MOZART’S HORN
Humour. Friendship. Beauty.
21-29 September 2024
WITH CARLA BLACKWOOD
“ ...the Australian Haydn Ensemble...is not to be missed”
New York Concert Review Inc, New York, Carnegie Hall, 2023
AHE 2024
THE MOZART ALBUM
Out Now
LOVE & DEVOTION
String Quartets by Haydn, Mozart & Mendelssohn FEBRUARY
HEAVENLY SOPRANOS
Jewels of the Baroque with Celeste Lazarenko & Helen Sherman
APRIL
BEETHOVEN’S FIFTH
Masterworks in chamber form
JUNE
PENRITH YOUTH ORCHESTRA
JUNE
MOZART'S HORN with Carla Blackwood SEPTEMBER
AHE 2025 SUBSCRIPTIONS NOVEMBER
HAYDN'S PASSION
Sturm und Drang meets unbridled joy DECEMBER
PROGRAM DETAILS
ARTISTS
Carla Blackwood, Natural Horn
Skye McIntosh, Artistic Director and violin
THE AUSTRALIAN HAYDN ENSEMBLE
PERFORMANCES
ORANGE
Saturday 21 September, 7pm
Orange Civic Theatre
SYDNEY
Tuesday 24 September, 7pm
Utzon Room, Sydney Opera House
CANBERRA
Thursday 26 September, 7pm
Wesley Music Centre, Forrest
BERRY
Friday 27 September, 7pm
Berry Uniting Church Hall
SOUTHERN HIGHLANDS
Saturday 28 September, 4pm
Bowral Memorial Hall
LAKE MACQUARIE
Sunday 29 September, 2pm
Rathmines Theatre
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PROGRAM
HAUFF
Horn Quintet in E flat major
MOZART
String Quintet in G minor - Allegro, K. 516
MOZART
Horn Quintet in E flat major K. 407
Interval
MICHAEL HAYDN
Romance in A flat major for Horn and String Quartet MH806 (arr. from Mozart’s Horn Concerto)
MOZART
Symphony No. 41 K. 551 'Jupiter' arr. Peter Lichtenthal
The concert duration is approximately 1 hr 50 mins including interval
ARTISTIC DIRECTOR’S MESSAGE
I am delighted to present this program of chamber music centering on Mozart and featuring beautiful works for horn and strings. We feature our wonderful horn player, Carla Blackwood, who performs the program on natural horn, bringing so much colour and joy to these vibrant works.
The program opens with a virtuosic horn quintet by a lesser-known composer of the time named Wilhelm Hauff. A contemporary of Mozart, very little is known about his life, but his music is well worth the discovery. We then delve into the darker side of Mozart with the 1st movement from his String Quintet in G minor K. 516 before turning to the brightness of his Horn Quintet in E flat major K. 407. Written for his dear friend Joseph Leutgeb who was a friend of the family, Mozart’s horn quintet is a joyful, playful conversation between the instruments that speaks to a warm and playful relationship, full of jokes and fun.
The next work on the program, relates to another friend of Mozart’s, Michael Haydn. Michael was the younger brother of Joseph Haydn and his Romance in A Flat major, for horn and string quartet is a beautiful arrangement based on the slow movement of Mozart’s Horn Concerto in flat major, KV447. This piece reflects the close bond between the two composers, with Haydn adding his elegant touches to Mozart’s themes.
We finish the program with a chamber arrangement of Mozart’s Symphony No. 41, the ‘Jupiter’ for string quintet. The Jupiter is one of Mozart’s most triumphant and jubilant works. Arranged here by Peter Lichtenthal who was a physician and friend as well as composer. Lichtenthal also made a similar chamber arrangement of Mozart’s Requiem. As far as we know, this arrangement of the ‘Jupiter’ Symphony has not been performed in modern times nor recorded. Christopher Hogwood published the modern edition of the work with parts that we play from today relatively recently (in 2008). It is always a privilege to perform these historical chamber arrangements, revealing new aspects and making discoveries about works that we love and know well in their full-scale versions.
Whether this music is new to you or an old favourite, we welcome you to the concert and we hope you enjoy hearing this marvellous music as much as we enjoy performing it for 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 18th-century.
AHE’s flexibility and inventiveness are inspired by Haydn’s fabled originality and the virtuosic musicians he worked with at the court of Esterházy for almost 30 years. It performs in a variety of sizes and combinations, ranging from quartet, quintet or septet, to chamber orchestra with special guest soloists to a full orchestra with choir.
