THE MOZARTS, THE HAYDNS & THE BEAR, concert program, Australian Haydn Ensemble (AHE)

THE MOZARTS, THE HAYDNS & THE BEAR

28 – 30 April 2023

AHE 2023

Haydn’s Sun & Mendelssohn’s Stars

FEBRUARY

The Mozarts, The Haydns & The Bear

APRIL

Die Stille Nacht with David Greco & Melissa Farrow

JUNE

Beethoven’s Seventh

AUGUST

Haydn’s Times of Day

DECEMBER

THE MOZARTS, THE HAYDNS & THE BEAR

ARTISTS

Roland Peelman, guest conductor

Jaqueline Porter, soprano

Andrew Goodwin, tenor

Skye McIntosh, lead violin

THE AUSTRALIAN HAYDN ENSEMBLE

PERFORMANCES

CANBERRA

Friday 28 April, 7.30pm*

The Fitters’ Workshop

Presented as part of the Canberra International Music Festival

SYDNEY

Sunday 30 April, 5pm City Recital Hall

AUSTRALIAN DIGITAL CONCERT HALL

Sunday 30 April, 5pm

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

PROGRAM

J.C. BACH

Symphony in G minor Op. 6 No. 6

MOZART

Selected arias including:

‘Va dal furor portata’

‘Clarice cara mia sposa’

‘Voi avete un cor fedele’

‘Misero! O sogno … Aura che intorno spiri’

‘L'amerò, sarò costante’ from Il Re Pastore

MICHAEL HAYDN

Overture to Die Hochzeit auf der Alm (The Wedding on the Alp)

LEOPOLD MOZART

Cassation in G major (Toy Symphony)

HAYDN

Symphony No. 82 in C major (The Bear)

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

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ARTISTIC DIRECTOR’S MESSAGE

I am delighted to welcome back guest conductor Roland Peelman and to be returning to the Canberra International Music Festival with this wonderful orchestral program exploring the most influential musical families of the eighteenth century. The Mozarts, the Haydns and the Bachs are all featured in a program that contrasts the dramatic with the playful spirit of youth. Included are Leopold Mozart’s Cassation for Toys and Orchestra, some early concert arias by Mozart, J.C. Bach’s Symphony Op. 6 No. 6 and Haydn’s L’Ours (The Bear) Symphony No. 82.

The ties that bind these composers are that they not only knew each other, and in many cases worked together across many contexts, but they all influenced the musical style of a young Mozart. Leopold Mozart, Wolfgang’s father, could not help but be a great influence on his son, whom he taught piano and violin and introduced to the world as a child prodigy. This program features his own music, the Cassation for Orchestra and Toys - a much-disputed work that was long attributed to Joseph Haydn and also thought to possibly be by Michael Haydn. Scholars are still unsure as to whether Leopold definitely wrote it, but it is a work that brings together a serious classical composition with the fun of toy instruments.

In contrast, we open the concert with a dramatic work in G minor by Johann Christian Bach, that captures the fiery Sturm and Drang element of the time. Mozart spent time with J.C. Bach in London studying composition and also made arrangements of several of his piano sonatas as concertos with string accompaniment.

Joseph Haydn’s younger brother Michael was also an influence on Mozart and they were reputed to be good friends, in spite of an age gap. There is a lovely story of Mozart finishing off a commission of Michael’s when he could not do so, as a favour to his friend. In that way he made sure his friend Michael would still receive his commission. Mozart’s Requiem also shows the clear influence of Michael Haydn’s Requiem and, at times, they do sound very alike.

We are thrilled to welcome two wonderful guest singers, Jacquline Porter (soprano) and Andrew Goodwin (tenor) performing a set of early concert arias written by Mozart including ‘L'amerò, sarò costante’ from Il Re Pastore and ‘Voi avete un cor fedele’ which Mozart wrote as an insertion aria to Galuppi’s Le nozze di Dorinda . These were both written when Mozart was only 19 years old.

