HEAVENLY SOPRANOS concert program Australian Haydn Ensemble (AHE) April 2024

HEAVENLY SOPRANOS

Jewels of the Baroque with Celeste Lazarenko & Helen Sherman

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

AHE 2024

HEAVENLY SOPRANOS

Jewels of the Baroque with Celeste Lazarenko & Helen Sherman

APRIL

ARMIDALE PLAYHOUSE

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

Celeste Lazarenko, soprano

Helen Sherman, mezzo soprano

Skye McIntosh, director and violin

THE AUSTRALIAN HAYDN ENSEMBLE PERFORMANCES

PARRAMATTA

Sun 7 April, 4pm

Riverside Theatres

CANBERRA

Thu 11 April, 7pm

Wesley Music Centre, Forrest

BERRY

Fri 12 April, 7pm

Berry Uniting Church Hall

SOUTHERN HIGHLANDS

Sat 13 April, 4pm

Bowral Memorial Hall

WYONG

Sun 14 April, 2pm

The Art House

SYDNEY

Tues 16 February, 7pm

City Recital Hall

AUSTRALIAN DIGITAL CONCERT HALL

Tues 16 February, 7pm

PROGRAM

JOHANN ADOLF HASSE (1699–1783)

Excerpts from the oratorio: Sanctus Petrus et Sancta Maria

Sinfonia & recitative: Plange, o miserum cor Aria (Maria Jacobe):

Crucifixum si videres

Recitative & Aria (Petrus): Mea tormenta, properate!

FRANCESCO DURANTE (1684–1755)

Concerto No. 1 in F minor IFD 30 Un poco andante –Allegro

JOHANN ADOLF HASSE (1699–1783)

Motet Alta Nubes Illustrata

Interval

GIOVANNI BATTISTA PERGOLESI (1710–1736)

Stabat Mater

The concert duration is approximately 1 hr 50 mins including interval

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ARTISTIC DIRECTOR’S MESSAGE

I am thrilled to present soprano Celeste Lazarenko and mezzo-soprano Helen Sherman in our captivating program of exquisite Baroque compositions, aptly titled Heavenly Sopranos. Both Helen and Celeste have been cherished friends of AHE for years, and I am delighted to collaborate with such extraordinary soloists for this special event.

Our concert title, Heavenly Sopranos, draws inspiration from the celestial quality of these beautiful voices, while also paying homage to the sacred music of the Baroque era, which forms the heart of our program. In the Baroque period, sacred music flourished as a profound expression of faith and devotion, reflecting the spiritual fervour of the time. Our program seamlessly weaves together three distinctive baroque sacred musical forms: the oratorio, the motet, and the Stabat Mater, each infused with its own unique characteristics and theological significance.

We commence with selections from Hasse’s oratorio, Sanctus Petrus et Sancta Maria, which poignantly portrays the anguish of Saint Peter and Mary Magdalene over the death of Jesus, inviting reflection on the concept of redemption. Hasse's intricate harmonic textures and virtuosic writing shine through in the opening arias, ‘Crucifixum Si Videres’ and ‘Mea Tormenta,’ performed by Celeste and Helen in turn.

Following this, we present movements from the instrumental Concerto No. 1 in F minor by the Neopolitan composer Francesco Durante. He was revered as a master of sacred music and was also an esteemed teacher of Pergolesi. Celeste then offers a radiant and uplifting rendition of Hasse’s motet for soprano, Alta Nubes Illustrata, which translates to ‘the grand bright cloud’, symbolising a celestial journey into the heavens above.

In the second half of the program, we return to earth with Pergolesi’s deeply moving setting of the Stabat Mater

Written shortly before the composer's untimely death at the age of 26, this masterpiece remains a cherished gem of the sacred repertoire, with its profoundly beautiful opening regarded as one of the finest expressions of human grief in all music. Its poignant effect prompts contemplation of Pergolesi’s remarkable legacy and the music he might have created had he lived longer.

With its universal and deeply felt themes of maternal love, divinity, grief and ascension, I hope you enjoy the beauty and splendour of Heavenly Sopranos.

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 periodinstrument 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 eighteenthcentury 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 of music by Mozart, for imminent release. 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

Celeste Lazarenko SOPRANO

A graduate of the Guildhall Opera School and the Sydney Conservatorium of Music, Celeste Lazarenko has appeared as a soloist both internationally and locally.

