FRENCH TWIST
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2019 Season
Beethoven Four
8 August – 11 August 8 August, Canberra/9 August, Berry/10 August, Southern Highlands/11 August, Sydney Boccherini Sextet (Divertimento) for flute and strings in A major G.463 Op. 16/3 Mozart String Quartet No. 15 in D minor K.421 Beethoven Symphony No. 4 in B flat major Op. 60 arr. Watts
Delirious Love
26 September – 1 October 26 Sept, Canberra/27 Sept, Berry/28 Sept, Southern Highlands/29 Sept, Sydney/1 Oct, Newcastle
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Avison (After D. Scarlatti) Concerto Grosso No. 3 in D minor Handel Cantata Il Delirio amoroso HWV 99 Haydn Symphony No. 73 La Chasse in D major arr. Salomon Haydn Cantata for Soprano Arianna a Naxos Hob XXVIb:2
Midori & Mozart
21 November – 24 November 21 November, Canberra/24 November, Sydney Mozart Symphony No. 33 in B flat major K.319 Mozart Violin Concerto No. 2 in D major K.211 Haydn Violin Concerto in C major Hob VII:a1 Haydn Symphony No. 80 in D minor
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French Twist Skye McIntosh Artistic Director and Violin
Mozart Flute Quartet in A major K.298 Jadin String Quartet in C major Op. 3 No. 1 Rameau Cinquième Concert from Pieces de Clavecin en Concerts in D minor arr. Anon. INTERVAL Devienne Flute Quartet in B minor Op. 16 No. 3 Haydn Symphony No. 87 in A major (Paris) arr. Lim
Canberra Thurs 30 May, 7pm Albert Hall, Yarralumla Berry Fri 31 May, 7pm Berry Uniting Church Hall Southern Highlands Sat 1 June, 3pm The Rose Room, Burradoo Sydney Sun 2 June, 3pm Independent Theatre, North Sydney
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Sydney Tues 4 June, 7pm Utzon Room, Sydney Opera House Newcastle Thurs 6 June, 7pm Harold Lobb Concert Hall, Newcastle Conservatorium
The concert duration is approximately 1 hr 50 mins including interval.
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The Ensemble The Australian Haydn Ensemble, founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, has quickly established itself as one of Australia’s leading period-instrument ensembles, 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, when style was transitioning from Baroque to Classical.
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Based around a small core of strings and flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet, to a full orchestra. It has developed a flourishing regular series at the Sydney Opera House Utzon Room and in Canberra, where it was Ensemble in Residence at the Australian National University during 2014. It also performs throughout regional NSW and presents education workshops to students of all ages, focusing on imparting eighteenth century historical performance techniques. In January 2019, AHE presented programs at the Peninsula Summer Music Festival and the Organs of the Ballarat Goldfields Festival in Victoria, receiving glowing reviews. In 2016 the group released its debut ABC Classics recording The Haydn Album which reached number one on the Australian Aria Classical charts. It received rave reviews, one claiming that the Ensemble stood “proudly shoulder to shoulder with the many period instrument ensembles found in Europe.” In October 2017 AHE released Beethoven Piano Concertos 1 & 3 on the ABC Classics label, showcasing newly-commissioned chamber versions of the works in the style of the eighteenth century, in collaboration with Aria award winning historical keyboardist Dr Neal Peres Da Costa. Reviewers have been extremely
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enthusiastic: “This recording is remarkable not only for the pianist’s wonderfully free and fluent playing, but also for the excellent performance of the Ensemble.” The Ensemble has presented a host of unique chamber music and orchestral programs, working with a range of world-class musicians such as Neal Peres Da Costa, Erin Helyard, Catherine Mackintosh (UK), Marc Destrubé (Canada), Melvyn Tan (UK) and Simon Martyn-Ellis (USA) as well as singers Sara Macliver (Australia), Stephanie True (Canada), Simon Lobelson (Australia) and David Greco (Australia). It is particularly interested in presenting unusual programs of eighteenth century chamber versions of larger orchestral symphonic and concerto works by Haydn, Mozart and Beethoven, as well as bringing to a wider audience some of the lesser-known contemporaries of these composers, such as Abel, Albrechtsberger, C.P.E. Bach, J.C. Bach, David, Graun, Hoffmeister, and Vanhal. Members of the Australian Haydn Ensemble bring a wealth of expertise from first-class period and modern ensembles and orchestras around the world, such as the Australian Brandenburg Orchestra, Australian Chamber Orchestra, Orchestra of the Antipodes, Concerto Köln, English Baroque Soloists, English Chamber Orchestra, Irish Chamber Orchestra, Julliard 415, Les Talens Lyrique, New Dutch Academy and Orchestra of the Age of Enlightenment.
