LOVE & DEVOTION | Concert Program AHE (Australian Haydn Ensemble) by Australian Haydn Ensemble

LOVE & DEVOTION STRING QUARTETS BY HAYDN, MOZART & MENDELSSOHN

— 15 to 18 February 2024 —

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

AHE 2024 LOVE & DEVOTION String quartets by Haydn, Mozart & Mendelssohn FEBRUARY 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 2

PROGRAM DETAILS ARTISTS Skye McIntosh, violin Alice Evans, guest violin Karina Schmitz, viola Daniel Yeadon, cello PERFORMANCES CANBERRA Thu 15 February, 7pm Wesley Music Centre, Forrest BERRY Fri 16 February, 7pm Berry Uniting Church Hall SOUTHERN HIGHLANDS Sat 18 February, 4pm Bowral Memorial Hall

PROGRAM HAYDN String Quartet Op. 20 No. 4 in D major MOZART String Quartet Op. 12 No. 1 in E flat major MENDELSSOHN String Quartet Op. 12 in E flat major The concert duration is approximately 1 hr 50 mins including interval

SYDNEY Sun 18 February, 5pm Utzon Room Sydney Opera House

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ARTISTIC DIRECTOR’S MESSAGE I am delighted to open our 2024 Season with this intimate program of string quartets, themed around the idea of ‘Love and Devotion’. The concert also maps the extraordinary progression of the string quartet genre throughout the second half of the eighteenth century and into the nineteenth century. We feature three quartets by three iconic composers who each played a significant role in this development – Haydn, Mozart and Mendelssohn. The works featured on the program also explore the connection these composers had to each other. When performed together, we can clearly see their mutual admiration and their expressions of devotion and love whether for a person, an experience or the music itself. Haydn, known today as the father of the string quartet, was responsible for setting the string quartet on its path to becoming one of the most complex, satisfying and loved forms of chamber music. Haydn’s Op. 20 string quartets, of which we perform the fourth quartet, are thought of as ‘groundbreaking’, as we see Haydn begin to explore more complex harmonies, textures and the elevation of the roles of the second violin, viola and cello to be more equal to the first violin. With these quartets, he opened up whole new vistas and paved the way for others to follow.

Mozart was a great admirer of Haydn and the two were friends. Mozart wrote a set of six string quartets known today as the ‘Haydn Quartets’. In these quartets, Mozart set out to emulate the style that Haydn had created and take it even further. His dedication note declares that he thought of the works as his children and that he hoped that they would be pleasing to Haydn, showing his great love and devotion. Mendelssohn, who was also full of love and devotion, wrote his first quartet, Op. 12, when he was very young. It is an amazingly assured work, bearing all the hallmarks of the works to come. Mendelssohn was clearly well aware of what he wanted to achieve as a composer from the very beginning. This quartet is full of drama and intensity and was thought to be somewhat of a love letter, as he dedicated it to a young woman, Betty Pistor, and it includes clever musical references to the letters of her name. Performing quartets with musicians of such fine calibre as my colleagues of the AHE Quartet is a great pleasure, and I hope we bring you an equally great pleasure as you experience them. 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 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, 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 both the Adelaide Festival and Canberra International Music Festival in 2022, 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 USA 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 will soon be releasing AHE’s third CD, featuring Skye performing Mozart’s Violin Concerto in G major. Skye is playing a violin by Tomaso Eberle, 1770, Naples 6

Alice Evans / VIOLIN Alice was born in Perth and studied at the WA Conservatorium of Music. After completing her studies she moved to Sydney and joined the Australian Chamber Orchestra where she remained a full time member for 20 years. During this time Alice also explored her interest in ‘gut string’ playing, performing regularly with the Australian Haydn Ensemble, the Australian Brandenburg Orchestra, Orchestra of the Antipodes (Pinchgut), Ironwood, and The Australian Bach Ensemble. Alice was awarded a Churchill Fellowship to undertake Baroque Violin studies in Europe taking lessons in The Netherlands, Paris and London and working with UK groups including Florilegium and The Hanover Band. In 2014 Alice and her family moved permanently to London where she became a member of both The Orchestra of the Age of Enlightenment and The English Concert. She also works regularly with the Dunedin Consort, The Academy of Ancient Music and the Scottish Chamber Orchestra. Alice is playing a violin by Sebastian Klotz, c.1750, Mittenwald

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 York-based seventeenthcentury 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

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 award-winning recordings. Daniel is playing a cello by William Forster II, 1781, London. * Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music 7

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

HEAVENLY SOPRANOS JEWELS OF THE BAROQUE with Celeste Lazarenko, soprano & Helen Sherman, mezzo soprano, including Pergolesi’s Stabat Mater “The performances are gorgeous ...” LIMELIGHT—SACRO AMOR Soloist: Celeste Lazarenko 2021

BOOK NOW Call 1800 334 388 for Canberra, Berry and Bowral or use the QR code or website to book for any venue. australianhaydn.com.au

