HAYDN’S TIMES OF DAY
14 and 15 December 2023
“...the Australian Haydn Ensemble...is not to be missed” New York Concert Review Inc, New York, Carnegie Hall, 2023
AHE 2024 LOVE & DEVOTION String quartets by Haydn, Mozart & Mendelssohn FEBRUARY HEAVENLY SOPRANOS Jewels of the Baroque with Celeste Lazarenko & Helen Sherman APRIL BEETHOVEN’S FIFTH Masterworks in chamber form JUNE PENRITH YOUTH ORCHESTRA JUNE MOZART'S HORN with Carla Blackwood SEPTEMBER AUSTRALIAN HAYDN ACADEMY OCTOBER HAYDN'S PASSION Sturm und Drang meets unbridled joy DECEMBER
PROGRAM DETAILS ARTISTS Skye McIntosh, Artistic Director and violin Laura Vaughan, baryton Daniel Yeadon, cello THE AUSTRAIAN HAYDN ENSEMBLE PERFORMANCES CANBERRA Thu 14 December, 7pm Albert Hall, Yarralumla SYDNEY Fri 15 December, 7pm City Recital Hall AUSTRALIAN DIGITAL CONCERT HALL Fri 15 December, 7pm This concert is dedicated to the memory of Timothy Pascoe AM, our Founding Chair and Founding Patron. A great friend to AHE.
PROGRAM HAYDN Symphony No. 6 in D major Le Matin HAYDN Symphony No. 7 in C major Le Midi Interval 20 mins HAYDN Baryton Trio No. 70 in G major HAYDN Divertimento à 8 voci No 1. in D major HAYDN Symphony No. 8 Le Soir HAYDN Symphony No. 8 in G major Le Soir The concert duration is approximately 1 hr 50 mins including interval
facebook.com/TheAustralianHaydnEnsemble instagram.com/@australianhaydnensemble twitter.com/@AustralianHaydn
ARTISTIC DIRECTOR’S MESSAGE I am so pleased to finish the year with this beautiful all-Haydn program that features his three Times of Day symphonies, Morning, Noon and Night, along with works featuring the baryton. It's particularly gratifying to perform the Symphonies in Sydney and Canberra, having presented them as centrepieces of the first weekend of the Adelaide Festival in 2022, and having just returned from our amazing début tour of the United States, where we performed two of the Symphonies (to great acclaim on both occasions).
We are also delighted to feature Laura Vaughan. She will not only play the violone in our program - but will also be introducing the baryton to AHE audiences. It is a fascinating and unique instrument that was a favourite of Prince Esterházy. The baryton looks a bit like a viola da gamba - but has sympathetic strings that can be plucked behind the neck. Haydn composed many beautiful trios for baryton, viola and cello, at the request of the Prince, and today we perform No. 70 along with a seldom-heard divertimento.
The three so-called Times of Day Symphonies are truly unique in their programmatic nature and are a gorgeous example of the way Haydn was inspired when he first went to work for Prince Esterhàzy in 1760.
This concert is dedicated to the memory of our dear friend and founding patron Timothy Pascoe AM, who helped me to start the Ensemble. Without his support as AHE began and grew, we would be far less likely to be here performing for you today. Appropriately, Haydn’s music, and particularly the ‘early’ works from the first Esterházy period, were among his favourites and today we play for him.
Written in 1761, Haydn had been asked to compose three symphonies around the theme of life at Esterháza in the morning, noon and night periods of a day. In response, Haydn came up with these works that feature virtuosic writing featuring the talented players he had to hand as part of his ‘house’ orchestra at the time. This includes large solos for the violin, cello and flute as well as solos for other instruments that are less often featured in this way such as the violone, bassoon and viola. The orchestra Haydn had was made up of between 14 to 18 players and the group we present to you today reflects a similar number on stage.
