‘BEETHOVEN’S PIANO CONCERTO’

AUSTRALIAN HAYDN ENSEMBLEPerforming music of the classical and early romantic eras

on instruments of the 18th Century

PROGRAM

CanberraDrill Hall Gallery

Thursday 25th September, 7pm

Newcastle48 Watt

Sunday 28th September, 3pm

SydneySydney Opera House - Utzon Room

Monday 29th September, 7pm

Concert duration approx 120 min (with 20 minute interval)

MOZART Symphony no. 39 in E Flat Major K 543 Chamber arr. by Cimador (1805)

MOZART String Quintet in G Minor K 516 (1st movement)BEETHOVEN Concerto for Fortepiano op. 19 in B Flat Major Chamber arr. by Stephen Yates (2014)

Interval

Canadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

`

Guest Fortepiano SoloistNeal Peres Da Costa

Instrument: copy of Anton Walter c. 1790 by Jacques Way

Guest Lead ViolinViolin - Marc Destrubé

Instrument: Unknown Brecian - Ruggeri School 1685

Artistic Director & Violin - Skye McIntoshInstrument: Joseph Panormo - 1820

Forster - 1780 - Classical

Flute- Melissa FarrowInstrument: 'classical' one keyed �ute -after A. Grenser, copy by M. Wenner, Germany 2008

Viola - Heather LloydInstrument: Made by Ian Clarke, Biddeston, Australia 1998, after Andrea Guarneri, Cremona, Italy

Bow: Early 19th Century original French bow, unknown maker

Viola - James EcclesInstrument: Warren Nolan-Fordham, Melbourne c. 2012 after Gasparo da Salo

Bow: copy of classical bow by Peter Richtarik c. 2008

Cello - Anthony AlbrechtInstrument: KG100, 2002, "Azlan"

Bow: Anonymous French, classical, Late 18th Century

Double Bass - Jacqueline Dossor

Instrument: Unknown Bolognese c. 1750Bow: Roger Doe (Kent) after Dodd c. 2009

The Playerson Classical Period Instruments Canadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or

director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

ABOUT THE ENSEMBLE

AUSTRALIAN HAYDNENSEMBLE Canadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or

director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

“..a young and engaged group” SHM 2013

“natural phrasing refreshingly free of the mannerism that original instrument groups are sometimes prone to” SMH 2013

“Textural clarity and sectional interplay illuminated their inventiveness while lilting rhythms and emphatic staccatos enlivened the �nales.” The Australian 2013

Since its formation in 2011, The Australian Haydn Ensemble has quickly established a reputation as a high calibre period instrument group specialising 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 Australian National University as 2014Ensemble in residence.

AHE are 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 musicians are engaged on many levels; as core members, soloists and a source of artistic inspiration for the Ensemble.

The Ensemble brings together a wealth of expertise of �rst class Period and Modern ensembles and orchestras from all over the world, such as: The Australian Branden-burg 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), Pinchgut 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 Ensem-ble, Les Talens Lyriques, Juilliard415 and Orchestra of the Romantic Revolution.

GUEST LEAD VIOLINMARC DESTRUBÉ - CANADACanadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

Canadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

NEAL PERES DA COSTAA 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 DaCosta has forged a highly successful career as a performing scholar, music educator andresearcher, 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) broadcast 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 ensembles 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.

GUEST FORTEPIANO SOLOIST

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

‘BEETHOVEN’S PIANO CONCERTO’

MOZART

Canadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

I. Allegro

STRING QUINTET in G MINOR K 5161st Movement

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

Canadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

I. Allegro con brioII. Adagio III. Rondo - Molto Allegro

L. V BEETHOVENPIANO CONCERTO NO. 2 in B Flat Major OP. 19 (1795) ARR. STEPHEN YATESFOR PIANO SOLO & STRING QUINTET (2014)

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

Canadian violinist Marc Destrubé is equally at home as a soloist, chamber musician, concertmaster or director/conductor of orchestras and divides his time between performances of the standard repertoire on modern instruments, and performing baroque and classical music on period instru-ments. His exceptional versatility stems from a wish to re�ect the composers’ intentions as genuinely as possible and his view of the violin as a tool of expression, whatever the musical form at hand.

