AHE | BEETHOVEN'S FIFTH | Concert Program | June 2024

BEETHOVEN’S FIFTH

Intense. Exhilarating. Famous.

22 to 30 June 2024

“ ...the Australian Haydn Ensemble...is not to be missed” New York Concert Review Inc, New York, Carnegie Hall, 2023

AHE 2024

THE MOZART ALBUM

MAY

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, violin

Matthew Greco, violin

Karina Schmitz, viola

Nicole Divall, viola

Daniel Yeadon, cello

Pippa Macmillan, double bass

Jessica Lee, flute

PERFORMANCES

SOUTHERN HIGHLANDS

Sat 22 June, 4pm

Bowral Memorial Hall

PORT MACQUARIE

Sun 23 June, 5pm

The Glasshouse

CANBERRA

Thu 27 June, 7pm

Wesley Uniting Church

BERRY

Fri 28 June, 7pm

Berry Uniting Church Hall

SYDNEY

Sun 30 June, 4pm

City Recital Hall

AUSTRALIAN DIGITAL CONCERT HALL

PROGRAM

LUIGI BOCCHERINI

String Quintet Op. 30 No. 6

Night Music of the Streets of Madrid

FERDINAND RIES

Symphony No. 3 in E flat major Op. 90 (arr. Ries)

Interval

LUDWIG VAN BEETHOVEN

Symphony No. 5 in C minor Op. 67 (arr. Watts)

The concert duration is approximately 1 hr 50 mins including interval

Sun 30 June, 4pm facebook.com/TheAustralianHaydnEnsemble instagram.com/@australianhaydnensemble

ARTISTIC DIRECTOR’S MESSAGE

In our BEETHOVEN’S FIFTH program, we perform works by Luigi Boccherini, Ferdinand Ries and Ludwig van Beethoven. Alongside a fascinating night themed string quintet by Boccherini, we continue our exploration of unknown historical chamber versions of larger scale symphonic works with Ferdinand Ries’ Symphony No. 3 and Beethoven’s iconic Symphony No. 5, both arranged for septet in the early 19th century.

Our concert begins with Luigi Boccherini’s evocative string quintet entitled: The Night Music of the Streets of Madrid. Composed in 1780, this piece is a vivid depiction of the nocturnal soundscape of Madrid. Boccherini was an Italian composer who spent much of his life in Spain and with this work captures the essence of the bustling streets with lively rhythms and vibrant melodies. Boccherini felt the work should never have been performed outside of Spain, but luckily for us, that was ignored and we can enjoy this charming work worldwide. Boccherini invites the audience to stroll through the lively streets of Madrid as we can imagine they must have sounded to him in the late 18th century.

Next, we delve into the lesser-known but equally compelling work of Ferdinand Ries with his Symphony No. 3. Ries was a student of Beethoven who became a close friend and supporter of the composer throughout his life. This dramatic work shows definite influence of the master – but Ries also brings his own voice and style to the work. This arrangement, for seven musicians by Ries himself, showcases Ries’ ability to balance classical structure with romantic expressiveness, creating a work that is both innovative and deeply emotional.

Our program culminates with one of the most iconic pieces in the classical repertoire, Beethoven’s Symphony No. 5. This symphony retains its power and intensity in Watt’s carefully constructed chamber arrangement which is deeply respectful of Beethoven’s original scoring. The famous four-note motif that opens the symphony has become a symbol of fate knocking at the door, and throughout the work, Beethoven’s genius in developing and transforming this motif is evident. This arrangement allows the revolutionary spirit of Beethoven’s music to shine through and is a gem to discover today.

The septet instrumentation for 2 violins, 2 violas, cello, bass and flute has a unique way of capturing the energy of a larger scale works. So far AHE has performed five Beethoven symphonies for this same instrumentation including arrangements by: Masi (1,2,3), Watts (4,6) and Mori (7).

We are pleased to now extend our exploration of these historical arrangements to the works of Ries, who chose to make his own arrangements of his symphonies for this same instrumentation.

We hope you enjoy this historical journey through the 18th century streets of Madrid, the expressive landscapes of Ries, and the dramatic power of Beethoven as it might have been heard in the salons of London in the early 19th century. Thank you for joining us, and we look forward to sharing this unforgettable program of music with you.

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 eighteenth 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 eighteenth-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 featuring music by Mozart, recently released, 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 VIOLIN

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

Skye attended the Royal Academy of Music in London, the Queensland Conservatorium and the Sydney Conservatorium of Music, has made numerous concert appearances as soloist and director, and led the AHE on its first tour to the US in 2023, including a performance at Carnegie Hall. She has also toured nationally with the Australian Brandenburg Orchestra, as well as performing with the Orchestra of the Antipodes (Pinchgut) and the Australian Romantic & Classical Orchestra.

