NEW RELEASE
A groundbreaking recording of Beethoven's piano concertos in newly commissioned chamber arrangements in the style of the 18th-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.
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ABC
Classics
Haydn& London Skye McIntosh, Artistic Director and Violin
HAYDN
London Trio in G major for flute, violin, and cello Hob. IV:3 [15 MINS] HAYDN
String Quartet Op. 74 No. 3 in G minor Hob. III: 74 The Rider [25 MINS] INTERVAL [20 MINS] HAYDN
Symphony No. 104 in D major, London arr. Salomon [30 MINS]
Canberra
Thursday 8 March, 7.00pm
University House, ANU
Berry
Friday 9 March, 7.00pm
Uniting Church Hall
Burradoo
Saturday 10 March 3.00pm
The Rose Room
Sydney
Tuesd ay 13 March, 7.00pm
Utzon Room, Sydney Opera House
AHE
AUSTRALIAN I HAYDN
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The Ensemble The Australian Haydn Ensemble, founded m 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 18th century, when style was transitioning from Baroque to Classical.
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 Destrube (Canada) and Melvyn Tan (UK). It is particularly interested in presenting unusual programs of 18th 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 Op era 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 18th 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 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, 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 201 7 AHE released a new CD on the ABC Classics label. Beethoven Piano Concertos No. I & 3 showcases newly-commissioned chamber versions of the works in the style of the 18th century, in collaboration with Aria award winning historical keyboardist
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VIOLIN I
DOUBLE BASS
Skye McIntosh
Jacqueline Dossor
LEADER & ARTISTIC DIREC1DR
(UNKNOWN, C. 1740, NORTHERN ITALIAN, LIKELY
(JOSEF PANORMO, 1800, LONDON)
BOLOGNA)
VIOLIN II
FLUTE
Simone Slattery
Melissa Farrow
(CLAUDE PIERRAY, 1726, PARIS)
(R. TUTZ, INNSBRUCK, 2001, AFTER H. GRENSER, DRESDEN, C. 1810)
VIOLA FORTE PIANO
James Eccles
Nathan Cox
(HIROSHI IIZUKA, 1992, PHILADELPHIA)
(D.JACQUES WAY AND PAUL MCNULTY, AFTER ANTON
CELLO
WALTER, VIENNA, C. 1780, USED BY KIND COURTESY OF
Anton Baba
NEAL PERES DA COSTA)
(PETER ELIAS, AIGLE, SWITZERLAND, 2000, AFTER STRADIVARIUS)
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Artistic Director's Message
of his writing for this genre. This music was intended to be performed in the concert hall as well as in the home. The work was premiered at the Hanover Square Rooms' concerts with Johann Salomon leading the group, and really tests the virtuosity of the players with its extreme ranges and complex style of writing. We finish the program with Salomon's excellent arrangement of Haydn's famous Symphony No. 104, London. Such chamber arrangements were common and provided a good opportunity for people to hear the works for the first time or relive a concert experience. Salomon arranged all of the London Symphonies for this chamber grouping and they reveal his deep understanding of Haydn's music and character as we do not lose any of the magic of Haydn's symphonic intention in the translation. Salomon's arrangements have been highly praised by Christopher Hogwood who extensively researched them and made new 'modern' editions of the works.
It is a great pleasure to commence the year with the immersive all-H aydn experience. The program focuses on his time in London, towards the latter part of his career. Haydn was a versatile composer, and this program reflects three distinct characteristics of his music. His London flute trios represent the light style of chamber music intended for middle and upper class amateurs to play in their own homes for entertainment. This kind of music would have generated income for the composer while increasing his fame. It is also delightful to play and listen to. Of course, Haydn was already a famous composer by the time he came to London in I 791 and he reported that he was very busy with many people wanting to meet with him, so there wasn't a great need for him to worry about increasing his fame.
Skye McIntosh ARTISTIC DIRECTOR & VIOLIN
He did however begin to turn his attention to the further development of his style of string quartet writing. The Op. 7 4 No. 3 String Quartet, known as The Rider, which we present here today, is considered to be at the pinnacle
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About The Music throughout the whole city, and I went
FranzJoseph Haydn (1732 - 1809): London
the round of all the newspapers for three successive days. I was stared at and greeted
At the end of the 18th century London was a city of musical opportunity. Subscription concerts, opera, and sacred music vied for the public ear. The financial expansion of the middle class was injecting money into the musical market, begetting a wider range of offerings and a thriving black-market in concert tickets and pirated print music. Public concerts were a place to be seen: fashionable people attended only in part to listen to the music. But there was also an established and dedicated group of expert critics and connoisseurs. Both groups were enthusiastic about music, especially new music. In this environment, foreign musicians were seen to bring the most exciting and innovative performances. They were prized, and attracted the greatest audiences.
by a great number of English compliments. I was assured that such honours had not been conferred on anyone for fifty years. All this, my gracious lady, was very flattering to me.
