Period Violin, David Christian Hopf, c.1760, Quittenbach (Germany)
1—
Haydn’s Sunrise MARCH
2—
Schubert Songs with David Greco
MAY 3—
Mozart’s Salzburg & Linz with Erin Helyard
JUNE
4—
Haydn’s Miracle AUGUST 5—
Beethoven’s Eighth NOVEMBER
As we continue to explore the music of the 18th century, I often think about why the music that AHE performs continues to play such an important role in our modern lives. For me, this music resonates so deeply because it speaks to universal feelings and experiences – loss, joy, humour, longing, contemplation, excitement, love and drama.
There’s a quality to the way these emotions are expressed by composers such as Haydn, Beethoven, Mozart and Schubert that connects with audiences on a deeply personal level.
In today’s world, where people often feel a mix of hope and uncertainty, music like this reminds us that we’re not alone in our feelings, that someone centuries ago felt these things too and put them into music in the most brilliant way. It is our aspiration that you leave each concert with a new appreciation for the depth and range of emotion that music can express, particularly when played on instruments that bring you as close as we can to the sound worlds these composers knew. In 2025 we have a wonderful array of music for you to enjoy, including the return of our great friends Erin Helyard and David Greco, some exciting new venues in Sydney and Canberra, our continuing exploration of historical chamber arrangements of Beethoven symphonies and, of course, music by Haydn, Mozart, Schubert and more.
I’m excited to introduce 18th Century Unpacked - our new pre-concert event series, offering you five curated events with wine, nibbles, and a deep dive into the music and historical context of our performances guided by guest experts. It’s the perfect chance to connect with other music lovers and deepen your enjoyment of this remarkable music.
My hope is that you will come away from a concert or a pre-concert event feeling a sense of connection - with yourself, with the music and with the people around you. I do believe there is something ineffably unique about every live performance. Each one is an occasion that we share and create together, and no two are ever the same.
I look forward to seeing you in the audience in 2025 and I trust that your experience stays with you long after the final note.
Skye McIntosh Artistic Director
“MUSIC the coldest Heart can warm, The hardest melt, the fiercest charm; ...Dispel our Cares, and Pains assuage; With Joy it can our Souls inspire,”
——Stephen Duck (circa 1705 - 1756)
The Australian Haydn Ensemble, (AHE) was founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, and is now in its 14th year. It 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, released in 2024. In October 2023 the Ensemble 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.
“...superlative playing of what must be music in its purest form.…” Limelight, AHE
Program
HAYDN
Artists
The Australian Haydn String Quartet
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola Daniel Yeadon, cello
The AHE commences its season with two wonderful quartets that morph effortlessly from the lofty to the lowbrow. Then Fanny Mendelssohn’s quartet, apparently the first ever composed by a woman, offers an elegant, if far from ladylike, riposte.
Beethoven never set Shakespeare, even in translation, but his instrumental works often cryptically allude to his favourite plays. When the mind’s eye of his lead violinist conjured a lovers’ farewell scenario to the wrenching despair of Op. 18 No.1’s Adagio, Beethoven confessed its secret link to Romeo and Juliet’s final scene. Interpolations on the sketches reveal a rare literal approach (“He enters the tomb… he kills himself…the dying sighs”) but the composer wisely decided to let the music speak for itself.
Haydn seemed never to be afforded that option, with public and publishers leaping to assign programmatic nicknames to his works. Whether the hazy, soft-focused opening to his Sunrise quartet is an actual depiction of dawn matters little: the first two of Op. 76 No. 4 are among the most rhapsodically beautiful of all quartet movements.
Neither teacher nor pupil suffer any qualms about getting their hands dirty in the remaining movements, however: brilliant counterpoint sits alongside tipsy hiccoughing and belching, and each culminate in the dizzy whirl of a country dance. Listen, too, for a hint of Transylvania in the trio to Haydn’s Minuet.
Fanny’s sole Quartet in E flat, largely composed before she became Mrs. Hensel, is now justly popular and lauded for its formal and harmonic audacity. High rotation on classic radio has very nearly put its scintillating Allegretto in the warhorse stable, while the surrounding movements have long outgrown the need for special pleading: it’s a splendid work to experience live, and the lush finale generates a guaranteed adrenalin rush.
