TWO MASTERWORKS IN CHAMBER VERSION
BEETHOVEN’S PASTORAL
HAYDN’S DREAM & THE GOLDBERG
STRING QUARTETS TO DRIFT AWAY AND DREAM WITH MOZART
ERIN HELYARD DIRECTS A PROGRAM OF PLANETARY POWER AND BOHEMIAN INFLUENCE
Midori Seiler
Guest Director and Violin
Skye McIntosh
Artistic Director and Violin
W.A. MOZART
Symphony No. 33 in B flat major K. 319
F.J. HAYDN
Violin Concerto in C major Hob. VIIa/1
Interval
W.A. MOZART
Violin Concerto No. 2 in D major K. 211
F.J. HAYDN
Symphony No. 80 in D minor Hob. 1:80
The concert duration is approximately 1 hr 50 mins including interval.
Canberra Thursday 21 November, 7pm Albert Hall, Yarralumla
Sydney Sunday 24 November, 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music
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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.
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
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), 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 lesserknown 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.
Violin
Skye McIntosh*
Matthew Greco*
Stephen Freeman
Alice Rickards
Emma Williams
Viola
Gabrielle Kancachian*
James Eccles
Cello
Anton Baba*
Daniel Yeadon
DoubleBass
Jacqueline Dossor
Flute
Melissa Farrow 1
Oboe
Joel Raymond
Kirstin Barry
Bassoon
Brock Imison* 2
Simon Rickard
Horn
Carla Blackwood* 3
Doreé Dixon
* Section Leader
1. Melissa Farrow appears courtesy of the Australian Brandenburg Orchestra 2. Brock Imison appears courtesy of the Melbourne Symphony Orchestra 3. Carla Blackwood appears courtesy of the University of Melbourne
Our final program for 2019 is possibly one of our most exciting projects ever. It is always a treat to perform as a full orchestra, but to present one of the world’s leading baroque violinists is thrilling. Midori Seiler is an outstanding international artist. To have her make her Australian debut as Guest Director of the Australian Haydn Ensemble is something I am not only delighted about, but whch I have been looking forward to immensely.
The program features the music of Mozart and Haydn - two composers deeply connected and yet vastly different from one another. Mozart’s Symphony No. 33 opens the program. Interestingly, this is one of the few works of Mozart that one could mistakenly attribute at first hearing to Haydn. Mozart was, of course, hugely influenced by Haydn and looked up to him as ‘the father’ of composition. His set of six string quartets, dedicated to and modeled on the writing of Haydn, attests to that. Mozart’s other symphonies from around this time are scored for a larger orchestra and also reflect a more Italian influence than this one, which follows more closely the Austrian traditions.
During the program, Midori presents two beautiful classical violin concerti that showcase not only her stunning playing but also the differences between these two monumental composers. Mozart’s Violin Concerto No. 2 in D major was most likely written for himself
to perform as the soloist. Penned at a time in his life when he frequently featured as a solo violinist, it was also when he wrote the majority of his instrumental solo works. The concerto is delightful and a refreshing contrast to the more popular third, fourth, and fifth concertos more commonly programmed today.
Haydn’s Violin Concerto in C major was dedicated to Luigi Tomasini, the concertmaster of the orchestra at the Esterházy Palace. Written earlier than the Mozart concerto, it is a charming example of Haydn’s instrumental writing. The work opens with a joyful and trumpetlike theme, showing off the violinist with virtuosic double-stopping and scalic flourishes. These are accompanied by echoed orchestral accompaniments that are not unlike the symphonies of C.P.E. Bach.
The program finishes with Haydn’s wonderfully dramatic Symphony No. 80 in D minor. This work, written near the end of his time with the Esterházy’s, displays a great deal of Sturm and Drang spirit. It opens with a dark burst that gives way to delightful orchestral interjections. An excellent way to finish our 2019 series! I look forward to welcoming you back in 2020.
