H AY D N ’ S N A T
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2019 Season
French Twist
30 May – 6 June Canberra/Sydney/ Berry/ Southern Highlands/ Newcastle Mozart Flute Quartet in A major K.298 Jadin String Quartet in C major Op. 3 No. 1 Devienne Flute Quartet in B minor Op. 16 No. 3 Haydn Symphony No. 87 in A major (Paris) arr. for string quartet Rameau Cinquième Concert from Pieces de clavecin en concerts in
D minor arr. Anon.
Beethoven Four
8 August – 11 August Canberra/Sydney/ Berry/ Southern Highlands
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Boccherini Sextet (Divertimento) for flute and strings in A major G.463 Op. 16/3 Mozart String Quintet in G minor K.516 Beethoven Symphony No. 4 in B flat major Op. 60 arr. Watts
Delirious Love
26 September – 3 October Canberra/Sydney/ Berry/ Southern Highlands/ Newcastle 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 Canberra/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
Haydn’s Nature Skye McIntosh Artistic Director and Violin
Haydn String Quartet in C major The Bird Op. 33 No. 3
Newcastle Thurs 7 February, 7pm Harold Lobb Concert Hall, Newcastle Conservatorium
Haydn String Quartet in D major The Lark Op. 64 No. 5
Sydney Sat 9 February, 3pm Independent Theatre, North Sydney
Interval Haydn The Creation for string quartet (selections) arr. Anon. Haydn String Quartet in B flat major The Sunrise Op. 76 No. 4 The concert duration is approximately 1 hr 50 mins including interval.
Sydney Mon 11 February, 7pm Utzon Room, Sydney Opera House Canberra Thurs 14 February, 7pm Wesley Uniting Church, Forrest Berry Fri 15 February, 7pm Berry Uniting Church Hall Southern Highlands Sat 16 February, 3pm The Rose Room, Burradoo
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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
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
James Eccles Viola Hiroshi Iizuka, 1992, Philadelphia
Simone Slattery Violin II Claude Pierray, 1726, Paris
James Bush Cello Auguste S. P. Bernadel, 1842, ?Paris
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Artistic Director’s Message It is a great pleasure to commence the year with an immersive Haydn experience focused on the theme of Nature. The program draws together three of Haydn’s loved quartets that are nicknamed The Lark, The Bird and The Sunrise, along with an eighteenth century arrangement of his great oratorio The Creation, also for string quartet. It is well known that the naming of quartets was not generally attributed to the composers themselves. The publishers who wanted to increase sales of a work by the addition of a catchy title often gave it a nickname. Nevertheless, the nicknames given to Haydn’s quartets do seem to have a connection to the music. In the first movement of The Lark quartet we hear the reason for its name very clearly in the ‘lark-like’ first violin singing high above the other parts. Similarly in the Op. 33 No. 3 String Quartet, known as The Bird, we clearly hear the bird-like quotations in the opening melody and reoccurring trills throughout. The eighteenth century arrangement of The Creation has been most interesting to prepare. As we have discussed in relation to previous performances of historical chamber arrangements, the chamber version generally was an important part of everyday life at the time. Not only did it popularise the work in the absence of recordings but also helped to reinforce the place of art as a tool for the artistic and moral education of man. In his excellent article Musical Arrangements as Educational Tools in Swieten’s Vienna, Wiebke Thormählen’s asserts that Gottfried Van Sweiten (who was also the librettist
of The Creation), believed that “man needed to experience an object of art in a variety of guises, to engage with it repeatedly, and, if at all possible, be actively involved in its performance and that performing chamber arrangements of larger scale works were an excellent way to achieve this.”. Arranging a large-scale work like The Creation for such a small group must have been no easy task and would have required a very thoughtful reworking of parts. The allocation of solo lines in the texture of the work has been very cleverly achieved so as to make the work successful in this chamber version. We finish the program with one of Haydn’s very well known quartets - The Sunrise. Although Haydn did not give it the nickname, one can easily imagine a sunrise in the opening violin motif that seems to rise up from the voices of the other parts.