The concert closes with Haydn’s Paris Symphony No. 82, nicknamed The Bear.

We know that Mozart was deeply influenced by Joseph Haydn - he modelled his set of so-called Haydn Quartets on Haydn’s own, and dedicated the work to him. Joseph was quoted as telling Mozart’s father Leopold that his son was truly the greatest composer living.

These extraordinary musicians have given us so much, and it is clear that they also gave each other a great deal - musically, personally and professionally.

Thank you for joining us and please 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.

THE AUSTRALIAN HAYDN ENSEMBLE

Guest Conductor

Roland Peelman has been Artistic Director of the Canberra International Music Festival since 2015. He is an acclaimed musician of great versatility who has established a reputation as one of Australia’s most innovative musical directors.

Born in Belgium, Roland has been active in Australia over thirty years as a conductor, pianist, artistic director and mentor to composers, singers and musicians alike. For his commitment to the creative arts in Australia, he has received numerous accolades, including the NSW Award for ‘the most outstanding contribution to Australian Music by an individual’ in 2005. In 2006 he was named ‘Musician of the Year’ by the Sydney Morning Herald and he has since featured regularly as one of the most influential people in the Australian arts scene. Over a period of twenty-five years, he transformed The Song Company into one of Australia’s most outstanding and innovative ensembles, as well as instigating and directing an impressive list of orchestral, vocal and operatic new work. Roland worked with Opera Australia for seven years (1984-91) before becoming The Song Company’s Artistic Director (1990-2015). During this time, he was also the Music Director of Sydney Metropolitan Opera (1989-94) and the Hunter Orchestra in Newcastle (1990-97).

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 delighted to be performing at the Canberra International Music Festival this year, as well as continuing to tour to the ACT and across regional New South Wales. Skye attended the Royal Academy of Music, London, the Queensland Conservatorium and the Sydney Conservatorium of Music, has made numerous concert appearances as soloist and director and has performed internationally with the Australian Haydn Quartet at The Juilliard School. She has also toured nationally with the Australian Brandenburg Orchestra, as well as performing with Pinchgut Opera and the Australian Romantic & Classical Orchestra. In 2023 ABC Classics will release AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major.

Roland Peelman

Soprano

Jacqueline Porter appears regularly with Australia’s major symphony orchestras, choral societies and ensembles. Recent performances include Britten’s Les Illuminations (Australian Romantic & Classical Orchestra), Mahler Symphony No. 4 (Sydney and Melbourne Symphony Orchestras), Peter Grimes (Sydney Symphony), Bach St. Matthew Passion (Melbourne Bach Choir), Stonnington Outdoor Classics, Messiah (Royal Melbourne Philharmonic) and recitals at the Bendigo and Tasmanian Chamber Music Festivals, Australian Festival of Chamber Music and Australian Digital Concert Hall

Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Drusilla (L’incoronazione di Poppea), L’Amour (Orpheé et Eurydice), Saskia and Hendrickje Stoffels (Rembrandt’s Wife), Clorinda (Il Combattimento di Tancredi e Clorinda) for Victorian Opera and Gretel (Hansel and Gretel) for State Opera South Australia. Her recordings include ‘Love’s Torment, Love’s Delight’ (ABC Classics).

Jacqueline holds an honours degree in Music Performance and a Bachelor of Arts (Italian) from the University of Melbourne, and is a former Melba Opera Trust Scholar.

Tenor

Andrew Goodwin has appeared with opera companies and orchestras in Europe, Asia and Australia including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan, Opera Australia, Pinchgut Opera, Sydney Chamber Opera, St. Petersburg Philharmonic, Auckland Philharmonia, the New Zealand, Sydney, Melbourne, Queensland, Adelaide and Tasmanian Symphony Orchestras, the Moscow and Melbourne Chamber Orchestras, in recital with pianist Daniel de Borah at Wigmore Hall, the Oxford Lieder, Port Fairy and Canberra International Music Festivals.