The Ensemble has developed a flourishing regular series at the City Recital Hall, the Sydney Opera House Utzon Room and in Canberra, where it was Ensemble in Residence at the Australian National University in 2014. AHE also performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting 18th-century historical performance techniques.
AHE is particularly interested in presenting unusual programs of 18th-century chamber versions of works by Haydn, Mozart and Beethoven, as well as presenting the music of lesser-known composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister and Vanhal.
To commemorate its 10th anniversary, the Ensemble recorded its third CD of music by Mozart, recently released. 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
Carla Blackwood*
NATURAL HORN
Horn player Carla Blackwood builds threads of connection through her playing, teaching and research. As a leading performer on both modern and period instruments, Carla’s artistry is heard through her informed approach to historical performance and her enthusiastic advocacy for Australian music. Carla is a sought-after teacher and mentor. She is French Horn Lecturer at the Melbourne Conservatorium of Music and on the Horn Faculty at the Australian National Academy of Music.
Ignited by excellence, Carla is in demand as a collaborator for composers and performers alike. On historical natural horns Carla is principal horn with Orchestra of the Antipodes (Pinchgut), the Australian Haydn Ensemble and Genesis Baroque, and has performed as guest principal horn with the Australian Brandenburg Orchestra. On modern horn Carla performs regularly with leading Australian chamber ensembles including Quercus Trio, Lyrebird Brass, Ensemble Liaison, the Australian Wind Quintet and the Australia Ensemble, and is a regular guest principal horn with symphony orchestras around Australia.
Prior to taking up her current position in Melbourne, Carla was Principal Horn of the Tiroler Symphonie Orchester Innsbruck and Professor for Horn at the Tiroler Landeskonservatorium in Austria. During her 13 years living in Europe, Carla performed as guest principal horn with orchestras including the Vienna Radio Symphony Orchestra, the SWR Sinfonie Orchester Baden-Baden und Freiburg, Camerata Salzburg, the Swedish Radio Symphony Orchestra, and the Royal Swedish Philharmonic Orchestra. Carla has held contracts in a number of orchestras across Germany, Austria and Switzerland.
Carla is a passionate researcher, currently focused on writing the history of the horn in Australia.
Carla is playing a natural horn by M. Jiracek, Šaratice, 2018, after Franz Weckert, c.1790, Prague
*Carla Blackwood appears courtesy of the University of Melbourne
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, which she will also perform in the AHE’s final concert for 2024, Haydn’s Passion.
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 17th- and 18th-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.
THE PERFORMERS
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, 17th-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
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
“LIKE NOTHING I’VE EVER HEARD BEFORE. …AN EXTRAORDINARY EXPERIENCE.”
LIMELIGHT, BEETHOVEN'S FIFTH, 2024
**Dr Daniel Yeadon appears courtesy of the Sydney Conservatorium of Music
HAYDN’S PASSION
Joyous. Spirited. Exciting.
This concert is jam-packed with stormy sounds and hurtling horsehair, as AHE plays Mozart’s Symphony No. 29 and Artistic Director Skye McIntosh performs Mozart's Violin Concerto No. 3, along with Haydn’s La Passione Symphony and a less familiar but just as exciting work by their Czech contemporary, J B Vanhal.
1 – 3 December, 2024
Sydney | Canberra | Southern Highlands
Australian Digital Concert Hall
Book Now using the QR code
ABOUT THE MUSIC
MOZART’S HORN
Chamber music is often called the “music of friends”, but in the case of Mozart and his circle, it’s literally true. With one exception, the historical figures who created or premiered the music in this concert knew each other, or were connected by family and friendship. Michael Haydn worked alongside the young Mozart and his father Leopold in Salzburg, and they all knew the Salzburg (later Vienna) - based horn player
Joseph Leutgeb. Peter Lichtenthal, meanwhile, entered the Mozart family circle only after Wolfgang’s death, but was a devoted champion of his memory and his music.
The exception is the Dutch composer Wilhelm Hauff, whose life and travels never (as far as we know) brought him into contact with Mozart or his circle. But any 18th-century composer who wrote for the horn faced the same set of challenges. None of the horn pieces in this concert was written for a modern horn. Today, horns have cleverlydesigned valves to alter the length of the instrument’s coiled brass tube (and so the range of available notes).