He is �rst violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli (Vera Beths, Jurgen Küssmaul, Anner Bijlsma) and is a member of the Turning Point Ensemble in Vancouver, specializing in 20th century music and new music. He appears regularly in chamber music performances on the Early Music Vancouver series and summer festival as well as at MusicFest Vancouver. He is also �rst violinist with the recently-formed string quartet Microcosmos in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmon-ton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. He led the Belgian ensemble Anima Eterna in acclaimed recordings of the complete Mozart Piano Concertos with Jos van Immerseel. A founding member of the Tafelmusik Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

As a concertmaster he has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of Brüggen’s Orchestra of the 18th Century with whom he has toured the major concert halls and festivals of Europe, North America, Asia and Australia, including directing the orchestra in performances at Beijing’s National Centre for the Performing Arts and appearing as soloist in Haydn’s Sinfonia Concer-tante in concerts in Holland, Austria and Belgium for the Haydn-year. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, and concertmaster of the Oregon Bach Festival Orchestra.

From the concertmaster’s chair he has directed orchestras in much of the standard baroque and early classical repertoire as well as in performances of larger scale works such as Beethoven’s First Sympho-ny, Mozart’s G Minor Symphony K.440 and the Tchaikovsky Serenade. As founding director of the Paci�c Baroque Orchestra he was responsible for commissioning works for the orchestra from a number of Vancouver-based composers, as well as instigating other innovative projects such as a program of French baroque and Aboriginal dance and music.

A highly respected teacher, he has been a visiting artist/faculty at the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case Western University, the MacPhail School, the Ban� Centre and the University of Victoria, and has presented children’s concerts at the Cité de la Musique (Paris). He is co-director of the Early Music Vancouver Baroque Instrumental Program and on the faculty of the Baroque Performance Institute at Oberlin College.

His recording of Haydn Violin Concertos on the ATMA label has been praised by the Strad Magazine (London) for the “stylish solo playing..., individual yet unselfconscious” and by Whole Note Magazine (Toronto) for its “bold and daring solo playing”. He has also recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records as well as being broadcast regularly on the CBC.

 

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

SYMPHONY NO. 39 (1788) in E Flat Major K 543ARR. for �ute, string quintet and double bass CIMADOR (1805)

I. Adagio - AllegroII. Andante con motoIII. Menuetto & TrioIV. Allegro

WOLFGANG AMADEUS MOZART (1756-1791)

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

here and there be put before the said gentlemen and that they would cut a sorry �gure with them.”

Beethoven’s Piano Concerto in B-�at demonstrates a composer well in command of the popular styles of composition of the day. The 1st move-ment is expansive, with a wide range of energetic thematic material intro-duced by the orchestra in a lengthy exposition only to be answered with more new material once the soloist enters, a Mozartian habit. All thismaterial is tightly controlled, the composer showing a keen sense of which were the most appealing sounds which were deserving of development and recapitulation. The second movement is exquisite; a passionate conversation between the soloist and the orchestra. The unforgettable moments of this concerto are the recitative-like closing bars of the solo, marked con gran expressione, an unusually emotive marking in early Beethoven, the pianist suspended in air above a soft bed of comforting orchestral chords. The �nal movement brings a raucous, semi-rondo conclusion to the concerto.

In 2013, the Australian Haydn Ensemble performed the Australian premiere of an arrangement of Beethoven’s Piano Concerto No.1 by Lachner,published in 1881. This year we have commissioned Australian composer Stephen Yates to make a new arrangement of the Second Piano Concerto as we embark on our Beethoven cycle with Neal Peres Da Costa. Dr. Yates has endeavoured to confront some of the issues of ensemble and balance that were inherent in the Lachner score, occasionally thickening or lightening the texture to provide support for the melodic lines. We are very grateful for his time and e�ort in accomplishing this very complex task with such �nesse.Neal Peres Da Costa brings his extensive knowledge of historicalperformance practice to our interpretation of this concerto, especially themeaning of Beethoven’s notated and un-notated expressive markings. Those familiar with the work will notice some very interesting techniques,especially Neal’s use of tempo modi�cation, left-right hand dislocation, and chordal arpeggiation. Tempo modi�cation is described charmingly by C.P.E Bach:

