Die Stille Nacht, with David Greco & Melissa Farrow, Concert Program, Australian Haydn Ensemble (AHE

BEAUTIFUL BAROQUE WORKS BY

VIVALDI, TELEMANN & BIBER

DIE STILLE NACHT WITH DAVID GRECO ( baritone) & MELISSA FARROW ( flute)

AHE 2023

Haydn’s Sun & Mendelssohn’s Stars

FEBRUARY

AHE Young Artists Concert

MARCH

The Mozarts, The Haydns & The Bear

APRIL

Die Stille Nacht with David Greco & Melissa Farrow

JUNE

Beethoven’s Seventh

AUGUST

USA Tour

OCTOBER

Haydn’s Times of Day

DECEMBER

DIE STILLE NACHT

ARTISTS

David Greco, baritone

Melissa Farrow, flute

Skye McIntosh, director & violin

THE AUSTRALIAN HAYDN

ENSEMBLE

PERFORMANCES

PORT MACQUARIE

Friday 16 June, 7pm

The Glasshouse

WYONG

Sunday 18 June, 2pm

The Art House

SYDNEY

Monday 19 June, 7pm

City Recital Hall

AUSTRALIAN DIGITAL

CONCERT HALL

Monday 19 June, 7pm

CANBERRA

Thursday 22 June, 7pm

Wesley Music Centre, Forrest

BERRY

Friday 23 June, 7pm

Berry Uniting Church Hall

SOUTHERN HIGHLANDS

Saturday 24 June, 4pm

St Jude's Church, Bowral

This concert is dedicated to the memory of Tom Gregory, a founding patron and dear friend.

PROGRAM

VIVALDI

Concerto for Strings in F major RV 136

VIVALDI

Recitative and Aria from Armida al campo

d’Egitto ‘Chi alla colpa’

VIVALDI

Aria from Juditha Triumphans

‘Veni, veni me sequere fida’

VIVALDI

Concerto for Flute in G minor RV 439

La Notte

VIVALDI

Aria from La Silvia ‘Orribile lo scempio’

VIVALDI

Aria from Farnace ‘Gelido in ogni vena’

––––– Interval 20 mins ––––––

TELEMANN

Sonata à 4 in A minor TWV 43:a5

TELEMANN

Selections from Cantata Der am Ölberg zagende Jesus (Die Stille Nacht)

TWV 1:364

‘Die stille Nacht’

‘Er rung die’

‘Mein Vater’

HASSE

Concerto for Flute in B minor

BIBER Serenade à 5

– Der Nachtwächterleid in C major

Aria

Ciacona: ‘Lost Ihr Herrn’

The concert duration is approximately 1 hr 50 mins including interval

ARTISTIC DIRECTOR’S MESSAGE

I am delighted to have David Greco join us for this program of beautiful baroque works centering around the theme of night, especially ‘The Silent Night’ (Die Stille Nacht). Our concert title and theme are inspired by Telemann’s exquisite cantata, “Der am Ölberg zagende Jesus” or “Jesus trembling on the Mount of Olives”, sometimes referred to as Die Stille Nacht because of the subtitle Telemann gave its first aria. This movement describes Jesus’ restlessness, doubts and fears in the Garden of Gethsemane as He struggles to come to terms with His fate.

Our program also features David singing a range of arias by Vivaldi including the astonishing and dark aria from Farnace ‘Gelido in ogni vena’. This aria revisits Vivaldi’s music from the slow movement of Winter from the Four Seasons, describing the utter despair of a father who has ordered the death of his own son. David also presents three other breathtaking arias including Vivaldi’s ‘Orribile le scempio’ from La Silvia, ‘Chi alla colpa’ from Armida and ‘Veni, veni me sequere fida’ from Juditha Triumphans. The shadow side of the human mind and psyche has always fascinated composers, musicians and audiences, and, in exploring these deep themes, Telemann and Vivaldi take us into the strongest, strangest and most beautiful expressions of universal emotions.