AHE is supported by the NSW Government through Create NSW

ABOUT THE MUSIC FRANZ JOSEPH HAYDN (1732-1809) String Quartet Op. 20 No. 4 in D major Allegro di molto Un poco adagio e affettuoso Menuet alla zingarese Presto e scherzando In 1779, when the publisher Hummel of Berlin issued the second edition of Joseph Haydn’s fifth set of string quartets, fancy seized him and he added a little flourish on the front page of the score: a picture of a smiling sun set amid Grecian urns and lyres. It was a printer’s stock image; a sort of eighteenth-century emoji, if you like. But it struck a chord, and to this day, the six quartets that we now know as Haydn’s Op. 20 are still referred to as the “Sun” quartets. It just seemed right. Haydn wrote these six quartets in 1772, and he was already thoroughly familiar with the combination of two violins, viola and cello. But in the decade since his Op. 1 quartets of 1762, he’d pushed its possibilities progressively further. With the six quartets Op. 9 of 1768 a classical musical language starts to shake itself free of baroque figured bass; in the florid, fiercely emotional quartets of Op. 17 (1771) he’d created a chamber music suitable for an age of “Sensibility”. Now, twelve months later in Op. 20, he’d taken it to the next level – liberating the lower instruments of the ensemble, and inviting them to join the musical conversation. It doesn’t sound much, but the potential was (and is) limitless. “There is perhaps no single or sextuple opus in the history of instrumental music” wrote Donald Tovey “which has achieved so much or achieved it so quietly”. There’s a good reason why the Op. 20s were for 10

many years the earliest Haydn quartets in the standard concert repertoire. Just look at the movement titles of this fourth of the set: Un poco adagio e affettuoso (A little slowly, and tenderly); Menuet alla zingarese (Minuet in gypsy style). Music as sharply characterised as this has moved decisively beyond its origins as elegant social wallpaper – and Haydn’s no longer afraid to show it. Few works of this period match the sensuous warmth and effortless flow of Haydn’s first movement. The built-fromthe-bottom opening, the infectious swing of its main themes, and the expressive close-harmony swooning of his pairs of instruments: Schubert’s quartets and Brahms’s sextets would be unthinkable without the example of Op. 20 No. 4. The same goes for the slow movement: a set of variations on a dark-hued, folklike theme in which the focus is on the expressive potential of each instrument’s voice, rather than its virtuosic potential. Affettuoso indeed — emotion dictates form (there’s nothing remotely baroque about that glorious cello variation). And do the gypsies of Haydn’s native Austro-Hungarian borderlands even dance minuets? Haydn serves notice on the courtly dance of tradition; peppery cross-rhythms subvert this minuet into something very different (you might even call it a joke). Finally, the dead giveaway – Presto e scherzando (fast and joking): an entire, hilariously inventive finale in scherzo style. You can’t have a real conversation without the possibility of humour – and nothing bridges social differences more certainly. With the quiet final smile of Op. 20 No. 4, Haydn creates a musical language that levels even while it laughs.

WOLFGANG AMADEUS MOZART (1756-91) String Quartet No. 15 in D minor K. 421 Allegro Andante Minuetto: Allegretto Allegro ma non troppo Mozart met Haydn for the first time in December 1781, shortly before Haydn published his Op. 33 string quartets. Mozart was fascinated, and in late 1782 he began a new set of string quartets of his own, dedicated to Haydn. Working with enormous care and concentration, and referring back to Haydn’s Op. 20 and Op. 33 quartets, he took over two years to complete the six. Only in January 1785 could Wolfgang and Leopold Mozart and two friends finally play the finished quartets for Haydn at Mozart’s apartment in Vienna. It was on that evening that Haydn turned to Leopold Mozart and told him “Before God, and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste, and what is more, the most profound knowledge of composition”.

The Mozarts’ first son Raimund was born on 17 June 1783 (and sadly died just two months later), so if the story’s true (and it’s surely not the sort of thing a young mother would forget), that would put the composition of the quartet in June 1783. But even if we don’t accept Constanze’s claim that the anguished, high-pitched figures that tear through the centre of the Andante are a musical description of her cries while in labour, or believe that the anxious Minuetto can really have been written during a birth, there’s no doubt about the special character of this quartet. D minor was a very personal and deeply emotive key for Mozart; its dark colour gives a bitter edge to the finale, and lends the first Allegro a brooding intensity that’s all the more powerful for being presented in such spartan textures. Haydn certainly thought so, and his own D minor quartet Op. 76 No. 2 of 1796 speaks louder than any words. Composed five years after Mozart’s death, it’s a direct and deeply inspired homage to Mozart’s K. 421. Master had become disciple.

The D minor quartet K. 421, was the second of the set to be completed, and one of our main clues as to the date of its composition is an anecdote told by Constanze Mozart to more than one future biographer: When Mozart was composing the second of the six quartets, his wife was in labour for the first time. He worked in the same room where she lay. Whenever she gave voice to her suffering, he came to her in order to console her and cheer her up; and when she was calmer he returned to his manuscript. The Menuet and Trio were composed exactly at the time of the delivery.