“One can often intentionally commit the most beautiful o�ences against the beat… if one is playing with a few intelligent people, it is permissible to make an impact on the tempo as a whole, for the accompanying players will… enter into our intentions”. The technique includes the lengthening of individual notes for expression, as well as slight accelerandos and

This concert presents an exciting collaboration between the Australian Haydn Ensemble and two internationally renowned historical performance exponents, Dr. Neal Peres Da Costa (Sydney) and Marc Destrubé (Vancouver). Neal Peres Da Costa makes his second appearance with us in our cycle of Beethoven’s Piano Concertos. Last year we performed a historic arrangement by Lachner and this year we have commissioned Australian Composer Stephen Yates to complete a new arrangement. We are already looking forward to the next instalment in the cycle featuring Beethoven’s Piano Concerto No.3 in 2015. The Australian Haydn Ensemble �rst had the pleasure of working with Marc Destrubé at the Ban� Centre for the Arts in Canada in early 2013, and subsequently invited him to New York City in January of 2014 for a residency at The Juilliard School. We are thrilled to have had Mr. Destrubé join us this September for two concert series, which featured him as soloist in Haydn’s Violin Concerto in G major in Berry and Bowral and as concertmaster for our performances in Canberra, Sydney and Newcastle. We are excited to announce his return to lead concerts in late 2015.

In c. 1784 the poet Christian Friedrich Daniel Schubart in his volume Ideen zu einer Aesthetik der Tonkunst described the key of G minor as: “Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike”. Indeed, Mozart seems to use this key to depict frustration, su�ering and darkness, as represented by his Symphonies No.25, K.183, and No.40, K.550, and Piano Quartet, K.478, as well as this Quintet in G minor, K.516, completed on May 16th, 1787. Despite hisgloriously sunny twin Quintet in C Major, K.515, composed less than a month earlier, 1787 was a year quite the opposite in character for Mozart. A period of stunted success, he also su�ered the serious demise of his father’s health, who �nally passed away on May 28th. Pamina from the Magic Flute, com-posed four years later at the end of Mozart’s life, sings in the key of G minor: “Ah, I feel the joy of love has gone for evermore! Never will happiness return to my heart! See, Tamino, see these tears that �ow, beloved, for you alone. If you do not feel love’s yearning I must seek peace in the grave”.

It is well known that Mozart held the viola in great esteem, indeed his own Italian viola survives to this day in the Mozarteum Museum in Salzburg. The con�guration of this quintet, with two violins, two violas and cello, is in contrast to the most common quintet arrangement of the period established by Boccherini, who wrote more than a hundred quintets for two cellos. Mozart wrote six such quintets for two violas, as well as the Kegelstatt Trio, K.498, for Clarinet, Viola and Piano, the Sinfonia Concertante, K.364, for Violin, Viola and orchestra and the Viola and Cello duo “With two eyeglassesobbligato”, K.423. Violists relish the chance to perform the 1st part of the Quintet in G minor, as it is one of the rare moments in chamber musicrepertoire that the instrument is elevated to the melodic status of the 1st violin.

The movement begins with a trio formed by the upper instruments, followed by a trio of the lower three instruments in which 1st viola plays the main theme; a soft, agitated and breathless melody. Uncharacteristic of most classical-period works, the movement remains tied to G minor even as the second theme begins, with an eventual journey to the relative B-�at major subdued and shadowed. Pianist and writer Charles Rosen remarked that the movement “can still shock by the naked force of its anguish”.

“Dear Beethoven: You are going to Vienna in ful�lment of your long-frustrat-ed wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with theinexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein”. Those were the words of Count Ferdinand Ernst Gabriel von Waldstein, Beethoven’s close friend and patron and eventual dedicatee of the ‘Waldstein’ Piano Sonata No.21, in an album amicorum marking Beethoven’s departure from Bonn, bound for Vienna. Count Waldstein had passed on a recommendation to Joseph Haydn,

who was to become Beethoven’s teacher in Vienna in November of 1792. It was in Vienna that Beethoven’s fame began to grow exponentially, in part due to virtuosic early performances of the B-�at Piano Concerto.