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Players & Instrument Listing Skye McIntosh Violin I Josef Panormo, c.1800, London
Anton Baba Cello Auguste S. P. Bernadel, 1842, Likely Paris
Matthew Greco Violin II David Christian Hopf, 1760, Quittenbach, Germany
Melissa Farrow Period Flute R. Tutz, Innsbruck, 2001, after H. Grenser, Dresden, c. 1810
James Eccles Viola Hiroshi Iizuka, 1992, Philadelphia
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Artistic Director’s Message Our second concert in our 2019 season is a journey into musical France in the latter part of the eighteenth century. The program includes two quartets by lesser-known French classical composers, Hyacinthe Jadin and François Devienne. These are presented alongside two works by Mozart and Haydn that were influenced by and written for French audiences, and a chamber arrangement of Rameau’s Fifth Concert from the Pieces de clavecin en concerts. The program opens with Mozart’s Flute Quartet in A major. Mozart has long been regarded as somewhat of a jokester and this work is a perfect example. He gives the last movement an extremely long and detailed performance instruction dripping with cheekiness: “Rondieaoux: Allegretto grazioso, ma non troppo presto, però non troppo adagio. Così-così—con molto garbo ed espressione” (or, translated, “A joke rondo: Allegretto grazioso, but not too fast, nor too slow. So-so—with great elegance and expression”). The work’s French twist comes from the Menuetto movement which is based on a French folk song. The second work in the program is a string quartet by Hyacinthe Jadin. Despite being quintessentially French (he was born and raised in Versailles), Jardin was taught composition by a student of C.P.E. Bach and his style of quartet writing certainly reflects the influence of Haydn. His Opus 3 quartets were written in 1797, two years before he passed away. Devienne was one of the most famous French traverso players, composers and professors of the Paris Conservatoire. He produced a huge output of
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musical composition throughout his life including some three hundred works for the flute, along with twelve operas and five bassoon concertos. Despite this, he has largely been forgotten. It is a pleasure to present his Flute Quartet in B minor. He wrote twenty one flute quartets and until recently only the first set of six has been readily available in published form. Rameau is one of the most famous and definitive French composers of the Baroque era. We present a small taste of his music from the last of his Pieces de clavecin en concerts. Rameau wrote five concerts, each consisting of three or four movements, representing a typical French ‘character’. The fifth concert pays homage to two other French composers, Marais and Forqueray.
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Haydn’s Symphony No. 87 is the last of the set of six Paris Symphonies commissioned by Chevalier de Saint-Georges, music director of the orchestra the Concert de la Loge Olympique, on behalf of its sponsor, Count D’Ogny. We perform a newly commissioned arrangement of the work by ViKing Lim for flute quintet, reflective of style of the eighteenth century arrangements that Johann Saloman made of Haydn’s London Symphonies, and which we have presented on several occasions.
Skye McIntosh Artistic Director & Violin
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About The Music
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The brilliant and controversial Madame de Staël wrote at the end of the eighteenth century that conversation in France “is an instrument on which [Frenchmen] are fond of playing”. Such an association of conversation with musical performance was not an isolated perspective. Music in France had long been compared to oration, particularly of poetry, and the idiosyncrasies of the French language had shaped musical styles. As time passed, fashions tended more and more towards the goût réunis, the “mixed taste”, inspired by the singing Italian style. French composers continued to draw on oration, but now rhetorical gesture and operatic drama provided new opportunities for expression.
the Viennese public. The A major quartet is an entertainment piece, probably written for the Jacquin family. Mozart was a frequent visitor to the Jacquin family as a piano teacher, and he composed other pieces for them, including the Kegelstatt trio and some songs for the younger son, Emil Gottfried, to publish under his own name. The A major quartet was intended to amuse – hence the unusual tempo marking for the final movement: “Rondieaoux: Allegretto grazioso, ma non troppo presto, però non troppo adagio. Così-così—con molto garbo ed espressione” (“A joke rondo: Allegretto grazioso, but not too fast, nor too slow. So-so—with great elegance and expression”).
