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Canberra
Larry Sitzky Recital Hall
Saturday 20th Dec, 6pm
Sydney
Sydney Opera House - Utzon Room
Thursday 18th Dec, 7pm
Sunday 21st Dec, 2.30pm
Concert duration approx 120 min (with 20 minute interval)
‘CPE BACH’S
300TH ANNIVERSARY’DECEMBER 18TH - 21ST 2014
AUSTRALIAN HAYDN ENSEMBLE
SPONSORED BY
The Players
on Classical Period Instruments
Artistic Director - Skye McIntosh
Director - Erin Helyard
Guest Leader - Catherine Mackintosh
Cello Soloist - Daniel Yeadon
Fortepiano Soloist - Neal Peres Da Costa
Orchestra:
Violin 1
Catherine Mackintosh
Matthew Greco
Stephen Freeman
Myee Clohessy
Anna McMichael
Violin 2
Skye McIntosh
Simone Slattery
Raphael Font
Cath Shugg
Viola
James Eccles
Heather Lloyd
Cello
Daniel Yeadon
Anthea Cottee
Anthony Albrecht
Double Bass
Jacqueline Dossor
Flutes
Melissa Farrow
Mikaela Oberg
Horns
Darryl Poulsen
Doree Dixon
Harpsichord
Erin Helyard
Fortepiano
Neal Peres Da Costa
Keyboards supplied in kind
by Neal Peres Da Costa
& prepared by
Carey Beebe Harpsichords
AUSTRALIAN
HAYDN
ENSEMBLESince its formation in 2011, The Australian Haydn Ensemble has quickly
established a reputation as a high calibre period instrument group specialis-
ing in late baroque and early classical repertoire. Its rapid success has !rmly
established it as a strong presence in the Australian music scene. Under the
Artistic direction of Principal violinist Skye McIntosh, the AHE has developed a
"ourishing series at the Sydney Opera House Utzon Room and at the Austra-
lian National University as 2014 Ensemble in residence.
The ensemble has presented a host of unique chamber music and orchestral
programs working with a range of world-class musicians including Neal Peres
Da Costa, Erin Helyard, Catherine Mackintosh (UK) and Marc Destrubé (Cana-
da). Based in Sydney, The Australian Haydn Ensemble has become a regular
!xture at the Sydney Opera House presenting four programs annually in the
intimate Utzon Room environment. The AHE is particularly interested in
presenting unusual programs of chamber versions, both historical and new, of
well loved symphonic works from the early classical era, as well as lesser
known contemporaries of the composers we know and love.
The Ensemble brings together a wealth of expertise from !rst class Period and
Modern ensembles and orchestras from all over the world, such as: The
Australian Brandenburg orchestra, The Australian Chamber Orchestra, The
English Chamber Orchestra, Orchestra of the Age of Enlightenment (London),
The Irish Chamber Orchestra, Berliner Sinfonie Orchester, Little Baroque
Company (London), Pinch Gut Opera (Orchestra of the Antipodies), Salut!
Baroque, New Dutch Academy (Holland), The Gabrielli Consort (London), The
Melbourne Symphony Orchestra, Opera Victoria, The English Baroque Soloists
(London), Welsh National Opera, English National Opera & Ballet (London),
The Noise (Contemporary String Quartet (Sydney), Collegium Musicum Den
Haag, Musica Poetica, Concerto d’Amsterdam, Sydney Omega Ensemble, Les
Talens Lyriques, Juilliard415 and Orchestra of the Romantic Revolution.
‘CPE BACH’S 300th ANNIVERSARY’
PROGRAM
Joseph Haydn - Symphony no. 22 ‘The Philosopher’ in
E-Flat major, Hob.I:22, 1764, Vernier Version from 1773
I. Presto (from 1764:II)
II. Andante grazioso
III. Finale: Presto (from 1764:IV)
CPE Bach - Concerto for Harpsichord & Fortepiano in
E-"at Major, Wq. 47, 1788
I. Allegro di molto
II. Larghetto
III. Presto
INTERVAL
CPE Bach - Sinfonia in C major, Wq. 174, 1755
I. Allegro assai
II. Andante
III. Allegro
CPE Bach - Cello Concerto in A minor, Wq. 170, 1750
I. Allegro assai
II. Andante
III. Allegro assai
PROGRAM NOTES
In 2014 we celebrate the 300th anniversary of the birth of Carl Philipp
Emanuel Bach, the second surviving son of J.S. Bach. Concerts featuring CPE
Bach’s music have been held this year throughout the world, and the
Australian Haydn Ensemble has chosen to !nish its 2014 season in his honour.