The night theme of our program would not be complete if we did not include Vivaldi's wonderful La Notte concerto, performed by our incredible flautist, Melissa Farrow along with Hasse’s Flute Concerto in B minor. Her grace and virtuosity are on full display in both these works and I know you will love them as much as I do.

Night is not always ‘full of terrors’, so, to send you homeward with a lighter step, our program finishes with selections from Biber’s uplifting Der Nachtwachterlied (Night Watchman) Serenade which starts with the most playful and delicate pizzicato and the words:

Listen folks and mark the hour, The bell strikes nine within the tower, All’s safe and all’s well, And praise to God the Father and to Our Lady.

Thank you for being with us and I 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. 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 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.”

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 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.

Skye McIntosh

Artistic Director and Lead 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 performed at both the Adelaide Festival and Canberra International

Music Festival in 2022, and continues, to present a strong touring program across the ACT, metropolitan and western Sydney and 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 a 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.

David Greco

Baritone

Internationally regarded for his interpretations of Schubert lieder and solo works of J.S Bach, ARIA Award-nominated baritone David Greco has sung on some of the finest stages across Europe and appeared in celebrated opera festivals including Festival d’Aix-en-Provence and Glyndebourne Festival Opera.

In 2014 he became the first Australian appointed to a position with the Sistine Chapel Choir in the Vatican, Rome.

An acclaimed interpreter of oratorio and concert work, he appears regularly with Australia’s finest orchestras such as the Australian Brandenburg Orchestra, Australian Chamber Orchestra, and notably the Sydney Symphony in their Helpmann Award-winning concerts of Bach’s Cantata, Ich habe genug. Most recently he made his debut with West Australia Symphony Orchestra in Britten’s War Requiem, and in 2023 will also debut with Melbourne Symphony Orchestra in the same work.

Equally experienced on the operatic stage, he has been a principal artist with Opera Australia in The Eighth Wonder and The Love of Three Oranges. He is a frequent artist with the celebrated Pinchgut Opera, his performance of Seneca in their production of The Coronation of Poppea receiving critical acclaim.

As a recording artist David has an impressive catalogue of international recordings including Jack Body’s Poems of Love & War on the Naxos label and Solo bass cantatas of J.S. Bach, with the Netherlands-based Luthers Bach Ensemble on the Brilliant Classics label.

David is an active researcher into historical performance of 19th-century voice and in 2020 received his doctorate from the University of Melbourne. His PhD led to the first Australian recordings of the historically informed performance of Schubert’s songs cycles Winterreise and Die schöne Müllerin with duo partner Erin Helyard on ABC Classic, the latter disk receiving an ARIA nomination for Best Classical Album in 2020.

In 2023 Erin and David will collaborate on the Australian premier historical recording of Schubert’s Schwanengesang with ABC Classic.

David is also a Lecturer in Voice and Opera at the Sydney Conservatorium of Music.

Melissa Farrow Flute

Based in Sydney, Melissa has a very active career as a historical flautist, recorder player and teacher.

She has been Principal flute with the Australian Brandenburg Orchestra (ABO) since 2003, and programmed their Regional touring concerts from 2011 until 2021. Melissa is also principal flute with Australian Haydn Ensemble (AHE) and the Orchestra of the Antipodes, and performs with many orchestras including the Australian Chamber Orchestra (ACO), the Australian Romantic and Classical Orchestra (ARCO) and NZ Barok. She is a member of Notturno, an ensemble of flute, viola and guitar, performing music of the Classical and Romantic era.