Skye McIntosh Artistic Director & ViolinWolfgang Amadeus Mozart and Franz Joseph Haydn probably first met in 1783, when Haydn was a household name and Mozart’s fame was growing. There was much admiration and affection between them. Mozart looked up to Haydn, inviting him to give comment on rehearsals of his newest opera. The two of them played together in string quartets, and influenced one another’s compositions. But their lives were strikingly different. Mozart spent more than ten of his 35 years travelling, from Amsterdam to Pompei, London to Vienna, visiting the courts of Europe as a child prodigy and then in search of a permanent position. He claimed that travel was necessary for his inspiration. Haydn spent almost his entire career in Esterháza, and described his isolation as “forcing him to become original”. At the end of his working life, Haydn was feted in London and Vienna and became a rich man. Mozart remained a freelancer, obliged to meet standards of dress and lodgings expected by his upper-class students and clients, and ended his days in debt.
Wolfgang Amadeus Mozart (1756 – 1791)
In 1773, Wolfgang and his father Leopold returned home to Salzburg from a successful tour of Italy. Leopold had been intent on finding a distinguished position for his son – a goal almost realised at the court of Milan. There the Archduke Ferdinand was deeply impressed by the Mozarts, until a despatch from his mother, Empress Maria Therese in Vienna, advised him not to encourage such people who ‘go about the world like beggars’. Thus rebuffed, father and son returned to their (in their view insufficiently esteemed) positions at the court of Salzburg. Georg Nikolaus von Nissen, in his 1828 biography of Mozart’s life, portrayed this time as one of suffering; neglected and passed over by the Prince-Archbishop, dominated by his
father, already doomed to an early grave. But the truth is more complex. Salzburg was evolving towards modernity, and the Mozarts were of the old guard. Archbishop Colloredo was embracing sciences and arts and no longer favouring the old musical traditions, some of which had been in place since the 1590s. He was inclined to import Italian musicians, who were often given comparatively generous remunerations. The Mozarts felt slighted – for which we can be grateful, for it led to the creation of some of Wolfgang’s most beloved instrumental music.
In the 1760s, Haydn’s orchestra at the court of Prince Nikolaus Esterházy comprised only 13-15 players, with approximately 6 violins, 1 viola, 1 cello, 1 bass, 2 oboes, 2 horns and a bassoon, with a flute added where needed. Even at its height in the 1780s, the ensemble had only 22-24 members. But its size was no indication of its quality – many of the players were virtuosi who remained in the Prince’s service for decades. Nikolaus was generous and freely dispensed extra gold ducats should he be pleased by his employees. The orchestra’s members included the famous Luigi Tomasini on violin, Joseph Weigl and Anton Kraft on cello, and Carl Franz on horn and baryton. Haydn composed many of his concertos of the 1760s for these musicians, as well as parts in his early symphonies that challenge players to this day.
Haydn knew how fortunate he was to be employed by Prince Esterházy. In the years prior to 1760, he described having to eke out a living as a freelance music teacher, indulging his zeal for composition at night. Although in Esterháza he felt isolated from the cultural world of Vienna and the other centres of Europe, he enjoyed his freedom to compose and became a close friend and confidant
of Prince Nikolaus. Finally, given extended leave following the Prince’s death, he was able to accept the offer of the impresario Salomon to visit London. There he savoured his fame and became a rich man.
Mozart
Symphony No. 33 in B flat major K. 319 (1779)
Allegro assai
Andante moderato
Menuetto
Finale: Allegro assai
The year in which Mozart composed his Symphony No. 33 saw him accept a new position in Salzburg – that of court and cathedral organist, with an increased salary and generous leave. Initially, his self-respect as a talented musician and composer was appeased and he applied himself diligently to his work, composing some of his best sacred works. However, it seems that his attentions to his work did not satisfy Colloredo, who upon appointing Michael Haydn as his successor in 1782 wrote:
‘we accordingly appoint [J.M. Haydn] as our court and cathedral organist, in the same fashion as young Mozart was obligated, with the additional stipulation that he show more diligence … and compose more often for our cathedral and chamber music’.
Part of the reason for Colloredo’s dissatisfaction may have been Mozart’s preoccupation with instrumental music, for which the court had little use. During this time, Mozart composed the symphonies K. 318, 319 and 338, as well as the ‘Posthorn’ Serenade, the Divertimento K. 334, the Sinfonia concertante for violin and viola K. 364, as well as incidental music for Thamos, König in Ägypten and Zaide.