Carl, for too long neglected in the shadow of his great father’s legacy, was one
of the 18th century’s most enigmatic and creative composers, to whom we as
performers and audiences of the historically informed tradition owe an
enormous debt.
Despite having lost many of his nearly 1000 compositions to the ravages of
time, Carl’s surviving repertoire is an extraordinary demonstration of the
con"uence, contrasts and diversity of the pervading musical and cultural
styles of his day, including the elegant Galant, the passionate Emp ndsamer
Stil and the dramatic Sturm und Drang. In addition to numerous works for
chamber ensemble, orchestra and keyboard, including over 50 concertos, he
wrote 21 settings of the Passion of Christ (his father only composed two
surviving settings!) and three magni!cent oratorios. As equally important as
the astounding Emp ndsamkeit or sentimentality of the musical language he
has left to us, Carl was also a renowned educator, credited with the
foundation of the Bach School, the students of which were “received in all of
Europe with enthusiasm”.
Carl’s seminal text was his Versuch über die wahre Art das Clavier zu spielen (An
Essay on the True Art of Playing Keyboard Instruments), a pedagogical
two-part volume focusing on keyboard technique, but more importantly on
the establishment of good taste in performance and
composition. The Versuch is one of a number of very important treatises to
emerge from Berlin in the second half of the 18th century, such as those by
the "autist Quantz and the composer Kirnberger, however Carl’s work was
disseminated widely as soon as it was published, extending his in"uence
throughout Europe and revolutionising the approach to keyboard !ngerings,
including standardising the use of the thumbs. Our understanding of style in
the performance of the music of this time, particularly in the speci!cs of
articulation, phrasing and melodic shaping, is greatly enhanced by this
treatise, continuing the tradition of the Bach School into the 21st century.
This program presents two CPE Bach works from his Berlin period, where he
was in the service of Frederick the Great, and one from Hamburg, where he
took over as Director of Music from his Godfather, Georg Philipp Telemann, in
1768. These works o*er a glimpse of the vibrancy, dramatic "air, sensitivity
and humour inherent in his compositional style. First up however is a tribute
to our namesake composer, Joseph Haydn.
Joseph Haydn - Symphony no. 22 ‘The Philosopher’ in E-Flat major,
Hob.I:22, 1764, Vernier Version from 1773
I. Presto (from 1764:II)
II. Andante grazioso
III. Finale: Presto (from 1764:IV)
Haydn’s early years at Esterháza as Vice-Kapellmeister, between 1761 and
1765, are often described in program notes as an experimental period.
However, considering the magni!cence of the court, the outstanding quality
of the musicians at his disposal and the radiant virtuosity of his approximately
25 symphonies from this highly productive period, such an assessment is
somewhat misleading. As Webster describes, “there are works for
connoisseurs, others that seek to entertain and still others that combine both
stances”. Haydn also very successfully explored programmatic or
extra-musical e*ects during this period, including the Matin-Midi-Soir trilogy
(the Morning, Noon and Evening symphonies which will feature in our 2015
season), the Alleluja, Hornsignal and possibly the Philosopher symphonies. The
period demonstrates a composer who knew what he wanted, and who was in
the enviable position of having the resources to manifest it in his music.
Symphony No.22 earns its nickname not directly from Haydn but rather from
an inscription on a manuscript copy from Modena dating to 1790, towards
the end of the composer’s lifetime. The !rst movement of the original version
features a highly charismatic, thoughtful bassline and an unusual dialogue
between horns and cor anglais, e*ects which are thought to have inspired
the nickname. We have chosen to explore the rarely-performed second
version of the symphony, however, published by Venier, Paris in 1773, which
utilises "utes instead of cor anglais and cuts the characteristic 1st movement
as well as the 3rd Movement, a Minuet and Trio.