By the time of Haydn's second visit in 1794, war with France had created a more difficult environment for public concerts. Audiences had declined and competition was fierce. The nobility and wealthy middle class continued the tradition of staging their own concerts, sometimes employing whole orchestras to perform in their private rooms. More common, though, were smaller affairs involving chamber and vocal music, and for these there was a great need for music. All the pieces on today's program were intended for London audiences. They were crafted to entertain, but also to engage the emotions and the intellect. All the lonely but productive years in Esterhaza, where Haydn was "forced to become original" through isolation, contributed to the skill and inventiveness of these late compositions. Haydn knew his public to be appreciative - his time in England was the happiest and wealthiest of his life. His capabilities as a composer were in demand, and he had the support to utilise them to the full.
Haydn was already a famous name in London. Negotiations to bring the esteemed composer to England had been brewing for many years. But it was only in 1791 - following the death of Haydn's music-loving employer, Prince Nikolaus Esterhazy - that Haydn was free to accept an offer. The impresario Johann Peter Salomon (1745 -1815) secured H aydn's first visit to London. Salomon was an excellent violinist and composer, but most successful as an organiser of concerts. In 1790 he travelled to Vienna to accompany Haydn on the arduous journey to London, arriving on New Year's D ay in 1791. It was immediately worthwhile. As Haydn wrote in a letter to his friend Maria Anna von Genzinger: My arrival caused a great sensation
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London Trio in G major for flute, violin, and cello, Hob. IV:3 (1794)
London, and his intention to return - they have a brilliance which was sure to appeal to audiences. The Rider in particular is a work in which H aydn is at his most inventive. Ostensibly in a dark G Minor, it slips into bright G Major so often that it prompted the 20th century musicologist Hans Keller to say that it is "musical history's first work centred on a home tonality rather than a home key".
I. Spirituoso II. Andante III. Allegro
Haydn was well aware of the growing popularity of the flute in London. Originally composed for two flutes and cello, the four London trios are equally effective with two violins, or a flute and violin combination. The set was written as a gift for Haydn's host Anne Hutchinson, the wife of the Baron of Aston, on the occasion of Haydn's second visit to London in 1794.
LISTENING GUIDE
Op. 74 no. 3 has received the nickname The Rider or "Horseman" in response to the "galloping" theme which opens the final movement. It is not certain who coined this name, although Salomon was known for naming H aydn's compositions to make them more memorable to the public. The quartet opens with an introduction, possibly intended to silence the famously talkative London audiences. Unlike the other quartets in the set, H aydn takes motifs from the introduction and uses them in different forms throughout the movement. Listen for returns of the "crushed" short notes, and notice how he uses the rising arpeggio leaps and repeated notes in diverse ways. This method of developing motivic fragments into larger works is a hallmark of Haydn's compositions, and his mastery fascinated composers such as Mozart and Beethoven.
Works of this kind are light and enjoyable. They were intended for daily consumption and often quickly disappeared into forgetfulness. The London trios were forgotten until 1909, but are now a beloved part of the chamber music repertoire. When listening to the trio in G Major Hob. IV:3 it is easy to imagine the delight the Baron's household must have felt at its joyous opening movement. The three instruments continually swap roles, imitating and accompanying one-another. They embark on impressive passagework, only to be pulled up unexpectedly by the minor mode. The second movement is a contemplative andante, the swinging metre and the tone of the flute suggesting a pastorale. The final allegro takes the contentment of the andante and spins it forth in an elegant celebration of the capabilities of the three instruments.
The second movement is in the key of E Major, a distant key from G Minor. Haydn ends the first movement in G Major to at least remain in the Major mode and therefore provide a somewhat smoother link to the second movement. But the note which begins the Largo assai is still a shocking half-step higher than the closing note of the first movement. It feels like a completely new beginning, and contributes to the other-worldly and ethereal quality of the second movement.
