NEW RELEASE
A groundbreaking recording of Beethoven's piano concertos in newly commissioned chamber arrangements in the style of the eighteenth century. Recorded by Thomas Grubb in association with the Sydney Conservatorium of Music and ABC Classics, this recording represents the latest in historical research into Beethoven interpretation. The disc presents Beethoven's 1st & 3rd Concertos on a beautiful replica Conrad Graf fortepiano. CDs can be ordered via our website and are available on the ABC Classics label via iTunes for digital download.
ABC
Classics
Boccherini's Guitar Skye McIntosh, Artistic Director and Violin
BOCCHERINI
HAYDN
String Quartet Op. 26 No. 4 in A major [6 mins]
String Quartet Op. 51 The Seven Last Words of Christ our Saviour on the Cross Introduction, Sonatas No. 2, 5 and 7 [12 minsJ
PORRO/MOZART Grand Trio extrait de Mozart for guitar, violin and cello from Mozart's Violin Sonata K.304 in E minor [20 mins]
SOR Introduction and Variations on a Theme by Mozart Op. 9 [8 mins]
CANALES
BOCCHERINI
String Quartet Op. 3 No. 3 in C minor [18 mins]
Guitar Quintet G.448 Fandango in D minor
INTERVAL [20 mins]
[19 mins]
Newcastle
Thursday 24 May, 7.00pm
Newcastle Conservatorium of Music
Burradoo
Saturday 26 May, 7.00pm
The Rose Room
Sydney
Sunday 27 May, 2.30pm
Sydney Conservatorium of Music
Canberra
Thursday 31 May, 7.00pm
The Albert Hall
Berry
Friday I June, 7.00pm
Uniting Church Hall
AHE
AUSTRALIAN I HAYDN ENSEMBLE
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The Ensemble 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 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 greatJoseph Haydn, a leading composer of the late eighteenth century, when style was transitioning from Baroque to Classical.
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 Destrube (Canada) and Melvyn Tan (UK). 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, Graun, Hoffmeister, and Vanhal.
The Ensemble 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. Based around a small core of strings with flute, the Ensemble performs in a variety of sizes and combinations, ranging from string or flute quartet or quintet, to a full orchestra.
Members of the Australian H aydn 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, Concerto Koln, English Baroque Soloists, English Chamber Orchestra, Irish Chamber Orchestra,Julliard 415, Les Talens Lyrique, New Dutch Academy, Orchestra of the Age of Enlightenment and Orchestra of the Antipodes, to name a few.
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 20 I 7 AHE released a new CD on the ABC Classics label. Beethoven Piano Concertos No. 1 & 3 showcases 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 4
GUITAR
VIOIA
Simon Martyn-Ellis
James Eccles
(Romantic guitar modelled on patented design by Johann
(Hiroshi Iizuka, 1992, Philadelphia)
Georg Stauffer by Bernhardt Kresse, 2013, Kain) CELLO VIOLIN I / LEADER & ARTISTIC DIRECTOR
Anton Baba
Skye McIntosh
(Peter Elias, Aigle, Switzerland, 2000, after Stradivarius)
(Josef Panormo, 1800, London)
VIOLIN II
Simone Slattery (Claude Pierray, 1726, Paris)
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Artistic Director's Message When I think of Spain and music from the classical era,my mind turns to the charismatic style that marks the music of Luigi Boccherini as unique. Of course,one could not think of Spanish music without also thinking of the guitar. Thus we have the basis for our program a wonderful exploration of Spanish classical era chamber music for strings and guitar!
As far as we know, Canales only composed for string quartet plus a handful of sacred works. Research into his output is still new with much yet to be discovered. We have chosen to perform his dark String Quartet in C Minor Op. 3 No. 3. His set of three Op. 3 quartets were dedicated to the King of Spain and were most likely written to win his favour,although they never did. The works are clearly modelled on the form of Haydn's quartets yet bring an entirely different character to the music. There is a wonderful portrait of Canales' employer,Fernando de Silva Alvarez of Toledo,that depicts him standing at the harpsichord with a Haydn score in his hand. Although the specific score is unclear,it indicates that Haydn's works must have been well known to Canales.
The program is bookended by two chamber works by Boccherini. His String Quartet in A Major Op. 26 No. 4,comprising just two movements,opens the concert with its beautiful slow movement. In it we find the use of melancholic motifs,trills and repetitions creating a colourful texture followed by a playful menuetto and trio. We conclude the program with Boccherini's fabulous Guitar Quintet. The work contains the flamboyant Fandango movement that strongly evokes Spanish dance and the sound of castanets.