Skye McIntosh Artistic Director Australian Haydn Ensemble
THE ENSEMBLE The Australian Haydn Ensemble, (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh and is now in its twelfth year. AHE has quickly established itself as one of Australia’s leading period-instrument groups, 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. AHE’s flexibility and inventiveness are inspired by Haydn’s fabled originality and the virtuosic musicians he worked with at the court of Esterházy for almost 30 years. It performs in a variety of sizes and combinations, ranging from quartet, quintet or septet, to chamber orchestra with special guest soloists to a full orchestra with choir. The Ensemble 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 in 2014. AHE also performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting 18th-century historical performance techniques.
AHE is particularly interested in presenting unusual programs of 18th-century chamber versions of works by Haydn, Mozart and Beethoven, as well as presenting the music of lesser-known composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister and Vanhal. To commemorate its 10th anniversary, the Ensemble recorded its third CD of music by Mozart, for imminent release, and in October 2023 AHE undertook its first international tour of the United States, including performances at Carnegie Hall and at the opening of the new Australian Embassy in Washington DC, garnering full houses, standing ovations and glowing reviews.
THE PERFORMERS
Skye McIntosh Skye McIntosh is the founder and Artistic Director of the Australian Haydn Ensemble - now in its twelfth year. This audacious undertaking is a testament to Skye’s musicianship and entrepreneurial spirit. AHE, known for its innovative and ambitious programming, has recently made a highly successful début tour of the USA under Skye’s leadership, and was delighted to perform at both the Adelaide Festival and Canberra International Music Festival in 2022, while 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 at Carnegie Hall and the Australian Embassy in Washington DC, among other prestigious venues in the United States. 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, which she will also perform in the 2024 season.
Laura Vaughan Melbourne-based viola da gamba specialist Laura Vaughan is a dynamic and well-recognised member of the early music movement in Australasia. Passionate about the unique sound world of the viol, Laura is committed to sharing this exquisite repertoire with audiences around the world. A lover of early fretted bowed instruments, Laura is also one of the few exponents of the lirone and baryton. She is heard regularly as a soloist and chamber musician around Australia and New Zealand and appears on numerous CD recordings. In addition to her work as a soloist, she works with many major Australian early music ensembles including the Australian Haydn Ensemble, Orchestra of the Antipodes, Van Diemen’s Band, the Australian Brandenburg Orchestra, Adelaide Baroque, Accademia Arcadia, Bach Akademie Australia, Consortium Viols, Genesis Baroque and as a founding member of the multiple ARIA award-nominated trio Latitude 37.
Daniel Yeadon* Dr Daniel Yeadon is a Lecturer at the Sydney Conservatorium of Music, University of Sydney, where he teaches cello and viola da gamba, coaches chamber music, and engages in research into learning, teaching and historical performance practices. Originally from the UK, Daniel read physics at Oxford University and then completed his postgraduate studies at the Royal College of Music in London. Daniel has a love of a wide range of musical genres and is an exceptionally versatile cellist and viola da gamba player, performing repertoire from the Renaissance through to Contemporary. Daniel is a passionate chamber musician, playing regularly with Australian Haydn Ensemble, Ironwood, Australian Chamber Orchestra (ACO), Australian Romantic 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.