As a traverso soloist, Melissa has performed many flute concertos including CPE Bach's Flute Concerto in D minor, Vivaldi's La Notte Concerto, Mozart’s Flute and Harp Concerto with harpist Marshall Macguire, and Hasse’s Flute Concerto to name a few. She recorded Vivaldi's La Notte Concerto and Hasse’s Flute Concerto for Sacro Amor, AHE's first filmed digital recording; for ABO’s digital recording platform Brandenburg One, Melissa has recorded excerpts of solo JS Bach and Telemann, Mozart’s Flute Quartet in D and her own program Ayres and Graces.

Melissa's discography includes Grétry's Flute Concerto and many opera recordings with Pinchgut Opera, with AHE Beethoven Piano Concertos 1 and 3 in Chamber Arrangements, as well as The Haydn Album, with ABO she has recorded The Romantics - Grieg/

Mendelssohn/Paganini with Shunske Sato as soloist in the Paganini Violin Concerto, Australian Brandenburg OrchestraBrandenburg Celebrates, featuring her as soloist in the Telemann Flute and Violin Concerto in E minor, Smorgasbord with The Marais Project and touchons du bois released in 2013. Stay tuned for the new ABC Classics album with Erin Helyard for Romantic flute and fortepiano to be released in August, 2023!

Melissa studied at the Sydney Conservatorium of Music, and her postgraduate studies were at the Conservatorium van Amsterdam in modern flute, recorder and traverso (historical flute). She has had 30 years’ experience teaching flutes and recorders, and has given workshops/lectures, private lessons and masterclasses at several Australian Conservatoriums, Camberwell Grammar School, MLC School, Flute Connections Studio, Australian Flute Festival, Australian Brandenburg Orchestra, Australian Haydn Ensemble, Young Mannheim Symphonists (ARCO) and the Albany School of Music in Auckland, New Zealand. Melissa is a lecturer in historical flute at the Sydney Conservatorium of Music, has a busy private teaching studio in Sydney for early flute and recorder, and enjoys teaching baroque style for modern flute.

Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra

THE ARTISTS & THEIR PERIOD INSTRUMENTS

VIOLIN

Skye McIntosh

Skye is playing a violin by Tomaso Eberle, 1770, Naples

Matthew Greco

Matthew is playing a violin by David Christian Hopf, 1760, Quittenbach

VIOLA

Karina Schmitz

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

CELLO

Anton Baba

Anton is playing a cello by Peter Elias, 2000, Aigle, after Stradivarius, Italy

DOUBLE BASS

Pippa McMillan

Pippa is playing a double bass by Unknown, mid-18th century, Bohemia

FLUTE

Melissa Farrow

Melissa is playing a baroque flute made by Martin Wenner, c.2013, Singen after Carlo Palanca, c.1750, Turin

HARPSICHORD

Anthony Abouhamad

Anthony is playing a copy of a Flemish-style harpsichord, date unknown, restored 1986 by Marc Nobel, Melbourne

Harpsichord provided and prepared by Anthony Abouhamad

BEETHOVEN’S SEVENTH

MASTERWORKS IN CHAMBER FORM 16 – 27 AUGUST

AHE continues its ambitious and fascinating exploration of historical chamber arrangements of Beethoven’s works performed on period instruments.

Exhilaration abounds, with Beethoven’s Seventh Symphony, the overture to Fidelio and a remarkable quintet by Boccherini.

Revel in the detail, intimacy, and intensity as works you may know back-to-front leap into a new focus.

» Bathurst

» Canberra

» Berry

» Parramatta

» Sydney

» ADCH

» Windsor

» Lake Macquarie

» Southern Highlands - Robertson

australianhaydn.com.au

ABOUT THE MUSIC

ANTONIO VIVALDI (1678-1741)

Concerto for Strings in F major RV136

Allegro

Largo

Menuetto: Allegro

Vivaldi’s father was a violinist at St. Mark’s, Venice, and Antonio continued in that vocation even after taking holy orders in 1703, spending nearly three decades working at the celebrated Venetian girls’ school, the Ospedale della Pietà. Dubbed il prete rosso (the red priest) on account of his fiery hair, he’s sometimes seen as representing a quite distinctively Venetian school of string writing. Certainly, in his own lifetime, his brilliance as a violinist shaped his compositions and, in Italy at least, overshadowed them – the playwright Goldoni described him as “excellent jouer de violon et compositeur médiocre”. Posterity has tended to disagree.