This year Andrew returns to sing with the Melbourne Bach Choir (Evangelist in Bach’s St. Matthew Passion and Haydn’s Die Schőpfung), Canberra International Music Festival and Australian Haydn Ensemble (Haydn’s Creation), Queensland Symphony Orchestra (Mozart’s Requiem), Canberra and Melbourne Symphony Orchestras (Messiah), Albury Chamber Music Festival and Sanguine Estate Music Festival. Andrew will also tour with the new vocal ensemble, AVÉ.

Recent engagements include Lysander, A Midsummer Night’s Dream (Adelaide Festival); Jacquino, Fidelio (West Australian Symphony Orchestra); Nadir, The Pearlfishers (State Opera South Australia); Diary of one who disappeared and Rape of Lucretia (Sydney Chamber Opera); Artaxerxes title role (Pinchgut Opera); Mozart Requiem (MSO); Brett Dean’s The Last Days of Socrates (SSO); Messiah (NZSO, QSO and MSO); and performances at the Australian Festival of Chamber Music, Townsville.

Jacqueline Porter

Andrew Goodwin

THE ARTISTS & THEIR PERIOD INSTRUMENTS

VIOLIN 1

Skye McIntosh* - Tomaso Eberle, 1770, Naples

Anna McMichael - Camilli Camillus, 1742, Mantua #

Miranda Hutton - Annette Voll, 2009, 's-Gravenhage, after A. Stradivarius, 1714, Cremona

Simone Slattery - Claude Pierray, 1726, Paris

Cameron Jamieson - Anonymous, c.1800, Germany

VIOLIN 2

Stephen Freeman* - Unknown, 1730, England

Myee Clohessy - Unknown, c.1770, Mittenwald

Ella Benetts - André Mehler, 2014, Leipzig, after S.Serafino, 1735, Venice

Meg Cohen - Simon Brown, 2008, Melbourne

VIOLA

Karina Schmitz* - Francis Beaulieu, 2011, Montreal, after Pietro Giovanni Mantegazza, 1793, Milan

John Ma - Simon Brown, 2000, Sydney

James Eccles - Warren Nolan-Fordham, 2012, Melbourne

CELLO

Daniel Yeadon* - William Forster II, 1781, London ##

Anton Baba - Peter Elias, 2000, Aigle, after Stradivarius, Italy

Anthony Albrecht - Peter Walmsley, c.1740, London

DOUBLE BASS

Jacqueline Dossor* - Unknown, c.1740, Northern Italian, likely Bologna

Pippa MacMillan - Unknown, mid-18th century, Bohemia

FLUTE

Melissa Farrow * - M. Wenner, c.2013, Singen, after A. Grenser, c.1790, Dresden ###

Mikaela Oberg - R. Tutz, 2007, Innsbruck, after H. Grenser, c.1810, Dresden

OBOE

Emma Black* - Pau Orriols, Spain, 2019, after Grundmann & Floth, 1795, Dresden

Joel Raymond - Paul Hailperin, 2005, Germany, after A. Grenser, c 1780, Dresden

BASSOON

Simon Rickard * - Matthew Dart, London, 1996, after JH Grundmann, 1792, Dresden

Brock Imison - Robert Cronin, San Francisco, 2012, after H. Grenser, 1800, Dresden ####

HORN

Carla Blackwood * - Andreas Jungwirth, Vienna, 2010, after Johann Anton Lausmann, c.1790, Graslitz #####

Doree Dixon - Richard Seraphinoff, Bloomington, 2009, after Antoine Halari, 1810, Paris

TRUMPET

Alex Bieri* - Egger, Basel, c.1970

Matthew Manchester - Andrew Naumann, 2004, after Johann Wilhelm Hass (1649-1723), Nuremberg

TIMPANI

Brian Nixon - Baroque-styled, belt-driven, calf headed copper timpani by Lefima, 1999, Germany

FORTEPIANO (Continuo)