She has performed with the English National Opera, Opera North, Opera Angers/Nantes, Opera Australia, Victorian Opera, Pinchgut, Opera Australia, Sydney Chamber Opera, the Sydney, Queensland and NZ Symphony Orchestras, Sydney Philharmonia, and the Australian Haydn Ensemble.

In Australia, Celeste’s roles have included the title role of The Cunning Little Vixen (Victorian Opera), and Télaïre in Rameau’s Castor et Pollux, Medea in Cavalli’s Giasone, and Leonore in Grétry’s L’amant jaloux (Pinchgut Opera). She recently performed Donna Anna in Don Giovanni and The Woodbird in Siegfried (Opera Australia), Elle in La Voix Humaine (Sydney Chamber Opera) and Mahler 4 (Sydney Philharmonia).

In 2024 Celeste performs the roles of Ilia in Idomeneo and Pamina in The Magic Flute (Opera Australia), Heavenly Sopranos (Australian Haydn Ensemble), Elijah (Sydney Philharmonia), Mahler 4 (Canberra Symphony Orchestra), and Mozart Requiem (Tasmanian Symphony Orchestra).

Helen Sherman MEZZO SOPRANO

Helen Sherman’s most recent appearances include Flora in La traviata (Royal Opera House, Covent Garden), Octavian in Der Rosenkavalier and Cherubino in Le nozze di Figaro (Opera North), Tamiri in Farnace (Pinchgut Opera), Dorabella in Così fan tutte (Teatru Manoel, Malta), the title roles in Carmen (State Opera South Australia) and Giulio Cesare (Bury Court Opera) and Donna Elvira in Don Giovanni (The Mozartists).

Helen represented Australia at the BBC Cardiff Singer of the World competition and at the Francisco Viñas International Singing Competition. She was nominated for a Helpmann Award for her portrayal of Poppea in L’incoronazione di Poppea for Pinchgut Opera and was a prize winner at the Wigmore Hall International Song Competition.

In 2024, Helen Sherman sings Dorabella in Cosi fan tutte and Mistress of the Novices in Suor Angelica for Opera Australia. She also performs Sesto in Giulio Cesare for Pinchgut Opera and appears as soloist with the Melbourne Symphony Orchestra and the Australian Haydn Ensemble.

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, is delighted to have performed at the Adelaide Festival and the Canberra International Music Festival in 2022 and 2023, as well as continuing to tour to Canberra and across regional New South Wales.

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 Pinchgut Opera and the Australian Romantic & Classical Orchestra.

ABC Classics will soon be releasing AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major.

" MCINTOSH'S PERFORMANCE ...WAS DELIGHTFULLY SILVERY"

STATE OF THE ART, FEBRUARY 2024

THE PERFORMERS

VIOLIN

Skye McIntosh

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

Matthew Greco

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

VIOLA

Karina Schmitz

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

CELLO

Anton Baba

Anton is playing a cello by Peter Elias, 2000, Aigle, after Stradivarius, Italy

DOUBLE BASS

Pippa Macmillan

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

THEORBO

Simon Martyn-Ellis

Simon is playing a theorbo by Klaus Jacobsen, 2006, London

CHAMBER ORGAN

Joanna Butler

Joanna is playing a continuo organ by Henk Klop, Garderen, Nederland 2004, supplied by Carey Beebe Harpsichords and prepared by Joanna Butler

ABOUT THE MUSIC

JOHANN ADOLF HASSE (1699–1783)

Excerpts from the oratorio Sanctus Petrus et Sancta Maria

Sinfonia & recitative: Plange, o miserum cor Aria (Maria Jacobe): Crucifixum si videres

Recitative and Aria (Petrus): Mea tormenta, properate!

One morning in September 1772, the English music historian Charles Burney called upon Johann Adolf Hasse in his home on the Landstrasse in Vienna. Hasse was 73 years old, and Burney committed every detail to memory:

Signor Hasse soon entered the room; he is tall, and rather large in size, but it is easy to imagine that in his younger days he must have been a robust and fine figure; great gentleness and goodness appear in his countenance and manners.

