a viola by Warren Nolan-Fordham, 2013, Melbourne after Gasparo da Salo, 16thc.

THE PERFORMERS

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 & 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.

Jacqueline Dossor /DOUBLE BASS

Originally from Sydney, Jacqueline’s love of classical music progressed to formal study at the Sydney Conservatorium of Music. After graduating, Jacqueline moved to the UK in 2004 to complete post-graduate study at the Royal Academy of Music in London. She has worked regularly with UK orchestras and chamber ensembles including 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, among others. Jacqueline has been a core member of the Australian Haydn Ensemble since its formation and has performed as guest principal with Australia’s other top period orchestras including the Orchestra of the Antipodes (Pinchgut Opera) as well as the Australian Brandenburg Orchestra. Now based in Western Australia, Jacqueline has played for the West Australian Symphony Orchestra, the Perth Symphony Orchestra and Australian Baroque.

Jacqueline is playing a double bass by Unknown, c.1740, Northern Italy, likely Bologna.

* Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music

Melissa Farrow** /FLUTE

Melissa has been Principal Flute with the Australian Brandenburg Orchestra since 2003, and a core member of the Australian Haydn Ensemble since its formation. She performs and records regularly with groups including the Orchestra of the Antipodes (Pinchgut Opera), the Australian Chamber Orchestra, the Australian Romantic & Classical Orchestra, Ironwood, The Marais Project, and Latitude 37 among others. Her numerous solo performances have been with the AHE, NZ Barok, the Australian Brandenburg Orchestra, and Pinchgut Opera. She is featured as concerto soloist in AHE’s digital film Sacro Amor, Gretry's L'amant Jaloux for Pinchgut Opera, and in the Australian Brandenburg Orchestra’s Brandenburg Celebrates.

After graduating from the Sydney Conservatorium, Melissa undertook post-graduate study in modern flute, recorder, and traverso in Amsterdam. She teaches period flute at the Sydney Conservatorium and has presented Baroque-style workshops and

masterclasses to modern flautists in NZ, Adelaide, Canberra and Sydney as well as at MLC School (Sydney) and Camberwell Grammar (Melbourne).

Melissa is playing a classical flute made by F. Aurin, 2016, Dusseldorf after W. Liebel, c.1830, Dresden.

** Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra

" ...IT WAS SUPERB AND SURPRISING AND UPLIFTING..." AUDIENCE MEMBER, BEETHOVEN'S EROICA 2022

//

HAYDN’S TIMES OF DAY

ABOUT THE MUSIC

MASTERWORKS IN MINIATURE

In the banquet scene of Mozart’s Don Giovanni (1788), the Don calls for music. Straight away, his house band strikes up, with a selection of tunes from new operas by Sarti, Martin y Soler and that hip young trendsetter Wolfgang Amadeus Mozart. Giovanni has style: naturally he’d have kept musicians on his staff. But this wasn’t the only way that the lovers of early eighteenth- and early nineteenth-century music stayed abreast of fashion. In the era before recorded sound – and unless you lived in or near a major European city - opportunities to hear music played by a full orchestra might come around only a few times in a decade. Orchestral works circulated primarily through arrangements for smaller groups and solo instruments. If, like Don Giovanni, you were wealthy enough, you might employ a private wind ensemble. If not, well, it all depended upon what instruments you (plus your friends and family) could play for yourselves.

So, operas and symphonies might be sold in versions for piano, wind octet, string quartet, trio, or any kind of ensemble that might realistically be assembled at home. Beethoven himself made several scaleddown arrangements of his own music, and authorised others: the Beethoven works in this concert have been arranged for string ensemble plus optional flute (an affordable and popular instrument among amateurs). Today, of course, we can hear any Beethoven symphony with a tap on a smartphone. But these arrangements are ear-opening: presenting Beethoven’s music the way that many (probably most) of its contemporaries would first have encountered it.

The Australian Haydn Ensemble has enjoyed rediscovering them, and is delighted to share them with you today.