Symphony No. 33 in B flat major was originally in three movements, with the minuet and trio added later for performances in Vienna. Overall, the symphony is a light-hearted work, of smaller dimensions than Mozart’s other late symphonies.
The first movement is unexpectedly in triple meter, with many surprising interjections and dramatic pauses. At first, it appears to be in standard sonata form, typical of the Classical era, in which an opening section introduces two themes which are then elaborated in the ‘development’ section, and repeated in the ‘recapitulation’. But when the development arrives, Mozart unexpectedly introduces new material. To add further delight, he takes the thematic material of this first development and uses it in the corresponding sections of each of the following movements of the symphony. Thus, a thematic connection is created across the whole work.
The Andante features the strings, the divided viola part continuing to add depth and colour at key moments. Its structure is typical of Mannheim, illustrating how Mozart gathered different compositional styles on his travels, absorbing them into his own work. The Minuet is of an unusually dark character, especially for a major key, only dissipated by the energy of the opera-like finale.
Haydn
Violin Concerto No. 1 in C major Hob. VIIa/1 (1760s)
Allegro moderato
Adagio
Finale: Presto
The Violin Concerto No. 1 in C major is one of four surviving violin concertos, and is entitled fatto per il luigi – made for Luigi. The Luigi in question was Luigi Tomasini, concert master of the Esterhazá orchestra and a well-respected soloist and composer in his own right. The concerto is set in C major, a key associated with purity, innocence and naivety. The wide leaps and skipping steps, alongside showy solo passages, are typical of the Italian style popular at the time. These are apparent in the first and last movements, designed to lift the spirits and frame the weightier central movement. The Adagio has become well-
known in its own right. Composed in F major – an unusual choice in relation to C major – it begins with a poised introduction. Here the violin rises ever higher, as if in supplication. There follows a sweetly sorrowful song-like Adagio, accompanied by gently plucked pizzicato in the strings. Then there is a moment of repose, space for an expressive cadenza by the violin, before a repeat of the opening introduction and a leap into the spirited final movement.
Mozart
Violin Concerto No. 2 in D major K. 211 (1775)
Allegro moderato
Andante
Rondeau, Allegro
Mozart composed all five of his violin concertos between 1773 and 1775, as a teenage concertmaster at the court of Archbishop Colloredo. It is likely that the concertos were written for his own performance as soloist. However, perhaps due to Colloredo’s desire that Mozart should compose sacred music, they were not particularly well received.
The concerto No. 2 in D Major is simpler than his keyboard concertos, but charming and wellconstructed. Contrasting passages between soloist and orchestra are derived from Baroque concerto grosso forms. However, the central slow movement shows some elements of Mozart’s mature style. It has melodic patterns which remind the listener of some of Mozart’s operatic arias from this time, and the occasional irregular phrases were to become a hallmark, possibly an influence from Haydn. The final movement is a Rondeau, with a repeating theme, varied through changing accompaniments and offering many opportunities for virtuosity.
HAYDN Symphony No. 80 in D minor Hob. 1:80 (1784)
Allegro spiritoso
Adagio
Menuetto
Finale: Presto
Symphony No. 80 opens with a dramatic tremolo, driven forwards by the bass line, a typical Sturm und Drang (Storm and Stress) gesture. There follow the expected strong rhythms and dynamic contrasts which gave this style its name. But in true Haydnesque form, an unexpected dance-like theme interrupts and the movement gains a new dimension, a jokiness emphasised through sudden pauses and unexpected musical statements. Unlike Haydn’s earlier symphonies, which were composed for the Esterházy court, No. 80 was composed with publishers in mind. The symphonies of this time are accessible and witty, combining delightful melodies, interesting effects, as well as impeccable craftsmanship and enough scholarly depth for connoisseurs. Haydn also described them as “easy to play”, to endear them to the amateur paying public.
The second movement is expansive, an emotional journey as it moves between warmth, entreaty and bitter-sweet melancholy. The minuet brings a return of the minor key, giving it a raw character. There is little connection to the elegant minuets of the early eighteenth century, only the form and the triple meter harking back to the dance. The finale begins quietly, creating an unsteady, humorous effect with syncopated rhythms and creative instrumentation leading to a dramatic close.