String Quartet Op. 76 No. 4 in B flat major Sunrise
BEETHOVEN
String Quartet
Op. 18 No. 1 in F major
FANNY MENDELSSOHN (HENSEL)
String Quartet in E flat major
Performances
PARRAMATTA
Sunday 9 March, 4pm
Riverside Theatres, Parramatta
CANBERRA
Thursday 13 March, 7pm
Wesley Music Centre, Forrest
BERRY
Friday 14 March, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday 15 March, 4pm
Bowral Memorial Hall
SYDNEY
Monday 17 March, 7pm
Utzon Room, Sydney Opera House
18th Century Unpacked
HAYDN & THE STRING QUARTET with members of the AHE Quartet
Tuesday 11 March 6.30pm
Chippen Street Theatre
“Greco’s
voice is rich in its lower range, straight-toned and pure, with a beautiful bloom in the upper register ... The combination...was magical, with the ensemble as ever, performing with verve and style.” Sounds Like Sydney, Die Stille Nacht, 2023
with David Greco
Artists
David Greco, baritone
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Daniel Yeadon, cello
Much more than a lieder recital, this rare and beautiful concert features some of Schubert’s most darklyhued songs, superbly delivered by David Greco’s mahogany bass-baritone, and intensified by rich and expressive string quartet accompaniments.
David has carefully structured his selection according to key and timbre, and the esteemed Australian Haydn Ensemble have chosen instrumental movements by Felix Mendelssohn (at his most Schubertian!) to contrast or reinforce each song.
The movements date from the last tragic six months of Mendelssohn’s life, in which he battled both illness and bitter mourning for his sister Fanny. Published posthumously as Op. 81, the Andante, Scherzo, Capriccio and Fugue are strange and passionate stand-alone works that push into territory even more melancholy than his final quartet in F minor.
Paired here with lyrical and nightmarish evocations of loss (The Gods of Greece, Good Night, Dream of Spring and The HurdyGurdy Man from Winterreise), and visions of death both terrifying (The Erlking, Death and the Maiden) and comforting (The Youth and Death) the concert becomes a deeply satisfying and moving meditation in itself. The consistent scoring also prompts new insights about the profound connections between the lieder and Schubert’s quartets, and the impact his musical ‘existentialism’ had on future Romantics.
Go on this wild and sad journey; when you come up for the autumnal air, you’ll never feel more alive.
SCHUBERT
Lieder Arr. for Baritone and String Quartet by Vi King Lim Strophe aus ‘Die Götter Griechenlands’ (Schiller) D. 677
Der Jungling und der Tod (von Spaun) D. 545
Gute Nacht, Frühlingstraum, Der Leiermann from Winterreise (Müller) D. 911
Der Tod und das Mädchen (Claudius) D. 531
Erlkönig (Goethe) D. 328
MENDELSSOHN
Four movements for String Quartet Op. 81: Andante in E major, Scherzo in A minor, Capriccio in E minor, Fugue in E flat major
CANBERRA INTERNATIONAL MUSIC FESTIVAL
Thursday 1 May, 7pm
Albert Hall, Yarralumla
SYDNEY
Friday 2 May, 7pm
The Paintings Galleries
The State Library of NSW
18th Century Unpacked
SCHUBERT’S LIEDER
With Dr David Greco
Tuesday 22 April, 6.30pm
Chippen Street Theatre
Artists
Erin Helyard, fortepiano
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Nicole Divall, viola
Daniel Yeadon, cello
Pippa Macmillan, double bass Mikaela Oberg, flute
The Ensemble’s dear friend Erin Helyard returns to lead this beautiful all-Mozart program.
As composer and performer, Wolfgang was shaped by two Austrian cities: his birthplace, Salzburg, with which he had a lovehate relationship, and his chosen home of Vienna. Between the two, the picturesque town (now city) of Linz was never more than a vacation stopover, but as you’ll hear, it was an especially fruitful ‘working holiday’ musically speaking.