LUDWIG VAN BEETHOVEN (1770-1827), ARR. MASI

Egmont - Overture to Goethe's tragedy, Op.84

If Goethe's 1787 tragedy Egmont is not exactly familiar in the English-speaking world, there's no doubt that Beethoven rated it highly. Count Egmont was a leader of the Netherlands' struggle for freedom from Spanish rule. Captured and executed in Brussels in 1588, he became a martyr of the liberation struggle. Goethe turned the dry facts into a visionary drama of courage and freedom, so it’s no surprise that Beethoven was impressed. In June 1810, he completed a suite of incidental music for the play, and sent a deluxe edition of it to Goethe at his own expense.

No theatre capable of staging Goethe’s drama in the early 19th century was able to accommodate anything like a full modern orchestra. That didn’t bother Beethoven, who wrote to Goethe glowing with enthusiasm for “your glorious Egmont, which I have set to music as powerful as my emotions on reading it." And it shouldn’t prevent us from responding to this musical drama of tyranny, struggle and liberation, crowned by the ringing fanfares that accompany the hero’s final words: “Fall joyfully, as I give you the example.” Even if, instead of trumpets, we have flute and strings, reaching indomitably for the stars.

LUIGI BOCCHERINI (1743-1805)

String Quintet in C minor

Allegretto

Adagio man non tanto

Minuetto Presto

When eighteenth-century music-lovers spoke of “The Wife of Haydn,” it wasn’t out of interest in the domestic life of the Father of the Symphony. It was the nickname, coined by the violinist Giuseppe Puppo, for Luigi Boccherini: virtuoso cellist and composer of some 20 symphonies, 12 cello concertos and countless chamber works. Born in Lucca, near Florence, he travelled first to Vienna and later to Paris as a performer and composer, settling in Madrid in 1768. He spent much of his career under the patronage of various members of the Spanish royal family, and later (in a form of classical-era remote working) the cello-playing King Friedrich Wilhelm II of Prussia - but he remained based in Madrid for the rest of his life, and performed and composed until the last.

As an Italian, trained in the instrumental tradition of Corelli, Boccherini had a strong lyrical impulse - even today, there’s something operatic (Italianate, if you like) about the singing melodies and swirling ornaments that are such a feature of his music. To the eighteenth-century mindset, this made his music “feminine”. Make of that what you will, but the nickname (as nicknames will) does at least show just how widely Boccherini’s music was appreciated in his lifetime, and the affection in which it was held. He composed over 140 string quintets – adding a second cello (his own instrument, of course) to the classical string quartet – and the six quintets Op.10 date from 1771 and his earliest years in Madrid. Boccherini had them published by Venier

of Paris in 1774. “Composed by Signor Luigi Boccherini, chamber virtuoso and composer of music to His Royal Highness Don Luigi, Infante of Spain” declares the title page, in florid letters, and it seems likely that when these quintets were first played at the Spanish court, Boccherini would have been expected to display his own prowess in the higher cello part. But – ever the businessman – Boccherini suggests that if a virtuoso cellist isn’t available, their part could be taken by either a second viola or (believe it or not) a bassoon; and in this performance (which uses an edition published in Paris in 1810) we’ve gone for the first option. The quintet is cast in the bittersweet key of C minor, and the extra player serves principally to intensify the shifting moods and colours of a first movement that alternates between melancholy song and courtly bustle. The expansive Adagio gives way to a strangely restless Minuet - which suddenly erupts into an imitation of warlike drums and trumpets. A stately central Trio section pours oil on the waters. And the finale races in like a summer storm. If Boccherini could do elegance like few late eighteenthcentury composers, there’s no question that he could unleash tempests too.