Skye McIntosh Artistic Director & Violin
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About the Music
Father of the string quartet: Franz Joseph Haydn (1732 – 1809)
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It takes a village to raise a child. Joseph Haydn is hailed as father of the string quartet, but the genre may not have become so pivotal without the care of others now all but forgotten. In today’s program two names surface: Johann Tost and Sigismund Neukomm. Both men were widely travelled and worldly. When Tost was not leading the second violins in Haydn’s Esterháza orchestra, he was wheeling and dealing in Paris or Vienna. Neukomm grew up in Salzburg, where he learned composition from Joseph Haydn’s brother, Michael, and then in Vienna from Joseph Haydn himself. But Neukomm lived much of his life in Paris, also spending some years in Rio de Janeiro as Capellmeister. In their experience these men were very different to the isolated, geographically limited Haydn, obliged to spend his days composing for Prince Nikolaus in Esterháza. In their friendship and influence Tost and Neukomm were essential ingredients to Haydn’s success as a composer, and especially for his string quartets. They were also examples of the possibilities of freelance life, perhaps part of the inspiration for Haydn, late in his life, to finally visit London and to compose directly for an adoring public - a capstone experience to his career. Haydn’s string quartets When Haydn was only 18, he was asked to compose for an ensemble of two violins, viola and cello. These were the available players to Baron von Fürnberg of Weinzierl, who Haydn would
sometimes visit, and the choice of instruments was therefore not profound. String quartets were not unknown – they arose naturally when string symphonies were enjoyed in a domestic setting, one player to a part. However, Haydn would come to focus attention on the form as never before. Goethe’s 1829 description of the string quartet as a conversation between intelligent people has often been repeated. It was largely Haydn who imbued the genre with the characteristics which led to this observation. He used all four voices equally, modifying and developing musical ideas rather than merely repeating them. The genre gradually became a test of a composer’s abilities – musical ideas must be communicated using minimal resources and without the scope of timbres and effects available to a full orchestra. In many ways, the people for whom the music was composed were neither aristocratic patrons nor the paying public, but the players and listeners, both amateur and professional, who could appreciate the intricacies of the music. String Quartet in C major (The Bird) Op. 33 No. 3 I. Allegro moderato II. Scherzo. Allegretto III. Adagio ma non troppo IV. Finale. Rondo – Presto The Op. 33 quartets were an enormous accomplishment. In originality and assuredness of form they were unsurpassed, and they set the standard for the subsequent development of Haydn’s compositions for string quartet. The Bird received its nickname because of the
bird-like repeated notes in the first violin, a beautiful effect above the gentle foundation of second violin and viola. It is an inspired beginning – not least because it is a false beginning, delaying the expected progression of the movement. The quartet seems settled in C major, but immediately other keys creep in to create provocative moments of insubordination. The scherzo – literally “musical joke” – swaps the expected scherzo brightness for an unexpectedly subdued effect, contrasting with a trio section of chirping violins. A warm adagio then unfolds before the manic, Slavonic-dance-based Finale.
motif. Together these motifs form the basis for the whole movement, reappearing in different guises: sometimes short notes, sometimes sustained, overlapped, or in a different key.
String Quartet in D major (The Lark) Op. 64 No. 5 I. Allegro moderato II. Adagio. Cantabile III. Menuetto. Allegretto IV. Finale. Vivace
The third movement continues the playful mood with a folk-dance-like minuet. Typical of Haydn’s wit, there are unexpected chromatic inflections and uncomfortable changes of rhythm. The final movement is the source of the other name for this quartet – The Hornpipe. It is a cascade of running semi-quavers, a perpetuum mobile which extends even the very best of players.
Haydn dedicated his Op. 54, 55, and 64 quartets to Johann Tost, whom he had known for many years. Tost had been acting on Haydn’s behalf in Paris, working to have his music published, and apparently engaging in some questionable dealings, such as selling works by Haydn which were not yet written. However, Haydn did not seem overly upset. He clearly recognised Tost’s value both as a violinist and a champion of his music. The Lark (also known as The Hornpipe) has become one of the most popular of the Op. 64 set. It is one of the quartets which mark a return to a ‘soloistic’ first violin style of quartet writing intended to showcase the abilities of Tost. The first movement opens with the famous ‘Lark’ melody, introduced by an eight-bar phrase built on a simple stepwise motif. This one-up three-down series of notes has a naïve quality which doubtless contributed to the name of this quartet (which, like most of his named works, was not bestowed by Haydn). It is answered a short time later by a rising chromatic
The second movement is a singing adagio, again highlighting the virtuosity of the first violinist. It follows a standard three-part (ternary) form, A-B-A, with the twist that the central section turns out to be based on the same material as the first section. The final section returns to the original music, but now is characterised by improvisatory playfulness.