Wolfgang Amadeus MOZART (1756 – 1791)
The quartet is an elegant work filled with Mozartian good humour. Although the whole work is only around ten minutes long, the variations of the first movement give each instrument a chance to shine, and there are musically captivating moments such as the unexpected chromatic stepwise motion in the Menuetto, a virtuosic Trio, and the tongue-incheek Rondieaoux.
Flute Quartet in A major K.298 (c. 1787) I. Andante: Theme and variations II. Menuetto III. Rondeau: Allegretto grazioso The flute was beloved in France and Germany for its clear articulations and voice-like timbre: its ability to “speak”. Until the first decades of the nineteenth century, works for flute, violin, viola and cello rivalled the string quartet in popularity. Publishers provided optional flute parts for string quartets and many famous composers wrote for this instrumentation. Although Mozart once claimed he could not abide the flute, he composed four flute quartets (in addition to three concertos and a multitude of exemplary flute parts in his orchestral and operatic music). Mozart’s A major quartet was his last in this genre. The first two quartets were commissioned in Mannheim by the amateur flute player Ferdinand Dejean, and the third was written to attract the interest of
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Hyacinthe JADIN (1776 –1800) String Quartet in C major Op. 3 No. 1 (1796) I. Allegro moderato II. Adagio III. Menuette: Andante IV. Presto: Finale Jadin’s life was brief, cut short by tuberculosis at the age of 24. Even so, he enjoyed more success than many. He was most recognised as a pianist, performing his own concerto in an esteemed Parisian concert series - the Concert Spirituel before he was 20 years old. His fame as a virtuoso
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performer increased steadily as time passed, culminating in his appointment as professor of piano at the newly established Paris Conservatoire in 1795. François Devienne was appointed professor of flute at the same time. Jadin’s compositions are appealing, with Classical forms made striking by unusual turns of harmony, particularly in his piano music. The 12 string quartets, although youthful, are well-structured and confident. Like many young composers in the shadow of Haydn and Mozart, Jadin learned his craft by emulating the masters. The first set of three quartets was dedicated to Haydn. Of the second set, the String Quartet in C major is markedly Haydnesque, especially the muted, secretive Minuet, which bears many similarities to Haydn’s Bird Quartet (Op. 33 No. 3). The finale is also reminiscent of Haydn, incorporating folktunes, drones and fragments of fugato. The first movement is more original, with sighing effects created by dissonant notes immediately under or over the harmony note, which the performer knew to “lean” on before resolving. Such appoggiaturas were typical of the French style.
Jean-Philippe RAMEAU (1683 – 1764) Cinquième Concert from Pieces de clavecin en concerts in D minor (1741), arr. Anon. I. La Forqueray II. La Cupis III. La Marais Rameau was a man of the Enlightenment. His early years were spent in the French provinces, and it was only when he moved to Paris in 1722 that he became known - first through his treatise on Harmony, then as a composer of works for harpsichord. He was already 40 years old. The treatise approached music from the perspective of the natural corps sonore, literally the ‘sonorous body’, inspired by the harmonic series which
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sounds from a vibrating object. Based on his theories, Rameau posited the “fundamental bass” as the guiding force behind Western music. His work was highly influential, gradually eclipsing the rampant eighteenth century experimentation with quarter tones and new ways of dividing the octave, born of creative attempts to revive the music of ancient Greece. By the time Rameau composed the Pieces de clavecin, he had become a successful opera composer and was a household name. The Pieces were published as trios for violin or flute, 2nd violin or viola da gamba, and harpsichord. But the harpsichord part does not resemble the continuo bass part typical for trio sonatas of the time. It is virtuosic and intended to be suitable for solo performance. It also lends itself to instrumental variation, as in the present interpretation entitled 6 Concerts Transcrits en Sextuor: an anonymous arrangement for string sextet, here performed with flute and without one of the bass parts – alterations in keeping with the pragmatism of the eighteenth century. The movement titles of the Cinquième Concert reflect Rameau’s deep respect for the musical traditions of France. They are the names of famous French artists of the day – Forqueray the elder and younger, both great viola da gamba players, Marie-Anne Cupis, an acclaimed dancer, and Marais, a famous viol virtuoso of the day.