Finally we have the inclusion of Haydn in our program. Although he did not have strong ties to Spain,he wrote one striking work that transports us there - The Seven Last Word, qf Christ our Saviour on the Cross, written for the Cathedral in Cadiz. Originally scored for orchestra,the quartet arrangement was probably also written by him in spite of some differences in the scoring. That aside,it is generally accepted as part of Haydn's canon and is a powerful work that speaks volumes about the seriousness of religion in Spain at the time. Today we perform selected movements from this work.
The middle section of the program explores lesser known late eighteenth century Spanish composers. Porro's arrangement of Mozart's Violin Sonata K.304 for Violin, Cello and Guitar reinvigorates Mozart's beautiful work and transports us to an entirely different sound-world with the inclusion of the guitar. Suddenly the 'affect' of the work takes on a Spanish flavour and reminds us of just how flexible composers of the time were about musical identity. Fernando Sor,another interesting Spanish composer and classical guitarist,was born in Barcelona and later lived in France. His
Introduction and Variations on a Theme by Mozart Op. 9 for solo guitar features our guest artist,Simon
Skye McIntosh Artistic Director & Violin
Martyn-Ellis,joining us from the USA for this project. 7
About The Music LUIGI BOCCHERINI (1743-1805)
PIERRE-JEAN PORRO (1750-1831)/MOZART
String Quartet Op. 26 No. 4 in A major
Grand Trio extrait de Mozart for guitar, violin and cello from Mozart's Violin Sonata K.304 in E minor
Luigi Boccherini was an Italian virtuoso cellist who lived in Spain. After studying for a time in Rome, Boccherini spent his youth working as a musician alongside his father in Vienna, Venice, and his home town of Lucca. When his father died in 1766, Boccherini set off for Genoa and London with his close friend Manfredi, an acclaimed violinist. However, when they reached Paris Boccherini fell in love with Clementina Pelliccia, an Italian singer who worked in a Spanish opera company touring Paris. When she returned to Spain in 1768, Boccherini joined the company and travelled with her, remaining in Spain for the rest of his life.
Mozart's Sonata for Piano and Violin K.304 was composed in 1778 - a momentous year in which he fell deeply in love with Aloysia Weber in Mannheim, then found himself alone in Paris coping with the sudden death of his mother, who had accompanied him on tour. It is difficult to imagine the turmoil of emotions in his heart, but this sonata goes some way towards expressing them. Its opening is arresting: a complete phrase in quiet unison. It is expansive and full of darkness - the only one of Mozart's Piano and Violin sonatas in a minor key. Even when the tonality turns to the brighter major mode, Mozart continually returns to the melancholic minor, as if there is no escape.
In 1770 Boccherini entered the service of the Infante Luis Antonio Jaime of Bourbon, younger brother of King Carlos III. It was for Don Luis that Boccherini wrote the String Quartet Op. 26 No. 4. This two-movement piece is one of a set of six quartettini - so named to distinguish them from full-length quartets. The character of Op. 26 No. 4 reflects Boccherini's love of bowed string instruments. The first movement is full of sustained notes, melodic ideas passed easily between the instruments like pleasant afternoon conversation. Boccherini is known for blurring the accustomed hierarchy of the pulse, often connecting the final note of a bar to the first note of the next. This results in smoother and less articulated musical phrases than is typical of composers such as Mozart and H aydn, who worked primarily from the keyboard.
Mozart's works have always lent themselves to arrangements and K.304 was a natural choice for Pierre-Jean Porro's 1807 arrangement for guitar (or lyre), violin, and cello. Porro was a versatile entrepreneur in Paris, known as an arranger, teacher, composer, and publisher disseminating works for voice, violin, and his own instrument - guitar. In the Grand Trio extrait de Mozart the guitar is given a prominent role - it takes the first theme following the opening statement, which is pl ayed by the violin in Mozart's original work. The drama of the first movement is shaped by abrupt dynamic changes, the tension of sighing motifs and repeated notes in the accompaniment, as well as shifts between the minor and major mode. Porro's arrangement
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makes excellent use of the three instruments to highlight Mozart's interweaving of voices.
but the work is filled with original melodic ideas and timbres.
The second movement has a transcendent quality, its triple meter that of an elegant minuet. But as the movement unfolds, it becomes clear that it is more complex and is essentially a rondo - a form which repeats its opening section several times, interspersed by new material.
FRANZJOSEPH HAYDN (1732-1809)
String Quartet Op. 51 The Seven Last Words of Christ our Saviour on the Cross Introduction, Sonatas No. 2, 5 and 7 Haydn's Seven Last Words ef Christ our Saviour on the Cross was a profound experience for the congregation at the Oratorio de la Santa Cueva in Cadiz. Performed in the darkened church during Holy Week, the seven 'sonatas' followed each of seven meditations. Haydn considered this work one of his best, commenting on the difficulty of composing seven slow movements of ten minutes duration which would not tire the ear. His solution was to use a wider range of tonalities and key relationships than ever before. The piece was an immediate success, and in the following year Haydn arranged it for string quartet and as an oratorio. He also approved a version for solo piano.
