WEILL RECITAL HALL AT CARNEGIE HALL
Johann Christian Bach
Joseph Franz Haydn
Wolfgang Amadeus Mozart
Monday 16 October 2023 at 7.30 PM
www.australianhaydn.com.au
THE AUSTRALIAN HAYDN ENSEMBLE
Formed in 2012, the Australian Haydn Ensemble (AHE) burst onto the Australian music scene with passion and energy. It has performed all over Australia and has enjoyed many invitations to major Australian festivals such as the Adelaide Festival, the Canberra International Music Festival, the Melbourne Festival, and many others.
AHE's premiere U.S. tour in October 2023 includes performances from coast to coast, including a New York début at Carnegie Hall, and as invited guests for the opening celebrations of the ew Australian Embassy in Washington DC.
Under the direction of Artistic Director and violinist Skye McIntosh, AHE is one of Australia’s leading historically informed orchestras. AHE brings together world-class musicians who excel in both modern and period instrument performance, and are highly committed to both historical research and performance. The group’s repertoire is principally music of the late Baroque and early Classical eras. The ensemble's name pays tribute to the great "Papa Haydn" who was a central figure of late eighteenth-century music in Europe. AHE has built a reputation for its vibrant and accessible performances, which are faithful to the sound-worlds that would have been familiar to Haydn and his contemporaries. AHE has received critical acclaim for its
début recording on ABC Classics, The Haydn Album, which premiered at No. 1 on the Australian Classical Aria Charts. Gramophone Magazine hailed the group as "a polished, style-conscious ensemble."
The Australian Haydn Ensemble has collaborated with many leading international and Australian historical specialist performers including Midori Seiler (Germany), Melvyn Tan (UK), Marc Destrubé (Canada), Catherine MackIntosh (UK), Stefanie True (Canada), Erin Helyard (Australia), Neal Peres Da Costa (Australia), Sara Macliver (Australia), Helen Sherman (UK) and David Greco (Australia).
AHE's most recent CD release is Beethoven Piano Concertos Nos. 1 & 3 with leading historical keyboardist Neal Peres Da Costa. It has been applauded by leading music historian Clive Brown, who said it "marks a new and exciting development in period-instrument performance of Beethoven’s music. It offers a highly persuasive combination of impressive musicianship and convincing historical research."
AHE looks forward to the release of a new Mozart album in early 2024.
PROGRAM
Johann Christian Bach (1735-1782)
Symphony in G minor, Op. 6 No. 6
Allegro
Andante più tosto adagio
Allegro molto
Franz Joseph Haydn (1732-1809)
Symphony No. 6 in D major (Le Matin)
Adagio - Allegro
Adagio - Andante - Adagio
Menuet e Trio
Allegro
Intermission
Wolfgang Amadeus Mozart (1756-1791)
Symphony No. 29 in A major, K. 201
Allegro moderato
Andante
Minuetto: Allegretto - Trio
Allegro con spirito
Franz Joseph Haydn
No. 8 in G major (Le Soir)
Allegro molto
Andante
Menuetto & Trio
Presto
PROGRAM NOTES
JOHANN CHRISTIAN BACH:
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.
– Note by Richard BratbyFRANZ JOSEPH HAYDN:
Haydn’s early symphonies — Le Matin (morning), Le Midi (noon), and Le Soir (night) — were originally composed for Prince Esterházy’s small orchestra of between 14 and 18 players who performed under Haydn’s direction. They are as much concertos as they are symphonies, each featuring stunning solos for violin and cello. Ever the diplomat, it is thought that Haydn, a newcomer to the court, included these beautiful solo passages to win favor with the musicians, showcase their talents and "pull out all the stops" to win over his new employer. Luckily, Haydn had at his disposal many excellent musicians to pull off such a trick. This included the gifted violinist Luigi Tomasini; Anton Kraft, a talented cellist that Haydn had recommended for the job; and the flautist Franz Sigel. The symphonies’ evocative and innovative nature, which marries humor with beauty in an oftenoperatic style, provides a crystalline window into the unfolding genius
of Haydn who was, at the time, a relatively young composer.