LUDWIG VAN BEETHOVEN (17701827), ARR. MORI

Symphony No. 7 in A major, Op. 92 Poco sostenuto – Vivace

Allegretto

Presto

Allegro con brio

New music often has a troubled birth. Beethoven’s Seventh Symphony was premiered in Vienna on 8 December 1813. The occasion was a benefit concert for Austrian soldiers wounded in the recent Battle of Hanau, and Beethoven's

ABOUT THE MUSIC

friend, the impresario Johann Mälzel had assembled an all-star orchestra. The virtuoso violinist Schuppanzigh was the leader, Dragonetti (the father of modern bass technique) led the basses, and the composers Spohr, Meyerbeer and Romberg sat in the strings, as did the guitar virtuoso Mauro Giuliani (on cello). Johann Nepomuk Hummel was on timpani, and just offstage, cuing the special effects in Beethoven’s other contribution to the evening, the so-called “Battle-Symphony”, was living legend Antonio Salieri. But even a super-group of this calibre couldn’t cope with the Seventh Symphony. The future music publisher Franz Glöggl was at rehearsals, and witnessed the problems. Music that couldn’t be played, protested the violinists, shouldn’t be written.

Contrary to expectations, Beethoven kept his cool. Anticipating the words of a thousand amateur orchestra conductors, he “begged the gentlemen to take their parts home with them” to practise. They did – and the performance was one of the supreme triumphs of Beethoven’s career. The Allegretto was even encored, and a delighted Beethoven wrote to the Wiener Zeitung to thank his “honoured colleagues” for “their zeal in contributing to such a splendid result.”

There do seem to have been dissenters. According to Beethoven’s (admittedly partial) assistant and biographer Schindler, Weber’s reaction to the first movement was to declare Beethoven “ripe for the madhouse.” Schumann’s father-in-law

Friedrich Wieck concluded that Beethoven must have composed it while drunk. Even if these anecdotes are apocryphal, they must have had the authentic ring of contemporary opinion. Still, they did nothing to dampen the symphony’s enormous popularity – which prompted

some early nineteenth-century conductors to insert its slow movement into less popular Beethoven symphonies in order to guarantee their success, and which made this chamber arrangement, published in London in the 1820s, a commercial proposition. The arranger – the brilliant young Italian violin virtuoso Nicolas Mori (1796-1839) - led practically every major orchestra in London during his lifetime. It’s safe to suppose that he had his finger on the pulse.

Clearly, the Seventh Symphony captured something that was in the air. It’s not just the rough-cut humour (after the massive accumulation of energy in the first movement’s introduction, the Vivace launches not with a breaking storm, but a bright country-dance tune). And it’s not just the way every movement is driven by colossal build-ups of dance rhythm (even the haunting second movement has the rhythm of a pavane). It’s the sheer, elemental energy with which Beethoven brings the whole thing off: exuberance is written into the Symphony’s very texture. Even the quieter, slower music is compelling – that melancholy Allegretto is both one of the simplest and most sophisticated movements Beethoven ever wrote. Perhaps that Leipzig audience had a point after all. Listen to the torrential gallop of the finale, and then consider, if you like, what may or may not have been Beethoven’s own words, related to Goethe by Beethoven’s sometime friend and correspondent Bettina Brentano: “Music is the spirit that inspires us to new creation; and I am the Bacchus, who presses out this glorious wine to intoxicate all mankind.”

Richard Bratby



“Sophisticated… [depicts] a Shakespeare more credibly the author of supreme art than any I recall: a man intense in both life and art.”

- The Sydney Morning Herald



“A luscious, visual feast and a remarkable achievement.”

- Limelight Magazine

BY DAMIEN RYAN

Released as a feature film in 2020 and making its world premiere on stage, this original play by Damien Ryan hurls us into history’s most influential masterpiece of love, copiousness, and copulation. A passionate howl on behalf of storytellers everywhere, Venus and Adonis is Sport for Jove at its best.

AHE MAKES ITS DEBUT INTERNATIONAL TOUR IN OCTOBER THIS YEAR!

Conrad Prebys Concert Hall

San Diego, CA

Musco Center for the Arts

Orange County, CA

Weill Recital Hall, Carnegie Hall

New York, NY

American Australian Association, Murdoch Center

New York, NY

Performance at the Grand Opening of the Embassy of Australia

Washington, DC

Francis Scott Key Auditorium

Annapolis, MD

Horowitz Performing Arts Center

Columbia, MD

Morris Museum

Morristown, NJ

AHE undertakes its first international tour to the USA in October!