String Quartet Op. 74 No. 3 in G minor Hob. III:74 The Rider (1793) I. II. III. IV
Allegro Largo assai Menuet; Allegretto Finale: Allegro con brio
This quartet is the most famous of the six "Apponyi" quartets (op.71 and 74) written between the two London visits. All these quartets reflect Haydn's experience in
Haydn again uses tonality to link the following movements, using the Minor mode for the Merzuet and the Major mode for the Trio 9
(Allegretto)- a reversal of the usual arrangement. The Menuet is subsequently repeated, and the return to G Minor flows into the dramatic opening of the Finale. Here rhythmic tension and harmonic originality make for hard riding. Even the lighter second theme is accompanied with such intensity that it provides no respite. A series of hesitant pauses and passing of figures between the instruments builds to a reconciliation, and the piece closes with agreeable satisfaction.
Johann Peter Salomon 1792. Thomas Hardy, Royal College of Music
Symphony No. 104 in D major, London (1795), arr. Salomon I. II. III. IV
LISTENING GUIDE
The dramatic D Minor introduction of the
London symphony is an example of one of the
Adagio - Allegro Andante Menuetto and Trio: Allegro Finale: Spiritoso
innovations which earned H aydn the epithet the "Father of the Symphony". Its sombre mood and relatively static motion is unusual for a Classical symphony. D Major - the key of the symphony - arrives first with the uplifting Allegro. H aydn used a standard Classical structure, but filled it with evolving melodic fragments which constantly imitate each other and shift in unexpected directions.
The London symphony is the last of Haydn's works in this genre, and the last of the twelve which he wrote for London audiences. In Germany, it is better known as the "Salomon" symphony, in honour of that famous impresario. However, Symphony No. 104 was first performed in the context of the famous Giovanni Battista Viotti's Opera Concerts, not in Salomon's concert series.
The second movement is poised and elegant. Its blissful melody develops first in the strings, giving way to experimental for ays into new keys. Stability alw ays returns, and although the complexity grows and becomes more profound, restraint is never lost. The movement is balanced by the witty Menuetto and Trio, filled with sudden pauses and changes of tempo distinctly undanceable.
It was Salomon, however, who penned the arrangement for flute and string quartet which is performed today. He arranged all the symphonies - a lucrative pastime which fed a seemingly insatiable public appetite for chamber music. Originally scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings, the arrangement necessarily omits some elements of the original. Nevertheless, it retains the character and essence of the symphony, and often the transparency of the small ensemble is perfect for the musical effect. It takes great skill to reduce a work for large orchestra to a small ensemble, and Salomon clearly understood his craft.
The exuberant opening of the final movement is inspired by a Croatian folk-song. The tune is set above a single note drone, evoking folk instruments and the character of street music. It is likely that H aydn knew this song from his home in Esterhaza. The movement builds upon its simple beginning, growing in liveliness to bring the symphony to a triumphant close. Program Notes by Megan Lang
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The Performers 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.
Skye McIntosh, Violin & Artistic Director 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 I 788, and as a regular member of the Australian Brandenburg Orchestra since 20 IO. Skye completed 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.
Nathan Cox, Fortepiano Nathan is completing a Bachelor of Music Honours at the Sydney Conservatorium of Music specialising in early keyboards. At the SCM he has performed many concerts with the Early Music Ensemble including the SCM Centenary celebration concert (2015), and in productions of Purcell's Fairy Qyeen (2016), Cavalli's La Calisto (20 I 7), and Dowling Song Book Project (2016). He has performed as a continuo player with Bach Akademie Australia, Australian Baroque Brass, at the Canberra International Music Festival, the Peninsula Summer Music Festival, the Sydney Baroque Music Festival, and in Handel's Ariodante with the Apollo Opera Collective.
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. Anton Baba, Cello 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.
Nathan is in demand as an early keyboard technician for several major music institutions including the Australian Chamber Orchestra, Australian Brandenburg Orchestra, AHE, and others. Jacqueline Dossor, Double Bass
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
Originally from Sydney,Jacqueline moved to the UK in 2004 to study at the Royal Academy of Music in London. Since graduating, Jacqueline has worked regularly with UK 11
orchestras and ensembles such as the English Chamber Orchestra, the Orchestra of the Age of Enlightenment, BBC National Orchestra of Wales, Welsh National Opera, English Touring Opera, and English National Ballet to name a few.
Orchestra, Ironwood, The Australian Romantic and Classical Orchestra, The Marais Project, Sydney Philharmonia Orchestra, Latitude 37, and the Australian Opera and Ballet Orchestra, among others. 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]aloux, in the Australian Brandenburg Orchestra's Brandenburg Celebrates, on Smorgasbord with The Marais Project, and on touchons du bois with Erin Helyard.
Jacqueline commutes regularly between the UK and Australia, as the principal double bass player for the Australian Haydn Ensemble and occasionally performing as guest principal with Australia's other top period orchestras including Pinchgut Opera/Orchestra of the Antipodes and the Australian Brandenburg Orchestra.
