Haydn's Farewell 2018

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

Haydn•s Farevvell

December 2018

Skye McIntosh, Artistic Director and Violin

Dr Erin Helyard, Guest Director and Fortepiano Soloist

JC.BACH

Symphony in G minor Op. 6 No. 6 [13 MINS]

MOZART

Piano Concerto No. 12 in A major K.414 [26 MINS]

INTERVAL [20 mins]

MOZART

Rondo for Piano and Orchestra in A major K.386 [8 MINS]

HAYDN

Symphony No. 45 in F sharp minor (The Farewell) Hob. I :45* [35 MINS]

* Glen Hamilton, Theatrical Director James Eccles, Theatrical Concept

Canberra Sydney Thursday 13 December 7.00pm The Albert Hall, Yarralurnla

Sunday 16 December 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music

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TheEnsemble

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 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.

In 2016 the group released its debut ABC Classics recording TheHaydnAlbum 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 20I 7 AHE released a new CD on the ABC Classics label. BeethovenPiano ConcertosNo. 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

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), Melvyn Tan (UK) and Simon Martyn-Ellis (USA) as well as singers 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 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, 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.

The musicians on period instruments

Skye McIntosh Artistic Director, Violin

Erin Helyard Guest Director, Fortepiano soloist

VIOLIN

Skye McIntosh' Matthew Greco•

Stephen Freeman

Annie Gard

Myee Clohessy

Anna McMichael

Alice Rickards

Miranda Hutton

* Section Leader

VIOLA

Gabrielle Kancachian' James Eccles

CELLO

Daniel Yeadon' Anton Baba

DOUBLE BASS

Jacqueline Dossor

OBOE

Amy Power

Kirsten Barry

BASSOON

Simon Rickard

HORN

Michael Dixon

Doree Dixon

ArtisticDirector's Message

I am delighted to welcome back our dear friend and regular collaborator Erin Helyard, as soloist and Guest Director for this fabulous finish to our 2018 season.

J.C. Bach is often remembered for his notable influence on the young Mozart. He was also one of the most successful and respected composers of his time. His music often reflects the lighter galant style that was particularly popular in London during the late eighteenth century. Today we perform his Symphony in G minor Op. 6 No. 6, influenced by the drama of the Sturm undDrang style, although it is more often associated with his brother C.P.E. Bach.

Mozart's Piano Concerto No. 12 was written the year afterJ.C. Bach passed away. The beautiful slow movement in this concerto pays homage to Mozart's mentor by quoting an overture thatJ.C Bach wrote for Galuppi's opera La Calamitadei Cuori. The Rondo performed in the second half of the program was originally intended as an alternate third movement for the concerto and so I thought it would be appropriate to present it alongside the concerto. We are particularly grateful to Ivan Foo for the generous loan of his fortepiano for this tour.

The program finishes with Haydn's wonderful Farewell Symphony. Haydn manages, in his usual genius way, to marry humour to great musical beauty and depth. The work was written with the intention to 'make the point' to Prince Esterhazy that it was time for the musicians to go home to their families after an extended period of time at the summer palace. Haydn engineered this by having the musicians leave the stage one by one at the end of the last movement, until there were only two violins left to finish the work. We thought this was a fitting and fun way to end our year and send everyone offfor the holidays! We hope you enjoy it.

Skye McIntosh Artistic Director & Violin

AboutTheMusic

JC.BACH

Symphony in G minor Op. 6 No. 6

I. Allegro

II. Andante piu tosto adagio

III. Allegro molto

Every year from 1765, on Wednesdays, music-lovers of London attended the 'Soho Subscription Series' at the elegant Carlisle House. There they enjoyed one of the finest orchestras in the world, primarily performing the music of J.C. Bach. Bach was manager and co-founder of these concerts in partnership with the composer and viola da gamba player Carl Friedrich Abel. The ensemble boasted a full set of woodwind players, including clarinets, and skilled string players capable of delivering the contrasts and colours so admired by the British public. Indeed, mastery of contrasts was the foundation of J.C. Bach's great success in London, so much so that the contemporary historian Charles Burney wrote that he was the first composer to observe the law of contrast "as a principle". Bach composed to the taste of his admiring public. He used clear structures which showcased his original thematic ideas and composed simple yet highly expressive melodies for his slow movements. He wrote symphonies, overtures, concertos and sonatas, but also popular songs, Scottish ballads, dances, and pastorals. His love of theatre was represented by popular arias from his operas.