[He was] so easy and soft in his behaviour that I felt myself as well acquainted with him in this quarter of an hour, as if I had known him twenty years. I said all the civil things to him, that so short a time would allow; indeed nothing more than I felt; for from his works I had received a great part of my most early musical pleasure, and the delight they afforded me in youth has not been diminished since… I asked him if it would be possible to obtain a list of all his works, but he said he did not know it himself.

Burney’s praise was entirely sincere: Hasse was at that point one of the most respected and popular composers in the western world. Born near Hamburg, he learned his craft in Naples and worked for three decades at the highly musical court of Dresden before moving to Vienna in 1764, and finally, in 1773, to Venice.

He was prolific too; that work-list (had he been able to recollect it) contained more than 60 operas (often to libretti by his friend Pietro Metastasio) as well as concertos, sinfonias, sonatas and sacred choral music. We might never know the full catalogue: to Hasse’s great distress, many of his manuscripts were destroyed in July 1760 when Dresden was bombarded by King Frederick (“the Great”) of Prussia. Frederick, ironically, was a composer himself; one of Hasse’s greatest fans. Hasse was convinced that if he’d been able to speak to Frederick beforehand, he’d have called off his cannons.

FRANCESCO DURANTE (1684–1755)

Concerto No. 1 in F minor IFD 30 Un poco andante –Allegro

Posterity, as we’ll see, can play strange tricks with a composer’s reputation. Francesco Durante lived, worked and died in Naples, where he studied with Alessandro Scarlatti and taught for many years at the Conservatory (his students included Pergolesi). But although Naples was known across Europe as the home of song, he never wrote an opera – leaving future generations to judge him for his sacred music, and by his reputation as (by all accounts) a rather strict teacher. Johann Adolf Hasse, talking to Charles Burney in 1772, insisted that Durante’s music, though highly regarded in France, was “not only dry, but baroque – that is, coarse and uncouth”.

Of course, few of Durante’s contemporaries knew his eight Concerti per quartetti: composed in the 1730s and 40s, and copied but never printed in his

lifetime. The joy of discovery has been left to us: and the opening movements of this first concerto reveal a composer with a distinctive melancholy sensibility and a vigorous (we wouldn’t say “uncouth”) contrapuntal gift.

And perhaps he might have done; certainly, Burney – who dubbed Hasse “the Raphael of music” (Gluck was the “Michelangelo”) – found him to be utterly persuasive:

I was extremely captivated with the conversation of Signor Hasse. He was easy, communicative and rational; equally free from pedantry, pride and prejudice.

JOHANN ADOLF HASSE (1699–1783)

Motet: Alta nubes illustrata

Aria: Alta nubes illustrata –

Aria: Coelesti incendio –

Aria: Alleluia

During Hasse’s lifetime it was a truth universally acknowledged that he was one of his era’s pre-eminent composers for voice, and at Dresden he had no shortage of world-class voices to inspire him, not least the “articulate and brilliant” mezzosoprano of his wife, the superstar diva Faustina Bordoni. But he seems to have written the oratorio Sanctus Petrus et Sanctus Maria Magdalena for use on Good Friday 1758 by the young female orphans of the Ospedale degli Incurabili in Venice – an institution with which Hasse maintained a supportive relationship throughout his life. The story is a fitting one for the most solemn day in the Christian calendar: a dialogue between St Peter (who had denied Christ) and Mary Magdalene at the foot of the Cross. Mary, mother of Jacob, Maria Salome and St Joseph are also present.

But there’s nothing stolid about Hasse’s musical setting, as he brings all his power as a theatrical composer to turn this sacred meditation into an urgent human drama. His musical language combines baroque grandeur with the new, flexible and emotionally charged Empfindsamer Stil – embracing, if you like, both sense and sensibility. The opening Sinfonia starts with the agonised tread of the via crucis before the emotion spills over into passionate action and then, without break, into the introductory recitative. The recitatives, arias and duets that follow are as expressive and as vivid as anything you’d hear in the opera house. Remarkably, at the Ospedale, the solo parts would have been sung by girls in their teens.

The motet for solo soprano Alta nubes illustrata dates from happier days in Dresden, probably around 1750: a brilliant little concerto (fast, then slow, before closing with an exuberant Alleluia) for a truly stellar voice. It is a virtuoso display of Hasse’s ability to set a sacred text without sacrificing any of his ability to entertain, or to paint a picture. The image of high clouds, illuminated in sunlight, is the basis for an invocation of divine fire – but in Hasse’s inventive and graceful setting it calls to mind the blue skies and rosy clouds that float above the domes and spires of Dresden in the paintings of the younger Canaletto: an arcadian (and distinctly Italian) vision of the city they called “Florence on the Elbe”.