Horn players in Mozart’s era enjoyed no such convenience. Instead, they could increase their options (up to a point) by inserting different “crooks” into their instrument – essentially, slot-in extensions. For anything more than that, they relied on the flexibility of their lips, and the technique of “stopping” – using their hand inside the bell to alter the pitch of a note. It took skill, and it took serious technical know-how. Mozart possessed that expertise; so too did Hauff, and they used it to transform
cumbersome 8th-century brass into pure musical gold. It’s no wonder that their chamber music for horn breathes the same sunlit, cheerful (and often poetic) air.
WILHELM GOTTLIEB HAUFF (c.1750-1816)
Horn Quintet in E flat major Allegro moderato
Wilhelm Hauff – from what little we know of him – started out as a musician in the army of the German Duchy of Saxe-Gotha, serving in what is now Belgium. He might have studied music in Paris or Brussels but in any case, like Ralph Rackstraw, he married his Captain’s daughter and settled down as an organist, composer, teacher and player of the carillon in Nijmegen in the Netherlands. His compositions include symphonies, chamber music and a choral Passion. At least two of his children were composers too; and posterity has not treated them much kindlier.
But horn players know a treasure when they see one, and the Dutch horn player Piet Schijf played a part in rediscovering and publishing Hauff’s delightful twomovement horn quintet in the 1960s. Its date is unclear, and the scoring is different from Mozart’s; there’s no reason to suppose that either composer knew the other’s work. As a military bandsman, Hauff will have been well aware of the capabilities of the late 18th-century horn, and he deploys them here to charm and delight in a spacious Allegro moderato and a dance-like finale which (like so much horn music) brings more than a hint of the hunt into an altogether more domestic setting.
ABOUT THE MUSIC
WOLFGANG AMADEUS MOZART
(1756-1791)
String Quintet in G minor, K. 516 –first movement (Allegro)
The addition of a wind instrument (and the friend who played it) into a string chamber group always seemed to release a spirit of fun in Mozart. But when Mozart inserted himself into the intimate world of the string quartet (playing his preferred string instrument, the viola), the process seemed to unlock something far deeper and more candid. His two string quintets K. 515 and K. 516, written around the time of his father Leopold’s death in May 1787, are possibly his two greatest chamber works.
And while the first, in C major, is an outward-looking work on an almost symphonic scale, the second, in G minor, contains music of an inwardness, an anxiety, and a yearning melancholy that’s almost unparalleled outside of Mozart’s Requiem and his G minor (that key again) symphony of 1788. This first movement could almost be a window into his soul.
WILHELM GOTTLIEB HAUFF (c.1750-1816)
Horn Quintet in E flat major K.407
Allegro
Andante
Allegro
"Wolfgang Amadé Mozart has taken pity on Leutgeb - ass, ox and fool”. Mozart never wrote a chamber work for wind and strings without a specific player in mind, often a friend. And none was a closer friend than the horn virtuoso and fellow Salzburger Joseph Leutgeb (1732-
1811) – or so it would appear, given the freedom with which Mozart teased the older man. The comment above was just one of many that Mozart scribbled on the manuscript of his horn concerto K. 417. Other attempts to wind up Leutgeb ranged from writing the solo part of the horn concerto K. 495 variously in black, red, blue and green inks, to scattering music around the room for the fun of seeing Leutgeb try to catch it.
Clearly, Leutgeb was prepared to tolerate a lot from Mozart – but then, the relationship had deep roots. When Leutgeb had moved to Vienna in 1777, it was with a loan from Leopold Mozart that he had purchased his shop, “the size of a snail’s shell”, and sometimes described as a cheese monger’s (although, stocking sausages and wine as well as cheese, it seems to have been more of a deli). From his boyhood onwards, Mozart referred to Leutgeb as “Uncle”, and he intervened when, in May 1782, Leopold started to pressure Leutgeb for repayment. A few months later, Mozart wrote the first of five works designed specifically for his “Uncle” –this Quintet, K. 407.
Its precise date remains unknown, though current scholarship puts it towards the end of 1782. The challenge, as ever, was how to domesticate such an outdoors-y instrument, and Mozart’s answer was twofold. Firstly, he reinforced the middle of the ensemble with a second viola. And secondly, he let Leutgeb’s singing tone and nimble technique show him the way. Although the Quintet opens with a serenade-like call to attention, the horn’s first entry is lyrical rather than martial. And so it continues, through an Adagio, where the horn sings radiantly
over the violas’ subdued accompaniment, to the final rondo, where Mozart and Leutgeb revert to their usual playful ragging. Spirits are high, and the horn writing is far from easy. But Mozart knew that Leutgeb could handle it.