Bach's compositional style was very different to that of his father,J.S. Bach, and older brothers, C.P.E. and WF. Bach. He was the first in his family to spend time in foreign lands, moving to Italy at the age of 20 where he converted to Catholicism to smooth the way for performances of his works in Italy. His conversion made him an outcast in his home

region, and seven years later he moved to London, where he would stay for the rest of his life asjohn Bach.

Bach's symphony Op. 6 No. 6 is one of the rare occurrences of a Classical symphony in a minor key. It was composed in the 1760s, certainly before 1769, and was probably heard at the Soho Subscription Series. The first movement is dramatic and dark, full of driving rhythms and sudden changes of direction and timbre. Even the sweeter second theme never quite releases intensity. The second movement is composed of singing melodies which might have been soothing were they not supported by pulsing inner voices full of tension. The final movement is fierce and unresolved, denying a sense of closure even in its final gesture. The symphony is often compared to the famous 'little' G minor symphony of Mozart. Both pieces share the drama and energy of the Sturm undDrang tradition using rhythmic syncopation and juxtaposition of contrasting harmonies and melodies to achieve effect.

MOZART

Piano Concerto No. 12 in A major K.414

I. Allegro

II. Andante

III. Allegretto

J.C. Bach had a great deal of influence on the music of Mozart, although he may not have known it. Mozart became enamoured of Bach when he was 8 years old, during his first trip to London. His sister, Nannerl, wrote of their meeting:

HerrJohann Christian Bach, music master of the queen, took Wolfgang between his knees. He would play a few measures; then

Wolfgang would continue. In this manner they played entire sonatas. Unless you saw it with your own eyes, you would swear that just one person was playing.

Mozart recognised thatJ.C. Bach's music pointed the way to the future. He began to avidly transcribe Bach's music, recasting three sonatas, Op. 5, as some of his first keyboard concertos. Many of Mozart's early symphonies share similar keys, tempo markings, scoring, and character with works by Bach. This deep impression is touchingly expressed in the slow movement of Mozart's piano concerto No. 12 in A major K.414, based on a theme from the central movement of Bach's overture La calamita de'cuori. The piece was apparently written as a tribute to the older composer, who had died earlier in I782.

The concerto No. 12 was one of three concertos in A major which Mozart wrote that year. These concertos were among the first he composed upon moving to Vienna, leaving his family home in Salzburg. They were intended not only to showcase his own abilities as a composer and performer, but also to appeal to Viennese amateur musicians who could buy the music on subscription. Mozart described these works as:

...a happy medium between what is too easy and too difficult; they are very brilliant to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less discriminating cannot fail to be pleased, though without knowing why.

To accommodate the sale of his concertos, Mozart supplied them with full orchestral accompaniment including winds or the option to perform them 'a quattro' with two violins, viola, and violoncello. Although born of pragmatism, Mozart's work is no less vibrant

in the transcription for smaller ensemble. The piece is remarkable for the number of themes appearing in the first movement - there are six instead of the usual two. The final movement appears light and simple, but conceals cleverly hidden counter-melodies, clearly intended for 'connoisseurs'.

MOZART

Rondo for Piano and Orchestra in Amajor K.386

Edited by Alan Tyson, partially reconstructed by Charles Mackerras

When Wolfgang Mozart died in 1791, his widow Constanze faced a daunting prospect. She had a young baby and a seven-year-old son to provide for. However, Constanze was fortunate. Georg Nissen, a Danish diplomat who later became her husband, offered to help. Together they gathered together Mozart's manuscripts, organised them, and sold them to publishers. Even fragmentary works were sold - such as the Rondo K.386. When this work was offered to the publisher Andre, it was already missing its final page, as noted in Nissen's handwriting on the title lea£ Andre chose not to publish, and instead sold it in its incomplete form as a collector's item. The work made its way to England and in 1838 the English composer, pianist, conductor, and teacher Cipriani Potter arranged it for solo piano, including an ending of his own devising. After this time, the manuscript was separated into yet more fragments, which have resurfaced at different times. In 1963, Charles Mackerras and Paul Badura-Skoda created a performance version comprising some original leaves and parts of the version by Potter. In 1983, Alan Tyson discovered more of the missing leaves in a miscellany in the British Library and created the version heard today. Intriguingly, the pages he discovered were the final leaves, which had apparently been missing since Constanze Mozart sold the work after Wolfgang's death.