There is still plenty to philosophise about, as it is likely this choice of
instrumentation was made in Paris for the same reasons as we have made it in
Sydney. While the key of E-"at suits the horns, period cor anglais were, and
still are, very rare beyond Esterháza, with the elegant "ute being an obvious
alternative. The second version includes the original second movement, an
ebullient Presto; a spurious new slow movement thought to have been
penned by an inventive Parisian, a very sweet Andante grazioso; and the
original Finale, a hunting Presto. Reduced down to the typical duration of a
CPE Bach symphony, this Philosopher is a more compact but extremely excit-
ing three-movement opening to this evening’s performance.
CPE Bach - Concerto for Harpsichord & Fortepiano in E-"at Major, Wq. 47,
1788
I. Allegro di molto
II. Larghetto
III. Presto
"More is lost by incorrect !ngering than can be compensated for by all the art
and good taste in the world", claims CPE Bach in his famous treatise, Der
Versuch. Fancy !nger-work abounds in the second work on our program, the
only concerto in the repertoire for this inter-generational combination of
instruments. There are numerous positive reports from Hamburg audiences
as CPE Bach began to transition to the fortepiano for his solo performances in
the late 1770s. The choice to combine old and new in this concerto, a decision
made in the last year of his life, is typical of Carl’s unique awareness of and
penchant for demonstrating historical change. Within his treatise CPE Bach
criticises many outdated techniques of accompaniment, as well as the
opinions on keyboard playing of his (higher-ranked) colleague in Berlin,
Joachim Quantz. It is clear that Carl’s work quickly became the standard
practice however, as twelve years after his death Beethoven began to teach
Czerny based on the Versuch and the Allgemeine Musikalische Zeitung called
him the “the mediate or immediate teacher of all true keyboard players in
Germany”.
It’s likely that this Concerto for Harpsichord & Fortepiano was composed for
Sarah Levy, a well-connected patron and herself a keyboardist in Berlin who
may have commissioned the work to perform alongside her sister. Levy
eventually made a gift of her original autograph manuscript to the director of
the Berlin Sing-Akademie, the organisation responsible for conserving the
largest known collection of the Bach family’s music which is now held in the
Staatsbibliothek zu Berlin.
This concerto serves as a predominantly light-hearted summary of the CPE
Bach keyboard legacy. As with the Haydn Symphony, the work is scored for 2
horns, 2 "utes and strings in addition to the two keyboards. Rather than the
brilliant tutti sound which opens the Haydn and other works on the program,
CPE’s score opens with a lighter upper strings texture and a "ighty violin
motif, followed by loud and manic ensemble interjections. Some beautiful
and lyrical "ute writing is interwoven with the solo keyboard lines
throughout the !rst movement, and the soloists share the melodic material
evenly in a sometimes humorous, sometimes deeply ponderous exchange.
The keyboardists join in complex rhythmic interactions, with virtuosic
"ourishes of quintuplets and sextuplets rising and falling amidst a steady
metric accompaniment in the strings. The second movement is a very tender
a*air between the two solo instruments, supported by a warm bed of
orchestral sound. It’s striking how beautifully the highly articulate but
dynamically challenged harpsichord and the softer tone of the fortepiano
blend in this movement, perfectly illustrating Kellner’s 1787 description of
the key of E-"at major as “indescribably gentle”. The !nal Presto movement is
an unashamedly joyful game between the soloists and orchestra.
- INTERVAL -
CPE Bach - Sinfonia in C major, Wq. 174*, 1755
I. Allegro assai
II. Andante
III. Allegro
“A musician cannot move others unless he too is moved. He must feel all the
emotions that he hopes to arouse in his audience, for the revealing of his own
humour will stimulate a like mood in the listener”. This famous quote from
CPE Bach reveals an artist in pursuit of deep emotional connection with his
listeners, striving for a style of composition !t for the Enlightenment, that
engaged not only with the whims and fancies of the ruling monarch but also
with the philosophers, painters and poets who were beginning to de!ne
social and cultural discourse from a more secular standpoint.