" THIS WAS PASSIONATE, EMOTIONALLY POWERFUL AND IMPACTFUL PLAYING.” NEW YORK CONCERT REVIEW INC, CARNEGIE HALL, 2023
“I LOVED EVERY MINUTE... I THINK THE ENSEMBLE IS ONE OF THE FINEST IN THE COUNTRY. I CAN'T WAIT TO HEAR THEM AGAIN.” AUDIENCE MEMBER, CANBERRA
THE ARTISTS & THEIR PERIOD INSTRUMENTS VIOLIN Skye McIntosh Tomaso Eberle, 1770, Naples Simone Slattery Claude Pierray, 1726, Paris Anna McMichael1 Camilli Camillus, 1742, Mantua Matthew Greco David Christian Hopf, 1760, Quittenbach Annie Gard Klotz, c.1710, Mittenwald Ella Bennetts André Mehler, 2014, Leipzig, after S. Serafino,1735, Venice VIOLA Karina Schmitz Francis Beaulieu, 2011, Montreal after Pietro Giovanni Mantegazza, 1793, Milan John Ma Simon Brown, 2000, Sydney CELLO Danny Yeadon2 William Forster II, 1781, London Anthony Albrecht Peter Walmsley, c.1740, London VIOLONE Laura Vaughan D violone, John Pringle, USA, 2005, after G.P. Maggini, c.1610, Brescia
OBOE Adam Masters Bernhard Schermer, Stäfa, 2002, after Grundmann, c. 1785, Dresden Kirsten Barry Marcel Ponseele, Damme, 2001, after Grundmann, 1770, Dresden FLUTE Melissa Farrow3 R. Tutz, 2001, Innsbruck, after H. Grenser, c.1810, Dresden Mikaela Oberg R. Tutz, 2007, Innsbruck, after H. Grenser, c.1810, Dresden BASSOON Simon Rickard Mathew Dart, London, 1996, after JH Grundmann, 1792, Dresden HORN Carla Blackwood4 Andreas Jungwirth, Vienna, 2010, after Johann Anton Lausmann, c.1790, Graslitz Doree Dixon, Richard Seraphinoff, Bloomington, 2009, after Antoine Halari, 1810, Paris
BARYTON Laura Vaughan Henner Harders, 2023, Mansfeld, after Daniel Stadlmann, 1732, Vienna 1. Dr Anna McMichael appears courtesy of the Sir Zelman Cowen School of Music and Performance, Monash University. 2. Dr Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music, the University of Sydney. 3. Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra. 4. Replace to read Carla Blackwood appears courtesy of the Melbourne Conservatorium of Music, the University of Melbourne.
LOVE & DEVOTION STRING QUARTETS BY HAYDN, MOZART & MENDELSSOHN
HAYDN String Quartet Op. 20 No. 4 in D major
MOZART String Quartet No. 15 in D minor
MENDELSSOHN String Quartet Op. 12 No. 1 in E flat major
Bathurst | Canberra | Berry | Bowral | Sydney www.australianhaydn.com.au
ABOUT THE MUSIC FRANZ JOSEPH HAYDN (1732-1809) Symphony No. 6 in D major Le Matin Adagio - Allegro Adagio Menuet Finale: Allegro Symphony No. 7 in C major Le Midi Adagio - Allegro Recitativo: Adagio Menuetto Finale: Allegro On 1 May 1761 the 29-year old Joseph Haydn landed a top job. Haydn was no Mozart; his career had been slow to get under way and when in 1757 he finally landed a post as kapellmeister (music director) to Count Karl Joseph von Morzin, a Bohemian nobleman with houses in Vienna and near Plzeň, he threw himself enthusiastically into the business of writing symphonies for the Count’s small orchestra. Unhappily, Morzin was bad with money; within three years he was bankrupt and was forced to dismiss all his musicians – Haydn included. More happily, one of the guests at Morzin’s estate was the fabulously wealthy Hungarian nobleman Prince Paul Anton von Esterházy. The Prince was also a music lover; he heard one of Haydn’s symphonies (the one now known as No.1) and liked what he heard. Learning that Haydn was back on the job market, he moved swiftly to make him an irresistible job offer. Haydn’s new contract made him vicekapellmeister at the Esterházy court. The terms were comprehensive: Haydn was required to live at the Prince’s huge palace of Eisenstadt, to supervise the Prince’s orchestra, to wear livery (“he must appear when summoned in uniform,