ABC Classics has recently released AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major.

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

Matthew Greco VIOLIN

Matthew is a concertmaster, soloist and core member of some of the world’s leading period instrument ensembles. He has been a regular member of the Australian Brandenburg Orchestra and concertmaster of the Orchestra of Antipodes (Pinchgut Opera) since 2006. In 2010 he moved to The Netherlands where he studied Baroque violin at The Royale Conservatoire of The Hague and worked with leading European ensembles including De Nederlandse Bachvereniging and Les Talens Lyriques (France). He is a founding member of the Sydney-based ensemble The Muffat Collective.

Matthew enjoys teaching baroque violin at the Sydney Conservatorium of Music as well as performing with a variety of international ensembles and festivals in Australia and Europe. Committed to producing a unique and individual sound based on historical performance practices, Matthew believes that seventeenth- and eighteenth-century music is full of vitality and emotions that speak to us now, as much as they did in the past.

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

Karina Schmitz VIOLA

Hailing from the east coast of the United States, American violist Karina Schmitz has settled in Sydney and is thrilled to be immersed in the rich and vibrant musical scene in Australia. In addition to performing with the Australian Haydn Ensemble, she is principal violist with Orchestra of the Antipodes (Pinchgut Opera), and has performed with the Australian Chamber Orchestra, the Australian Romantic & Classical Orchestra, Van Diemen’s Band, Salut! Baroque, and Ensemble Galante.

In the United States, Karina was principal violist of the Handel & Haydn Society in Boston, principal violist of Apollo’s Fire in Cleveland, principal violist of the Carmel Bach Festival in California, and founding violinist/violist with New Yorkbased, seventeenth-century ensemble ACRONYM.

Karina holds viola performance degrees from New England Conservatory of Music (Boston) and the Cleveland Institute of Music. Her early music studies began as an undergraduate at Oberlin Conservatory with Marilyn McDonald, David Breitman, and Miho Hashizume, and she continued her training in the Apollo’s Fire Apprentice Program.

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

Nicole Divall VIOLA

Nicole was a core member of the Australian Chamber Orchestra from 2005 to 2020. She has also held the position of Principal Viola with the Ohio Chamber Orchestra, Cleveland Chamber Symphony, Cleveland-San Jose Ballet, Cleveland Opera, and Sydney Philharmonia. Nicole is currently a core member of the Four Nations Ensemble and has appeared as Guest Principal with the Sydney Symphony Orchestra, Australian Chamber Orchestra, and more recently, Handel & Haydn Society, Orchestra of St Luke’s, Atlanta Baroque, Philharmonia Austin, and Albany Symphony.

Since her return to the US in 2021 Nicole has appeared as soloist with New York Baroque Incorporated, at the Baldwin Wallace University Bach Festival, and with Apollo’s Fire on the viola and viola d’amore. She was Principal Viola of Apollo’s Fire from 1998–2004 and very happily resumed her tenure in that position in 2021. With a recent move to NW Connecticut, Nicole is now living her long-awaited, best country life with her wife, Dawn Upshaw.

Nicole is playing a viola by Bronek Cison, 2012, Chicago

THE PERFORMERS

Daniel Yeadon* CELLO

Dr Daniel Yeadon is a Senior 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 for a wide range of musical genres and is an exceptionally versatile cellist and viola da gamba player, performing repertoire from the Renaissance through to Contemporary. Daniel is a passionate chamber musician, playing regularly with Australian Haydn Ensemble, Ironwood, Australian Chamber Orchestra (ACO), Australian Romantic & Classical Orchestra, and Bach Akademie Australia. For many years Daniel was a member of the renowned Fitzwilliam String Quartet and the exuberant period instrument ensemble Florilegium. He has made many awardwinning recordings.

Daniel is playing a cello by William Forster II, 1781, London

Pippa Macmillan DOUBLE BASS

Pippa is a renowned specialist of historical bass instruments. She is a core member of Tafelmusik Baroque Orchestra in Canada, currently on leave of absence, and is exploring performing opportunities in Australia, including with the Australian Brandenburg Orchestra, Pinchgut Opera, Australian Romantic and Classical Orchestra, and Australian Haydn Ensemble. Pippa was the first undergraduate of the Royal Academy of Music to specialise in Baroque Double Bass, after which she completed a Masters in Historical Performance at The Juilliard School.