This symphony is of concise and compact design, each of the movements
designed harmonically to "ow quickly into the next, drawing in and delight-
ing the listener with its dramatic shifts in mood and tempo and the arresting
language of the Emp!ndsamkeit. The !rst movement is an exhilarating ride of
vivacious melodic material in the violins and "utes on top of a brash and
buoyant bassline and resounding horns. In 1784 Schubart described the key
of C Major as “completely pure. Its character is: innocence, simplicity, naivety”,
however CPE Bach quickly interrupts this purity with
tempestuousness and outrage in the minor key. The !rst movement subsides
suddenly into the “complaisance and calm” that Schubart ascribes to F major
in the second movement. The beauty of this movement verges on the
sublime, violins and "utes in unison with a plaintive and sighing !gure, at
times "owing with gentle dignity and at others rising and modulating with
lugubrious passion. The fantasy continues with a revived and jovial !nale in C
which further juxtaposes extremes of dynamic and startling harmonic
intrigues. It is Carl’s incredible command of the emotive powers of music that
led Mozart to declare "Bach is the father. We are the children!"
CPE Bach – Cello Concerto in A minor, Wq. 170*, 1750
I. Allegro assai
II. Andante
III. Allegro assai
1750 was a tumultuous year in the life of Carl Philipp Emanuel Bach, as well as
a time of underlying political tension and artistic rebellion in Europe. The
death of his father, J.S Bach, heralded a symbolic end to the Baroque Era, and
a shifting of alliances amongst the great empires led ultimately to the Seven
Years War of 1756, the !rst ever global con"ict. Carl wrote his three cello
concertos in this short period, each re"ecting his innovation and mastery of
the current musical styles.
The A Minor concerto is the !rst of the three cello concertos, which evidence
suggests were all later transcribed for the keyboard and "ute. They were
probably written for the Bohemian cellist Ignaz Mara, who was employed for
over 30 years at the Prussian court after receiving a recommendation from
the composer Franz Benda. Mara would have been in his prime at 28 years of
age at the time this concerto was written, with the composer Ernst Ludwig
Gerber claiming that “in his youth he was an excellent soloist on his
instrument, and his tone and execution were extremely impressive”.
There is an evidence-based call amongst performers and scholars of early
music for substantially reduced forces, even going so far as using single
strings, for the accompaniment of 18th century concertos. In his treatise,
however, Joachim Quantz describes that a ‘large’ ensemble is appropriate for
a work with characteristics such as this concerto, with the opening movement
in a 3/2 time signature featuring multiple harmonic movements per bar,
unison material between the strings, as well as its great overall intensity.
Quantz quali!es ‘large’ as having at least a modest three violins in each
section, far from the massed string sections that modern audiences are used
to hearing in the role of orchestral accompaniment for works such as the
Haydn Cello Concertos.
In the tumult and turmoil of the ritornello tutti in the !rst movement of CPE
Bach’s concerto in A minor, we hear the early artistic evolution of the
Emp ndsamer Stil (Sentamentalism) and Galant style as Sturm und Drang.
Named after a play by Klinger which was !rst published in 1776, this ‘storm
and stress’, a re"ection of the times, was a revolt against the perceived
inadequate representations of the human experience in the artistic
rationalism of the Enlightenment. This music is extreme, designed to shock an
audience. The concerto conjures images of a scene of hubris in Greek tragedy,
with the jeering chorus amassed around the soloist, accused of a great crime,
who passionately and sorrowfully pleads innocence. The second movement is
perhaps an intimate view into the cell of the accused, who spends a few !nal,
precious moments yearning for a lost lover, all the while heckled and
interrupted by the wardens. Injustice prevails in the !nal movement, a furious
and punishing frenzy of notes that only the most dextrous and gallant of
soloists can survive.
* Performing parts based on the critical edition Carl Philipp Emanuel Bach:
The Complete Works (www.cpebach.org) were made available by the
publisher, the Packard Humanities Institute of Los Altos, California.