ABOUT THE MUSIC

GIOVANNI BATTISTA PERGOLESI (1710–1736)

Stabat Mater

Stabat Mater dolorosa

Cujus animam gementem

O quam tristis et afflicta

Quae morebat et dolebat

Quis est homo

Vidit suum dulcem natum

Eja, mater, fons amoris

Fac, ut ardeat cor meum

Sancta mater, istud agas

Fac ut portem Christi mortem

Inflammatus et accensus

Quando corpus morietur

Hasse’s fate was to be popular in his lifetime but forgotten after his death. Pergolesi’s destiny followed the opposite pattern. Giovanni Battista Draghi, known as “Pergolesi” (after his family’s ancestral home in the Marche region of Italy), composed almost all of his significant music in the space of just five years, between his graduation from the conservatory in Naples in 1731 (his teachers included Francesco Durante) and his tragically early death of tuberculosis in March 1736. It’s fruitless to speculate upon what he might have achieved had he lived longer, but the works that he did complete possess a freshness, an originality and an emotional power that swiftly gave them an influence (and a popularity) out of all proportion to their small number.

Long before Mozart, Schubert, Lili Boulanger or Amy Winehouse, this young Italian (usually portrayed as handsome, though the one surviving contemporary portrait is distinctly unflattering) was music’s original doomed youth. His

posthumous fame spread through Italy, and then all of Europe; “from the moment his death became known, all Italy manifested a keen desire to hear and possess his works”, noted Burney. Demand for Pergolesi’s music exceeded supply. For decades afterwards, almost any unattributed Italian baroque work was credited to him: as late as 1920, in the ballet Pulcinella, Stravinsky was firmly convinced that the music he was adapting was by Pergolesi (some of it was, but other movements are now known to be the work of Wassenaer, Parisotti and Domenico Gallo).

Pergolesi’s actual surviving music includes orchestral sinfonias, five full-length operas and two mass settings (both from 1732). But his most enduring legacy rests on two very different masterpieces: the intermezzo (a short comic opera) La Serva Padrona (1733) and this Stabat Mater, completed in 1736 shortly before his death. Half a century before Mozart’s Requiem, the story of Pergolesi’s Stabat Mater proved almost as gripping as the work itself. What could be more compelling than a deathbed masterpiece –such ravishing music, aching with sorrow and beauty, and written with the young composer’s last strength?

Within three years the legend had started to spread: the French traveller Charles de Brosses hailed the Stabat Mater as “the masterpiece of Latin music”, in which “the deepest science of harmony is revealed”. In 1754, Jean-Jacques Rousseau (known to us as a philosopher but also an opera composer in his own right) described the opening bars as “the most perfect and touching to have come

from the pen of any musician”. By then, Johann Sebastian Bach had already adapted the Stabat Mater into German for use by his own Leipzig choir: musical endorsements don’t come much higher. The Stabat Mater was indeed one of Pergolesi’s last two completed works, and he worked on it while under the medical care of the Franciscan monks at Pozzuoli near Naples – he’d been invited to stay there by his patron, the Duke of Maddaloni, who was worried for his health. And rightly: Pergolesi had been weak from childhood. He’d lost several siblings in infancy and may have had a deformed leg. At least one eminent scholar believes that the score of the Stabat Mater shows signs of haste; although it seems likely that it had been commissioned as early as 1734 by the knights of the Blessed Virgin of the Seven Sorrows, who held an annual service in honour of the Virgin each March in the church of St Luigi, and wanted a more up-to-date alternative to the Stabat Mater by Alessandro Scarlatti (1660–1725).

Whether or not he realised that he was dying, Pergolesi certainly knew grief and understood suffering. He was ideally equipped to set this most heart-rending of sacred texts: the lament of Mary, at the foot of the cross, for her suffering son. Poised, yearning sorrow is the predominant mood of its twelve movements (the opening sequence, with its keening harmonies, needs no explanation). But Pergolesi was a dramatist too: pain and death, to a believer, are a prelude to joy, and there are flashes of optimism (the aria Quae moerebat

and the brilliant duet Inflammatus et accensus), as well as anguished chromatic harmonies (Fac ut portem) that sound far ahead of their time. The final notes are a swift, passionate Amen, as if Pergolesi’s need for spiritual assurance is now more urgent than ever. Though he couldn’t know it, his plea would echo down the centuries.