Chad Kelly - Fortepiano after Stein by D. Jacques Way, Stonington, 1986

Supplied & prepared by Carey Beebe Harpsichords

* Section Leader # Anna McMichael appears courtesy of Monash University ## Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music ### Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra #### Brock Imison appears courtesy of Melbourne Symphony Orchestra

Carla Blackwood appears courtesy of the Universoty of Melbourne

ABOUT THE MUSIC

JOHANN CHRISTIAN BACH (1735-1782)

Symphony in G minor Op. 6 No. 6

Allegro

Andante più tosto adagio

Allegro molto

Music in the eighteenth century was often a family affair. Four of Johann Sebastian Bach’s sons became composers: Johann Christian was only fifteen when his father died, and his reputation has never quite escaped from beneath that mighty shadow. But in the English-speaking world, at any rate, he deserves better. Johann Christian was “The English Bach”: after an apprenticeship in Italy, he settled in London in 1762. He was appointed Music Master to Queen Charlotte, and he extended a kindly welcome to the eight-year-old Mozart when he visited London in 1764. But London fashions were (as ever) transient; and when Johann Christian died aged 46, he left his widow so short of funds that the Queen herself intervened to grant her a pension.

So, we owe him one. Mozart was never in any doubt: “Mr Bach from London has been here for the last fortnight” he wrote to his father Leopold from Paris in August 1778 - “I love him (as you know) and respect him with all my heart”. It’s easy to hear what might have fascinated Mozart in this sixth – and stormiest - of Johann Christian’s six symphonies Op. 6, published in London some time before 1769. Here, in three concentrated movements, are all the elements that represented the cutting edge of musical fashion in the third quarter of the eighteenth century: the powerful, driving crescendos and torrential tremolandi of the ultra-modern “Mannheim” style; the tender, lyrical contrasting themes (as the age of Reason yielded to an age of Sensibility), and the austere, dignified craftsmanship of the central Andante: in which Johann Christian shows himself every bit his father’s son.

WOLFGANG AMADEUS MOZART (1756-1791)

Aria: Va dal furor portata, K. 21

Aria: Clarice cara mia sposa, K. 256

Aria: Voi avete un cor Fedele, K. 217

Aria: Misero! O sogno K. 431

Aria: L'amerò, sarò costante from Il Re Pastore K. 208

For an aspiring opera star in the eighteenth century, the idea that you’d sing music written for a different singer would have seemed absurd. If an aria in an opera didn’t show your voice to best advantage, a skilled composer would simply run up something better.

Wolfgang Amadeus Mozart lived among professional musicians from the day he was born, and he prided himself on his ability to compose bespoke arias for individual singers. “I love it when an aria is so perfectly tailored to a singer’s voice that it fits them like a well-cut suit” he told his father Leopold, in February 1778.

Va dal furor portata might be his very first. When the Mozarts visited London in 17645, the members of the Royal Academy, anxious to test the skills of this eight-yearold “prodigy of nature”, challenged him to compose in various styles. This could well have been one of the results (one observer noted that the boy genius shortly afterwards abandoned the harpsichord to play with a pet cat). It was all good training for the future composer of operas such as Il re pastore (staged in Salzburg in April 1775).

In L'amerò, sarò costante, the young shepherd Aminto (sung by a castrato) has discovered that he’s actually a king – but here he sings of his enduring devotion to his humble sweetheart Elisa.

The other three arias we’ll hear are all bespoke products, and two of them are “insertion arias” – written to commission for specific singers to perform in operas by entirely different composers. An Italian opera

ABOUT THE MUSIC

buffa company passed through Salzburg in the autumn of 1775 and the prima donna clearly took advantage of the opportunity to have something run-up locally: the aria Voi avete un cor fedele, which Mozart composed that October for her to insert into the company’s touring production of an opera (the original composer is unknown) based on Goldoni’s Le nozze di Dorina.