with white linen, white stockings, powdered, and with either a wig or his hair tied back” stipulated the contract), and to write and direct any music that the Prince required. During Haydn’s early years with the Esterházys he felt a particular need to assert himself professionally: his direct superior, the septuagenarian kapellmeister Gregor Werner complained to the Prince that Haydn was no more than a “G’sanglmacher” (song-scribbler) and “Modehansl” (fashion-follower – or if you like, a hipster). This was no time for an ambitious composer to hide his light under a bushel. Prince Paul Anton loved music that painted a picture; his orchestral library included an edition of Vivaldi’s The Four Seasons, and one of Werner’s best-loved compositions had been a “New and Curious Musical Calendar” depicting the twelve months of the year. So when the Prince suggested that the new signing might like to demonstrate his credentials with a series of symphonies inspired by the hours of the day, Haydn took the hint, and the first three symphonies that he composed during his first year of service were titled Le Matin (Morning), Le Midi (Noon) and Le Soir (Evening). The Prince’s orchestra had only 17 players, but they were all superb: they included the Italian violinist Luigi Tomasini and the virtuoso cellist Joseph Weigl, and could be supplemented on special occasions by wind, brass and percussion players from the Prince’s regiment. It was the opportunity of a lifetime, and Haydn seized it: “As head of an orchestra I could experiment” he told his biographer Griesinger, decades later:
…observe what heightened the effect and what weakened it, and so could improve, expand, take risks. I was cut off from the world, there was no-one near me to torment me or make me doubt myself, so I was forced to become original. Haydn wasn’t quite “cut off” just yet: it’s believed that the three symphonies were first premiered at the Esterházy town palace in Vienna in May or June 1761 – before the household decamped to Eisenstadt. But he was unquestionably original. These symphonies aren’t just a delightfully fresh response to the Prince’s command, but an ingenious showcase for every player in his orchestra. Haydn was out to make an impact, and to get his musicians on side as well. Le Matin begins with a musical sunrise, before dancing off into a sparkling Allegro, led by the flute (the birdsong of the dawn chorus is never far from this score). The tender second movement blossoms into a beautifully expressive showcase for the solo violin and cello. The flute and oboes take over the Minuet, and the bassoon and double bass sing a gruff duet in its central section. And everyone — even the horns — gets a chance to shine in the brilliant Finale: by which time the sun has well and truly risen. Le Midi finds the sun at its apex: the introduction depicts its majestic procession to the peak of the heavens. Down on earth, though, the heat grows sultry, and an impassioned operatic Recitativo introduces a slow movement in which a solo violin, cello and flute flirt elegantly like nymphs and shepherds in some Arcadian landscape. The brilliant Finale has its end in its beginning; in between comes all manner of fun.
Baryton Trio No. 70 in G major Scherzando e presto Andante Menuet Divertimento à 8 voci No. 1 in D major Allegro moderato Adagio Allegro: Thema con variazioni Prince Paul Esterházy had less than a year in which to enjoy Haydn’s services. He died on 18 March, 1762 and his title – as well as his vast estates – passed to his younger brother Nikolaus. Nikolaus would reign for nearly three decades, building an immense new palace complex at Esterháza in western Hungary, and acquiring such a stellar reputation as a patron of the arts that he is remembered in Hungary to this day as Prince Nikolaus “the Magnificent”. The good news for Haydn was that Prince Nikolaus was, if anything, even more passionate about music than his brother. In 1765, the Prince began to learn the baryton – an elaborate extended version of the viola da gamba with multiple additional “sympathetic” strings (which either vibrated in sympathy with the bowed strings, or could be plucked to accompany them). Popular across Europe from the mid-17th-century but almost extinct by the dawn of the Romantic era, it’s best appreciated by seeing and hearing it played — a privilege we’re fortunate to be able to enjoy tonight. In time, Haydn would become one of Prince Nikolaus’s most beloved and valued employees. But at this point, Werner was still senior kapellmeister and he seems to have been intensely jealous of the younger man. In November 1765, he prompted the Prince to issue a formal reprimand to Haydn: requiring that he “apply himself more diligently to composition than hitherto, and to write such pieces as can be