Program Notes by Anthony Albrecht
THE PLAYERSArtistic Director & Violin - Skye McIntosh
Australian born Skye McIntosh began her study of the violin in northern NSW with
John Wilison, ex-principal second violin of the London Philharmonic Orchestra and
then continued her studies in 1999 with Carmel Kaine at the Queensland
Conservatorium of Music. After a brief period studying with with Dimity Hall at the
Australian Institute of Music in Sydney Skye traveled to London to study under
Professor Howard Davis at the Royal Academy of Music. It was there that she began
secondary studies of the baroque violin with violinist Simon Standage. Skye also
completed many intensive projects in baroque performance technique via the
Yorke Trust, The Dartington Summer Festival and the Britten Pears Young Artist
Program at which she was a regular attendee between 2005-2007. She then went
on participate in Southbank Sinfonia, London’s elite training orchestra, before
returning to Australia.
Skye now performs regularly with the Australian Brandenburg Orchestra, Pinchgut
Opera and Salut! Baroque. She has a wide range of experience with historical
performance having worked with many distinguished baroque/classical specialist
performers such as Catherine Mackintosh, Stefano Montinari, Neal Peres De Costa,
Daniel Yeadon, Elizabeth Wall!sch, Monica Huggett, Richard Egarr, Lawrence
Cummings, Hidemi Suzuki, Rachael Beesley, Martin Gester, Marc Destrubè and
Ricardo Minassi. In 2007 she was awarded a full scholarship to complete a Master of
Music Performance at the Sydney Conservatoirum of Music in baroque and classical
period violin. Skye also recently led The Australian Haydn Quartet during their 2013
residency at the prestigious Ban* Arts Centre and in performances at The Juilliard
School, NYC in 2014.
Guest Director - Erin Helyard
Praised as a virtuosic and eloquent soloist as well as an inspired and versatile
conductor, Erin Helyard is at the forefront of a new generation of young musicians
who combine the latest musicological and historical enquiry with live performance
in contemporary culture. Erin graduated in harpsichord performance from the
Sydney Conservatorium of Music with First-Class Honours and the University Medal.
He completed his Masters in 2005 in fortepiano performance with Tom Beghin at
the Schulich School of Music, McGill University, Montreal. Pursuing a passion for the
music and culture of the eighteenth century and the ideals of the Enlightenment,
he completed a PhD in musicology at the same institution in 2011. He was named
the West!eld Concert Scholar on fortepiano for 2009-2010, an initiative of the
John Ernest Foundation.
From 2003 to 2011 Erin was a central member of the award-winning
Montreal-based Ensemble Caprice. In Sydney, Erin is a co-artistic director and
founder of Pinchgut Opera and Orchestra of the Antipodes. He has directed
acclaimed performances of Purcell’s Fairy Queen (Montreal Baroque Festival)
Cavalli’s L’Ormindo, Purcell’s Dioclesian, Vivaldi’s Griselda, Cavalli’s Giasone, Salieri’s
The Chimney Sweep (Pinchgut), Handel’s Acis and Galatea (NZ Opera), and Handel’s
Orlando (Hobart Baroque). Erin has been Lecturer in Historical Performance Practice
at the New Zealand School of Music and is currently Lecturer in Music at the
Australian National University.
Guest Leader - Catherine Mackintosh
After a conventional training at the Royal College of Music, Catherine took up the
viol and baroque violin, attracted by the expressive possibilities which early
instruments can bring to pre-classical repertoire. Over the past 4 decades, she has
taken part in a fascinating era of discovery, pioneering many ground-breaking
projects played for the !rst time on original instrument. Catherine was leader of the
Academy of Ancient Music from 1973-1988. During this period she made countless
best-selling recordings for Decca, amongst which Handel's 'Messiah', the !rst
complete cycle of Mozart symphonies on original instruments, and Vivaldi's 'L'Estro
Armonico' and 'Four Seasons' were highlights. She also took part in Norrington's
celebrated EMI recordings with the London Classical Players.