Between 2015 and 2019 Pippa was Professor of Baroque Double Bass at the Royal College of Music, London. In her native UK, she has performed regularly with The English Concert, the Orchestra of the Age of Enlightenment, Orchestre Révolutionnaire et Romantique, English Baroque Soloists, Academy of Ancient Music, and Florilegium. In 2015 she appeared in London's West End in the Globe Theatre's production of Farinelli and the King, as well as in the play's Broadway transfer in 2017.

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

*Dr Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music

Jessica Lee FLUTE

Jessica Lee enjoys a multifaceted career, having performed and taught extensively throughout Australia and abroad. On historical flutes, Jessica has appeared with the Australian Chamber Orchestra, Australian Haydn Ensemble, Australian Romantic and Classical Orchestra, Bach Akademie Australia, London Handel Orchestra and at the BBC Proms. Jessica has also worked as a guest musician with the Auckland Philharmonia, Macao Orchestra, Opera Australia, Queensland Symphony, and Sydney Symphony Orchestra.

Jessica holds a Bachelor of Music (Hons 1) from the Sydney Conservatorium of Music and a Master of Music from the Royal College of Music in London. She was a finalist in the 2007 2MBS-FM Young Performer of the Year Awards and was awarded First Prize for her piece “Maelstrom” for two flutes and piano in the 2013 Australian Flute Composition Competition.

Jessica is the Academic Lecturer of Flute at the Australian Institute of Music in Sydney and guest faculty member for ARCO's Young Mannheim Symphonists and Adelaide Baroque Academy.

Jessica is playing a flute by M. Wenner 2012, Singen, after A. Grenser, c.1790, Dresden

“IT WAS AS THOUGH I WAS HEARING A BRAND NEW BEETHOVEN SYMPHONY ”

Audience member, Beethoven's Seventh

THE MOZART ALBUM

Our long-awaited CD has been released! AHE turns its attention to the music of Mozart: his beloved Piano Concerto in C Major (known as the ‘Elvira Madigan’ after it was immortalised on the 1967 film), his sparkling Third Violin Concerto, performed by our Artistic Director Skye McIntosh and the magnificent ‘Prague’ Symphony with soloist and guest director Erin Helyard.

Erin Helyard piano & guest director

Skye McIntosh violin & director

The Australian Haydn Ensemble

OUT NOW

Now available to purchase or stream via the QR code

ABOUT THE MUSIC

LUIGI BOCCHERINI

(1743–1805)

String Quintet in C major, Op. 30 No. 6

Night Music of the Streets of Madrid

Le campane de l’Ave Maria

[The Ave Maria Bell]

Il tamburo dei Soldati

[The Soldiers’ Drum]

Minuetto dei Ciechi

[The Minuet of the Blind Beggars]

Il Rosario [The Rosary] Largo assai –Allegro – Largo come prima

Passacalle [The Passacaglia of the Street Singers]. Allegro vivo

Il tamburo [The Drum]

Ritirata [The Retreat]. Maestoso

Posterity plays curious tricks, and Luigi Boccherini is probably best-known today thanks to a pair of classic movies. One of his minuets appears in the 1955 Ealing comedy The Ladykillers. The other…well, we’ll come to that shortly. But in the eighteenth century, this prolific and engaging Italian composer and virtuoso cellist was as familiar as Mozart or Haydn. Born in Lucca, near Florence, he travelled first to Vienna and latnt much of the rest of his career under the patronage of various members of the Spanish royal family. For a while he dallied with the cello-playing King Friedrich Wilhelm II of Prussia, but he never left Madrid, where he performed and composed until the last.

Boccherini was an enthusiastic advocate of the Cello Quintet – a string quartet plus an additional cello, whose wildly virtuosic melodies frequently rivalled the first violins for flamboyance. But chamber music was always saleable: add a gimmick and you have a sure-fire

hit like this exuberantly imaginative “little quintet” composed around 1780, and depicting Musica notturna delle strade di Madrid (The night music on the streets of Madrid).

It was a novel idea, and Boccherini explained his concept in a preface: “Everything here that does not comply with the rules of composition should be pardoned for its attempt at an accurate representation of reality” he explained. In the brief opening sections, The Bells of the Ave Maria and The Soldiers’ Drum, he actually instructs his performers to play imitando un campanello (imitating a bell) and imitando il tamburo (imitating the drum).

In the jaunty Blind Beggars’ Minuet, the cellos are told to play imitando la chitarra (imitating the guitar), while The Rosary punctuates religious chant with more bells – this time impersonated by the pizzicato second violin. Guitars strike up again as the street below Boccherini’s room fills with the strolling serenaders of the nightly Passacalle (promenade – a word with the same root in Spanish as the musical term Passacaglia). A military drum rattles, and in Boccherini’s own words: One must imagine sitting next to the window on a summer's night in a Madrid flat and that a military band can only be heard in the far-off distance in some other part of the city, so at first it must be played quite softly. Slowly the music grows louder and louder until it is very loud, indicating the Night Watch are passing directly under the listener's window. Then gradually the volume decreases and again becomes faint as the band

ABOUT THE MUSIC

moves off down the street into the distance.