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François DEVIENNE (1759 – 1803) Flute Quartet in B minor Op. 16 No. 3 (c. 1786) I. Largo II. Allegro affectuoso By 1779, Devienne had left the French provinces to work as last chair bassoonist in the Paris Opéra orchestra. There he took lessons with the Principal flute player and in 1782 he appeared for the first time in the Concert Spirituel as soloist, performing his own flute concerto. In the following years he performed in this concert
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series over 20 times, on both flute and bassoon, and gradually built a reputation as performer, composer and teacher. Always a champion of wind music, his works feature interesting combinations of flute, bassoon, clarinet and strings. When the Paris Conservatoire was founded in 1795, Devienne was appointed professor of flute, alongside Hyacinthe Jadin who became professor of piano.
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B minor is a key which eighteenth century writers associated with melancholy, except for the French composer Grétry who, in 1797, described it as ingenué: a feminised version of “guileless”. Devienne’s Flute Quartet in B minor opens with a dark motif in the cello, followed by the other strings. The entry of the flute cements the tonality and leads to a sighing end of the introductory material. The sadness of the movement is compelling, set above a heart-beat of repeated notes in the strings. Like Jadin, Devienne uses dissonant notes set just above or below the harmony note, creating sighing effects leading to each resolution and contributing to the French flavour of his music. The second movement is marked Allegro affectuoso – a term which indicates strength of feeling, whether tender or passionate. In this movement the flute sings a heart-broken aria, sadness and anger highlighted by virtuosic passagework and underscored by the agitated strings. Franz Joseph HAYDN (1732 – 1809) Symphony No. 87 in A major (Paris) (1785) arr. Lim I. Vivace II. Adagio III. Menuet e trio IV. Finale: Vivace The six Paris symphonies were the grandest Haydn had yet composed. They were written on commission from the Concert de la Société
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Olympique in Paris, which at the time employed a very large orchestra of around 70 players, including Devienne on flute. The 12 annual concerts were quite different from the Concert Spirituel, most notably because they were not public affairs. The audience was drawn from the subscribing membership of the Société. The high percentage of aristocratic and Masonic membership ensured that the Concert was wellfunded: Haydn was paid a handsome 25 louis d’or for each symphony (Mozart received only 5 louis d’or for his own Paris symphony performed at the Concert Spirituel). Haydn’s music was already well-known to the people of Paris: the Concert Spirituel rarely omitted a symphony by him. The Paris symphonies were hugely successful, and Haydn was by now well-practised in the art of maximising his income through sale of his works. In addition to producing original manuscripts for individual sale to private subscribers, he sold his works to publishers – sometimes simultaneously to publishers from different countries. In the absence of mature copyright law, others also benefited from Haydn’s compositions, penning arrangements for smaller ensembles. Haydn himself produced arrangements, and ratified others. There exist string quartet arrangements of the Paris symphonies numbers 84, 85 and 86, possibly from the composer’s own hand. There is little doubt that he would have appreciated today’s arrangement of Symphony No. 87, with the use of the flute to highlight the lyrical themes so beloved by Parisians. Although undoubtedly a different work from the original, the transparency of the small string ensemble showcases Haydn’s ability to – in the words of an anonymous critic writing for the Mercure de France – “draw developments so rich and varied from a unique theme”.
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The Performers Violin & Artistic Director Skye McIntosh Skye is the founder and Artistic Director of the Australian Haydn Ensemble. She has appeared as principal 2nd violin for Pinchgut Opera, as principal 2nd violin with the Australian Romantic & Classical Orchestra, and as a regular member of the Australian Brandenburg Orchestra since 2010. Skye completed her Bachelor of Music with First Class Honours at the Queensland Conservatorium in 1999. In 2004 she travelled to the UK to study at The Royal Academy of Music, was a regular member of the Britten Pears young artist program, and performed at several UK Festivals. Skye completed a Master of Music degree, at the Sydney Conservatorium in 2011. Skye has made many concert appearances as soloist and director, and in 2013 attended the Banff Centre with the Australian Haydn Quartet for a Winter Residency, and also performed at The Julliard School.