ABOUT THE MUSIC played on the gamba [baryton] – of which we have seen very few so far”. Haydn knuckled down immediately, but things got rougher before they got smoother. Thinking to please his master, and better understand the ins and outs of this fabulous musical beast, the baryton, he taught himself to play the instrument, and gave an unannounced evening performance. “The prince was rather offended” writes Haydn’s biographer Griesinger: ...saying that Haydn wanted to usurp his position with regard to the instrument, and from that hour Haydn never touched the baryton again. But he composed for the baryton like never before, redoubling his efforts after Werner died in March 1766, leaving Haydn as unchallenged chief kapellmeister. Between 1765 and 1775, he composed some 126 trios for baryton and strings (Haydn played the viola, Weigl the cello) and around 80 further works for baryton in various combinations: effectively, a new baryton piece every fortnight. Formally, they’re not especially innovative: the baryton is not a flamboyant instrument, and it sets its own (often dignified) pace. This is music for civilised private enjoyment, written primarily to engage and entertain the Prince. But Haydn never stints on invention, and in works such as the Trio No. 70 (believed to date from around 1769), the first of the three short movements is marked Scherzando ( joking). The conversation might be respectful, but it’s certainly not without humour. In this Divertimento à 8 voci – one of a set of seven such works composed in 1775 – the baryton takes its place in what is effectively a miniature symphony, scored for string quartet, bass and two horns. It’s a rather more public setting for the princely amateur, and Haydn’s challenge is to give his employer a musically satisfying role in the ensemble without exposing him to potential embarrassment in front of his
staff – in other words, without any exposed or gnarly passages. Over three elegant, lively movements, he does exactly that, with a final theme and variations just to keep things light-hearted. The Prince’s virtuoso players bustle, whirl and dance around their baryton-playing lord, in a perfectly-gauged display of what Bertie Wooster might have called the feudal spirit. Symphony No. 8 in G major Le Soir Allegro molto Andante Menuetto La tempesta: Presto Back in Vienna in 1761, the day’s music making is nearly done, and as a late spring evening falls on the Esterházy town palace, vice-kapellmeister Haydn and his orchestra evoke an altogether more rustic scene. Thoughts are turning to the countryside: in a few short weeks the whole, huge Princely entourage will take to carriages and carts as Prince Paul returns home, to spend what (although he doesn’t yet know it) will be his last summer at his beautiful palace and park in Eisenstadt. For now, Haydn ushers in Le Soir with music of relaxation and rejoicing: a playful country round-dance. The Andante is serene, with tender solos for Tomasini and Weigl; in an age before Darwin (and street lamps) the starlit vault of night was simply one more visible proof that God was in his heaven. The bass shines once more in the central Trio of the Menuetto, before the storm breaks in the finale: La tempesta. Violins and woodwinds cascade from the heavens: a dazzling, refreshing downpour to cleanse the skies before the story comes full circle with the dawn of a new day. Richard Bratby
SUPPORT/DONATE