Midori Seiler, Bavarian-Japanese daughter of two pianists, grew up in Salzburg. Her musical education took her to Basel, London and Berlin – her teachers included the modern violinists Helmut Zehetmair, Sandòr Végh, Adelina Oprean, David Takeno and Eberhard Feltz, as well as two specialists in early music, Stephan Mai and Thomas Hengelbrock.
As a long time member and one of the concertmasters of Akademie für Alte Musik Berlin, Midori was a leading member during the ensemble’s international breakthrough from 1992 to 2014. Numerous CD recordings from this fruitful period present Midori as a soloist. Since 2016 she has also been the Artistic Director of the Bach Collective of the Köthen Bach Festival.
Midori Seiler is one of very few violinists of historical performance practice who feel at home in different musical eras. She is equally comfortable playing baroque violin concerti with orchestras like Budapest Festival Orchestra or Tafelmusik Toronto as she is performing classical
or romantic violin concerti with orchestras such as Anima Eterna, Concerto Köln or Akademie für Alte Musik Berlin. “To me, historical performance practice of post-baroque times is a field that has not yet been sufficiently developed. To explore it, with the treasure-trove of knowledge of previous times in my luggage is extremely fascinating.”
Midori is also a passionate teacher. From 2013 to 2016, she led the Schwetzinger Court Music Academy with cellist Jaap ter Linden, teaching the music of the southwestern courts of the 18th century to the musicians of tomorrow. She has given masterclasses in Brugge, Antwerp, Weimar, Verona, Innsbruck, Zürich and Stuttgart, and between 2010 and 2013 she was professor of baroque violin and viola at the Hochschule für Musik Franz Liszt in Weimar. In October 2014, she was appointed professor of baroque violin and viola at the University Mozarteum Salzburg. In 2015, Seiler was awarded the Saxon Mozart Prize, which acknowledged her artistic and pedagogical contributions towards increased understanding of the works of Mozart.
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?
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
Esterházy $15,000+
Martin & Ursula Armstrong
Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna
John Claudianos & Dr Nena Beretin
Mark Burrows AO
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The Hon. Nick Greiner AC & Carolyn Fletcher AM
Reg & Kathie Grinberg
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Dr Timothy & Eva Pascoe
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Peter Weiss AO Anonymous (1)
Waldstein $10,000 - $14,999
John Fairfax AO & Libby Fairfax
Dr Marguerite Foxon
Karin Keighley
Justice Anthony Whealy & Annie Whealy
Anonymous (2)
Van Swieten $5,000$9,999
Mark Bethwaite AM & Carolyn Bethwaite
Jean Cockayne
Ron & Suellen Enestrom
Ralph Evans & Maria Cordony
Paul & Anne Masi
David Mortimer AO & Barbara Mortimer
Nola Nettheim
Trevor Parkin
Keith & Robyn Power
Lesley Whalan & Wendy Carlisle
Peter Young AM & Susan Young
Galitzin $1,000 - $4,999
Antoinette Albert
Margot Anthony AM
Ann Armstrong
John Baird
Rosalind Baker
Carey Beebe
Linda Bergin OAM
Clive Birch
Tony Burrell & Hilary Steel
Dr Michael & Dr Colleen
Chesterman
Robert & Carmel Clark
Dr Terry & Julie Clarke
Alison Clugston-Cornes
Janet Cooke
Dr Nola Cooke
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Catherine Davies
Dr John Dearn
Robert & Jane Diamond
Dr Paul Edwards
Richard Fisher AM & Diana
Fisher
Marian Flynn
Ivan Foo
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Christine Goode
Tony Grey
The Hon Don Harwin MLC
Andreas & Inn Ee Heintze
Paul Hopmeier & Jan King
Peter & Margaret Janssens
