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

Coming soon in 2015...