We are just back from our incredibly exciting début tour to the United States, with nine performances that drew rave reviews and standing ovations at every single location including Carnegie Hall, New York, and at the opening of the new Australian Embassy in Washington, DC. We are all so proud of this achievement that even significantly larger organisations would have found challenging. We certainly could not have done it without your encouragement and financial support! The rapturous receptions we received everywhere we went were so inspiring to us all. AHE has reached a whole new level of success in the last 18 months, with exciting projects like our Haydn’s Times of Day marathon at the Adelaide Festival 2022, our incredible Haydn’s Creation at the Canberra Festival and in Sydney, Beethoven’s Eroica and Beethoven’s
Seventh, Haydn Speaks with John Bell, performances in the stunning small halls of regional NSW and the re-launch of our Australian Haydn Academy and our AHE Young Artist program. This has been a huge time for AHE, and we have so much more we want to bring to you, our beloved audience. And, yes, we do need your help to continue to bring you the amazing music of Haydn, Beethoven, Mozart and other, lesserknown, composers at the very highest level of excellence. As the end of 2023 approaches, I invite you to strengthen your connection to AHE with a tax-deductible donation. Along with every single one of our musicians, I would be so grateful for your support of our ambitions and our music-making. Thank you Skye
Donate online by using this QR code or going to www.australianhaydn.com.au/donate Call 1800 334 388 to donate by phone
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 The late Dr Timothy Pascoe AM
THE CHAIR’S CIRCLE Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna * Mark Burrows AO * The late Tom Gregory and Sherry Gregory * Peter & Lisa Macqueen Kevin McCann AO & Deidre McCann * Ian & Pam McGaw * The late Timothy Pascoe AM & the late Eva Pascoe Peter Young AM & Susan Young Anonymous* ARTISTIC DIRECTOR’S CIRCLE Martin & Ursula Armstrong * Emalyn Foundation WALDSTEIN $10,000 - $14,999 The Hon. Nick Greiner AC & Carolyn Fletcher AM * Reg & Kathie Grinberg * Jon & Susan North * Karin Keighley Philanthropy Initiative Australia, a giving fund of the APS Foundation *
VAN SWIETEN $5,000 - $9,999 Jeremy Eccles FRSN & Kate Eccles OAM * Richard Fisher AM & Diana Fisher Adrian Maroya Peter & Libby Plaskitt Michael & Anna Rennie Anthony Strachan The Hon. Anthony Whealy K.C. & Annie Whealy Anonymous* GALITZIN $1,000 - $4,999 Antoinette Albert Mark Bethwaite AM & Jill Bethwaite Clive Birch Jan Bowen AM FRSN * Keith & Louise Brodie * Lloyd Capps & Mary Jo Capps AM * George H Clark Robert & Carmel Clark * Dr Terry & Julie Clarke Jean Cockayne Peter & Prudence Davenport * Robert & Jane Diamond
14
Alison Dunn * 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 Sharon Green * Jamie Hardigg The Hon Don Harwin Elizabeth Howard Sarah de Jong Dr Gerard Joseph David Maloney AM & Erin Flaherty * Garth Mansfield OAM & Margaret Mansfield OAM Paul & Anne Masi Jules Maxwell Paula McLean * Trevor Parkin * Nick Payne Susan Perrin-Kirby David & Elizabeth Platt Keith & Robyn Power Robert & Myriame Rich Deidre Rickards * Greg & Wendy See * Penelope Seidler AM Xavier Shea David & Isabel Smithers Kay Vernon * Lady Meriel Wilmot-Wright Anonymous (9) incl 6 * LOBKOWITZ $500 - $999 Patricia Adey Ann Armstrong Jock Baird * Dr Andrew Byrne Dr Sylvia Cardale Lynette Casey Wendy Cobcroft * Richard & Cynthia Coleman Dr Nola Cooke * Christine Cooper Matt Costello & Bernie Heard Dr John Dearn * Todd Denney & Jacqui Smith * Sandra Duggan