She has directed Orchestra of the Age of Enlightenment, of which she is a founder
member, in London, the Göttingen and Istanbul Festivals, Buenos Aires, Montevi-
deo, Brazil, Rome, U.S.A's Tanglewood and the Lincoln Centre, Japan, Korea and
Taiwan. Now having retired from her position as leader, she continues to enjoy
playing chamber music with OAE colleagues. Her extensive discography includes
over 40 CDs with the Purcell Quartet (Chandos), Bach violin concertos (Hyperion),
Bach sonatas with Maggie Cole (Chandos), Vivaldi viola d'amore concertos
(OAE/Hyperion). In classical repertoire she plays with fortepianist Geo*rey Govier as
Duo Amadè. They recently completed recording the Mozart violin and piano
sonatas (Chandos) and appeared in the Mozart Festival in Cluj (Romania), Royal
College of Music and National Trust's Hatchlands in programs of the complete
Mozart sonatas.
Catherine has passed on her enthusiasm for earlier styles of performing to countless
musicians. From 1977-2001 she was professor of baroque and classical violin and
viola at the Royal College of Music. At the RSAMD she has directed concerts,
Purcell's semi-operas, Handel's 'Serse' and Monteverdi's Vespers. Now in demand for
masterclasses, orchestral direction and coaching, she has formed close links in
Eastern Europe with Aestas Musica International Summer School, and other
Croatian, Czech and Hungarian ensembles. From 2008-2011 she taught baroque
violin at Royal Conservatoire of The Hague, and is a visiting professor of the Royal
College and Royal Academy of Music, London, Sydney Conservatory, Australia and
Zagreb Academy, Croatia. She is a Fellow of RCM and RSAMD.
Cello Soloist - Daniel Yeadon
Daniel Yeadon is exceptionally versatile as a cellist and viola da gambist, performing
repertoire ranging from the Renaissance to contemporary. As a chamber musician
he has performed in many major venues and festivals throughout the world. He
co-founded Ironwood, an Australian ensemble known for its presentations of the
classics alongside new commissions for early instruments. Daniel is a part-time
member of the Australian Chamber Orchestra, has appeared as soloist with the
Australian Brandenburg Orchestra and has performed on several national chamber
music tours for Musica Viva Australia. He performs every year with Pinchgut Opera.
Originally from the UK, Daniel read physics at Oxford University and studied
historical performance at the Royal College of Music in London. For many years he
was a member of the renowned period instrument ensemble Florilegium and later
joined the Fitzwilliam String Quartet. Daniel continues to be guest principal cellist
with many of the period instrument ensembles based in London, including the
English Baroque Soloists and the Orchestra of the Age of Enlightenment. Daniel has
made many award-winning recordings, including an ARIA winning disc of sonatas
by J.S. Bach with Richard Tognetti and Neal Peres Da Costa; the J.S. Bach sonatas for
viola da gamba and harpsichord with Neal Peres Da Costa; J.S. Bach cantatas and
Brandenburg concertos with John Eliot Gardiner and English Baroque Soloists, in
addition to many critically acclaimed recordings with Ironwood, Florilegium and the
Fitzwilliam Quartet.
Daniel is in much demand as a teacher. Associated with the Sydney Conservatorium
of Music since 2005, he also has a key role in the education team of the ACO. He is
currently undertaking a PhD focusing on the group learning experiences of
students in tertiary music institutions.
Daniel plays a on cello by William Forster II, made in circa 1780.
Fortepiano Soloist - Neal Peres Da Costa
A graduate of the University of Sydney, the Guildhall School of Music and Drama
(London), the City University (London) and the University of Leeds (UK), Neal Peres
Da Costa has forged a highly successful career as a performing scholar, music
educator and researcher, specialising in historically informed performance.
Currently, he is Associate Professor and Chair of the Early Music Unit at the Sydney
Conservatorium of Music (University of Sydney). Previously held posts include at the
University of New South Wales, the Royal Academy of Music and Trinity College in
London, and the University of Leeds from which he was awarded a PhD in 2002.