Richard Bratby

LIBRETTI

HASSE: Oratorio – Sanctus Petrus et Sancta Maria

Sinfonia e Recitativo: Plange, o miserum cor

S. Petrus: Plange, omiserum cor!

Lacrimis tuis novac succedant lacrimae: Cessabis quando delictum tuum plene lavabis. Respicientem adhuc video magistrum meum.

Video . . . quis horror! . . . qualis umbra deim rapit! Terra, o Deus, terra tremit!

Mons ruinas minatur ... quae portenta! Ah, quid afers, o mulier?

Maria Iacobi: Nonne sentis, Petre? Moritur Jesus alto stipiti affixus.

S. Petrus: O peccatum, o mors Domini mei! Immensus vere in nos est amor Dei!

Maria Iacobi: Languentem vidi alonge sanguine circumfusum.

Faciem illam divinam vidi pallore aspersam. Prae dolore oculus meus defecit. Tristem reliqui sedem, et aegre potui aflicta huc fere pedem

Aria: Crucifixum si videres

Maria Iacobi: Crucifixum si videres certe magis Petre fleres oh tormenta redemptoris dirac poenae, amara mors.

Aquo sanguine fit munda

Culpa uta mortalis homo!

Aquo planctu fit jucunda Tam funesta nostra sors!

Sinfonia and Recitative: Weep, oh wretched heart!

St. Peter: Weep, oh wretched heart!

May new tears succeed your tears. You will stop when you have fully washed away your sin. I still see my master looking at me.

I see... what horror!... what kind of shadow snatches the gods! Earth, oh God, the earth trembles!

The mountain threatens ruins... what wonders! Ah, what do you bring, oh woman?

Maria Jacob: Do you not notice it, Peter?

Jesus, who is nailed to the high cross, dies.

St. Petrus: Oh the guilt, oh the death of my Lord! The boundless love of God is truly upon us.

Maria Jacob: I saw the Exhausted One from afar, covered in blood.

I saw his divine face, which was all pale. Due to pain, my eyes failed. I left the sorrowful place, and burdened with pain, I could hardly manage to come here

Aria: See the crucified

Maria Jacob: If you were to see the crucified Indeed, Peter, you would weep more, torments of the Redeemer, Dire punishment, bitter death.

With that water turned clean by blood

How sinful man mortal becomes!

With that lament turned sweet

So disastrous is our fate!

Recitativo: Eamus

S. Petrus: Eamus

Maria Iacobi: Siste, o Petre! Quo vadis? Noli exire!

Impiae turbae et quaerunt. Ah . . . te nobis conserva!

S. Petrus: Sisto et altum contemplor ni me decretum Dei. Fervido corde mortem tamen imploro: Sequi magistrum meum opto, et exoro.

Aria: Mea Tormenta

S. Petrus: Mea tormenta, properate!

Crucem quaero, crucem date

Volo mori, o Deus, in te.

Jesu mi, is me vocasti

Sancta facie tua serena

In tua cruce et ni tua poena.

Jesu care, voca me.

HASSE: Motet – Alta nubes illustrata

Recitative: Let us go

St. Peter: Let us go.

Maria Jacob: Stop, oh Peter! Where are you going? Do not leave!

The impious crowds are seeking you. Ah... preserve yourself for us!

St. Peter: I stop and gaze into the heavens unless it is God's decree. With a fervent heart, however, I plead for death: I desire to follow my master, and I implore."

Aria: My torments

St. Peter: My torments, hasten!

I seek the cross, give me the cross I desire to die, oh God, in You.

My Jesus, you have called me

With your holy serene face

On your cross and by your suffering. O beloved Jesus, call me.

Aria Aria

Alta nubes illustrata solis rutilo fulgore, suo candore nitescit, rubescit.

Aurae placidae laetantur.

Gratiae lumine exornata fulget anima nitendo.

Ipsi coeli amplius gaudendo suum candorem admirantur.

Illuminated by the golden glow of the sun, the cloud on high radiates in splendour, reddens.

The placid skies rejoice.

Adorned by the light of grace, the soul shines in glory.