The Salzburg Symphony No. 3 K. 138 is actually the Divertimento in F, written at the tender age of 16, but containing a slow movement of precocious perfection even for the wunderkind. Biographer Jan Swafford describes its “trancelike, nocturnal beauty unique to Mozart” as sounding “like a yearning dream”.
A decade on, having ditched Salzburg for cosmopolitan Vienna, Wolfgang’s ‘making an honest
woman’ of his defacto Constanza Weber did little to un-sour relations with his sister and father. Journeying home from an abortive attempt at family reconciliation, the couple’s mini honeymoon in Linz was interrupted by Mozart’s having to whip up a little something for the local nobility: a thirty-five-minute Symphony, his No. 36 K. 425, was written, printed and rehearsed in 5 days!
Nestled between these two symphonic peaks, Erin has chosen one of Mozart’s earliest original keyboard concertos, No. 6 K. 238 (dating from 1776) and a familiar sonata with a misleading catalogue number. The concerto is rarely heard, so you’ll be lucky enough to encounter its beautiful slow movement, which looks ahead to one that’s heard very often indeed. The B flat sonata K. 333 was long thought to have been written in Paris in 1778. But forensic analysis of the unusual manuscript paper on which it was penned (!) has traced it to the very same spoiled honeymoon in Linz.
While sparing a thought for poor neglected Constanza, you will hear that, like the symphony, it brims with the warmth, playfulness and love that characterised the final intimate relationship of Mozart’s life.
Program
MOZART
Divertimento in F major K. 138 (Salzburg Symphony No. 3)
MOZART
Symphony No. 36 in C major K. 425 Linz Arr. Cimador
MOZART
Piano Concerto No. 6 in B flat major K. 238 Arr. Helyard
MOZART
Piano Sonata No. 13 in B flat major K. 333 Linz
Performances
CANBERRA
Friday 20 June, 7pm Gandel Hall, National Gallery of Australia
SOUTHERN HIGHLANDS
Saturday 21 June, 4pm Bowral Memorial Hall
SYDNEY
Sunday 22 June, 4pm
The Neilson, Pier 2/3, Dawes Point
18th Century Unpacked
MOZART & SALZBURG
With Dr Anthony Hamad
Tuesday 10 June, 6.30pm
Chippen Street Theatre
Oberg—
“BRAVO!
to the Australian
for a formidably nuanced performance of convincing spirit and sophistication” ClassikON, 2021— Period Flute, R. Tutz, 2007, Innsbruck, after H. Grenser, c.1810, Dresden
and Erin
Program
Artists
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Daniel Yeadon, cello
Mikaela Oberg, flute
An audience so enraptured by a symphonic finale that they rush as one toward the stage at the very moment a chandelier crashes to the floor behind them. Alas, fake news, folks, but the fact that music has miraculous powers needs no checking, and here is a concert in which musical wonders never cease.
The AHE quartet returns to Haydn’s Op. 76 with No. 6 in E flat major. It’s often called the Fantasia after its utterly captivating slow movement, but the true sense of the word - the composer’s “fancy” running freelyapplies equally to the whole quartet, from the euphoric riffing on a few chords in the first movement, to the finale’s MC Escher-like rhythmic illusions. Guaranteed to tie tapping toes in knots.
Another miracle: Schubert’s sublime Quartet in A minor was 200 years old last year! When you hear it leaping off the page on gut strings, stripped of vibrato-soaked varnish, it’s like a world premiere. The harmonic language of the menuetto alone is literally marvellous: what creative process led him to take a jaded dance-form on such a mysterious and melancholy journey? And the transformation of the Rosamunde theme; again, truly fantastical.
As Fantasy Genre permits, the Ensemble then briefly steps backwards in time to savour one of Purcell’s deliciously piquant Fantasias in 4 parts, No. 8 Z. 739 (originally for viols) before charging headlong into the (composed) first of Haydn’s London symphonies: No. 96 in D major.
The Miracle moniker is misleading because the Phantom of the Opera moment happened 5 symphonies down the track, but in any case, it’s more “merry” than miraculous, brimming as it is with infectious bon amie. The final movement is positively Buster Keatonian as a deadpan tune tries to surreptitiously tiptoe out of the hall only to be continually doused in storm and stress.