Vivaldi worked in every major genre of his day, and with breathtaking energy and invention. “I have heard him boast that he has composed a concerto, in all its parts, faster than a copyist could write it out” recalled the French traveller Charles de Brosses, and an oft-repeated anecdote has Vivaldi abandoning his priestly office midway through saying Mass in order to scribble down a melody. The truth – as suggested by the dancing, headlong energy of the outer movements of this Concerto for strings and continuo, RV 136, and the elegant poise of the central Largo - seems to have been that ideas came to him prolifically, and in all sorts of forms. We’ll hear further evidence of his versatility later; for now, here’s proof that in an era dominated by Corelli’s Concerti Grossi, the Red Priest was very much his own man.

ANTONIO VIVALDI (1678-1741)

‘Chi alla colpa’ from Armida al campo d’Egitto

‘Veni, veni me sequere fida’ from Juditha Triumphans ‘Orribile lo scempio’ from La Silvia ‘Gelido in ogni vena’ from Farnace

Venice sees itself – with some justice – as the cradle of opera. Certainly, it’s a city that loves spectacle, fashion, ceremony and illusion, and never more so than during the annual carnival season between Christmas and Shrovetide, when masked revellers defy floods and darkness in pursuit of pleasure, and when – in the baroque era – the city’s theatres competed to stage the newest and most sensational operas. Vivaldi – a Venetian to the tips of his ginger hair – composed at least 90 operas: courtly spectacles and spirited farces; tales of ancient heroes, tragic lovers and magical beings, set to music of breathless energy and aching passion.

Armida al campo d’Egitto dates from carnival season in 1718: one of over 50 operas inspired by Torquato Tasso’s romance of the crusader Rinaldo and the seductive pagan sorceress Armida. Vivaldi liked this aria so much that he recycled it in at least two further operas. Farnace (1724) was something of a hit in its day, telling the story of King Pharnaces of Pontus, who, defeated by the Romans, orders his wife Tamiri to kill their son and then herself. She expresses her reaction – “Like Ice in Every Vein” - in this tragic aria, in which Vivaldi (unsurprisingly given the subject) echoes his own Winter concerto from The Four Seasons. It’s all closely tailored to the (clearly formidable) voice of the mezzo-soprano Anna Girò

– formerly one of Vivaldi’s pupils at the Pietà. La Silvia is the odd-one-out here: composed not for Venice but for an imperial birthday celebration in 1721 at the court of Milan. And the bloodand-thunder aria Orribile lo scempio is another recycling job: repurposed from an opera that Vivaldi composed in 1719 for a similar occasion in Mantua. But why mess with a winning formula?

ANTONIO

VIVALDI (1678-1741)

Concerto for Flute in G minor RV 439

La Notte

Largo

Presto (Fantasmi)

Largo

Presto

Largo (Il sonno)

Allegro

The idea of using musical instruments to imitate nature is as old as the legend of Pan and Syrinx. The controversy that surrounded that idea is scarcely less old. In its own time, that most beloved of musical nature-paintings – Vivaldi’s Four Seasons - was attacked by the composer

Francesco Geminiani:

The imitating of the cockerel, cuckoo, owl and other birds, and also sudden Shifts of the Hand from one extremity of the Finger-board to the other…rather belong to the Professors of Legerdemain and Posture-masters than to the Art of Musick. Everyone, it seems, disapproved, except the public; but in the eighteenth century, composers lived to please their public. In 1728 Antonio Vivaldi bundled up the manuscripts of six flute concertos and dispatched them to the publisher Le Cène of Amsterdam. Three of the six had

descriptive titles: “The Storm at Sea”, “The Goldfinch” and this second of the set, subtitled La Notte (“The Night”).