MANUEL CANALES (1747-1786)
String Quartet Op. 3 No. 3 in C minor Like Boccherini, Canales was a cellist employed in a house of the Spanish nobility. Unlike Boccherini, he has been all but forgotten. He is hailed as the first Spanish composer to write string quartets, a genre he likely adopted from having seen or heard works by Boccherini and other composers. Certainly, his compositions show influence of the popular style of the time, and they appear in volumes together with Boccherini, Haydn, and Abel.
The introduction is marked Adagi,o maestoso. The majestic opening is followed by a more restrained expression of dark melancholy, which breaks into plaintive motifs in the upper voices over repeated notes in the lower strings, suggesting a beating heart. This heartbeat continues through all the movements of this work, connecting them as they portr ay the last moments of Christ on earth.
His String Quartet in C minor was published in 1782, when Canales was 35. By this time, his employer the Duke of Alba had died, and Canales had left Madrid to return to Toledo. He was engaged there at the cathedral as an instrumentalist and composer, but since he was a layman he never achieved a high-ranking post. His surviving works are restricted to the Opus 3 and Opus I quartets and some sacred pieces, all of which were discovered in the early twentieth century.
The second sonata is written as an expression of the words Hodie mecum eris in paradiso (Today you will be with me in paradise). The text is written beneath the first violin, and the music reflects the rhythm of the words. The ever-present beating heart is heard throughout, the cantabile violins soaring above in hallucinatory rapture. The fifth sonata is composed over the single word Sitio - I thirst. It begins dramatically, but the opening chords are followed by sweet sighs
The String Quartet Op. 3 No. 3 is structured like the early quartets of Haydn, with four movements of which the second is a minuet and trio. There are also other parallels with Haydn's work, such as the frequent use of unison passages. The harmonic and melodic development lacks the sophistication of Haydn,
9
accompanied by pizzicato strings, like falling
became increasingly bitter. A dedication printed in the preface to his Op. 45 read: "Six short
rain. The music seems to alternate between
and easy pieces in stages, which aim to lead to
dissonant paroxysms of agony and euphoria.
what has generally been agreed are difficulties. Composed and dedicated to the person with the least patience, by Fernando Sor."
The seventh sonata is written for the words Manus tuas, Domine, commendo spiritum meum (Into your hands I commend my spirit). It is a warm and welcoming movement, the beating heart becoming weaker and finally fading away.
LUIGI BOCCHERINI (1743-1805)
Guitar Quintet G.448 Fandango in D
FERNANDO SOR (1778-1839)
maJor
Introduction and Variations on a Theme by Mozart Op . 9
The Guitar Quintet G.448 was composed on commission for Frarn;ois de Borgia, Marquis
The eighteenth century guitar suffered under its perceived role as an accompanying instrument,
of Benavente. Benavente was a keen guitarist, and Boccherini provided him with a collection
requiring no great skill. This perception was countered by composers such as Sor. Born
of guitar quintets. G.448 is an arrangement of two earlier works: the String Quintet in D major
in Barcelona, he studied music at the famous Montserrat Monastery, and joined the army at seventeen. Spanish soldiers were keen
Op. 10 No. 6 of 1771, and the String Quintet in D major Op. 40 No. 2 of I 788. The first
movement is a pastorale, depicting the ease and delight of a pastoral scene. Its six-beat pattern
musicians, and it was here that Sor heard the music of Moretti. From this time onwards, Sor composed music with multiple voices, in which the guitar simultaneously played both melody and accompaniment.
divided into two groups of three gives the music its distinctive, gently swinging character. In the second movement, the guitar takes an accompanying role, leaving the cello to take the lead.
In 1808 Spain was invaded by Napoleon. Sor fought and produced patriotic music but
The final movement begins with a Grave which leads into a fandango - a dance in triple
eventually accepted an administrative post under the occupying government. When the
meter which was famous for its erotic and fiery nature. The dance is represented by a distinctive
Napoleonic army withdrew, Sor was labelled a sympathiser and fled to France where his career as a performer and composer blossomed. He spent productive years in Paris, London,
rhythm which is repeated throughout. Boccherini even included a directive in the cello part to perform castagneteo, indicating that the
and Moscow.
cellist should either play or imitate castanets.