However, it seems that there are at least four pages of the original 16 still at large.

The Rondo was composed in October 1782, around the same time as the A major piano concertos. It is likely that it was originally conceived as the final movement of K.414, and it is sometimes performed as such. Certainly, there are themes in this movement which are similar to some in the first movement of K.414. Whatever the case, it is a popular and engaging piece which has come down to us against all the odds.

HAYDN

Symphony No. 45 in F sharp minor (The Farewell) Hob. I :45

I. Allegro assai

II. Adagio

III. Menuet e Trio: Allegretto

IV Finale: Presto Adagio

The background to this extraordinary symphony is well-known. Frustrated at an extended period spent at the country estate away from friends and family in Eisenstadt, Prince Nikolaus Esterhazy's musicians staged a gentle rebuke for their master. In the final Adagi,o, one by one the musicians stopped playing, extinguished the candle lighting their music, and left the stage. Finally, only two muted violins were left - Haydn and concertmaster Luigi Tomasini. The message was clear, and apparently understood: the next day the order came to return to Eisenstadt. This story, although intriguing, has tended to obscure other unusual characteristics of this symphony. It is the only known symphony in the key of F sharp minor - unusual enough that Haydn was obliged to order new crooks for the horns to accommodate the required notes. This implies some planning, showing that Haydn had harboured the intention to use such an unusual key.

The first movement opens with a simple falling arpeggio with resolution, underscored by energetic lower strings and a plaintive countermelody originally for oboe. Remarkably, in this simple idea almost all the material for the movement can be found. Haydn breaks his arpeggio theme into motifs, fragments of the original rhythmic and harmonic structure. The way he spins these small musical ideas into such an expressive tapestry is testament to his abilities as a composer. He uses changes of harmony in unexpected places and suddenly introduces a second theme in a major key -a brief and not-to-be-repeated reprise from the stormy character of the movement.

The second movement gains its character from the use of Lombardic rhythm, also known as "scotch snap", and derided by some writers of the 18th century as an example of bad taste. Haydn notates no less than three different types of this rhythm, which creates a kind of 'hiccup' effect. He also includes places where the music cannot seem to decide on a key, adding to the overall sense of disorientation, albeit in elegant surrounds.

The minuet is not at all standard. It has barely begun before a surprising major chord interrupts. It proceeds in an entirely undanceable fashion, ending without resolution. Following this, the final movement seems to be adhering to convention. It flows with balanced phrases and energetic character typical of a finale. Then, in the recapitulation, an entirely new section suddenly begins, marked adagi,o. This is the section in which each voice is progressively marked 'nichts mehr' ('no more') and which saw the departure of the musicians from the stage.

Programnotes byDrMeganLang

DrErin Helyard

GuestDirector

Erin Helyard has been acclaimed as an inspiring conductor, a virtuosic and expressive performer of the harpsichord and fortepiano, and as a lucid scholar who is passionate about promoting discourse between musicology and performance. Erin graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in fortepiano performance and a PhD in musicology with Tom Beghin at the Schulich School of Music, McGill University, Montreal. He was named the Westfield Concert Scholar (Cornell University) on fortepiano for 2009-2010 and from 2003 to 2012 Erin was a central member of the awardwinning Ensemble Caprice (Montreal).

As Artistic Director and co-founder of the celebrated Pinchgut Opera and the Orchestra of the Antipodes (Sydney) he has forged new standards of excellence in historically informed performance in Australia. He has conducted from the keyboard performances of Purcell's Fairy Qy,een (Montreal Baroque Festival), Cavalli's L'Ormindo, Purcell's Dioclesian, Vivaldi's Griselda, Cavalli's Giasone, Salieri's The Chimney Sweep, Vivaldi's Bajazet, Gretry's L'amantjaloux, Handel's Theodora, Rameau's Pigmalion and Anacreon, Monteverdi's Coronation qf Poppea (all for Pinchgut), Handel's Acisand Galatea (NZ Opera), Handel's Orlando (Hobart Baroque), Purcell's DidoandAeneas, and Handel's Faramondoand Agrippina (Brisbane Baroque).