Haydn remained Beethoven’s tutor for only one year, their relationship outwardly warm but tainted by the young composer’s unfounded suspicions that his great teacher ‘was not well minded towards him’ or was neglecting or even sabotaging him. Despite this Haydn had a strong in�uence over Beethoven’s early career and compositional style in Vienna. However, it was Mozart that Beethoven had been studying when he �rst conceived of the B-�at Concerto in the late 1780s, who he most likely met on a visit to the city in 1787. This was his �rst major orchestral work, composed almost 10 years prior to the Piano Concerto No.1, which earned its premier title by publica-tion rights. This is perhaps due to the fact that when presenting it topublishers, Beethoven remarked that the Piano Concerto No.2 in B-�at was a work which “I do not claim to be one of my best”. It was revised considerably before publication.

Beethoven’s initial concert outings in Vienna had been con�ned to private salons, however a very public performance opportunity presented itself in the form of a charity concert at the Burgtheater in 1795. Here Beethoven was on full display as composer and virtuoso, performing the B-�at concerto to great acclaim. It should be noted that part of the young, impetuouscomposer’s appeal at this point was the improvisational style of hisperformances. One friend from Bonn recounted seeing Beethoven �nish the �nale of an early concerto moments before he went on stage (without actually notating the solo part), all the while wracked with stomach pains. In a letter to another old friend and dedicatee of his �rst Vienna publication, the Mozart Se buol ballare variations for Violin and Piano, Beethovencomplained:

“I should never have written down this kind of piece, had I not already noticed fairly often how some people in Vienna after hearing meextemporize one evening would next day note down several peculiarities of my style and palm them o� with pride as their own. Well, as I foresaw that their pieces would soon be published, I resolved to forestall those people. But there was another reason, too; my desire to embarrass those Viennese pianists, some of whom are my sworn enemies. I wanted to revenge myself on them in this way, because I knew beforehand that my variations would

ritardandos in respectively powerful or tender phrases, which in the period was often implied with crescendo and diminuendo markings (normally indicative only of dynamics in the modern setting). The scholar Clive Brown describes the expressive devices of left-right hand dislocation and chordal arpeggiation, in places where the composer most likely didn’t see the need to notate such a device explicitly, as “nearly ubiquitous” in evidence of early 19th century piano playing techniques.

Our second arrangement of this program is of Mozart’s magni�cent 39th symphony, his third last, by Giambattista Cimador (1761-1805), an Italian composer, singer, violinist, and music publisher who lived in London during the latter part of his life. Such arrangements from the period were very popular, as it meant music-lovers could play and enjoy larger scale works in smaller private homes. It is alleged however that in this case Cimador was responding to a decision made by the musicians of the King’s Theatre in London who refused to play the works in their original instrumentation due to their extraordinary di�cult! Twelve of these symphonies were published shortly after Cimador’s death by his publishing partner Teraldo Monzani, and the Australian Haydn Ensemble performed the arrangement of Mozart’s Jupiter symphony in 2013, also the �rst time it had been heard in Australia.

Mozart completed his three last great symphonies back-to-back in the summer of 1788. Nikolaus Harnoncourt has suggested that the works may have even been conceived as a set, citing the lengthy introductory passage of the 39th symphony and its lack of coda, which appears �nally at the end of the Jupiter Symphony. The true intentions behind the rapid creation of this set of masterpieces aren’t known, however many surmise that Mozart was planning a tour to London. All we know is that he wrote them purely from his own inspiration, without commission, and it’s possible that he never even heard them in concert. What’s astonishing about the set,

especially the 1st and last, is their lightness in the context of his �nancial troubles and the recent death of his infant daughter.

Unique in the set, the 39th symphony begins with an Adagio in the style of a French overture. You will hear the booming timpani replaced in the chords of the ad lib. piano part in this arrangement. The long, luxuriant soft scales of the violin in this opening reappear in the Allegro section of this movement. This transition in tempo is very subtle until a burst of forte energy thrusts it forward. The second movement is glorious, but features tempestuous forays into the minor, particularly f minor, which Schubart described as “deep depression… groans of misery and longing for the grave”. The third movement is a jolly Viennese ländler, derived from local drinking songs and originally featuring the clarinet in its deep chalumeau register. In our arrangement the �ute and viola take on this role. The Finale is an extremely bright and rollicking, all the more virtuosic in this arrangement in its �ighty conversational tone via the compression of the voices and timbres of a full orchestra into a chamber ensemble of just seven. Extraordinarily, Cimador took the liberty of adding two kitschy concluding cadential bars to the symphony, which we have taken the liberty of removing!