Cello Anton Baba Anton is an Australian born violoncellist specialising in historically informed performance practice.
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He obtained degrees in classical cello at the Eastman School of Music in USA (2006), completed his Master’s Degree in baroque cello at the Royal Conservatory, The Hague (2013), and also undertook studies in viola da gamba. Throughout his career, Anton has performed with such distinguished ensembles as the Amsterdam Baroque Orchestra, the Wallfisch Band, Holland Baroque Society, Arte dei Suonatori, the Australian Brandenburg Orchestra, Pinchgut Opera, and Vox Luminis, among others. Anton is passionate about performing chamber music and is a founding member of the Emras Octet, La Gazetta Musicale and Les Nations, all vibrant and passionate early music ensembles dedicated to contrasting periods and styles of music ranging from French baroque to the romantics of the 19th Century.
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Viola James Eccles James studied at the Sydney Conservatorium of Music and ANAM, and gained his Masters in Ireland. Following this he worked with the Konzerthaus Orchester and avantgarde rock band AGE in Berlin. Returning to Sydney in 2007, James has become a sought-after violist, performing with new-music groups such as Ensemble Offspring, presenting and performing in children’s concerts at the Sydney Opera House, performing solo with SBS Youth Orchestra, and working as principal viola with Sydney Philharmonia Choirs. As a period
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The Performers instrumentalist, he performs with Pinchgut Opera, and the Australian Brandenburg Orchestra.
Period Flute Melissa Farrow*
James has premiered many new works and has also commissioned new Australian works in his role as director of the 2014 Aurora Festival and as co-director of The NOISE String Quartet.
Melissa has been principal flute of the Australian Brandenburg Orchestra since 2003, and a core member of the Australian Haydn Ensemble since its formation. She performs and records regularly with groups including Pinchgut Opera, the Australian Chamber Orchestra, Ironwood, The Australian Romantic & Classical Orchestra, The Marais Project, Sydney Philharmonia Orchestra, Latitude 37, and the Australian Opera and Ballet Orchestra, among others.
Violin Matthew Greco
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Continued
Matthew began learning violin at the age of 12 and studied with Professor Janet Davies and Professor Neal Peres Da Costa at the Sydney Conservatorium of Music. At the age of 19 he was engaged by Australia’s leading period orchestras - the Australian Brandenburg Orchestra and Orchestra of the Antipodes. He later undertook further study in historical performance at the Royale Conservatoire of The Hague, with Ryo Terakado and Enrico Gatti, graduating in 2013. Matt performs as a soloist, concertmaster and core member of some of the world’s leading period instrument ensembles, including the Australian Brandenburg Orchestra, Orchestra of the Antipodes (Pinchgut Opera), Australian Haydn Ensemble, Salut! Baroque, De Nederlandse Bachvereniging (Netherlands Bach Society), Les Talens Lyriques (Paris), Festival D’Aix en Provence, Opera Nationale de Paris, L’Académie baroque européenne d’Ambronay, Capella Mediterranea (Switzerland) and Pacific Baroque Orchestra (Canada). He is a founding member of the Sydneybased, baroque ensemble The Muffat Collective.
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Her numerous solo performances have been with the AHE, NZ Barok, the Australian Brandenburg Orchestra, and Pinchgut Opera. She is featured as soloist in Gretry’s L’amant Jaloux, in the Australian Brandenburg Orchestra’s Brandenburg Celebrates, on Smorgasbord with The Marais Project, and on touchons du bois with Erin Helyard. After graduating from the Sydney Conservatorium of Music Melissa undertook post-graduate study in modern flute, recorder, and traverso in Amsterdam. She teaches period flute as well as baroque performance style to modern flute students at the Sydney Conservatorium, and was guest baroque flute lecturer at the Newcastle Conservatorium during 2017-18. *Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra
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ACE
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REPL
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Patrons
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 eighteenth 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.