Operas under his direction have been awarded Best Opera at the Helpmann Awards for three consecutive years (2015-2017) and in 2017 he was awarded a Helpmann for Best Music

Direction for Handel's Saul at the Adelaide Festival in a feted revival of a Glyndebourne production directed by Barrie Kosky. As a conductor Erin has distinguished himself in dynamic performances with the Adelaide, Tasmanian, and Queensland Symphony Orchestras and the Australian Haydn Ensemble. Helyard duets in nineteenth century repertoire on historical pianos with renowned Alkan exponent Stephanie McCallum and on fortepiano and harpsichord he has recently been described as '½ustralia's most engaging soloist" by Limelight magazine. In 20I 7 he was awarded a major Australian Research Council Discovery Grant for a collaborative project entitled Performing Transdisciplinariry:Image, Music, and TextinEighteenth Century Print Culture. He is currently Senior Lecturer at the Melbourne Conservatorium of Music and appears by kind courtesy of that institution.

Fortepiano Played by Dr Erin Helyard

Chris Maene, Brussels, 2014, replica of Anton Walter, Vienna, c. l 795*

The fortepiano is the ancestor of the modern piano but has a wooden frame, unlike the modern piano that has a brass harp. The much lower tension allows the fortepiano to offer a bright, clear tone. Its notes are softer in timbre as well as volume, and decay rapidly.

Fortepianos tend to have quite different tone quality in their different registers - slightly gritty and buzzing in the bass, tinkling and flute-like in the high treble, and nasal and more rounded in

the mid-range. In comparison, modern pianos are rather more uniform in sound through their range.

The shallow key dip and light touch allow for great rapidity of playing. The dampers are raised by a knee-lever, as is the moderator which interposes a strip of thin cloth between hammer and string to provide a muted effect.

Erin is playing on a replica of an instrument made by Anton Walter and now housed in the Germanisches Nationalmuseum Niirnberg. Due to the success of his business,Walter was granted the title of ImperialRoyal Chamber Organ Builder andInstrumentMaker in 1790 and was considered the most famous Viennese piano maker of his time.

Bartolomeo Cristofori built his first fortepiano in Italy in 1698, but it was Germany with Gottfried Silbermann who made the pianoforte more popular in the first half of the eighteenth century. In the second half of the eighteenth century,Johann Andreas Stein from Augsburg was very famous when he invented the German Prell mechanic and the knee-levers for the dampers.

At the end of the eighteenth century, Gabriel Anton Walter developed the Stein action into a more advanced 'Viennese action'. Anton Walter (1752-1826) made organs, harpsichords and fortepianos. When Vienna became an important piano centre in Europe, he moved to Vienna to develop his business. Five octave instruments were common in this period, and Walter was considered the most famous fortepiano maker of his time.

Many composers and artists admired his instruments, such as Mozart who bought a Walter piano in 1782 and used it until his death in 1791. It inspired him to write not only his solo and chamber music with fortepiano in the last 10 years of his life, but he used it in one of

the most important phases of his career, the composition and highly successful premieres of his mature piano concertos.

According to Mozart's son Carl "Most remarkable is thewing-shapedAanofortefarwhuh myfather hada specialpreferenceto suchadegreethathenot only wantedtohave itinhisstudy allthe time, but exclusively usedthisandnoother instrumentinallhis concerts, regardlessefwhether they tookplace incourt, in thepalacesefnobl,emen orin theatresorotherpublic places". Beethoven had several pianos, including a Walter, which Czerny played on when he had lessons with Beethoven.

The fortepiano in this performance was made by Chris Maene, Brussels, and is a replica of the Anton Walter in the Germanisches Nationalmuseum Niirnberg. As with the original, it has a very light touch, an improved repetition with leather hammers and dampers.