Vivaldi had originally composed it as far back as 1710 as a work for chamber ensemble, and in its new incarnation it retained its free, multi-movement form – as befits the night; a time when the imagination runs wild and free. The old saw about Vivaldi “writing the same concerto 450 times” has never seemed less appropriate: the music is alternately solemn, restless (the turbulent second movement is headed Fantasmi –“phantasms”) until in a slow movement entitled La sonna (“slumber”), sleep finally arrives on softly muted strings. But as the finale demonstrates, a restful night is never wholly guaranteed…..

GEORG PHILIPP TELEMANN (1681-1767)

Sonata à 4 in A minor TWV 43:a5

Grave - Allegro

Allegro

Grave- Allegro

Telemann was a supremely practical musician. A self-taught violinist, harpsichordist and recorder player, he set himself to master every aspect of his art. “Fired by enthusiasm”, as he recalled in his autobiography:

I also turned to learning how to play the oboe, transverse flute, chalumeau, viola da gamba and even the contrabass and the bass trombone.

He didn’t know it at the time, but it was excellent training for his later career in Hamburg. In this booming Hanseatic seaport he found a ready market for collections of chamber music aimed at

ABOUT THE MUSIC

a prosperous and lively musical public. Hamburg was (and is) a crossroads of ideas and cultures, where the latest musical innovations arrived early and were swiftly embraced. (It’s no coincidence that the Beatles found their voice there).

Telemann was a leader of musical taste in Hamburg, and this striking Sonata in four parts – for two violins, viola and basso continuo – shows him as master both of learned German counterpoint and the brilliant Italian style of string writing. In the melting pot of Hamburg, anything was possible, and the fact that it survives in a copy by the Dresden violin virtuoso (and collaborator with both Bach and Vivaldi) Johann Pisendel suggests that it was a well-travelled work. But the dedication with which Telemann headed his anthology of chamber music Der getreue Musikmeister (1728-29) makes his intention absolutely clear.

I have nothing further to present other than to solicit from amateurs of music an opinion well-disposed toward me…your most humble and obedient Telemann. He aimed, in other words, to please.

GEORG PHILIPP TELEMANN (1681-1767)

Excerpts from the cantata Der am Ölberg zagende Jesus (Die Still Nacht) TWV 1:364

Die Stille Nacht

Er rung die

Mein Vater

In the summer of 1722, by a unanimous vote, Georg Philipp Telemann was offered the post of Kantor (music director) at St Thomas’s Church in Leipzig. He turned it down. Disappointed, the chairman of

the appointments committee declared that “since the best man could not be hired, an average 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 it does demonstrate Telemann’s reputation as a composer of sacred music. Telemann’s autobiography listed:

…12 cycles [of cantatas]; many long works with trumpets and timpani for high feast days, approximately 700 arias; 19 passions…6 for the mayors’ funerals; 12 for pastors’ initiations, 3 for jubilees….

Telemann had completed one entire cycle of 72 church cantatas (one for each Sunday and feast day in the liturgical year) even before he moved to Hamburg in 1721. This one, believed to date from 1741, belongs specifically to Passiontide, and centres – with heart-rending expressive power – on Christ’s nocturnal vigil on the Mount of Olives. A supremely practical musician, Telemann uses only modest forces and a single vocalist: his emphasis is on conveying the experience (and message) of Christ’s anguished meditations and prayers as directly, and as meaningfully, as possible.

Richard Bratby

JOHANN

ADOLPH HASSE

(c.1699–1783)

Concerto for Flute in B minor

Allegro ma non troppo

Adagio

Allegro

Hasse’s Concerto for Flute in B minor demonstrates his mastery in composing instrumental music. It was probably inspired by the great French composer

and flautist Quantz and was written in the period when Hasse was Kappellmeister to the Dresden Court. Based on Vivaldi’s model, the concerto alternates between tutti and solo sections.