These days a chamber music audience forming a spontaneous mosh-pit in front of the band would indeed be worthy of official miracle status, but after a work as pleasurable as this, anything’s possible. Watch out, though, for falling masonry.
HAYDN
String Quartet Op. 76 No. 6 Fantasia
SCHUBERT
String Quartet in A minor D. 804 Rosamunde
PURCELL
Fantasia in 4 parts No. 8 in D minor Z. 739
HAYDN
Symphony No. 96 in D major
Miracle Arr. Salomon
Performances
CANBERRA
Thursday 21 August, 7pm
Wesley Uniting Church, Forrest
BERRY
Friday 22 August, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday 23 August, 4pm
Bowral Memorial Hall
SYDNEY
Sunday 24 August, 4pm
The Neilson, Pier 2/3, Dawes Point
18th Century Unpacked
HAYDN & LONDON
With Andrew Ford
Tuesday 12 August, 6.30pm
Chippen Street Theatre
“…like nothing I’ve ever heard before. …An extraordinary experience.” Limelight, Beethoven’s Fifth, 2024—
Artists
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Nicole Divall, viola
Daniel Yeadon, cello
Pippa Macmillan, double bass
Mikaela Oberg, flute
Ah, those summer nights in Eastern Europe, 1812. A week after Napoleon invades Russia, Ludwig van Beethoven almost certainly says “Yes, tonight Josephine” to the love of his life, the unhappily married and recently jilted but socially impossible match, Countess Jozefina Brunszvik. Three days later he pours forth - with the pencil (!) he souvenired from the tryst - the 10 little pages of hopeless devotion that have spawned thousands of pages of academic speculation. He hastily concludes in order to make the next post, then scrunches them in his pocket for the rest of his life.
This superb program revolves around the tantalizing enigma of the Immortal Beloved letters. Young Sydney composer Ella Macens, whose tender and expressive work with the Goldner and Flinders Quartets has demonstrated a special affinity with chamber strings, embraces baroque tuning with a new commission inspired by Ludwig’s passionate Declarations.
Exactly nine months after the clandestine Spa-town rendezvous, the countess bore a daughter that she christened Minona
(hint: spell it backwards). No paternity mystery shrouds the other fruit of the encounter though, Beethoven’s Eighth Symphony, whose gestation period was considerably shorter. This utterly delightful homage to Haydn, so full of wit and musical slapstick, is lightyears from the mindset of the letters, even though he started composing it then and there in the same hotel room.
Is that why he didn’t make it to the post office? Heard in the Ensemble’s by now familiar “unplugged” style, it’s guaranteed to banish frustration and consternation to your back pockets too.
Also on the bill, the remarkable rip-off that is the Fifth Symphony in D minor by Beethoven’s friend, pupil and long-suffering PA, Ferdinand Ries (written after his narrow escape from Bonaparte-ravished Russia, when fate led him to knock on the door of the London Philharmonic), and one of the first string sextets ever written, Boccherini’s Op. 23 No. 6 in F major. A sumptuous masterpiece that deserves classic status.
Celebrate the onset of balmy evenings with this heady musical fling.
Program
FERDINAND RIES
Symphony No. 5 in D minor Op. 112 - 1st movement Arr. Ries
BOCCHERINI
String Sextet in F major, Op. 23 No. 6
ELLA MACENS
String Sextet (World Premiere - New Commission)
BEETHOVEN
Symphony No. 8 in F major Op. 83 Arr. F.W. Crouch (1821)
Performances
CANBERRA
Thursday 30 October, 7pm Gandel Hall,
The National Gallery of Australia
BERRY
Friday 31 October, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday 1 November, 4pm Bowral Memorial Hall
SYDNEY
Monday 3 November, 7pm City Recital Hall
PORT MACQUARIE
Thursday 6 November, 7pm
The Glasshouse, Port Macquarie
LAKE MACQUARIE
Saturday 8 November, 2pm Rathmines Theatre, Rathmines
18th Century Unpacked
BEETHOVEN ARRANGED
With Skye McIntosh
Tuesday 31 October, 6.30pm Chippen Street Theatre
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
Marie Theresa
The Queen was a patron of Viennese music, and Haydn wrote his Te Deum at her request.