ABOUT THE MUSIC FELIX MENDELSSOHNBARTHOLDY (1809-47) String Quartet Op. 12 No. 1 in E flat major Adagio non troppo – Allegro non tardante Canzonetta: Allegretto Andante espressivo Molto Allegro e vivace “Mendelssohn never touched a string instrument the whole year round” remembered his friend Ferdinand Hiller. “But if he wanted to, he could do it – as he could most other things”. Mendelssohn’s remarkable childhood had been dominated by string chamber music, and in later life he played the viola – by all accounts superbly – in performances of his own Octet. Among the Mendelssohn children, Fanny was the pianist, Felix the violinist and younger brother Paul was the cellist. Paul went on to pursue a career in finance, but together they grew up immersed in the classical chamber repertoire. So, the assurance and polish of Felix’s first published string quartet, Op. 12 should come as no real surprise. The year was 1829: behind him lay at least two string quartets, (including the work later published, misleadingly, as his second, Op. 13), twelve exuberant youthful string “symphonies” and – supremely – the magnificent String Octet of 1825. Compared to Beethoven’s earliest efforts with the string quartet Mendelssohn’s Op. 12 is a work of superb clarity and assurance, written by a highly experienced master of his craft – even if that master was only 21 years old. In fact, the Quartet seems to have been composed almost on the wing – or at least, on the road. “My quartet is now in the middle of the last movement, and I think it will be completed in a few days” wrote Felix to Fanny on 10 September 1829 from his lodgings in Great Portland Street, 12

London – where he had returned, after his tour to Scotland and Wales, just four days previously, travelling through the night by mail coach “in order to reach London in the morning”. His confidence was well-placed; the finished score is dated 14 September 1829. It also carries another, more cryptic inscription: the initials “B.P.” Betty Pistor was a member of the Berlin Singakademie, and whether Felix’s love for her was ever requited is unclear. He never told her of the quartet’s dedication (in fact, years later, he changed it). But he opened the lyrical first-movement Allegro non tardante (“without delay” – this really is a young composer in a hurry) with the interval B flat – E flat (in German, B – Es): a musical cipher for Bettty’s name. After the summer storm of the finale plays itself out, the same rising pair of notes brings the whole work to a peaceful close. But the youthful Felix is too tactful, too skilled and too musical to wear his references blatantly. At this first, brilliant peak of his lifelong imaginative journey, he’s very much his own man. If the opening Adagio is a direct reference to Beethoven’s “Harp” quartet, the delicately dancing Canzonetta is an exquisitely-gauged exercise in the fantastic, subtly-shaded musical idiom we’ve come to call “Mendelssohnian”, just as the brief Andante has a singing sweetness that’s entirely Mendelssohn’s own. The finale’s plunge into C minor seems merely to reveal something that has already been going on in the background: a perfectlygauged release of emotional tension by a composer who, at 21, already knows exactly where he’s going, and the swiftest and most poetic way to get there. Richard Bratby

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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 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 Kevin McCann AO & Deidre McCann Ian & Pam McGaw The late Timothy & the late Eva Pascoe Peter Young AM & Susan Young Anonymous (1) ARTISTIC DIRECTOR’S CIRCLE Martin & Ursula Armstrong * Emalyn Foundation ESTERHÁZY $15,000 David & Anne Eustace Foundation Karin Keighley WALDSTEIN $10,000 - $14,999 Carolyn Fletcher AM The Hon Nick Greiner AC Philanthropy Initiative Australia, a giving fund of the APS Foundation 14

VAN SWIETEN $5,000 - $9,999 Richard Fisher AM & Diana Fisher Reg & Kathie Grinberg Adrian Maroya Jon & Susan North Anthony Strachan The Hon. Anthony Whealy K.C. & Annie Whealy Anonymous (1) GALITZIN $1,000 - $4,999 Antoinette Albert Mark Bethwaite AM & Jill Bethwaite Clive Birch Jan Bowen AM FRSN Dr Andrew Byrne 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 Jules Maxwell 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 Keith & Louise Brodie Dr Sylvia Cardale Lynette Casey Dr Michael & Dr Colleen Chesterman Wendy Cobcroft Richard & Cynthia Coleman 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 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 Dr Nola Cooke 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 Peter Green 15

OUR PATRONS Kate Guilfoyle Lesley Harland Alan Hauseman & Janet Nash Dr Judith Healy Meredith Hellicar Jenni Hibbard Ann Hoban Julia Hoffman Neil Hyden 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) This listing is correct as of 5 Feb 2024, and we gratefully recognise all donations received since 1 Jan 2023. For a private conversation about supporting AHE or information about setting up a bequest, please email Chief Executive Officer Jacqui Smith (ceo@australianhaydn.com.au) or call our office on 1800 334 388.

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“THE AHE IS EXQUISITE AND AS I SAID 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.

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BACKSTAGE BOARD Marco Belgiorno-Zegna AM (Chair) Jan Bowen AM FRSN Caroline Fletcher AM (Deputy Chair) Adrian Maroya Kevin McCann AO Skye McIntosh (Artistic Director) Jon North Vivienne Skinner Peter Young AM

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IMAGES Images throughout by Helen White except pages 6 & 7 (James Mills), 8 & 17 (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.

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