Program notes by Anthony Albrecht.

Artistic Director & Violin Skye McIntoshAustralian 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. She then continued her studies brie�y in Sydney with Dimity Hall at the Australian Institute of Music before travelling to London to study under Professor Howard Davis at the Royal Academy of Music.

It was there that her interest in baroque and classical period instrument performance was formed. She began secondary studies of the baroque violin with violinist Simon Standage and also had the opportunity to perform in the Academy period instrument ensembles. She 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 where she now performs regularly with the Australian Brandenburg Orchestra, Pinchgut Opera, Salut! Baroque, Sydney Philharmonia and the Little Baroque Company.

She has a wide range of experience with historical performance having worked withmany distinguished baroque/classical specialist performers such as Catherine Mackintosh, Stefano Montinari, Neal Peres De Costa, Danny Yeadon, Elizabeth Wall�sch, Monica Huggett, Richard Egarr, and Lawrence Cummings, Hidemi Suzuki,Rachael Beesley and Ricardo Minassi.

Skye has been guest director and soloist with the Sydney Youth Orchestra, appeared as principal second violin of Ruthless Jabiru Chamber orchestra in the 2011 City of London Festival and as leader of Handel’s Messiah at the Sydney Town hall with the Radio Community Chest Choir orchestra. She has frequently appeared as leader and soloist with the Sydney Conservatorium Early Music Ensemble, also winning the Conservatorium’s concerto prize. She was awarded a full scholarship to complete a Master of Music Performance at the Sydney Conservatoirum of Music in 2007 and lead The Australian Haydn Quartet during their recent residency at the prestigious Ban� Arts Centre.

Skye plays on a beautiful 1820 Joseph Panormo violin generously provided by a privatesponsor.

THE PLAYERS

Melissa began her music studies in New Zealand with some excellent teachers, including David Coomber (recorder) and Uwe Grodd (�ute). From an early age she gravitated towards the sounds of period winds and gut strings, inspired by recordings of the Orchestra of the Eighteenth Century. She had the privilege of taking lessons in baroque �ute from Konrad Huenteler from Orchestra of the Eighteenth Century andWalter van Hauwe on recorder through International recorder conventions. Since returning to Australia she has enjoyed an extensive career in Australia as a specialist in early �utes and recorder. Melissa has been a member of the Australian Brandenburg Orchestra since 1999 and has been the orchestra’s principal �autist for the last ten years.

Recent performances as �ute soloist with the orchestra include playing, most recently, Mozart’sconcerto for Flute and Harp with Marshall Mcguire, Telemann’s �ute and violin concerto in e minor with Stefano Montanari and Vivaldi’s �ute concerto La Notte in 2011 under the direction of Ricardo Minasi and in 2013 performing Telemann’s �ute and violin concerto in e minor with Stefano Montanari. Melissa has also appeared as concerto soloist with the Australian Haydn Ensemble, performing the Benda Concerto in E minor and Abel’s concerto in G major. In 2012 she was the inaugural recipient of the Australian Brandenburg Orchestra’s International Baroque Study Program as well an Australia Council for the Arts grant for professional development which took her to Germany and the Netherlands under the tutelage of well-renowned specialists including Karl Kaiser from Freiburg Baroque Orchestra.

Melissa has also toured with the Australian Chamber Orchestra and performs regularly with theOrchestra of the Antipodes, The Australian Haydn Ensemble and Ironwood, The Marais Project and Ludivico’s Band. She is featured with ABO and Andreas Scholl on the recording Vivaldi-Nisi Dominus and Stabat Mater, and has also recorded many operas and Bach Brandenburg Concertos with the Orchestra of the Antipodes.

James Eccles - ViolaJames studied at the Sydney Conservatorium of Music after which he became one of the�rst students of the then newly established National Academy of Music in Melbourne.

After this he travelled to Ireland where he studied with Bruno Giurano and later movedto Berlin. After working with the likes of The Irish Chamber Orchestra, the German Radio Chamber Orchestra and The Berliner Sinfonie Orchester, James returned to his hometown, Sydney, at the end of 2007. He performs regularly with members of ACO, AOBO and Sydney Symphony. 2011 saw James perform as viola soloist with SBS Youth Orchestra.