It’s all delightfully vivid, yet incredibly enough, Boccherini feared that it wouldn’t travel. “The piece is absolutely useless, even ridiculous, outside Spain” he wrote to his publisher Pleyel, “because the audience cannot hope to understand its significance, nor the performers to play it as it should be played.” The producers of the 2003 film Master and Commander, Far Side of the World searching for a piece that would sum up the spirit of chamber music at its most cheerful, clearly disagreed.

FERDINAND RIES (1784–1838)

Symphony No. 3 in E flat major (arr. Ries)

Grave – Allegro Larghetto quasi andante

Finale: Allegro vivace

Vienna, 6th April 1822

My dearest and best Ries!

I still hope to come to London next spring, if my health permits it! You will find in me a man who can thoroughly appreciate his dear pupil – who has now become a master – and who can tell what benefit art might derive from our reunion? I am, as ever, wholly devoted to my Muse, who constitutes the sole happiness of my life…

Now farewell! Kiss your beautiful wife for me until I can perform this solemn act in person.

Your devoted BEETHOVEN.

PS Pray send me your dedication, that I may strive to return the compliment –which I mean to do as soon as I receive your work.

When Ferdinand Ries appears in musical history, it’s usually as Ludwig van Beethoven’s pupil, personal secretary and – above all – biographer. But the Ries who emerges from his writings, his music, and (as above) his correspondence with Beethoven is a far more lively figure – he might even have been one of the master’s few real friends.

Their fathers had worked together at the electoral court in Bonn and the young Beethoven had received his early musical education from Ries’s father Franz – who would later send his own 16-year-old son to Vienna to study with Beethoven. Beethoven never forgot the kindness that the Ries family had showed to his parents, and although Ries’s nine-year stint as Beethoven’s pupil and secretary was sometimes turbulent (this was Beethoven, after all), they remained in touch even after Ries had left Vienna for London, where he settled from 1813 to 1824.

Perhaps it was one of those friendships that works best at a distance. Ries was active in London’s Philharmonic Society, where he promoted Beethoven’s music and helped arrange the commissioning of the Ninth Symphony. Beethoven’s letters to him bubble over with affection, often promising to join Ries in London (he never did), sometimes praising Ries’s own music (Ries had dedicated his Second Symphony to Beethoven and Beethoven repeatedly promised to reciprocate –

again, he never did), but always paying extravagant compliments to Ries’s English wife Harriet (whom he never met).

Meanwhile Ries pursued his own creative path as pianist, composer, arranger and – in the case of this chamber version of his own third symphony (composed in 1816 with a Philharmonic Society concert in mind, and published in this handy domestic arrangement a decade later) – both composer and arranger. The third symphony shares the key (E flat) of Beethoven’s Third, but the resemblance ends there. Ries learned from Beethoven how to play with light and shade, and how to develop a musical argument, but his temperament is milder, his melodies more lyrical.

Vividly painted romantic storms sweep across Ries’s first movement, but they never smash the frame of this musical landscape. The slow movement blends tenderness and wit (with a few more storm clouds along the way), and the finale manages to combine all those qualities into music that combines Haydn’s ingenuity with Beethoven’s irrepressible sense of momentum. Imitation might be the sincerest form of flattery, but Ries, in London, was very much his own man.

LUDWIG VAN BEETHOVEN (1770–1827)

Symphony No. 5 in C minor, Op. 67 (arr. Watts)

Allegro con brio

Andante con moto

Allegro –

Allegro-Presto

Ries knew what he was doing when he moved to London. The world’s greatest trading city was filled with music lovers, both amateur and professional, and chamber music was a vital part of any middle-class social gathering. Although the Philharmonic Society presented regular orchestral concerts, the best way to get to know an orchestral work was by playing it at home with friends, and the secretary of the Society, the violinist William Watts, was an enthusiastic arranger of orchestral music for smaller combinations. Watts made piano versions of Beethoven’s symphonies and Leonora Overture No. 3, and threw in optional extra parts for flute, violin and cello – “well adapted for drawing room concerts” commented the newspaper The Atlas.