In the outer movements, the solos contain dazzling virtuoso passages that could only be properly executed by a master flautist. Like Vivaldi’s later concertos, these solo passages are lightly accompanied with just two violins. The sparser texture further distinguishes the flute as a soloist from the rest of the ensemble. More intimate than the faster movements, the adagio is replete with sustained tones and pulsating repeated notes. Here, Hasse treats the flute as he would the voice in a solo aria, and while it is often accompanied by the whole ensemble, the adagio maintains a sense of buoyancy and grace thanks to the composer’s superb melodic writing.

Anthony Abouhamad

HEINRICH IGNAZ FRANZ VON BIBER (1644–1704)

Serenada à 5 Der Nachwätcherleid

Aria

Ciacona: ‘Lost Ihr Hern’

Heinrich von Biber was born in Bohemia, but lived and worked from 1670 in the Catholic church-state of Salzburg –where he began to compose his “Mystery” sonatas from around 1676 onwards. These extraordinary sacred works for unaccompanied violin have cemented Biber’s reputation as one of the most powerful musical imaginations in the generation that preceded Bach, but like any baroque professional he adapted his talents to the needs and tastes of the

community in which he worked. And that particular community like to party, as well as to pray. “The Salzburgers’ spirit is exceedingly inclined to low humour. The Punch-and-Judy spirit shines through everywhere” reported the eighteenthcentury poet Christian Friedrich Schubart.

So, for the Salzburg carnival of 1673, Biber came up with this playful instrumental Serenade, which might or might not have accompanied a dancepantomime, but which was designed, regardless, to tickle the Salzburg taste for the quirky. There’s an Aria, played by instruments alone. And then in the Ciaconna (Chaconne) Biber tells the string players to put down their bows and play their instruments Testudini - “like lutes”. (“It actually comes out very nicely with the instruments tucked under the arm” he advises the possibly reluctant instrumentalists). The music tiptoes drolly forward – and then, out of nowhere, a human voice is heard: the cry (writes Biber) of “the Nightwatchman, who currently calls out the hour around here”. Listen, you people, to what’s said: the clock has struck nine.

All’s safe and all’s well, and praise the Lord God and Our Lady.

Twice, he sings his report – and then stalks off into the distance, and the night.

Richard Bratby

THE ARIAS

Vivaldi: Armida al campo. ‘Chi alla colpa’

Recit

In van la mia pietà tenta l'ingrato. E in, col vestirla D'un'Eroica menzogna, cerca asconder la colpa all'ira mia. Troppo udii, troppo viddi, e 'l negarmela ancor la fà pìù ria.

Aria

Chi alla Colpa fa’tragitto, nuova Colpa non spaventa.

Chi alma rea d'un solo deletto nel peccar, non e contenta!

Who is to Blame

Recit

In vain my pity tempts the ungrateful. And in vain, by dressing her in an heroic lie, She seeks to hide the guilt from my wrath. I’ve heard and seen too much, and denying it to me makes it even more difficult.

Aria

Whoever makes a journey towards righteousness, fears no new guilt. Souls who delight in sin however, are never happy!

Vivaldi: Juditha Triumphans ‘Veni, veni, me sequere fida’. Come, come, follow me, my faithful

Veni, veni, me sequere fida Abra amata, Sponso orbata.

Turtur gemo ac spiro in te. Dirae sortis tu socia confida

Debellata

Sorte ingrata, Sociam laetae habebis me.

Come, come, follow me confidently, beloved Abra, deprived of your husband. Like a dove I moan and sigh in you. You, trusted companion of horrendous fate, when the hideous destiny will be broken, you shall have me as a joyful companion.

Vivaldi: La Silvia ‘Orribile lo scempio’ Horrible Destruction

Orribile lo scempio

Nel Sangue si vedrà

E all’altrui cor d’Esempio La stragge servirà.