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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
Esterházy $15,000+ Martin & Ursula Armstrong Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Mark Burrows AO John Claudianos & Nena Beretin Jeremy & Kate Eccles Carolyn Fletcher AM & The Hon. Nick Greiner AC Tom & Sherry Gregory Kevin & Deidre McCann Ian & Pam McGaw Timothy & Eva Pascoe Rob & Myriame Rich Peter Weiss AO
Waldstein $10,000 - $14,999 Dr Marguerite Foxon Reg & Kathie Grinberg
Karin Keighley Justice Anthony Whealy & Annie Whealy Anonymous (3)
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Van Swieten $5,000 $9,999 Mark & Carolyn Bethwaite Jean Cockayne Ron & Suellen Enestrom Ralph & Maria Evans John Fairfax AO & Libby Fairfax Paul & Anne Masi David Mortimer AO & Barbara Mortimer Nola Nettheim Trevor Parkin Keith & Robyn Power Lesley Whalan & Wendy Calisle
Galitzin $1,000 - $4,999 Stephen & Nanette Ainsworth Antoinette Albert Margot Anthony AM Rosalind Baker Carey Beebe Pattie Benjamin Linda Bergin OAM Ecki & Celia Bischoff Graham Bradley AM & Charlene Bradley Tony Burrell & Hilary Steel Peter & Anita Carmody Michael & Colleen Chesterman Robert & Carmel Clark Terry & Julie Clarke Alison Clugston-Cornes Janet Cooke Dr Nola Cooke Peter Craswell Peter & Prudence Davenport Catherine Davies Dr John Dearn Dr Paul Edwards Bronwyn Eslick Terry & Lynn Fern Richard Fisher AM & Diana Fisher
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Marian Flynn Ivan Foo Suzanne Gerozisis Christine Goode The Hon. Don Harwin, MLC Garrick & Evelyn Hawkins Andreas & Inn Ee Heintze Paul Hopmeier & Jan King Peter & Margaret Janssens Peter & Linda Kurti Garth Mansfield OAM & Margaret Mansfield OAM Libby Manuel Kelvin McIntosh Andrew & Abbey McKinnon Jacqueline Milne Nick Minogue John Nethercote Beverly Northey Pieter & Liz Oomens Susan Perrin-Kirby Mary Rose-Miller Keith & Robyn Power Peter & Carol Scott Gregory & Wendy See Penelope Seidler AM David & Daniela Shannon Roger & Ann Smith The Smithers Family Michael & Rosemary Sprange Dr Jenepher Thomas Tim & Vincie Trahair Kay Vernon Dr Margot Woods Carla Zampatti AC In Memory of Bill Harris AO Anonymous (8)
Lobkowitz $500 - $999 Ann Armstrong John Baird Clive Birch Jeffrey Bridger
Diana Brookes Sylvia Cardale George H Clark Christine Cooper Elizabeth Gee James Coughlan Kent Harrisson & Niky Rovis Sally Herman Gerard Joseph Trevor Kennedy & Lisa Delaney Kirsten Lock Diccon & Liz Loxton David Malouf Jules Maxwell Alan McCormack Terry & Catherine McCullagh Alex & Edwina McInnes Tony Minchin Frank & Jenny Nicholas Dr Rosalind Page Nick Payne Dr Rupert Summerson Susan Tanner Jill Townsend Dr Frances Whalan Lady Meriel Wilmot-Wright In memory of Frank Bradley Anonymous (1)
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Razumowsky $50 - $499 David & Jill Adams Geoff & Rosie Adams Glenn & Jillian Albrecht William Armitage Corinne Arter James Ashburner Stephen Baggaley Anthony & Lurlene Bailey Timothy Bailey Eric Baker Gary & Joanna Barnes Dame Marie Bashir AD CVO Robin Bass
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Patrons
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Ken Baxter Andrew Blanckensee Bruce & Graziella Bland Erica Booker Jennifer Bott Jan Bowen AM Margaret Bradley Janet Britton Malcolm Brooks Charlotte Brown Russell Burgess Dr Andrew Byrne Edmund Capon AM OBE & Joanna Capon OAM Robert & Josephine Carr Lynette Casey Richard Chisholm Myee Clohessy Linda Collings Margaret Cooper Harriet Cunningham Megan Curlewis Sarah Curro Rhonda Dalton Pastor de Lasala OAM Don Debus Jennifer Dewar Nick Dinopoulos George Drew Marilyn Edmond Maria & Bob Elliot Constance Ellwood Ian & Susan Ernst Garry Feeney Michael Fong Warwick Franks Julia Fredersdorff Richard Gorrell Rosemary Greaves John Greenwell Erik & Marilyn Haan