But the deluxe option – and surely the highlight of any Regency-era soirée – was one of Watts’s arrangements of Beethoven’s Fourth, Fifth or Sixth symphonies for string sextet (with the option of double bass instead of second cello) plus flute. Dating from around 1810, and dedicated to the Duke of Cambridge, these arrangements were initially performed at the Philharmonic Society’s concerts. But they could be purchased by any adventurous amateur musician from the New Bond Street shop of Mori & Levenu (Mori was

ABOUT THE MUSIC

another member of the Society and an arranger in his own right). If you bought the printed parts and could muster the necessary performers, there was no reason why you couldn’t create a very passable representation of Beethoven’s Fifth Symphony for friends and family. There had have been plenty of takers, too, because from the day of its first performance, in Vienna on 22 December 1808, every music lover has had an opinion on Beethoven's Fifth. And everyone knows those first four notes. There had never been a symphonic opening like them, or anything in music to match the sheer elemental power of what follows. But despite its stupendous formal strength, Beethoven's stormy first movement isn't just serious – it's a human tragedy portrayed in music of torrential force. If you doubt that this is an emotional drama rather than just a superbly paced musical procedure, listen out for the tiny, heartbroken aside (originally for oboe) that Beethoven slips into one of the music's few moments of hesitation.

The lilting Andante seems to offer a gentle respite but ringing trumpet calls keep sounding a very different note. The struggle continues; the third movement, traditionally the lightest in a classical symphony, instead surges up from an eerie gloom, and fanfares ring out again, now menacing (Watts crafts his own ingenious imitation). Finally, the orchestra sinks to a hush, and an ominous rumble until with a sudden crescendo, the skies clear and Beethoven launches the finale in a blaze of triumph.

At this point, Beethoven introduced the trombones, piccolo and contrabassoon. Watts has rather less to work with, but the sheer power of Beethoven’s imagination transcends any medium. Let the music sweep you to its supremely stirring finish, and you'll agree: this isn't just a symphony, it's a triumph of the human spirit. Imagine experiencing all this in your own home –and before dinner, too.

Richard Bratby

“AUSTRALIAN HAYDN ENSEMBLE’S MAGNIFICENT SEVEN NAIL A STRIPPED BACK BEETHOVEN CLASSIC.”

LIMELIGHT, 2023

PLEASE MAKE YOUR TAX-DEDUCTIBLE DONATION BY 30 JUNE

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Help AHE to bring the joy of Haydn, Mozart, Beethoven, Boccherini, Ries and other rare gems to as many people as possible. Thank you

Skye McIntosh

Artistic Director

P.S. Look out for special donor events later in the year.

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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

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.

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

OUR PATRONS

PATRON

Professor the Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON

The late Dr Timothy Pascoe AM

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

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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

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In memory of Dr Michael McGrath

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This listing is correct as of 11 June 2024, and we gratefully recognise all donations received since 1 January 2023.

SACRO AMOR

A CREATIVE CONCERT FILM BY AHE

"75 MINUTES OF PURE PLEASURE " SOUNDS LIKE SYDNEY

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

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MOZART’S HORN

with Carla Blackwood

Elegance, exuberance and emotion from Mozart and friends

21 – 29 September

PROGRAM HIGHLIGHTS

HAUFF: Horn Quintet in E Flat Major

MICHAEL HAYDN: String Quintet in F Major

MOZART: Horn Quintet in E flat major

MOZART:

Symphony No. 40 Jupiter arr. Peter Lichtenthal

www.australianhaydn.com.au

BACKSTAGE

STAFF

Skye McIntosh

Artistic Director

Jacqui Smith

Chief Executive Officer

Alison Dunn

Marketing and Communications Director

Collins Consulting Pty Ltd, Chartered Accountant Accounting Services

Sarah Thompson Tour and Operations Manager

Stephen Bydder Box Office and Administration

Marguerite Foxon Front of House and Administration*

Richard Bratby Program Notes

Karina Schmitz Librarian

Simon Martyn-Ellis Score Preparation

Roderick van Gelder

Lighting (City Recital Hall)

BOARD

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

Peter Young AM

IN KIND

John Dearn, Canberra

Jean Gifford, Canberra

Mechelle Smith, Canberra

Steve & Mary Beare, Berry

Keith & Louise Brodie, Berry

Stuart & Felicity Coughlan, Berry

Greg & Wendy See, Berry

Pat & Joeanne Smith, Kiama

Rob & Antoinette Sampson,

Southern Highlands

IMAGES

Images throughout by Helen White, except pages 15 and 20, Oliver Miller, page 8-9 James Mills.

*In Kind Support

The Australian Haydn Ensemble acknowledges the traditional custodians of the lands on which we perform. We pay our respects to their Elders past and present.

Details in this program are correct at time of publication. The 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.