He composed the patter song Clarice cara mia sposa twelve months later for the tenor Antonio Palmini to insert in a comic opera by Niccolò Piccini. And with Misero! O sogno, we find him at the top of his game in Vienna in December 1783, creating a concert showpiece for Karl Valentin Adamberger – a tenor who was (in the words of one Viennese critic) “the favourite singer of all those with tender hearts”. Mozart certainly knew his voice: Adamberger had created the role of Belmonte in Die Entführung aus dem Serail the previous year. shows himself every bit his father’s son.

MICHAEL HAYDN (1737-1806)

Die Hochzeit auf der Alm - overture

Michael Haydn was the younger brother of Joseph and, like JC Bach and Leopold Mozart, he suffers the reputation of being an also-ran in his own family. But contemporaries disagreed. Count Joseph von Spaur, canon of Salzburg Cathedral, observed that “though Michael’s artistry and reputation be great, the artist himself is equally modest and unassuming”. After serving (like his brother) as a chorister in the Imperial Court Chapel in Vienna, Michael spent much of his career working with Leopold (and for a time, Wolfgang) Mozart in Salzburg - initially as court composer and konzertmeister and from 1781 (after Wolfgang’s peremptory dismissal) as cathedral organist.

The Mozart family traded jokes about Michael’s alleged drunkenness; but then, the Mozarts were notorious gossips and

their (uncorroborated) private banter could well have been influenced by Anna Maria Mozart’s personal feud with Michael’s wife, the soprano Maria Lipp. Yet Wolfgang deeply respected the musical skill of the man he called “our Haydn”. We have just a taste of his genius today: the overture to a singspiel (a short comic opera) that he composed for performance by the students of Salzburg’s Benedictine University in 1763. Die Hochzeit auf der Alm (The Wedding on the Alp) is a folksy rustic rom-com, and it proved a surprise hit for its composer. There’s a real freshness to Michael’s melodies; but then, as fans of musical theatre will be aware, the Alps around Salzburg are alive with the sound of music…

LEOPOLD MOZART (1719-1787)

Cassation in G major (Toy Symphony)

March

Menuetto

Allegro

Menuetto

Allegretto

Presto

The poet Christian Schubart visited Salzburg between 1772 and 1777 and observed that:

The Salzburgers are especially distinguished in wind instruments…Their folk songs are so comical and burlesque that one cannot listen to them without sidesplitting laughter. The Punch-and-Judy spirit shines through everywhere, and the melodies are mostly excellent and inimitably beautiful.

Which is one way of avoiding the fact that we don’t actually know who composed this piece, or why. For many years it was attributed to Joseph Haydn; it’s also been credited to his brother Michael, as well as both the Mozarts – with Leopold taking pole position in more recent years. Later scholarship has pointed at Edmund Angerer (1740-1794), a Tyrolean

church musician who might or might not have been inspired to write it by the opening of a toy factory at Berchtesgaden (just over the mountain from Salzburg). But even if this piece is not from Salzburg, it would surely have gone down a storm in a city with a party-loving merchant class, a lively student population, and a taste for boisterous musical comedy.

So here it is, in all its jangling, hooting, rattling and twittering glory. Take a typical Cassation (a type of serenade, intended for recreational use) of the 1760's-70's. Add a ratchet, a drum, a cuckoo, nightingale and quail-calls. Result: a little symphony that has entertained and delighted audiences of all ages for at least two and a half centuries -- and counting.

FRANZ JOSEPH HAYDN (1732-1809)

Symphony No.82 in C major (The Bear)

Vivace assai

Allegretto

Menuet e Trio

Finale: Vivace

Today, any musician can expect a worldwide audience in as much time as it takes to stream a digital file. Joseph Haydn's achievement was on a different scale. He worked 28 years for the princely Esterhazy family, spending most of that time on their estates in rural Hungary. It was a world in which public concerts were still a new idea, and simply travelling from Vienna to London took a fortnight. When he finally visited England in 1791, he unleashed a Georgian media-frenzy. But even before then, Europe's music-lovers were fighting to get their hands on him. At the end of 1784, the Concert de la Loge Olympique in Paris - a society of musicloving Freemasons – contacted Haydn via “True Concord”, his own Masonic lodge in Vienna, and commissioned him to write six symphonies. The society gave concerts at the Palais de Tuileries, employed a blue-

liveried orchestra of 67 players (all honorary Freemasons) and offered Haydn 25 louis d’or for each symphony - five times the fee they'd paid Mozart a few years earlier.