Selections from The Creation for string quartet arr. Anon. The Creation is recognised as one of Haydn’s finest works. It is an oratorio – a work for orchestra, choir and soloists with a generally biblical subject. The Creation is in three parts – in the first two, the three soloists represent the Angels Raphael (bass), Uriel (tenor) and Gabriel (soprano) to present the six days of creation, including chaos, the sun, and the sounds of animals. In the final section, Adam and Eve replace Raphael and Gabriel to sing of love, happiness, and the glory of God. The work was a setting of a libretti by the Austrian nobleman Baron Gottfried van Swieten (1733-1803): yet another influential person without whom the history of music may have taken a very different course. His contribution to Haydn’s oratorios was significant. He not only created and translated the libretti into German and back into English (for the benefit of the
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affluent English audiences), but accompanied the text with directions for Haydn to follow in setting them to music – instructions which Haydn followed carefully, even when they seemed over prescriptive.
was so striking that the famous music historian, Charles Burney, wrote that he “had never received more pleasure from instrumental music”, describing them as “full of invention, fire, good taste and new effects”.
Today’s arrangement of The Creation is from an anonymous source. In a time when copyright was a distant dream, the music of well-known composers was arranged and dispersed freely. The results were of varying quality, but there are many gems. It is no surprise that The Creation should be one of the works destined to be widely shared. It was a huge success throughout Europe, its timbres and effects contributing to the creation story in engaging ways. As ever, the public were hungry for music that could be performed in the home, and there was money in publications for small ensembles, including string quartets. Haydn himself arranged some of his works for publication and endorsed others – such as those created by Sigismund Neukomm, who arranged both The Creation and Haydn’s second major oratorio, The Seasons, for string quartet. He had assisted Haydn for several years and the two men became close, continuing their relationship even in the years Neukomm spent abroad. It was Neukomm who wrote the inscription on Haydn’s grave, including a five-voice puzzle canon on the words non omnis moriar (I shall not wholly die).
The name of this quartet – Sunrise – is inspired at least as much by the fundament created by the opening tonic chord as the rising figure in the first violin. All four voices take part in the invention – fragments of conversation passed between them, sometimes light-hearted, sometimes serious with a shift to the minor mode. The movement is remarkable in its sense of improvisation married to an assured, organically evolving structure. It continually surprises, yet every spontaneous turn only adds to the inevitability of the form.
String Quartet in B flat major (The Sunrise) Op. 76 No. 4 I. Allegro con spirito II. Adagio III. Minuet. Allegro - Trio IV. Finale. Allegro ma non troppo The Op. 76 quartets are often hailed as Haydn’s finest. Along with The Creation, they were composed after his final return from London: he was home in Vienna, free to compose as he desired, and overflowing with the experiences of his journey. The character of these quartets
The second movement builds on a five-note theme, in turn derived from part of the sunrise theme. The contemplative mood is disturbed only briefly by the first violin breaking into triplets – groups of three notes set against the duple meter. However, it is quickly subdued, returning briefly and quietly at the close of the movement as a reminder of more tumultuous times. The minuet third movement is relatively traditional, until the trio, characterised by syncopations and chromatic shifts, takes the stage. The return of the minuet leads fluidly into the final finale. In this movement the main melodic ideas are heard first in the upper instruments, and then pass to the lower voices. The movement gathers momentum and carries this remarkable work to a close with a flourish.
Notes by Dr Megan Lang
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.
Violin Simone Slattery Simone has a passion for music from a wide range of eras, performing on both modern and baroque violin. She has appeared as soloist and chamber musician in Australia and overseas, and regularly performs with ensembles such as the Melbourne Chamber Orchestra, the Australian Brandenburg Orchestra, the Orchestra of the Antipodes, Adelaide Baroque, the Adelaide Symphony Orchestra, among others. Festival appearances include: the BBC and Snape Proms (UK), Huntington Estate Music Festival, and the Adelaide, Melbourne, Sydney and Perth International Arts Festivals. From 2011 to 2014 Simone was a Britten-Pears Young Artist, performing as concertmaster of both the modern and baroque orchestras. She recently completed her PhD creating editions and recordings of the little-known violin works of Ernest Bloch.
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The Performers
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Continued
Viola James Eccles
Cello James Bush
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 avant-garde rock band AGE in Berlin.
Winner of the TVNZ Young Musicians Competition and of the National Concerto Competition of New Zealand, James has performed as soloist with all of New Zealand’s leading orchestras. He has worked regularly over the last 10 years with many of Europe’s leading baroque orchestras including Akademie für Alte Musik Berlin and Concerto Köln, as well as principal cellist of Al Ayre Español.