MICHAEL HAYDN (1737-1806)
Romance in A flat major for Horn and String Quartet MH806
“In the afternoon Haydn played the organ in the Litany and he played so abominably that we all feared he was having a stroke. But it was only a slight tipsy-ness which made head and hands refuse to agree”. In his letters to his son, Leopold Mozart often poked fun at his fellow-Salzburg court musician Michael Haydn. Salzburg was a small, gossipy city; the pressure, day-in, day-out, of producing music for an ill-tempered archbishop (and keeping up with the social-climbing Mozarts to boot) might have driven anyone to fortify themselves with the occasional stiffener.
But no-one’s a hero to their workmates. In truth, Michael Haydn was a widelyadmired composer, respected (even by his more famous older brother Joseph) as a particular master of sacred music. When ill-health endangered Haydn’s livelihood in 1783, Mozart stepped up and wrote a pair of string duos for him to pass off as his own. Familiarity – and occasional teasing – masked a deep mutual respect.
And so, we have this lovely Romance for horn and string quartet, which begins as an almost exact copy of the Romanze from Mozart’s horn concerto K. 447, and then starts to do its own, Michael Haydnish thing instead. Which came first? Who
copied whom? Haydn’s dates from 1794 and was published in 1802. Mozart’s was written in 1783 and published in 1800. All we can say for sure is that both composers clearly considered the other’s work very much worth imitating – and that they had long experience in finishing each other’s sentences.
WOLFGANG AMADEUS MOZART
(1756-91)
Symphony No. 41 in C major, K. 551 'Jupiter' (arr. Peter Lichtenthal)
Allegro vivace
Andante cantabile
Menuetto: Allegretto
Molto allegro
Mozart’s many letters give us a wonderfully colourful picture of his life, apart from one detail - the small matter of writing music. So, when it comes to the summer of 1788, we know that the Mozarts had just moved to a new flat in the Viennese suburb of Alsergrund. We know that he forgot his sister’s birthday, and we even know his cab fare into the city centre (10 kreuzers). Yet when it comes to the music he was writing at this time – his three last and arguably greatest symphonies – he doesn’t even bother to mention it.
But we do know about Peter Lichtenthal (1780-1853) – a physician and sometime viola-player from Bratislava who trained in Vienna and befriended Mozart’s widow Constanze, as well as the couple’s two surviving sons, Karl Thomas and Franz Xaver. Lichtenthal went on to work as a civil servant in Milan, and to demonstrate his devotion to Mozart (in his view, the “single universal musical genius”) by creating and publishing a
ABOUT THE MUSIC
series of chamber versions of some of Mozart’s greatest works. These included the magnificent C major symphony that was already (thanks to certain British concert promoters) known as the 'Jupiter'. Karl Mozart had assured him that it was his father’s greatest work.
Regulars at these concerts will already know about the early-19th century fashion for creating miniaturised versions of famous orchestral works. In an era before recording or copyright, when even orchestral concerts were occasional treats, it was a vivid and reasonably faithful way of getting to know a masterpiece. If you were handy enough as a player (and could muster some equally skilled friends) you could even play it for yourself, in the comfort of your own home.
So here, slimmed down for string quintet (Mozart’s own preferred line-up, with two violas), and presented with profound love by one of Mozart’s original superfans, is the master’s final symphony. Three flourishes open the Symphony - a typical 18th-century trick for silencing a chattering audience though Mozart uses them, like the portico on a classical building, to set the scale for a spacious opening movement. A tender Andante is ruffled by anxious
heartbeats; while the Menuetto keeps up classical appearances.
And then comes the finale. Like the end of some comic opera, Mozart introduces his characters - five short melodies, elegant, noble, playful and humorous - and speeds them through every possible exploit until an extraordinary passage where the music starts to fragment and for one terrible moment the very musical universe seems to be disintegrating. At which point, with a graceful gesture, Mozart not only re-establishes order but cheerfully proceeds to fit all five melodies together in one of the most brilliant creative feats in all music - even his. You might not even realise he's doing it. But it's impossible not to feel the joy of creation that sounds, and resounds, through the closing bars.