Haydn couldn't leave Hungary – in fact, he would never set foot in Paris. But with the opportunity to write for one of the biggest and best ensembles in Europe, and thrilled by this evidence of foreign interest in his music, he excelled himself. Many of these symphonies won affectionate nicknames"The Hen", "The Queen", and this one - the last of his six Paris commissions, composed during 1786, dispatched to Paris for performance during the Loge Olympique’s 1787 season, and eventually nicknamed L’Ours (The Bear).

It's funny what listeners seize upon. The “bear” nickname seems to date from the 1820s, when the fast, folksy opening theme of the finale, with its bagpipe drone, reminded contemporaries of the music to which tame bears were made to dance at fairs. True, no-one got more out of a folk tune than Haydn, and the whole finale is a display of flying, foot-stamping brilliance. But it comes at the end of a symphony that blazes with bravura and light from its opening flourish to its jubilant final chord. The key of C major was traditionally one of celebration (eighteenth-century drums and trumpets sound particularly sparky in C); there’s a graceful, distinctly galant set of variations as a slow movement – very much à la Parisienne – and a minuet with a truly majestic swagger. If this is Haydn bidding farewell to Paris, he’s doing so with fireworks.

Richard Bratby

THE ARIAS

Aria 'Va dal furor portata' K. 21 (1765)

Massimo

Va, dal furor portata, Palesa il tradimento; Ma ti sovvenga, ingrata, Il traditor qual’è.

Scopri la frode ordita, Ma pensa in quel momento, Ch’io ti donai la vita, Che tu la togli a me.

Go ahead, driven by your fury, and reveal my treachery; but remember, ungrateful one, who the traitor is. Reveal the plotted deception, but consider in that moment that I gave you life, and that you would be taking it from me.

Aria buffa ‘Clarice cara mia sposa’ K. 256 (1775)

Capitano

Clarice cara

Mia sposa dev’essere

Per la magnetica

Virtù simpatica, Voglio convincermi

Colla gramatica, Colla retorica, Logica e fisica,

La matematica

Non può fallar.

Don Timoteo

Piano per carità...

Capitano

Se in questa musica

Non siam unisoni

Tritoni e dissoni, Vuo’ fulminar.

Dell’arte medica

Con tutti i recipi, Con mille cabale

Dell’aritmetica, Degli avvocati

Con tutti gli et caetera, Voi lo vedrete, Voi lo sapete.

Saprò trionfar.

Don Timoteo

Caro Signor Dottore, lasciate almen

Ch’anch’io Vi dica una ragion...

Captain

Dear Clarice must be my bride, attracting by her magnetic qualities. I will make sure of it. With grammar, with rhetoric, logic, physics and mathematics one can’t go wrong.

Don Timoteo

Gently, for pity’s sake...

Captain

If in this music there are no unisons, tritones and dissonances, then I will rage. With all the prescriptions of medical art, with all of arithmetic's thousand ruses, with all the “etceteras” of lawyers, you will see, you will learn, I shall be able to triumph.

Don Timoteo

Dear doctor, let me too at least tell you a reason...

THE ARIAS

Capitano

Con carte e sarte

Con nautica bussola

D’un cor amabile

La cinosura

Certa e sicura

Saprò ritrovar.

Se mi diceste

Che cosa impossibile, Quel vostro petto

Di tigre inflessibile

Con un fendente

Vorrei spalancar.

Don Timoteo

Molto tenuto io sono

Alle finezze sue; Ma cospettaccio!