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Garth Mansfield OAM & Margaret Mansfield OAM
Libby Manuel
Jacqueline Milne
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Mary Rose-Miller
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Gregory & Wendy See
David & Daniela Shannon
Roger & Ann Smith
The Smithers Family
Michael & Rosemary Sprange
Dr Jenepher Thomas
Tim & Vincie Trahair
Kay Vernon
Dr Margot Woods
In Memory of Bill Harris AO
Anonymous (7)
Lobkowitz $500 - $999
Garry & Joanna Barnes
Jeffrey Bridger
Diana Brookes
Dr William Brooks
Dr Andrew Byrne
Sylvia Cardale
George H Clark
Christine Cooper
James Coughlan
Elizabeth Gee
Kent Harrisson & Niky Rovis
Sally Herman
Gerard Joseph
Trevor Kennedy & Lisa Delaney
Kirsten Lock
Diccon & Liz Loxton
Peter & Lisa Macqueen
David Malouf
Elbert Mathews
Jules Maxwell
Alan McCormack
Terry & Catherine McCullagh
Alex & Edwina McInnes
Tony Minchin
Frank & Jenny Nicholas
Dr Rosalind Page
Deidre Rickards
Anthony Strachan
Dr Rupert Summerson
Susan Tanner
Jill Townsend
Dr Frances Whalan
Lady Meriel Wilmot-Wright
In memory of Frank Bradley
Anonymous (2)
Razumowsky $50 - $499
Gary & Joanna Barnes
Jeffrey Bridger
Diana Brookes
Dr William Brooks
Dr Andrew Byrne
Sylvia Cardale
George H Clark
Christine Cooper
James Coughlan
Elizabeth Gee
Sally Herman
Gerard Joseph
Diccon & Liz Loxton
Peter & Lisa Macqueen
Elbert Mathews
Alan McCormack
Terry & Catherine McCullagh
Alex & Edwina McInnes
Tony Minchin
Frank & Jenny Nicholas
Dr Rosalind Page
Deidre Rickards
Anthony Strachan
Dr Rupert Summerson
Susan Tanner
Jill Townsend
Dr Frances Whalan
Lady Meriel Wilmot-Wright
In memory of Frank Bradley
Anonymous (2)
Razumowsky $50 - $499
Geoff & Rosie Adams
William Armitage
Corinne Arter
James Ashburner
Stephen Baggaley
Anthony & Lurlene Bailey
Timothy Bailey
Eric Baker
Dame Marie Bashir AD CVO
Robin Bass
Ken Baxter
Andrew Blanckensee
Erica Booker
Jennifer Bott
Beatrice Botvinik
Jan Bowen AM
Margaret Bradley
Janet Britton
Malcolm Brooks
Russell Burgess
Robert & Josephine Carr
Lynette Casey
Wendy Cobcroft
Linda Collings
Margaret Cooper
Megan Curlewis
Rhonda Dalton
Pastor de Lasala OAM
Jennifer Dewar
George Drew
Marilyn Edmond
Maria & Bob Elliot
Ian & Susan Ernst
Garry Feeney
Michael Fong
Warwick Franks
Julia Fredersdorff
Rosemary Greaves
John Greenwell
Victoria Hartstein
Judith Healy
Dr Erin Helyard
Ann Hordern
Elizabeth Howard
John & Pat Howard
Catherine Ikin
Paul & Carol James
Margaret Julian
Gabrielle Kancachian
Janice King
Dr Joan Kitchin
Lynette Kok
George Lawrence
Andrew Lloyd-James & Dr Patricia Richardson
Stephen McDonald & Mindy Green
Wendy McLeod
Paul & Betty Meyer
Patrick Mullins
Heather Nash
Narelle Nelson
Dr Peter & Patricia O’Brien
Henry O’Connor
Catherine Peel
Louise Petersen
Jock Pharey & Prue Skinner
Colin Rea
Adrian Read
Michael Richards
Josie Ryan
Barbara Sergi
Heather Shelley
Keith & Janet Stanistreet
Rob Starling
Libby Steeper
Elizabeth Storrs
Janet Tomi
Frances Tsoukalidis
The Hon. Penelope
Wensley AC
Anonymous (17)
Cumulative donations made from 2017 onwards.
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:
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.
Administration
Alicia Gibbons - General Manager
Stephen Bydder - Administrator
Marguerite Foxon - Front of House and Administrator
Vi King Lim – Score Services
Keeping Company - Bookkeeping
Board
Marco Belgiorno-Zegna AM Chair
Carolyn Fletcher AM
Tom Gregory
Skye McIntosh
Peter Young AM
Maria Cox
Marguerite Foxon
Thank you to our patrons who kindly provide accommodation for our out-of-town performers.
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)
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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.