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Continued
Victoria Hartstein Judith Healy Erin Helyard Jenni Hibbard Peter Hislop Ann Hordern Elizabeth Howard John & Pat Howard Catherine Ikin David Irving Paul & Carol James Margaret Johnson Margaret Julian Gabrielle Kancachian Lisa Kawai Janice King Dr Joan Kitchin Lynette Kok Harriet Lenigas Andrew Lloyd-James & Dr Patricia Richardson Peter Lowry OAM & Dr Carolyn Lowry OAM Charles Manning Kathleen Marriott Elbert Mathews Kirsty McCahon Stephen McDonald & Mindy Green Wendy McLeod Paul & Betty Meyer Richard Milner Dr David & Michelle Moddel Giancarla Montagna Dr Mary-Jane Mountain Tony Mountstevens Patrick Mullins Heather Nash Elizabeth Neild Narelle Nelson Dr Peter & Patricia O’Brien
Henry O’Connor Neville Olliffe Patricia Parker Catherine Peel Louise Petersen Jock Pharey & Prue Skinner Eric Pozza Alex Ralph Colin Rea Adrian Read Dr Lyn Riddett Josie Ryan Carole Salter Kenneth Saxby Anneke Scott Barbara Sergi Heather Shelley Keith & Janet Stanistreet Rob Starling Libby Steeper Lisa Stewart Elizabeth Storrs Lady Penny Street Jane Styles Matt Taylor Janet Tomi Ian Tonking Frances Tsoukalidis Ailsa Veizedeh Theanne Walters The Hon. Penelope Wensley AC Brian & Helen Wilder Gerard Windsor & Louella Kerr Michael Winnett Anonymous (25) Correct at time of printing.
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Support AHE The generosity and loyalty of our donors has enabled AHE to bring the music of Haydn and his contemporaries to audiences and students in Australia and abroad. Help us to continue with this vital work by contributing through our website or sending a donation to:
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Australian Haydn Ensemble Level 1, 16-18 Oxford Square Darlinghurst 2010
Find out more about how you can support the Ensemble at australianhaydn.com.au/how-to-support All donations over $2 are tax deductible.
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Partners Government Partners
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Venue Partners
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Backstage
Administration Alicia Gibbons - General Manager Stephen Bydder - Administrator Marguerite Foxon - Development Manager Vi King Lim – Score Services Keeping Company - Bookkeeping Board Marco Belgiorno-Zegna AM Chair Carolyn Fletcher AM Tom Gregory Skye McIntosh Peter Young AM
Australian Haydn Ensemble is a not for profit organisation ABN 26 202 621 166 Level 1/16-18 Oxford Square Darlinghurst NSW 2010 1800 334 388 (Freecall) australianhaydn.com.au admin@australianhaydn.com.au Details in this program are correct at time of publication. Australian Haydn Ensemble reserves the right to add, withdraw or substitute artists
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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.
In-Kind Supporters Maria Cox Jacqueline Dossor Marguerite Foxon Gregory and Wendy See Thank you to our patrons who kindly provide accommodation for our out-of-town performers.
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Beethoven Four The Ensemble performs a rare chamber version of Beethoven’s Symphony No. 4, along with a virtuosic flute sextet by Boccherini and Mozart’s much-loved String Quintet in G minor.
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8 August – 11 August Canberra/Sydney/ Berry/ Southern Highlands Boccherini Sextet (Divertimento) for flute and strings in A major G.463 Op.16/3 Mozart String Quartet No. 15 in D minor K.421 Beethoven Symphony No. 4 in B flat major Op. 60 arr. Watts 28/5/19 11:38 am