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.
Razumovsky
He commissioned Beethoven’s Op. 59 String Quartets.
The Chair’s Circle
The Chair's Circle is a group of dedicated supporters who have made a multi-year commitment to supporting the long-term vision of the Australian Haydn Ensemble
Marco Belgiorno-Zegna AM &
Angela Belgiorno-Zegna
Sherry & the late Tom Gregory
Karin Keighley
Peter & Lisa Macqueen
Kevin McCann AO & Deidre McCann
Ian & Pam McGaw
The late Dr Timothy Pascoe AM & the late Eva Pascoe
Anthony Strachan
Peter Young AM & Susan Young
Anonymous (1)
Artistic Director’s Circle
The Artistic Director’s Circle is a group of passionate supporters who have made a commitment to supporting the AHE education program and the vision of the Artistic Director
Jan Bowen AM FRSN
Carolyn Fletcher AM
Adrian Maroya
Jon & Susanne North
Maria Theresa $25,000
Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna
David & Anne Eustace Foundation
Sherry & the late Tom Gregory
Howarth Foundation
Karin Keighley
Peter & Lisa Macqueen
Anonymous (1)
Esterházy $15,000 - $24,999
—
Ian & Pam McGaw
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Anthony Strachan
Waldstein $10,000 - $14,999
—
Jan Bowen AM FRSN
Carolyn Fletcher AM
Kevin McCann AO & Deidre
McCann
Jon & Susanne North
Kim Williams
Peter Young AM & Susan Young
Van Swieten $5,000 - $9,999
—
Martin & Ursula Armstrong
Dr Terry & Julie Clarke
Reg & Kathie Grinberg
Adrian Maroya
Peter & Libby Plaskitt
Peter & Vivienne Skinner
In Memory of Tom Gregory & Timothy Pascoe
Anonymous (1)
Galitzin $1,000 - $4,999
Antoinette Albert
Mark Bethwaite AM & Jill Bethwaite
Clive Birch
Keith & Louise Brodie
Dr Andrew Byrne & Andrew Gill
Dr Michael & Dr Colleen
Chesterman
George H. Clark
Robert & Carmel Clark
Jean Cockayne
Dr Nola Cooke
Dr Peter Craswell
Peter & Prudence Davenport
Rob Diamond
Alison Dunn
Jeremy Eccles FRSN & Kate Eccles OAM
David, Katrina & Madeline Evans
Terry Fahy
John Fairfax AO & Libby Fairfax
Richard Fisher AM & Diana Fisher
Dr Marguerite Foxon
The Hon. Ben Franklin MLC
Bunny Gardiner-Hill
Prof Pru Goward AO
Sharon Green
The Hon Don Harwin
The late Elizabeth Howard
Michael & Anna Joel
Sarah de Jong
Lucy Kalangi
David Kent OAM & Angela Kent
Diccon & Liz Loxton
David Maloney AM & Erin Flaherty
Rod & Diane McAllery
Paula McLean
Trevor Parkin
The late Dr Timothy Pascoe AM & the late Eva Pascoe
Nick Payne
Susan Perrin-Kirby
David & Elizabeth Platt
Keith & Robyn Power
Michael & Anna Rennie
Deidre Rickards
Greg & Wendy See
Danielle Smith
The Smithers Family
Augusta Supple
Kay Vernon
The Hon. Anthony Whealy K.C. & Annie Whealy
Lady Meriel Wilmot-Wright
Anonymous (10)
Lobkowitz $500 - $999
Patricia Adey
Jock Baird
Lloyd Capps & Mary Jo Capps AM
Wendy Cobcroft
Richard & Cynthia Coleman
Matt Costello & Bernie Heard
Todd Denney & Jacqui Smith
Sandra Duggan
Dr Terence & Deborah Dwyer
Dr Meredith Edwards
Jean Gifford
Stephen & Jill Goggs
Gerard Joseph
Dr Jacqueline Milne
Beverley Northey
Jennifer Rose-Innes
Penelope Seidler AM
Roger & Ann Smith
David & Jill Townsend
Ailsa Veiszadeh
Dr Margot Woods
Anonymous (4)
Razumovsky $250 - $499
Ann Armstrong
James Ashburner
Tony Barnett
Walter Bilas & Phillip Sadler
Jeffrey Bridger
Christine Cooper
Dr John Dearn
Giles & Heather Edmonds
Michael Fong
Kate Guilfoyle
Dr Judith Healy
Ann Hoban
Patrick McIntyre & Yianni Faros
Dr Paul & Betty Meyer
Jeremy Morris
Henry O’Connor
Dr Richard Sippe
Dr Ann Young
Anonymous (7)
Foundations
David & Anne Eustace Foundation