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 instrumentalist, he performs with Pinchgut Opera, and the Australian Brandenburg Orchestra. 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.
James has also collaborated for many years with renowned dance company Sasha Waltz and Guests, performing from the Bach cello suites in 50 performances worldwide of the work Gezeiten. He can be heard performing on recordings released by Sony, Harmonia Mundi, Winter & Winter, and Challenge Classics. Photo: Ken Knoll
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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 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. 14
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+ Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna John Claudianos & Nena Beretin Jeremy & Kate Eccles Carolyn Fletcher AM & The Hon. Nick Greiner AC Tom & Sherry Gregory Ian & Pam McGaw Timothy & Eva Pascoe Rob & Myriame Rich Peter Weiss AO
Waldstein $10,000-$14,999 Martin & Ursula Armstrong Mark Burrows AO Kevin & Deidre McCann Dr Marguerite Foxon Karin Keighley Justice Anthony Whealy & Annie Whealy Anonymous (2)
Van Swieten $5,000 $9,999 Mark & Carolyn Bethwaite Ron & Suellen Enestrom John Fairfax AO & Libby Fairfax Reg & Kathie Grinberg Paul & Anne Masi David Mortimer AO & Barbara Mortimer Nola Nettheim Trevor Parkin Anonymous (1)
Galitzin $1,000 - $4,999 Stephen & Nanette Ainsworth Antoinette Albert Margot Anthony AM 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 Jean Cockayne Janet Cooke Dr Nola Cooke Peter Craswell Peter & Prudence Davenport Catherine Davies Dr John Dearn Dr Paul Edwards Bronwyn Eslick Ralph & Maria Evans Terry & Lynn Fern Richard Fisher AM & Dianna 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 John Nethercote Beverly Northey Pieter & Liz Oomens Susan Perrin-Kirby 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 Lesley Whalan & Wendy Calisle Dr Margot Woods Carla Zampatti AC In Memory of Bill Harris AO Anonymous (7)
Lobkowitz $500 - $999 Ann Armstrong John Baird Rosalind Baker Clive Birch Jeffrey Bridger
Diana Brookes Sylvia Cardale George H Clark Christine Cooper James Coughlan Kent Harrisson & Niky Rovis Sally Herman Gerard Joseph Trevor Kennedy & Lisa Delaney Kirsten Lock Diccon & Liz Loxton David Malouf Jules Maxwell Mary Rose-Miller Alex & Edwina McInnes Tony Minchin Frank & Jenny Nicholas Nick Payne Mary Rose-Miller Jill Townsend Lady Meriel Wilmot-Wright In memory of Frank Bradley Anonymous (1)
Razumowsky $50 - $499 David & Jill Adams Geoff & Rosie Adams Glenn & Jillian Albrecht William Armitage James Ashburner Stephen Baggaley Anthony & Lurlene Bailey Timothy Bailey Gary & Joanna Barnes Dame Marie Bashir AD CVO Robin Bass Andrew Blanckensee Bruce & Graziella Bland Erica Booker Jennifer Bott Jan Bowen AM Margaret Bradley
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Patrons
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Janet Britton Malcolm Brooks Charlotte Brown Russell Burgess Edmund Capon AM OBE & Joanna Capon OAM Robert & Josephine Carr Lynette Casey Richard Chisholm Myee Clohessy 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 Elizabeth Gee Richard Gorrell Rosemary Greaves John Greenwell Erik & Marilyn Haan Victoria Hartstein Judith Healy Jenni Hibbard Peter Hislop Ann Hordern Elizabeth Howard
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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 Alan McCormack Terry & Catherine McCullagh 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 Neville Olliffe Patricia Parker Catherine Peel
Louise Petersen 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 Dr Frances Whalan Brian & Helen Wilder Gerard Windsor & Louella Kerr Michael Winnett Anonymous (24)
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: 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 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.
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 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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French Twist Experience the essence of eighteenth century France in this chamber music program of Devienne, Rameau, Jadin, Mozart and Haydn.
30 May – 6 June Canberra/Sydney/ Berry/ Southern Highlands/ Newcastle Mozart Flute Quartet in A major K.298 Jadin String Quartet in C major Op. 3 No. 1 Devienne Flute Quartet in B minor Op. 16 No. 3 Haydn Symphony No. 87 in A major (Paris) arr. for string quartet Rameau Cinquième Concert from Pieces de clavecin en concerts in D minor arr. Anon.