Richard Bratby
“THE ENERGY, STAMINA AND SKILL DISPLAYED BY THE PERFORMERS WAS MASSIVELY IMPRESSIVE.”
CLASSIKON,
2024
Since the very beginning AHE has been strongly committed to bringing beautiful music to the regions of New South Wales and beyond. 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.
Thank you
Skye McIntosh Artistic Director
WAYS TO DONATE
Online: use the QR code or go to australianhaydn.com.au/donate
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WHAT OUR AUDIENCES SAY ABOUT AHE
"... deep understanding of the works and perfect blending as an ensemble."
Love & Devotion, Canberra, ACT, 2024
“Great music, performed magnificently.”
Heavenly Sopranos, Southern Highlands, 2024
“My soul is refreshed.”
Heavenly Sopranos, Southern Highlands, 2024
“Five big, glowing stars. Loved this concert. …The Beethoven was just superlative; blew me away. It was the best concert I’ve been to this year, including several in Europe.”
Beethoven’s Fifth, City Recital Hall, 2024
“Creative, inviting, challenging-and always welcoming to audiences.”
Beethoven’s Fifth, Berry NSW, 2024
“The voices lifted the music into another sphere. This was an outstanding concert.”
Heavenly Sopranos, Southern Highlands, 2024
“I was transfixed by the Stabat Mater."
Heavenly Sopranos, Southern Highlands, 2024
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.
Razumovsky 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 Sherry and the late Tom Gregory
Karin Keighley
Peter & Lisa Macqueen
Kevin McCann AO & Deidre McCann
Ian & Pam McGaw
The late Dr Timothy Pascoe AM & the late Eva Pascoe
Peter Young AM & Susan Young Anonymous (1)
ARTISTIC DIRECTOR’S CIRCLE
The Artistic Director’s Circle is a group of passionate supporters who have made a commitment to supporting the AHE education program and the vision of the Artistic Director
Jan Bowen AM FRSN
Carolyn Fletcher AM
Adrian Maroya
Jon & Susanne North
OUR PATRONS
MARIA THERESA $25,000
Sherry and the late Tom Gregory
Howarth Foundation
Karin Keighley
Anonymous (1)
ESTERHÁZY $15,000 – $24,999
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Belgiorno-Zegna
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Jan Bowen AM FRSN
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Martin & Ursula Armstrong
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In Memory of Tom Gregory & Timothy
Pascoe
Anonymous (1)
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$1,000 – $4,999
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OAM
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Richard Fisher AM & Diana Fisher
Dr Marguerite Foxon
The Hon. Ben Franklin MLC
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The late Elizabeth Howard
Michael & Anna Joel
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Diccon & Liz Loxton
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Nick Payne
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Anonymous (9)
LOBKOWITZ $500 – $999
Patricia Adey
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Anonymous (4)
RAZUMOVSKY $250 - $499
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Anonymous (7)
This listing is correct as of 3 September 2024, and we gratefully recognise all donations received since 1 July 2023
GOVERNMENT PARTNER
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David & Anne Eustace Foundation.
Howarth Foundation
Jibb foundation
Sir Asher & Lady Joel Foundation
Key Foundation
Philanthropy Initiative Australia, a giving fund of the APS Foundation
Sinsay Pty Ltd
Stoneglen Foundation
Australian Haydn Ensemble is a not for profit organisation.
ABN 26 202 621 166 PO Box 400 Strawberry Hills NSW 2012 1800 334 388 (Freecall) | australianhaydn.com.au
BACKSTAGE
TEAM
Skye McIntosh
Artistic Director
Ailsa Veiszadeh Administrator
Alison Dunn
Market Development
Breanne Hickey
Tour & Operations Manager
Collins Consulting Pty Ltd
Accounting Services
Stephen Bydder
Box Office & Administration
Marguerite Foxon
Front of House & Administration*
Richard Bratby Program Notes
Karina Schmitz Librarian
Simon Martyn-Ellis
Score Preparation
Oliver Miller
Photography and Video
*In Kind Support
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
Alison Dunn, Sydney
John Dearn, Canberra
Jean Gifford, Canberra
Greg & Wendy See, Berry
Felicity & Stuart Coughlan, Berry
Mary & Steve Beare, Berry
Louise & Keith Brodie, Berry
IMAGES
Images throughout by Helen White except pages 15-17 Oliver Miller and pages 6-9 James Mills & Supplied.
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.