After graduating from the Sydney Conservatorium Melissa undertook post graduate study in modern flute, recorder, and traverso in Amsterdam. She teaches period flute at the Sydney Conservatorium, and was gu est baroque flute lecturer at the Newcastle Conservatorium for 2017.
James Eccles, Viola 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, 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.
Simone Slattery, Violin 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.
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 Farrow, Flute
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.
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 12
2018 Season Haydn & London 08 March 2018- 13 March 2018 Canberra/ Berry/ Southern Highlands/ Sydney HAYDN London Trio in G major HAYDN String Quartet Op. 74 No. 3 in G minor The Rider HAYDN Symphony No. 104 London in D major arr. Salomon
Boccherini's Guitar 24 May 2018- 0ljune 2018 Newcastle/ Southern Highlands/ Sydney/ Canberra/ Berry BOCCHERINI String Quartet Op. 26 No. 4 in A major PORRO/MOZART Grand Trio extrait de Mozart GAN.ALES String Quartet No. 3 in C minor HAYDN String Quartet Op. 51 BOCCHERINI Guitar Quintet G.448 Fandango in D minor
Schubert Songs 10 August 2018- 17 August 2018 Berry I Sydney/ Canberra/ Newcastle SCHUBERT Selected Lieder including Wmterreise - Gute Nacht, Erlk6nig 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. I 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 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? Esterhazy Prince Esterh:izy was the main patron of Haydn.
Galitzin He was an amateur musician and is known particularly for commissioning three Beethoven string quartets Op. 127, 130 and 132
Waldstein Count Waldstein was an early patron of Beethoven
Lobkowitz He was a Bohemian aristocrat and a patron of Beethoven.
Van Swieten He was a keen amateur musician and patron of Haydn, Mozart, and Beethoven.
Razumowsky He commissioned Beethoven's Op. 59 String Quartets.
Patron Professor the Honourable Dame Marie Bashir AD CVO
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CORRECT AT THE TIME OF
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Share the love! A special matched funding donation this year in honour of a loving anniversary. This year, for our annual Summer Matching Fundraiser, two long term admirers of AHE (a married couple) have made a special gift to mark their 50th wedding anniversary. They have offered to match your donation dollar for dollar up to $20,000! This is a wonderful gift to us and we hope you will donate to help us meet our target. Contribute through our website or send a donation to: Level 1, 16-18 Oxford Square, Darlinghurst, 2010
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WINE PARTNER
ECJ
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HARPSICHORD PARTNER
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Australian Haydn Ensemble is a not for profit organisation ABN 26 202 621 166 Level 1/16-18 Oxford Square DarlinghurstNSW 2010 1800 334 388 (Freecall) australianhaydn.com.au admin@australianhaydn.com.au
Administration
Patron
Skye McIntosh
Professor the Honourable Dame Marie Bashir AD
GENERAL MANAGER
Stephen Bydder
cvo
ADMINISTRATOR
Marguerite Faxon DEVELOPMENT MANAGER
Board
Jacqueline Dossor
Marco Belgiorno-Zegna AM
DIGITAL MEDIA
CHAIR
Details in this program are correct at time
James Eccles
of publication. Australian Haydn Ensemble reserves the right to add, withdraw or substitute
Carolyn F letcher AM
EDUCATION PROGRAMS
artists and to vary the program and other details without notice. Full terms and conditions of sale
Vi King Lim
Tom Gregory
SCORE SERVICES
Skye McIntosh
Joanne Crumpton
Dr Timothy Pascoe AM
available at our website australianhaydn.com.au or on request.
BOOKKEEPER
In-Kind Supporters Peter Carr-Boyd
JanetNinio
Maria Cox
Neal Peres Da Costa
Jacqueline Dossor
Gregory and Wendy See
Marguerite Faxon
Annie and Anthony Whealy
19
Boccherini's Guitar 24 May-1 June 2018
Newcastle • Southern Highlands • Sydney • Canberra • Berry
BOCCHERINI String Quartet Op. 26 No. 4 in A major PORRO/MOZART Grand Trio extrait de Mozart for guitar, violin and cello from Mozart's Violin Sonata K.304 in G major
HAYDN String Quartet Op. 51 The Seven Last Words of Christ our Saviour on the Cross - Introduction, Sonatas No. 2, 5 and 7 BOCCHERINI Guitar Quintet G.448 Fandango in D minor
CANALES String Quartet No. 3 in C minor
AHE
AUSTRALIAN I HAYDN
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