The heavens themselves, filled with joy, admire its splendour.

Aria Aria

Coelesti incendio amoris accensa in flamma ardori cado exsanguis.

Tu me restaura, o Deus, tu me solare.

Sunt carae dulces penae jucundo affectu plenae.

Amando, o purum cor, gaude, laetare.

Alleluia

Kindled by the love of heaven, burning with an ardent flame, I fall to the ground exhausted. You, O God, restore me, comfort me.

These pains are dear and sweet, filled with delightful pleasure.

In love, o pure heart, rejoice, be glad!

Alleluia

LIBRETTI

PERGOLESI: Stabat Mater

Stabat mater dolorosa

Stabat mater dolorosa

Luxta crucem lacrimosa, Dum pendebat Filius.

Cujus animam gementem

Cujus animam gementem

Contristatam et dolentem

Pertransivit gladius.

O quam tristis et afflicta

O quam tristis et afflicta

Fuit illa benedicta

Mater unigeniti!

Quae morebat et dolebat

Quae morebat et dolebat

Et tremebat, dum videbat

Nati poenas incliti.

Quis est homo

Quis est homo, qui non fleret, Christi matrem si videret

In tanto supplicio?

Quis non posset contristari, Piam matrem contemplari

Dolentem cum filio?

Pro peccatis suae gentis

Vidit lesum in tormentis

Et flagellis subditum.

Vidit suum dulcem natum

Vidit suum dulcem natum

Morientem desolatum, Dum emisit spiritum.

Eja Mater fons amoris, Eja Mater fons amoris, Me sentire vim doloris, Fac, ut tecum lugeam!

Fac ut ardeat cor meum, Fac ut ardeat cor meum, In amando Christum deum, Et sibi complaceam!

The grieving mother stood beside the cross weeping, where her Son was hanging.

Through her weeping soul, Compassionate and grieving, A sword passed.

O how sad and afflicted Was that blessed Mother of the Only-begotten!

Who mourned and grieved, The pious mother, with seeing The torment of her glorious Son.

Who is the man who would not weep

If seeing the mother of Christ

In such agony?

Who would not have compassion

On beholding the devout mother

Suffering with her Son?

For the sins of his people

She saw Jesus in torment

And subjected to the scourge.

She saw her sweet Son

Dying, forsaken, While he gave up his spirit.

O mother, fountain of love, Make me feel the power of sorrow, That I may grieve with you.

Grant that my heart may burn

In the love of the Lord Christ

That I may greatly please him.

Sancta mater, istud agas

Sancta mater, istud agas, Crucifixi fige plagas

Cordi meo valide!

Tui nati vulnerati

Tam dignati pro me pati, Poenas mecum divide!

Fac me vere tecum flere, Crucifixo condolere, Donec ego vixero.

luxta crucem tecum stare

Te libenter sociare

In planctu desidero.

Virgo virginum praeclara, Mihi iam non sis amara,

Fac me tecum plangere!

Fac ut portem Christi mortem, Fac ut portem Christi mortem, Passionis fac consortem Et plagas recolere!

Fac me plagis vulnerari, Cruce hac inebriari

Ob amorem Filii!

Inflammatus et accensus, Inflammatus et accensus, Per te, virgo, sim defensus In die judicii!

Fac me Cruce custodiri, Morte Christi praemuniri, Confoveri gratia.

Quando corpus morietur

Quando corpus morietur

Fac ut animae donetur

Paradisi gloria! Amen.

Holy mother, grant this of yours, That the wounds of the Crucified be Well-formed in my heart.

Grant that the punishment of your Wounded Son, so worthily suffered for Me, may be shared with me.

Let me sincerely weep with you, Bemoan the Crucified, For as long as I live.

To stand beside the cross with you, And for me to join you in mourning, His I desire.

Chosen Virgin of virgins, To me, now, be not bitter, Let me mourn with you!

Grant that I may bear the death of Christ,

Grant me the fate of his passion And the remembrance of his wounds.

Let me be wounded with distress, Inebriated in this way

By the love of your Son.

Lest I be destroyed by fire, set alight, Then through you, Virgin, may I be Defended on the day of judgement.

Let me be guarded by the cross, Fortified by the death of Christ, And cherished by grace.

When my body dies, Grant that to my soul is given The glory of paradise! Amen.