– Note by Skye McIntoshWOLFGANG AMADEUS MOZART:
Despite the wealth of prodigious talent that can be observed on YouTube these days, Mozart is perhaps unique in history for his early mastery of music, as demonstrated by this symphony written when he was just 18 years old. By this stage he had amassed vast experience as a performer and composer, and had absorbed much of what the entire history of Western music had to offer in style, form and drama. While it’s impossible to clearly categorize Mozart’s music within different phases of his short life, it is clear that his trip to Vienna in the autumn of 1773 was highly influential, having exposed him to some of Haydn’s latest and greatest work, the Op. 20 String Quartets and several Sturm und Drang symphonies. Although they likely did not meet until a few years later, Mozart admired and loved Haydn. It was eventually to be a set of string quartets that Mozart would dedicate to his friend, however one gets the sense in this symphony that he is already an appreciative follower of the old master, having been awakened to the full expressive potential of an orchestra.
Even for musicians and artists, entering the state of mind required to wield beauty such as the melodies
and harmony within this symphony is a daunting prospect. An insight into the choice of A major as the key signature for this work might help, with Schubert describing it in 1784 as “declarations of innocent love, satisfaction with one’s state of affairs, hope of seeing one’s beloved again when parting; youthful cheerfulness and trust in God.” Within less than a minute of the opening Mozart uses an enormously expressive series of techniques to create drama. An unconventionally quiet and calming series of octaves in the violins draws in the listener before a surprise canon shifts to the mood to ebullience. The sense of joy in the development of this opening theme on its own is irresistible; however, Mozart serves up an extra melody, characterized by a repeating violin trill, just to keep things interesting, as well as a cheeky closing cadenza to the movement.
The second movement, in D major with muted strings, creates an atmosphere of soft sensuality and pleasure. The Minuet of the third movement unfolds like a conversation between two friends of contrasting personality, the one genteel and the other rather more uncouth in their fortissimo outbursts. The finale, Allegro con spirito, is a breathtaking ride of string virtuosity.
– Note by Anthony Albrecht
THE MUSICIANS
Skye McIntosh, Artistic Director & Violin I leader
Matthew Greco, Violin II leader
Anna McMichael, Violin *
Annie Gard, Violin
Alice Rickards, Violin
Ella Bennetts, Violin
Emma Williams, Violin
Karina Schmitz, Viola
Kristen Linfante, Viola
Daniel Yeadon, Cello **
Eva Lymenstull, Cello
Pippa Macmillan, Double Bass
Melissa Farrow, Flute ***
Joel Raymond, Oboe I
Kirsten Barry, Oboe II
Simon Rickard, Bassoon
Michael Dixon, Horn I
Dorée Dixon, Horn II
**Daniel Yeadon appears courtesy of Sydney Conservatorium of Music, The University of Sydney
***Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra
*Anna McMichael appears courtesy of the Sir Zelman Cowen School of Music and Performance, Monash UniversityBACKSTAGE
THE AHE BOARD
Marco Belgiorno-Zegna AM (Chair)
Jan Bowen AM FRSN
Carolyn Fletcher AM
Harriet Lenigas
Adrian Maroya
Kevin McCann AO
Skye McIntosh (Artistic Director)
Jon North
Peter Young AM
DONORS
AHE gratefully acknowledges our generous donors, particularly those who have made the USA Tour possible.
FOUNDING PATRON
Dr Timothy Pascoe AM
THE CHAIR'S CIRCLE
Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna
Mark Burrows AO
Sherry & the late Tom Gregory
Peter & Lisa Macqueen
Kevin McCann AO & Deidre McCann
Ian & Pam McGaw
Timothy & the late Eva Pascoe
Peter Young AM & Susan Young
Anonymous
ARTISTIC DIRECTOR’S CIRCLE
Martin & Ursula Armstrong
Emalyn Foundation
WALDSTEIN DONORS
Nick Greiner AC & Carolyn Fletcher AM
Reg & Kathie Grinberg
Jon & Susan North
Karin Keighley
USA TOUR DONORS
Mark Burrows AO
Dr Timothy Pascoe AM
Nick Greiner AC & Carolyn Fletcher AM
Sherry & the late Tom Gregory
Philanthropy Initiative Australia
Ian & Pam McGaw
Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna
Peter & Lisa Macqueen
Lloyd & Mary Jo Capps AM
Robert & Carmel Clark
Martin & Ursula Armstrong
Jan Bowen AM FRSN
Dr Mary Louise Dreux
Alison Dunn
David, Katrina & Madeline Evans
John Fairfax AO & Libby Fairfax
Sharon Green
Paula McLean
Trevor Parkin
Anonymous x 6
THANK YOU
LET'S KEEP IN TOUCH
Thank you for your warm and generous support of the Australian Haydn Ensemble as we make our first tour of the USA.