Howarth Foundation
Jibb Foundation
Sir Asher & Lady Joel Foundation
Key Foundation
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Sinsay Pty Ltd
Stoneglen Foundation
March
HAYDN’S SUNRISE
Parramatta
Sunday 9 March, 4pm
Riverside Theatres, Parramatta
Canberra
Thursday 13 March, 7pm
Wesley Music Centre, Forrest
Berry
Friday 14 March, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday 15 March, 4pm
Bowral Memorial Hall
Sydney
Monday 17 March, 7pm
Utzon Room, Sydney Opera House
May
SCHUBERT SONGS
With David Greco
Canberra
Thursday 1 May, 7pm
Albert Hall, Yarralumla
Canberra International Music Festival
Sydney
Friday 2 May, 7pm
The Paintings Galleries, The State Library of NSW
June
MOZART’S SALZBURG & LINZ
With Erin Helyard
Canberra
Friday 20 June, 7pm
Gandel Hall, The National Gallery of Australia
Southern Highlands
Saturday 21 June, 4pm
Bowral Memorial Hall
Sydney
Sunday 22 June, 4pm
The Neilsen, Pier 2/3, Dawes Point
August
HAYDN’S MIRACLE
Canberra
Thursday 21 August, 7pm
Wesley Uniting Church, Forrest
Berry
Friday 22 August, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday 23 August, 4pm
Bowral Memorial Hall
Sydney
Sunday 24 August, 4pm
The Neilson, Pier 2/3, Dawes Point
October/November
BEETHOVEN’S EIGHTH
Canberra
Thursday 30 October, 7pm
Gandel Hall, The National Gallery of Australia
Berry
Friday 31 October, 7pm
Berry Uniting Church Hall
Southern Highlands
Saturday1 November, 4pm
Bowral Memorial Hall
Sydney
Monday 3 November, 7pm
City Recital Hall
Port Macquarie
Thursday 6 November, 7pm
The Glasshouse
Lake Macquarie
Saturday 8 November, 2pm
Rathmines Theatre
How to book
Subscriptions are available in a minimum package of 3 concerts.
Subscribe online
Purchase your live subscription package online at australianhaydn.com.au
Subscribe by phone
Call our friendly Box Office on 1800 334 388.
Subscribe by post
You will need to use a booking form to subscribe by post. If you do not have one already, please download from our website, call 1800 334 388 or email info@australianhaydn.com.au.
Complete your booking form, including the performances, price level and location you wish to attend. Post your booking form to:
AHE Subscriptions: PO Box 400, Strawberry Hills, NSW 2012
Ticket prices: Subscription
A minimum selection of three (3) concerts is required for a subscription, and you can choose any AHE-presented locations to create your own subscription. AHE-presented locations are in Sydney, Canberra (excluding the CIMF), Berry and the Southern Highlands.
Subscriptions in City Recital Hall Sydney (per concert)
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Premium
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A Reserve $90 | $80
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C Reserve $35 | $30
Under 30 $30
Subscriptions in the Utzon Room, Sydney Opera House
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A Reserve $90 | $80
Under 30 $30
Subscriptions in the State Library of NSW or the Nielson, Pier 2/3 (per concert)
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A Reserve $90 | $80
B Reserve $70 | $65
Under 30 $30
Subscriptions in Canberra, Berry and the Southern Highlands (per concert)
Adult $65 | Concession $55
Under 30 $30
Single Tickets
Tickets to all concerts via australianhaydn.com.au
Sydney Opera House Tel 02 9250 7777 sydneyoperahouse.com The Nielson aco.com.au
City Recital Hall Tel 02 8255 2222 cityrecitalhall.com
Ticket prices: Single tickets
Single tickets on sale late 2024.