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“THE AHE IS EXQUISITE AND WE ARE HONOURED TO SIT IN THESE VILLAGE HALLS AND BE TRANSPORTED. BEETHOVEN WOULD HAVE GIVEN YOU A

STANDING OVATION YESTERDAY!!” Regional audience member, Beethoven’s Seventh, 2023

Since the very beginning AHE has been strongly committed to bringing beautiful music to the regions of New South Wales and beyond – and in 2024 we are performing more regional concerts than ever.

And we can’t do it the way we do it without you! Your support is vital and all gifts are very much appreciated.

You can even make a recurring gift over 12 months, and any amount over $2 is tax deductible.

Thankyou!

Donate online by using this QR code or going to www.australianhaydn.com.au/donate

Call 1800 334 388 to donate by phone

OUR PATRONS

Our patrons enable us to continue presenting wonderful concerts. We are so grateful to everyone who supports us and cannot thank you enough. Patron categories are named after famous 18th-century patrons who supported and commissioned many of Haydn, Mozart and Beethoven’s works that we know and love today. Where would we be without them?

About our Patron Categories

Esterházy Prince Esterházy was the main patron of Haydn.

Waldstein Count Waldstein was an early patron of Beethoven.

Van Swieten He was a keen amateur musician and patron of Haydn, Mozart, and Beethoven.

Galitzin He was an amateur musician and is known particularly for commissioning three Beethoven string quartets Op. 127, 130 and 132.

Lobkowitz He was a Bohemian aristocrat and a patron of Beethoven.

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

PATRON

Professor the Honourable Dame Marie Bashir AD CVO

FOUNDING PATRON

The late Dr Timothy Pascoe AM

THE CHAIR’S CIRCLE

Marco Belgiorno-Zegna AM & Angela

Belgiorno-Zegna

Mark Burrows AO

Sherry and the late Tom Gregory

Peter & Lisa Macqueen

Karin Keighley

Peter & Lisa Macqueen

Kevin McCann AO & Deidre McCann

Ian & Pam McGaw

The late Dr Timothy Pascoe AM & the late Eva Pascoe

Peter Young AM & Susan Young

Anonymous (1)

ARTISTIC DIRECTOR’S CIRCLE

Emalyn Foundation

Adrian Maroya

Jon & Susanne North

WALDSTEIN $10,000 - $14,999

David & Anne Eustace Foundation

Carolyn Fletcher AM

Philanthropy Initiative Australia, a giving fund

of the APS Foundation

VAN SWIETEN $5,000 - $9,999

Richard Fisher AM & Diana Fisher

Reg & Kathie Grinberg

Anthony Strachan

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

Anonymous (1)

GALITZIN $1,000 - $4,999

Antoinette Albert

Martin & Ursula Armstrong

Mark Bethwaite AM & Jill Bethwaite

Clive Birch

Jan Bowen AM FRSN

Keith & Louise Brodie

Dr Andrew Byrne & Andrew Gill

Lloyd Capps & Mary Jo Capps AM

George H. Clark

Robert & Carmel Clark

Dr Terry & Julie Clarke

Jean Cockayne

Peter & Prudence Davenport

Robert & Jane Diamond

Alison Dunn

Ron & Suellen Enestrom

David, Katrina & Madeline Evans

Ralph Evans AO & Maria Evans

John Fairfax AO & Libby Fairfax

Bunny Gardiner-Hill

Prof Pru Goward AO

Sharon Green

Jamie Hardigg

The Hon Don Harwin

Elizabeth Howard

Sarah de Jong

Dr Gerard Joseph

David Kent OAM & Angela Kent

David Maloney AM & Erin Flaherty

Garth Mansfield OAM & Margaret

Mansfield OAM

Paul & Anne Masi

Rod & Diane McAllery

Paula McLean

Trevor Parkin

Nick Payne

Susan Perrin-Kirby

Peter & Libby Plaskitt

David & Elizabeth Platt

Keith & Robyn Power

Michael & Anna Rennie

Robert & Myriame Rich

Deidre Rickards

Greg & Wendy See

Peter & Vivienne Skinner

David & Isabel Smithers

Kay Vernon

Lady Meriel Wilmot-Wright

Anonymous (8)