Horrible destruction!

It will reveal itself in bloodshed! And in the enemies’ heart, it will serve as an example.

Vivaldi: Farnace ‘Gelido in ogni vena’ Like Ice in Every Vein

Gelido in ogni vena

Scorrer mi sento il sangue.

L'ombra del figlio esangue

M' ingombra di terror.

E per maggior mia pena

Veggio che fui crudele

A un'anima fedele,

A un innocente cor.

Like ice in every vein, I feel my blood flow, the shade of my lifeless son falls over me; I’m traumatised. And worse than that pain, I see that I was cruel to an innocent soul, to my dearest child.

Telemann: Die Stille Nacht ‘Der Am ölberg zagende Jesus’

Die stille Nacht umschloss den Kreis der Erden, Die Nacht, die sonst der Müden Labsal ist, Wenn sie die täglichen Beschwerden Durch angenehme Ruh versüsst. Jedoch, (o schreckenvolle Nacht, Die meinen Geist vor Angst verschmachten heisst.)

Denn Jesus, als das Abendmahl vollbracht,

Nimmt seinen Weg zum Hof Gethsemane, Da überfällt ihn solch ein Weh, Voll Zittern, Angst und Zagen, Dass er vor Schmerzen kaum So viel kann sagen:

Er rung die heilgen Hände Aus überhäuftem Schmerz. Die Augen schlug er himmelwärts, Und dass der Vater ihm nur etwas Labsal sende, So hub er seine Stimm empor, Und bracht ihm dies Gebet Mit heissen Seufzern vor:

Mein Vatter! wenn dirs wohlgefällt, So lass den Kelch jetzt von mir gehen. Mein Schmerz ist unerträglich gross, Drum reiss mich von demselben los. Jedoch, dir sei es heimgestellt. Dein Wille soll allein geschehen.

Biber: ‘Der Nachtwächterlied’

Lost ihr Herr’n und last euch sag’n’ Der Hammer der hat neyne geschlagn, Hüets Feier hüets wohl, Undt lobet Gott den Herrn, Undt Unser liebe Frau.

The Distresssed Jesus on the Mount of Olives

The silent night encompassed the earth’s horizon, The night, which otherwise is the relief of the weary

When it, by dint of pleasant rest, Softens their everyday burdens. But … (oh terrorful night That bids my spirit faint for fear!).

For Jesus, when the Last Supper has been accomplished, Takes His path to the villa Gethsemane, Where such a woe falls upon him – full of trepidation, fear, and distress –That, for sorrows, He is scarcely able To say this much: He wrung his saintly hands, Out of heaped-up sorrow. His eyes He cast heavenward; And so that [God] the Father might only send him some relief, He lifted up his voice, And offered Him this prayer, With ardent sighs

My Father!, if it well-pleases you, Then let the cup [of suffering] now pass from me. My sorrow is unbearably great; Therefore wrest me free from that. But let it be up to you. Your will alone shall be done.

The Nightwatchman’s Song

Listen folks and mark the hour, The bell strikes nine within the tower, All’s safe and all’s well, And praise to God the Father and to Our Lady

A MESSAGE FROM SKYE MCINTOSH

The last 18 months for AHE have been amazing - we recorded our next ABC Orchestral CD at the end of 2021, (which is going to be released soon) and celebrated our 10-year anniversary in 2022, presenting many exciting projects including our Haydn's Times of Day marathon at the Adelaide Festival, our incredible Haydn's Creation at the Canberra Festival and in Sydney, Beethoven's Eroica, Haydn

Speaks with John Bell and the re-launch of our Education program with our Australian Haydn Spring Academy finished off with a fantastic CPE Bach program with Chad Kelly, broadcast by the ABC.