Capitano

Ma se poi facile

Siete e pieghevole, Cento bucefali

Vuo’ che s’attaccnino, E Salamanca, Firenze e poi Tunisi, Londra, Berlin, Roma, Torino e Padova, Amsterdam, Montpellier, Livorno e Genova, Vuo’ testimoni

Dell’inclito merito

Della mia bella, Dell’impareggiabile

Sposa adorabile

Del celeberrimo

Dottor giuridico, Medico, fisico, Che tutto il mondo

Vedrem stupefar.

Aria ‘Voi avete un cor fedele’ K. 217 (1775)

Voi avete un cor fedele, Come amante appassionato: Ma mio sposo dichiarato, Che farete? cangerete?

Dite, allora che sarà?

Manterrete fedeltà?

Ah! non credo.

Già prevedo, Mi potreste corbellar. Non ancora, Non per ora, Non mi vuò di voi fidar.

Captain With accurate maps and a nautical compass I shall be able to find the sure and certain guiding star for a loving heart. If you kindly tell me that this is impossible I will split open, with a sabre cut, your breast, which is like that of an inflexible tiger.

Don Timoteo

I am much obliged for your favours but, hang it all!

Captain

But if you are amenable and tractable, I will harness a hundred war-horses and will call Salamanca, Florence and then Tunis, London, Berlin, Rome, Turin and Padua, Amsterdam, Montpellier, Leghorn and Genoa as witness of the glorious merit of my fair one, of my incomparable, adorable bride, of the most celebrated doctor of law, medicine and physics, whom we see astonishing all the world.

You have a faithful heart, like any impassioned lover; but once my troth is plighted, tell me, what will you do? Will you change? Will you remain faithful?

Ah, I cannot believe it! It is already foretold, you will make a fool of me. Not yet, not for now will I trust in you.

Aria ‘Misero o sogno –Aura che intorno spiri’ K. 431 (1783)

Misero! o sogno, o son desto?

Chiuso è il varco all'uscita!

Io dunque, o stelle!

Solo in questo rinchiuso Abitato dall'ombre!

Luogo tacito e mesto, ove non s'ode

Nell'orror della notte

Che de' notturni augelli

La lamentabil voce! I giorni miei

Dovrò qui terminar?

Aprite, indegne, Questa porta infernale!

Spietate, aprite!

Alcun non m'ode! E solo, Ne' cavi sassi ascoso, Risponde a' mesti accenti

Eco pietoso

E dovrò qui morir?

Ah! negli estremi amari sospiri

Almen potessi, oh Dio!

Dar al caro mio ben l'ultimo addio!

Aura che intorno spiri, Sull'ali a lei che adoro

Deh! porta i miei sospiri, Dì che per essa moro,

Che più non mi vedrà!

Ho mille larve intorno

Di varie voci il suono;

Che orribile soggiorno!

Che nuova crudeltà!

Che barbara sorte!

Che stato dolente!

Mi lagno, sospiro, Nessuno mi sente, Nel grave periglio

Nessun non miro, Non spero consiglio, Non trovo pietà!

Miserable! do I dream, or am I awake? The way is closed to escape!

I then, oh stars! Alone in this place, Shut up by shadows! This sad and silent place, where Even in the terror of the night

One does not hear the lamenting voice Of nocturnal birds! Must my days end? Open, ignoble ones, This infernal door! Cruel ones, open it! No one hears me! And only A pitiful echo, Hidden in the stone caves, Responds to my miserable words. And must I die here?

Ah! In my last bitter sighs At least I could, O God, Give to my beloved a final farewell!

Air which I breathe in, On wings to her whom I adore Ah! carry my sighs, Say that for her I die, That she will see me no longer!

I have the sound of the voices Of a thousand various spectres inside of me; What a horrible sojourn! What new cruelty! What barbarous fate! What a painful state! I moan, I sigh, No one hears me, In [my] grave danger I see no one, I do not hope for council, I do not seek pity!

Aria ‘L'amerò, sarò costante’ K. 208 from Il Re Pastore (1775)

L'amerò, sarò costante: Fido sposo, e fido amante Sol per lei sospirerò.