Dr Meredith Edwards Stephen & Jill Goggs * Celia Lillywhite Diccon & Liz Loxton Diane McAllery * Dr Jacqueline Milne * Beverley Northey Paul O'Donnell David & Jill Townsend * Ailsa Veiszadeh * Dr Margot Woods * Anonymous (6) incl 3 * RAZUMOWSKY $50 - $499 Rosemary Adams * Glenn & Jillian Albrecht * Phil Alt Catherine Andrews Wayne Arthur Tanya Bailey * Anna-Rosa Baker Dr Susan Ballinger Robin Bass Pam Behncke Peter Benjamin * Richard Bernasconi & Dr Penny Wilson David Biggs * John Biggs * Andrew Blanckensee Peter Bodor KC & Sally Bodor Nicolette Bramley * Jeffrey Bridger Russell Burgess & Judith Cain Dr Michael & Dr Colleen Chesterman Sean Conkey & Tegan Redinbaugh * Catherine Cowper Susan Cox Peter Cumines Dr Robert Dingley * Gabrielle Donovan George Drew Giles & Heather Edmonds Paul & Ros Espie Garry Feeney & Wendy Sanderson Mary Finn Ivan Foo & Ron Gouder Stephen Gates Pamela Gibbins Jean Gifford * Christine Goode *
OUR PATRONS Virginia Gray Rosemary Greaves Lesley Harland * Alan Hauseman & Janet Nash Dr Judith Healy * Meredith Hellicar Jenni Hibbard * Paul Hickman Ann Hoban * Julia Hoffman Brendan Joyce * Pauline Junankar * Poss Keech * Heather Kenway Siew-Ean Khoo Chris Kuan Pastor de Lasala OAM * Claude Lecomte Ting Lee * Yuan Lim Karl Lindeson Cookie Lloyd * Alison Lockhart John Ma * Diane MacDonell Dr Tim & Alice-Anne Macnaught Terry & Catherine McCullagh * Peter McDonald * Joanne McGrath Dr Patricia McVeagh Paul & Betty Meyer * Ian Milne * Richard & Joan Milner Heather Nash* Helen Neville Dee O'Brien * Henry O'Connor Louise Owen Stefan Pantzier * Catherine Peel Dr Lesley Potter
Lindsey Pratt Anne Quinane * Frans Rammers Dr Geoff Randal Ian Reed * Heather Reid Anthony Robinson Jennifer Rose-Innes David Salter & Susan Young Edward Schloegl * Adele Schonhardt * Ian Scott * Alan Singh * Dr Richard Sippe Keith & Janet Stanistreet Dr Brian & Patricia Stone Dr Rupert Summerson * Augusta Supple * Susan Tanner * Cathy Thompson-Brown Sarah Turvey Jeremy Wainwright Anthony Wallis * John Walmsley Dr Frances Whalan Kim & Catherine Williams Penny Wilson Dr Ann Young * In Memory of Dr Michael McGrath Anonymous (36) incl 24 * * Indicates contributors to the 2021 and/or 2023 Pozible Campaigns to fund AHE's 10th Anniversary CD and US Tour. This listing is correct to 4 Dec 2023, and we gratefully recognise all donations received since 1 July 2022.
ON DEMAND SACRO AMOR
A CREATIVE CONCERT FILM BY AHE
This stunning feature presents beautiful baroque works by Vivaldi and Hasse, including motets, flute concertos and instrumental works, interwoven with sublime original imagery. “The dreamchild of Artistic Director Skye McIntosh… a concert of Vivaldi and Hasse featuring soprano Celeste Lazarenko and flautist Melissa Farrow. Filmed in widescreen by Oliver Miller and Wooden Picket Productions in Sydney’s St Stephen’s Church, Newtown, and Camperdown Cemetery,…beautifully captured by director of photography David Tran… The performances are gorgeous…” Limelight Magazine, 2021
Skye McIntosh, Director Celeste Lazarenko, Soprano Melissa Farrow, Flute The Australian Haydn Ensemble Download at www.australianhaydn.com.au/ events/sacro-amor-on-demand or use the QR code
OUR PARTNERS GOVERNMENT PARTNERS
AHE is supported by the NSW Government through Create NSW.
AHE is assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.
EDUCATION PARTNERS Sydney Eisteddfod
Penrith Youth Orchetsra
Central Coast Conservatorium of Music
SUPPORTERS Wine Partner
Livestream Partner
Audit Partners
GLENGUINESTATE.COM.AU
Australian Haydn Ensemble is a not for profit organisation. ABN 26 202 621 166 PO Box 400 Strawberry Hills NSW 2012 1800 334 388 (Freecall) | australianhaydn.com.au
Media Partner
BACKSTAGE BOARD Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM FRSN Carolyn Fletcher AM Adrian Maroya Kevin McCann AO Skye McIntosh (Artistic Director) Jon North Vivienne Skinner Peter Young AM
STAFF Skye McIntosh Artistic Director Jacqui Smith Chief Executive Officer Alison Dunn Marketing and Communications Director 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 Sophia Hans
IMAGES Images throughout by Helen White except Support Us page, Oliver Miller and The Performers page, James Mills. 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.
Be the first to know! Join us at www.australianhaydn.com.au/email-list