We will be playing on both the West and East costs, have been invited to perform as part of the opening of the new Australian Embassy in Washington DC and, most exciting of all, making our New York debut in Carnegie Hall!

It's an ambitious undertaking, and we would love your support to: Fly our fine musicians across the world Make sure all our precious instruments arrive safely Represent our country in one of the world's most prestigious classical music venues

To donate, go to australianhaydn. com.au/donate, use the QR code or call us on 1800 334 388.

OUR PATRONS

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

About Our Patron Categories

Esterházy Prince Esterházy was the main patron of Haydn.

Waldstein Count Waldstein was an early patron of Beethoven.

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

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

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

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

PATRON

Professor the Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON

Dr Timothy Pascoe AM

THE CHAIR’S CIRCLE

Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna

Mark Burrows AO*

Sherry and the late Tom Gregory

Peter & Lisa Macqueen

Kevin McCann AO & Deidre McCann*

Ian & Pam McGaw

Timothy & the late Eva Pascoe*

Peter Young AM & Susan Young

Anonymous*

ARTISTIC DIRECTOR’S CIRCLE

Martin & Ursula Armstrong

Emalyn Foundation

WALDSTEIN $10,000 - $14,999

Nick Greiner AC & Carolyn Fletcher AM

Karin Keighley

Aderian Maroya

Peter & Libby Plaskitt

VAN SWIETEN $5,000 - $9,999

Jan Bowen AM FRSN*

Jeremy Eccles FRSN & Kate Eccles OAM*

Richard Fisher AM & Diana Fisher

Reg & Kathie Grinberg*

Harriet Lenigas

Jon & Susan North

Robert & Myriame Rich

Penelope Stewart

Anthony Strachan

The Stoneglen Foundation

The Hon. Anthony Whealy K.C. & Annie Whealy

GALITZIN $1,000 - $4,999

Antoinette Albert

Jock Baird*

Mark Bethwaite AM & Jill Bethwaite

Clive Birch

Keith & Louise Brodie*

Lloyd Capps & Mary Jo Capps AM*

George H Clark

Robert & Carmel Clark*

Dr Terry & Julie Clarke

Jean Cockayne

Richard & Cynthia Coleman

Judy Crawford

Mark & Stephanie Darling

Peter & Prudence Davenport*

Robert & Jane Diamond

Dr Meredith Edwards

Ron & Suellen Enestrom*

David, Katrina & Madeline Evans

Ralph Evans AO & Maria Evans*

John Fairfax AO & Libby Fairfax*

Dr Marguerite Foxon*

Bunny Gardiner-Hill*

Prof Pru Goward AO

Jamie Hardigg

The Hon Don Harwin

Andreas & Inn Ee Heintze

Elizabeth Howard

Sarah de Jong

Dr Gerard Joseph

Diccon & Liz Loxton

David Maloney AM & Erin Flaherty*

Garth Mansfield OAM & Margaret

Mansfield OAM

Paul & Anne Masi

Jules Maxwell

Dr Jacqueline Milne*

Beverley Northey

Trevor Parkin*

Nick Payne

Susan Perrin-Kirby

David & Elizabeth Platt

Keith & Robyn Power

Michael & Anna Rennie

Greg & Wendy See*

Penelope Seidler AM

Xavier Shea

David & Isabel Smithers

Kay Vernon*

Anonymous (9) incl 3*

LOBKOWITZ $500 - $999

Patricia Adey

Ann Armstrong

Gary & Ruth Barnes

Celia Bischoff*

Jeffrey Bridger

Dr Andrew Byrne

Dr Sylvia Cardale

Lynette Casey

Wendy Cobcroft*

Christine Cooper

Matt Costello & Bernie Heard

Dr John Dearn*

Ann Douglas

Alison Dunn*

Ivan Foo & Ron Gouder

Jean Gifford*

Christine Goode*

Sharon Green

Celia Lillywhite

Chris Matthies*

Abbey & the late Andrew McKinnon

Paul O'Donnell

Pieter & Liz Oomens

Mike & Rosie Sprange

Dr Jenepher Thomas*

David & Jill Townsend*

Anonymous (4)