His recently published monograph O* the Record: Performing Practices in
Romantic Piano Playing (Oxford University Press, New York: 2012) has already
received critical acclaim. Limelight Magazine hailed it as ‘engaging and thought
provoking…an outstanding contribution’ and a book that ‘no serious pianist should
be without.’ Alex Ross—music critic of The New Yorker and author of The Rest is
Noise—honoured it as a notable book on his 2012 Apex List. In 2012, O* the Record
was the subject of both a !ve-part series broadcast by ABC Classic FM during the
Sydney International Piano Competition and an in depth interview with Christopher
Lawrence for the ABC Classic FM Music Makers programme.
Notable solo performances include Bach’s monumental Goldberg Variations at the
Festival Baroque in Perth (2009), and the Peninsula Summer Festival (2010) broad-
cast on ABC Classic FM. With Ironwood, he is involved in on going cutting-edge
projects that have led to performances and recordings of late-Romantic chamber
repertoire in period style. To that end his collection of keyboard instruments has
expanded to include historical nineteenth-century grand pianos including by
Collard and Collard English c.1840), Erard (French c.1869), and Streicher (Viennese
replica c.1860).
Neal has performed and recorded with a host of distinguished soloists and ensem-
bles in Australia and abroad including Emma Kirkby, James Bowman, Derek Lee
Ragin, Michael Chance, Pieter Wispelwey, Emmanuel Pahud, and Steven Isserlis,
London Sinfonietta, the Orchestra of the Age of Enlightenment, the Academy of
Ancient Music, the Australian Chamber Orchestra, the Sydney Symphony Orchestra,
the Song Company, Orchestra of the Antipodes, Pinchgut Opera, the Australian
Brandenburg Orchestra, Orchestra Victoria, and Ironwood.
THE AUSTRALIAN HAYDN ENSEMBLE
GRATEFULLY ACKNOWLEDGES THE SUPPORT OF
OUR PATRONSThank you to all of our wonderful supporters who help to make our concerts possible!
Razumovsky’s $100 - $499Robin Tedder
George Clarke
Celia & Ecki Bischo*
Mark & Carolyn Bethwaite
Carolyn Fletcher
Dr Jenepher Thomas
Vince & Jan Perrot
Jenanne McAdam
Maria & Bob Elliot
Rodney Lewis
Michael & Helen Hallet
Dr Peter & Patricia O’brien
Marian Flynn
Julie Goodsir & Tony MacCormick
Sandra Leal
Margaret Johnson
Bruce McConochie
Jill & David Weekes
Meriel Wilmot-Wright
Robin & Rita Tedder
Annie Whealy
Lobkowitz’s $500 - $999Pam & Doug Bartlett
Brian & Fiona Wilson
Kirsten Lock
Peter & Carol Scott
Linda Bergin AO
Richard Gri@n
Michael & Rosemary Sprange
Anonymous
David & Isobel Smithers
Reg Grinberg
SPECIAL THANKS FOR IN KIND SUPPORT TO
Ivan Foo
Bevan Roberts
James Beck
Marguerite Foxon
Sandra Leal
Peter Tapsak
Linda Bergin
Angela Belgiorno-Zegna
Galitzin’s $1000 - $4999Martin & Ursula Armstrong
Margurite Foxon
Geo*rey Wood & Melissa Waites
David & Barbara Mortimer
Pamela Pearce & Wally Patterson
Michael & Manuela Darling
Ron & Suellen Enestrom
Bronwyn Eslick
Ralph & Maria Evans
Jennifer Stevenson
Peter Weiss AO
Chree Gledhill & Michael Wilson
Michael & Frederique Katz
Kelvin McIntosh
Jan King
Ian Kortlang & Claire Montgomery
Paul & Annie Masi
Simon & Catriona Mordant
Van Swieten’s $5000 - $9999Chris & Gina Grubb
Anonymous x 1
Kate Eccles
Roger Massy-Greene
Eszterházy’s $10000 + Marco & Angela Belgiorno-Zenga
Timothy & Eva Pascoe
Tom & Sherry Gregory
Anonymous x 2
AHE BOARD
Dr Timothy Pascoe AM
Skye McIntosh - Artistic Director
Marco Belgiorno-Zegna AM
Tom Gregory