LOBKOWITZ $500 - $999

Patricia Adey

John Baird

Jeffrey Bridger

Dr Sylvia Cardale

Lynette Casey

Dr Michael & Dr Colleen Chesterman

Wendy Cobcroft

Richard & Cynthia Coleman

Dr Nola Cooke

Matt Costello & Bernie Heard

Todd Denney & Jacqui Smith

Sandra Duggan

Dr Meredith Edwards

Dr Marguerite Foxon

Stephen & Jill Goggs

Diccon & Liz Loxton

Dr Jacqueline Milne

Beverley Northey

Paul O'Donnell

David & Jill Townsend

Ailsa Veiszadeh

Dr Margot Woods

Anonymous (5)

RAZUMOWSKY $50 - $499

Rosemary Adams

Glenn & Jillian Albrecht

Phil Alt

Catherine Andrews

Ann Armstrong

Wayne Arthur

James Ashburner

Tanya Bailey

Anna-Rosa Baker

Dr Susan Ballinger

Robin Bass

Pam Behncke

Peter Benjamin

David Biggs

John Biggs

Walter Bilas & Phillip Sadler

Peter Bodor KC & Sally Bodor

Nicolette Bramley

Russell Burgess & Judith Cain

Alan Coates

Jon Collings

Sean Conkey & Tegan Redinbaugh

Christine Cooper

Catherine Cowper

Susan Cox

Peter Cumines

David Cummins

Dr John Dearn

Dr Robert Dingley

Gabrielle Donovan

Giles & Heather Edmonds

Garry Feeney & Wendy Sanderson

Mary Finn

Ivan Foo & Ron Gouder

Stephen Gates

Pamela Gibbins

Jean Gifford

Rosemary Greaves

OUR PATRONS

Peter Green

Kate Guilfoyle

Lesley Harland

Alan Hauseman & Janet Nash

Dr Judith Healy

Meredith Hellicar

Jenni Hibbard

Ann Hoban

Julia Hoffman

Neil Hyden

Dave Jordan & Louise Walsh

Brendan Joyce

Pauline Junankar

Poss Keech

Heather Kenway

Siew-Ean Khoo

Chris Kuan

Pastor de Lasala OAM

Claude Lecomte

Ting Lee

Yuan Lim

Cookie Lloyd

Alison Lockhart

John Ma

Terry & Catherine McCullagh

Peter McDonald

Joanne McGrath

Paul & Betty Meyer

Ian Milne

Richard & Joan Milner

Jan Marie Muscio

Heather Nash

Helen Neville

Dee O'Brien

Henry O'Connor

Louise Owen

Stefan Pantzier

James & Doreen Payne

Catherine Peel

Sarah Pitt

Dr Lesley Potter

Joan Pratt

Anne Quinane

Frans Rammers

Dr Geoff Randal

Heather Reid

Anthony Robinson

Lucile Roe

Jennifer Rose-Innes

Edward Schloegl

Adele Schonhardt

Ian Scott

Dr John Sheehy

Ian Sheldrick

Dr Richard Sippe

Keith & Janet Stanistreet

Dr Rupert Summerson

Augusta Supple

Susan Tanner

Cathy Thompson-Brown

Sarah Turvey

Jeremy Wainwright

Anthony Wallis

John Walmsley

Dr Frances Whalan

Kim & Catherine Williams

Dr Ann Young

In Memory of Dr Michael McGrath

Anonymous (36)

Peter Green

This listing is correct as of 7 March 2024, and we gratefully recognise all donations received since 1 January 2023.

BACKSTAGE

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

STAFF

Skye McIntosh Artistic Director

Jacqui Smith Chief Executive Officer

Alison Dunn

Marketing and Communications Director

Emile Koskinas Financial Controller

Mary Birbas Bookkeeper

Sarah Thompson

Tour and Operations Manager

Rebecca Whittington Tour Manager

Stephen Bydder

Box Office and Administration

Marguerite Foxon

Front of House and Administration*

Richard Bratby

Program Notes

*In Kind Support

IN KIND

Jean Gifford, John Dearn, Canberra

Mechelle Smith, Canberra

Greg & Wendy See, Berry

Felicity & Stuart Coughlan, Berry

Mary & Steve Beare, Berry

Louise & Keith Brodie, Berry

Pat & Joeanne Smith, Kiama

IMAGES

Images throughout by Helen White except pages 6–7 James Mills, Louis Dillon, 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.