Sydney – City Recital Hall
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Premium $130 | $120
A Reserve $100 | $90
B Reserve $80 | $75
C Reserve $55 | $35
Under 30 $30
Sydney – Utzon Room, Sydney Opera House
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A Reserve $95 | $85
Under 30 $30
Sydney – The State Library of NSW and the Nielson, Pier 2/3
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A Reserve $100 | $90
B Reserve $80 | $75
Under 30 $30
Canberra and regional New South Wales
Adult $75 | Concession $65
Under 30 $30
1—
Never miss out
Many of our concerts do sell out — when you subscribe you are guaranteed a seat!
2—
Win back the value of your subscription
All subscribers go into the draw for a chance to win back the value of their subscription. Drawn prior to the first concert of 2025.
3—
Your favourite seat
When you subscribe we offer you the opportunity to let us know where you like to sit in the City Recital Hall. (Allocated on a first come, first served basis).
Subscribers in Canberra and the Southern Highlands are welcome to use our reserved seating area in general admission venues.
4— Save
Save up to 15% on the cost of single tickets
5— Flexibility
Free ticket exchange, so you can swap your tickets for another concert in the AHE subscription season.
6—
Design your own subscription location
Fancy a day in the Southern Highlands when you usually attend in Sydney?
Feel free to subscribe wherever an AHE-presented concert is played and choose your own subscription adventure.
“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
Bring the music of Haydn, Mozart, Beethoven and lesser-known composers like Boccherini and C.P.E. Bach to new life, bringing audiences into the sound world the composers knew.
2—
Ensure AHE continues to bring concerts of this wonderful music to audiences in regional areas of NSW and the ACT.
3—
Allow others to be inspired and uplifted by rarely performed historical chamber arrangements of works by Beethoven, Mozart and others.
4—
Continue to build on AHE’s considerable success.
“The string quintets were outstanding. Truly exhilarating experiences to listen to.” Berry, 2024
“... deep understanding of the works and perfect blending as an ensemble.” Canberra, 2024
“Creative, inviting, challenging--and always welcoming to audiences.” Berry, 2024
“Five big, glowing stars. ... blew me away. It was the best concert I’ve been to this year, including several in Europe.” Sydney, 2024
“The music, the playing, the atmosphere....the lot. Superb performance.” Canberra, 2024
“Certainly don’t regret subscribing as I have the excitement of seeing future concert treats there, in my diary!” Southern Highlands, 2024
Government Partner—
Founding Patron
Patron—
The late Dr Timothy Pascoe AM
Board
Education Partners—
Patron—
Professor the Hon. Dame Marie Bashir AD CVO
Team
Marco Belgiorno-Zegna AM (Chair)
Jan Bowen AM FRSN
Carolyn Fletcher AM (Deputy Chair)
Adrian Maroya
Kevin McCann AO
Skye McIntosh (Artistic Director)
Jon North
Vivienne Skinner
The Board— (Chair) AM FRSN AM McIntosh Director) Skinner
Peter Young AM
Supporters—
Media Partner Audit Partner
The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we live, work and perform. We pay our respects to musicians and Elders past and present.
2025 Brochure Team—
Creative Director & Photographer—Helen White
Graphic Design—Yolanda Koning
Special thanks to Tim Eustace, Alan John, Skye McIntosh, Alison Dunn, Bell Street Vintage, Marguerite Foxon, Ailsa Veiszadeh
Details in this program are correct at the 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 are available at our website australianhaydn.com.au or on request.
Skye McIntosh Artistic Director
Alison Dunn Market Development
Ailsa Veiszadeh Administrator
Stephen Bydder Ticketing
Marguerite Foxon Front of House and Administration*
Lorrae Collins Accountant
*In Kind Support
The Australian Haydn Ensemble is a not-for-profit organisation
ABN 26 202 621 166 PO Box 400 Strawberry Hills NSW 2012, Australia 1800 334 388 (Freecall) info@australianhaydn.com.au | australianhaydn.com.au