Technical data:

Compass: FF - g3

Dimensions: L 219 cm / W 98 cm

Case: pyramid mahogany, hand polished

Keyboard: naturals in ebony, sharps in bone tops

Action: Viennese with brass capstans/ hammers and dampers in leather Knee levers: damping, moderator

* Fortepiano kindly loaned by Ivan Foo, Sydney.

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.

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

Esterhazy $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

PeterWeiss AO

Waldstein $10,000-$14,999

Martin & Ursula Armstrong

Mark Burrows AO

Kevin & Deidre McCann

Karin Keighley

Justice Anthony Whealy & Annie Whealy

Anonymous (2)

Van Swieten $5,000-$9,999

Mark & Carolyn Bethwaite

Ron & Suellen Enestrom

John Fairfax AO & Llbby Fairfax

Dr Marguerite Foxon

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

Eclci & Celia Bischoff

Graham Bradley AM & Charlene

Bradley

Tony Burrell & Hilary Steel

Peter & Anita Carmody

Michael & Colleen Chesterman

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Terry &Julie Clarke

Alison Clugston-Cornes

Jean Cockayne

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Dr Nola Cooke

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Peter & Prudence Davenport

Catherine Davies

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Richard Fisher AM & Dianna

Marian Flynn

Ivan Foo

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Andreas & Inn Ee Heintze

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Peter & Llnda Kurti

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Mansfield OAM

Llbby Manuel

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The Smithers Family

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Kay Vernon

Lesley Whalan & Wendy Calisle

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Carla Zampatti AC

In Memory of Bill Harris AO

Anonymous (7)

Lobkowitz $500-$999

Ann Armstrong

John Baird

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Alex & Edwina Mclnnes

Tony Minchin

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Nick Payne

Mary Rose-Miller

Jill Townsend

Lady Meriel WIimot-Wright

Anonymous (2)

In memory of Frank Bradley

Razumowsky $50-$499

David &Jill Adams

Geoff & Rosie Adams

Glenn &Jillian Albrecht

William Armitage

James Ashburner

Stephen Baggaley

Anthony & Lurlene Bailey

Timothy Bailey

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Dame Marie Bashir AD CVO

Robin Bass

Ken Baxter

Andrew Blanckensee

Bruce & Graziella Bland

Erica Booker

Jennifer Bott

Jan Bowen AM

Margaret Bradley

Janet Britton

Malcolm Brooks

Charlotte Brown

Russell Burgess

Dr Andrew Byrne

Edmund Capon AM OBE &Joanna

Capon OAM

Robert &Josephine Carr

Richard Chisholm

George H Clark

Myee Clohessy

Margaret Cooper

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Sarah Curro

Rhonda Dalton

Pastor de Lasala OAM

Don Debus

Jennifer Dewar

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George Drew

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Maria & Bob Elliot

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Peter Hislop

Ann Hordern

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John & Pat Howard

Catherine Ikin

David Irving

Paul & CarolJames

MargaretJohnson

MargaretJulian

Gabrielle Kancachian

Lisa Kawai

Janice King

DrJoan Kitchin

Lynette Kok

Harriet Lenigas

Andrew Lloyd:James & Dr Patricia

Richardson

Peter LowryOAM & Dr Carolyn

LowryOAM

Charles Manning

Kathleen Marriott

Elbert Mathews

Kirsty McGahan

Alan McCormack

Terry & Catherine McCullagh

Stephen McDonald & Mindy Green

Wendy McLeod

Paul & Betty Meyer

Richard Milner

Dr David & Michelle Moddel

Giancarla Montagna

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

Tony Stirton

Elizabeth Storrs

Lady Penny Street

Jane Styles

Dr Rnpert Summerson

Susan Tanner

Matt Taylor

Janet Tomi

Ian Tanking

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Ailsa Veizedeh

Theanne Walters

Dr Frances Whalan

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Gerard Windsor & Louella Kerr

Michael Winnett

Anonymous (24)

Correct at the time of printing

SupportAHE

The generosity and loyalty of our donors has enabled AHE to bring the music of Haydn and his contemporaries to audiences and students in Australia and abroad. Help us to continue with this vital work by contributing through our website or sending a donation to:

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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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Alicia Gibbons General Manager

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