I’m incredibly proud of what AHE has achieved and become over the past 10 years, and so grateful for your support. The everincreasing quality of every performance is a dream come true. I am constantly amazed at the deep level of commitment from each and every specialist musician; they give their all every time they take the stage.

With each concert, workshop, recording or broadcast, I feel even more excited about

the future and what we are aspiring to achieve in the next 10 years.

With your help, we do so much - and there's more excitement on the way!

This October we plan to tour the United States for the first time, performing at the opening of the new US Embassy in Washington DC and also at Carnegie Hall, and of course, we will continue touring all our other beautiful concerts back here at home throughout the year.

We do need your help to achieve all of this!

As the end of the financial year approaches, I invite you to support AHE with a taxdeductible donation.

Your contribution makes all the difference to me, to our musicians and to our audiences everywhere.

I do hope you will consider contributing.

Skye McIntosh

WITH YOUR SUPPORT IN 2023 WE CAN...

Perform over 35 metropolitan, regional NSW and ACT concerts.

Grow our Emerging Artist Program and support the next generation of historically informed performers.

Undertake our debut international tour to the USA with performances in Washington DC and at Carnegie Hall in New York.

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

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

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

Richard & Cynthia Coleman

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

Jamie Hardigg

The Hon Don Harwin

Andreas & Inn Ee Heintze

Dr Gerard Joseph

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

Greg & Wendy See *

Penelope Seidler AM

Xavier Shea

David & Isabel Smithers

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

Anonymous (8) incl 3 *

LOBKOWITZ $500 - $999

Gary & Ruth Barnes

Celia Bischoff *

Jeffrey Bridger

Dr Sylvia Cardale

Robert Clark

Christine Cooper

Dr John Dearn *

Ann Douglas

Dr Meredith Edwards

Christine Goode *

Sharon Green

Celia Lillywhite

Diccon & Liz Loxton

Chris Matthies*

Abbey & the late Andrew McKinnon

Dr Jacqueline Milne *

Beverley Northey

Pieter & Liz Oomens

Dr Jenepher Thomas *

Kay Vernon *

Anonymous (3)

RAZUMOWSKY $50 - $499

Ann Armstrong

Wayne Arthur

Anna-Rosa Baker

Robin Bass

Richard Bernasconi & Dr Penny Wilson

Andrew Blanckensee

Peter Bodor KC & Sally Bodor

Graeme & Bronwyn Brown

Dr Andrew Byrne

Lloyd Capps & Mary Jo Capps AM *

Wendy Cobcroft *

Sean Conkey & Tegan Redinbaugh *

Dr Nola Cooke

Catherine Cowper

Susan Cox

Isabel Crawford

Peter Cumines

Dr Robert Dingley *

George Drew

Sandra Duggan

Alison Dunn *

Paul & Ros Espie

Ivan Foo & Ron Gouder

Stephen Gates

Pamela Gibbins

Jean Gifford *

Allan Gill

Virginia Gray

Rosemary Greaves

Lesley Harland

Alan Hauseman & Janet Nash

Paul Hickman

Julia Hoffman

Paul Hopmeier & Janice King *

Lilla Ito

Heather Kenway

Susan Kingsmill

Pastor de Lasala OAM *

Yuan Lim

Karl Lindeson

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

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 *

Sarah Turvey

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 (12) incl 2*

* Indicates contributors to the 2021 Pozible Campaign to fund AHE's 10th Anniversary CD

This listing is correct as of 20 May 2023, and we gratefully recognise all donations received since 1 January 2022.



“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.

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

Tegan Redinbaugh

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

Anthony Abouhamad

Program Note - Hasse

Vi King Lim

Score Services

*In Kind Support

IN KIND

Jean Gifford, John Dearn, Canberra

Greg & Wendy See, Berry

Felicity & Stuart Coughlan, Berry

Mary & Steve Beare, Berry

Louise & Keith Brodie, Berry

IMAGES

Images throughout by Helen White except page 6 by James Mills and 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.

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