RAZUMOWSKY $50 - $499

Catherine Andrews

Wayne Arthur

Anna-Rosa Baker

Robin Bass

Pam Behncke

Richard Bernasconi & Dr Penny Wilson

Andrew Blanckensee

OUR PATRONS

Peter Bodor KC & Sally Bodor

Graeme & Bronwyn Brown

Russell Burgess & Judith Cain

Dr Michael & Dr Colleen Chesterman

Sean Conkey & Tegan Redinbaugh*

Dr Nola Cooke

Catherine Cowper

Susan Cox

Peter Cumines

Dr Robert Dingley*

Gabrielle Donovan

George Drew

Sandra Duggan

Paul & Ros Espie

Garry Feeney & Wendy Sanderson

Mary Finn

Stephen Gates

Pamela Gibbins

Allan Gill

Virginia Gray

Rosemary Greaves

Lesley Harland

Alan Hauseman & Janet Nash

Meredith Hellicar

Paul Hickman

Julia Hoffman

Paul Hopmeier & Janice King*

Lilla Ito

Heather Kenway

Siew-Ean Khoo

Susan Kingsmill

Pastor de Lasala OAM*

Yuan Lim

Karl Lindeson

Alison Lockhart

Diane MacDonell

Dr Tim & Alice-Anne Macnaught

Terry & Catherine McCullagh*

Dr Patricia McVeagh

Paul & Betty Meyer*

Raoul & Helen Middlemann

Richard & Joan Milner

Heather Nash

Prue Niedorf

Henry O'Connor

Louise Owen

Catherine Peel

Lesley Potter

Lindsey Pratt

Ian Reed

Heather Reid

Deidre Rickards*

Susan Roberts

Jennifer Rose-Innes

David Salter & Susan Young

Alan Singh*

Dr Richard Sippe

Keith & Janet Stanistreet

Jenny Stewart

Dr Brian & Patricia Stone

Dr Rupert Summerson*

Pamela Swaffield

Susan Tanner*

Cathy Thompson-Brown

Sarah Turvey

Ailsa Veiszadeh

Jeremy Wainwright

John Walmsley

Dr Frances Whalan

Lesley Whalan & Wendy Carlisle

Kim & Catherine Williams

Penny Wilson

In Memory of John Greenwell

In Memory of Dr Michael McGrath

Anonymous (18) incl 2*

* Indicates contributors to the 2021 Pozible Campaign to fund AHE's 10th Anniversary CD This listing is correct as of 30 June 2023, and we gratefully recognise all donations received since 1 January 2022.

BACKSTAGE

BOARD

Marco Belgiorno-Zegna AM (Chair)

Jan Bowen AM FRSN

Carolyn Fletcher AM

Harriet Lenigas

Adrian Maroya

Kevin McCann AO

Skye McIntosh (Artistic Director)

Jon North

Peter Young AM

STAFF

Skye McIntosh

Artistic Director

Jacqui Smith

Chief Executive Officer

Alison Dunn

Marketing and Communications

Emma Murphy

Financial Controller

Janine Hewitt

Accountant

Stephen Bydder

Box Office and Administration

Arnold Klugkist

Artistic Operations

Marguerite Foxon

Front of House and Administration*

Richard Bratby

Program Notes

Vi King Lim

Score Services

*In Kind Support

IN KIND

Jean Gifford, John Dearn, Canberra

Greg and Wendy See, Berry

Felicity and Stuart Coughlan, Berry

Mary and Steve Beare, Berry

Louise and Keith Brodie, Berry

IMAGES

Images throughout by Helen White, except in pages 6 - 8, James Mills and Oliver Miller, and page 17 Oliver Miller.

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.