Sor contributed many works to the repertoire of solo works for guitar. The Introduction and
Program notes by Megan Lang
Variations on a Theme by Mozart is a typical piece
of this time, designed to appeal to an amateur
market. It is based on a melody from The Magi,c Flute. Sor's variations were notoriously
challenging - too challenging for many amateur guitarists. Complaints were made, and Sor 10
The Performers Ironwood, Salut! Baroque, and Sirius Ensemble.
GUITAR
Simon Martyn-Ellis
Based in Boston since 2013, Simon has appeared as a founding member with ACRONYM and Duo Corbetta, as soloist with Apollo's Fire and Clarion NYC, at the Oregon Bach Festival, the Opera Theatre of Saint Louis, with Handel & H aydn Society, Les Delices, Helicon NYC, Bach Collegium San Diego, Three Notch'd Road, amongst other chamber performances around the US.
Simon Martyn-Ellis began playing the lute after finding the classical guitar repertoire too restrictive for ensemble performance: continuo accompaniment remains a mainstay of his activities. His particular interests are vocal collaborations, either in opera or intimate recitals, baroque guitar repertoire, and finding the groove in Early Music. But really, he just has a great time making music with people.
Simon can be heard and seen on CD recordings and DVD releases from the Harmonia Mundi, Deutsche Grammophon, Virgin Classics, BIS, ABC Classics, Vexations840 and Move labels amongst others. He has been recorded for radio and television broadcast countless times in over 12 countries worldwide.
After undergraduate studies in Australia, Simon moved to Germany in 2002 to complete postgraduate study with Rolf Lislevand at the Trossingen Hochschule for Musik. During his 11 years in Germany, Simon appeared frequently throughout Europe and the US in leading performance venues and theatres with the Akademie for Alte Musik Berlin, Concerto Kiiln, Salzburger Landestheater, Neue Diisseldorfer Hofkapelle, Neue Hofkapelle Miinchen, and the Freiburger Barockorchester, as well as in a variety of chamber music performances.
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 Orchestra 1788, 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.
In Australia, he has appeared in numerous festivals including the Melbourne and Adelaide International Festivals, The Melbourne Autumn and Melbourne Spring Early Music Festivals, and The Ballarat Festival as well as for Pinchgut Opera, The Australian Brandenburg Orchestra, Opera Australia, the Adelaide and Melbourne Symphony Orchestras, and chamber ensembles such as Elysium Ensemble, Latitude 37,
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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 TheJulliard School.
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.
CELLO
Anton Baba
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.
Anton is an Australian born violoncellist specialising in historically informed performance practice. 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.
VIOLIN
Simone Slattery Simone has a passion for music from a wide range of eras, performing on both modern and baroque violin.
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 nineteenth century.
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.
VIOIA
James Eccles James studied at the Sydney Conservatorium and ANAM, and gained his Masters in Ireland. Following this he worked with the Konzerthaus Orchester and avant-garde 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,
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2018
Season Schubert songs 10 August 2018 - 17 August 2018 Berry I Sydney/ Canberra/ Newcastle SCHUBERT Selected Lieder including Winterreise - Gute Nacht, Erlkonig D.328 and The Trout D. 804 FELICIEN DAVID String Quintet - Les Quatre Seasons SCHUBERT String Quartet No. 13 D 804
Beethoven & Haydn 04 October 2018 - 12 October 2018 Canberra/ Berry/ Southern Highlands/ Sydney/ Newcastle HAYDN Symphony No. 44 in E minor The Trauer FERDINAND RIES Flute Quartet in D minor ALBRECHTSBERGER String Sextet Op. 13 No. 1 in E flat major BEETHOVEN Symphony No. 1 in C major arr. Masi (1800)
Haydn's Farewell 13 December 2018 - 16 December 2018 Canberra/ Sydney J.C. BACH Symphony Op. 6 No. 6 in G minor MOZART Piano Concerto No. 12 in A major MOZART Rondo for Piano and Orchestra K. 386 in A major HAYDN Symphony No. 45 The Farewell in F sharp minor
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Patrons Our patrons enable us to continue presenting wondeiful 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? Esterhazy Prince Esterhazy was the main patron of Haydn.
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Correct at the time of printing
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19
Schubert Songs 10 - 17 AUGUST 2018
BERRY• SYDNEY• CANBERRA• NEWCASTLE
SCHUBERT Selected Lieder including Winterreise - Gute Nacht, Erlki:inig D.328 and The Trout D. 804 FELICIEN DAVID String Quintet - Les Quatre Seasons Summer Soiree No. I, Autumn Soiree No. 4 and 5, Spring Soiree No. 3
Special Guest
SCHUBERT String Quartet No. 13 D 804 The Rosamunde in A minor
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David Greco, Baritone
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