To keep up to date with our work, please sign up to our email list here : www. australianhaydn.com.au/email-list
To support our work please use the QR code on right.
www.australianhaydn.com.au
Skye McIntosh, Artistic Director, Australian Haydn Ensemble
BACKSTAGE
THE AHE MANAGEMENT TEAM (USA TOUR)
Skye McIntosh
Artistic Director
Jacqui Smith
Chief Executive Officer
Arnold Klugkist
Artistic Operations and Tour Manager
Alison Dunn
Marketing and Communications Director
Oliver Miller Photographer/Videographer
Emma Murphy Financial Controller
Janine Hewitt Accountant
Stephen Bydder Administration
Marguerite Foxon Administration
Lisa Sapinkopf Artists
North American Management
Alan Coates
US Tour Consultant
Patrick Muhlen
US Philanthropy Consultant
www.hemsingpr.com
Press Representatives for the United States
SPECIAL THANKS
Special thanks to the AHE Board, Mary Jo Capps AM, Lisa Sapinkopf, April Palmerlee (AmCham Australia), Libbi Swan (American Australian Association), all those who assisted with travel logistics in the United States, and our families.
SUPPORTERS
The Australian Haydn Ensemble gratefully acknowledges the support of the following organisations
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.
AHE is supported by the NSW Government through Create NSW
OUR 49TH SEASON
JUILLIARD415 WITH ROBERT MEALY
The Theatrical Imagination of Jean-Philippe Rameau
October 1, 2023
LE POÉME HARMONIQUE
Music for a Young King:
Lully & Cavalli
October 29 2023
TENET VOCAL ARTISTS
WITH SHIRA KAMMEN
The Lady Fortune: de Vitry & Machaut
November 19, 2023
WINTER WASSAIL
A new holiday tour
BAROKKSOLISTENE & FRIENDS
Santa Fe, December 15, 2023
Scottish Rite Temple
December 17, 2023
Riverside Church, W120th St
THE CHEVALIER WITH ACTORS & THE HARLEM CHAMBER PLAYERS
The Life and Music of Joseph Bologne
at the United Palace of Cultural Arts
January 21, 2024
THE MARIAN CONSORT
Vicente Lusitano
1551 Portuguese motets
February 11, 2024
MALI BEFORE 1800 BALLAKÉ SISSOKO & DEREK GRIPPER
With The World Music Institute
March 24, 2024
THE ROAD FROM SPAIN TO IRAN
KIYA TABASSIAN & FAHMI ALQHAI
April 14, 2024
LA MORRA NYC DEBUT
O Blind World!
Medieval Salvation
May 5, 2024
Bill Barclay Artistic Director
NYC shows are Sundays at 4pm
ON DEMAND SACRO AMOR
A CREATIVE CONCERT FILM BY AHE
This stunning feature presents beautiful baroque works by Vivaldi and Hasse, including motets, flute concertos and instrumental works, interwoven with sublime original imagery.
“The dreamchild of Artistic Director Skye McIntosh… a concert of Vivaldi and Hasse featuring soprano Celeste Lazarenko and flautist Melissa Farrow. Filmed in widescreen by Oliver Miller and Wooden Picket Productions in Sydney’s St Stephen’s Church, Newtown, and Camperdown Cemetery,…beautifully captured by director of photography David Tran… The performances are gorgeous…” Limelight Magazine, 2021
Skye McIntosh, Director
Celeste Lazarenko, Soprano
Melissa Farrow, Flute
The Australian Haydn Ensemble
Download at www.australianhaydn.com.au/ events/sacro-amor-on-demand or use the QR code
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