In sì caro e dolce oggetto La mia gioia, il mio diletto, La mia pace io troverò.

I shall love her, I shall be constant: Faithful spouse, and faithful lover Only for her shall I sigh.

In so dear and sweet an object My joy, my delight, My peace I shall find.

BECOME PART OF THE AHE FAMILY

AHE could not perform our music for you without our donors – they have been right beside us all the way and we are incredibly grateful to them all.

We’ve also been committed to regional touring since the very beginning. Now we are asking for your support too, so we can continue to bring our music to people all over New South Wales and beyond.

Did you know you can make a recurring, tax-deductible donation?

It’s easy, spreads your donation over time and any amount you give makes a big difference!

Just go to australianhaydn.com.au/donate or call 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 *

The late Tom & Sherry 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 & Susanne North

Robert & Myriame Rich

Nigel & Penelope Stewart

Anthony Strachan

The Stoneglen Foundation

GALITZIN $1,000 - $4,999

Antoinette Albert

Jock Baird *

Mark Bethwaite AM & Jill Bethwaite

Clive Birch

Keith & Louise Brodie *

George H Clark

Robert & Carmel Clark *

Dr Terry & Julie Clarke

Jean Cockayne

Judy Crawford

Mark & Stephanie Darling

Peter & Prudence Davenport *

Robert & Jane Diamond

Ron & Suellen Enestrom *

Ralph Evans AO & Maria Evans *

John Fairfax AO & Libby Fairfax *

Dr Marguerite Foxon *

Bunny Gardiner-Hill *

Prof Pru Goward AO

The Hon. Don Harwin

Andreas & Inn Ee Heintze

Karin Keighley

David Maloney AM & Erin Flaherty *

Paul & Anne Masi

Jules Maxwell

Trevor Parkin *

Nick Payne

Susan Perrin-Kirby

David & Elizabeth Platt

Keith & Robyn Power

Michael & Anna Rennie

Greg & Wendy See *

Penelope Seidler AM

Xavier Shea

David & Isabel Smithers

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

Anonymous (8) incl 2 *

LOBKOWITZ $500 - $999

Gary & Ruth Barnes

Celia Bischoff *

Jeffrey Bridger

Dr Sylvia Cardale

Richard & Cynthia Coleman

Christine Cooper

Dr John Dearn *

Ann Douglas

Dr Meredith Edwards

Christine Goode *

Sharon Green

Dr Gerard Joseph

Celia Lillywhite

Diccon & Liz Loxton

Chris Matthies*

The late Andrew & Abbey 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

Susan Cox

Isabel Crawford

Peter Cumines

Dr Robert Dingley *

George Drew

Sandra Dugggan

Alison Dunn *

Paul & Ros Espie

Ivan Foo & Ron Gouder

Stephen Gates

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 *

Joanne McGrath

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

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

Dr Frances Whalan

Lesley Whalan & Wendy Carlisle

Kim & Catherine Williams

Penny Wilson

In Memory of John Greenwell

Anonymous (11) incl 2*

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

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

DIE STILLE NACHT

BEAUTIFUL BAROQUE WORKS

Melissa Farrow, flute David Greco, baritone

"...exudes precision, elegance and spirit..."

Sydney Arts Guide

VIVALDI | TELEMANN | BIBER

16 – 24 June 2023

Port Macquarie | Wyong | Sydney | ADCH | Canberra | Nowra | Southern Highlands

BACKSTAGE

BOARD

Marco Belgiorno-Zegna AM (Chair)

Jan Bowen AM FRSN

Harriet Lenigas

Adrian Maroya

Kevin McCann AO

Skye McIntosh (Artistic Director)

Jon North

Peter Young AM

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

Vi King Lim

Score Services

*In Kind Support

IN KIND

Thank you to our supporters who kindly provide accommodation to our out-oftown performers

IMAGES

Images throughout by Helen White except pages 8 and 9 (James Mills & Milk Photography) and page 18 (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.