Melissa Farrow - Flute

Heather Lloyd - ViolaHeather Lloyd is an Australian violist born in 1982, in Sydney. She completed her studies at Sydney Conservatorium and the Australian National Academy of Music in Melbourne.

Heather regularly appears in concert with the Australian Brandenburg andMelbourne Chamber Orchestras. Heather also performs with Ironwood ensemble,Accademia Arcadia, Pinchgut Opera, Ludovico’s Band and Sydney Camerata.

Heather played Prinicipal Viola for Victorian Opera’s production of Mozart’s “The Marriage of Figaro” in 2012 under Richard Gill, and in 2011 for the Baroque Triple Bill with director Paul Dyer. Heather also played Principal Viola under the baton of British conductor Stephen Layton for both J.S.Bach’s Passions at Melbourne Recital Centre in 2011-12.

Heather spent four years living in Adelaide from 2006-2010, during which time she played with the Adelaide Symphony Orchestra, founded a string quartet and wasartistic director of a new string orchestra: Adelaide Chamber Players. ACP performed regularly in the Elder Hall Lunchtime Series, at the Adelaide Festival,and on ABC Classic FM Sunday Live program, and at the Adelaide InternationalCello Festival.

As a period instrument violist, James has toured with the acclaimed Little Baroque Company, been an attendee of the Ban� Centre with The Australian Haydn Quartet and performing with the St James Church Choir, the Sydney Chamber Choir and also at the Peninsula Summer Music Festival. James has learnt from some of the world’s best period instrument specialists including Florilegium, Stanley Ritchie, Simon Roland-Jones and Catherine Mackintosh.

Anthony Albrecht - Cello

Jacqueline Dossor - Double BassJacqueline performs regularly with the English Chamber Orchestra and also period ensembles such as The Orchestra of the Age of Enlightenment, The Australian Branden-burg Orchestra and is a member of The Little Baroque Company. She also performs with many UK based orchestras including the Royal Philharmonic Orchestra, BBC Scottish Symphony, BBC National Orchestra of Wales, English Touring Opera, Mid-Wales Opera and the English National Ballet.

After Studying at The Sydney Conservatorium of Music with Kirsty McCahon and Alex Henery she travelled to the UK where she was awarded a scholarship to study at the Royal Academy of Music in London. Whilst there she studied with Duncan Mc Tier (Nash Ensemble), Graham Mitchell (Philharmonia Orchestra) and Rodney Stewart. She also had the opportunity to work under internationally renowned musicians including Sir Colin Davis, Sir Charles Mackerras, Trevor Pinnock, Laurence Cummings, Simon Standage and Margaret Faultless. She has also had extensive training on Baroquedouble bass with Chi-chi Nwanoku (Orchestra of the Age of Enlightenment).

Anthony Albrecht is a Novocastrian* cellist and recent graduate of The Juilliard School in New York City, completing a Master of Music in Historical Performance while studying with Phoebe Carrai. During his degree Anthony performed under William Christie and Nick McGegan and alongside Jordi Savall and Monica Huggett in venues such as Alice Tully Hall and the Metropolitan Museum of Art.

Beginning cello at the age of 7, his cello teachers and mentors have since included Anthea Scott-Mitchell (Newcastle Conservatorium), Alexander Baillie (HfK Bremen), Stephan Schrader (Deutsche Kammerphilharmonie), Guido Larisch (Freiburger Barockorchester), Bruno Cocset (Les Basses Réunies), Jamie Hey (Australian Bran-denburg Orchestra) and Daniel Yeadon (Australian Chamber Orchestra), with whom he completed a JUMP Mentorship through the Australia Council of the Arts in 2011. He has also enjoyed private study with Pieter Wispelwey in Holland.

In New York, Anthony is a founding member of New Vintage Baroque. Back home in Australia, Anthony has performed with Ironwood, Sydney Camerata, Paci�c Opera, The Sydney Consort, Salut! Baroque, the Australian Haydn Ensemble, Pinchgut Opera, the Orchestra of the Antipodes and the contemporary music ensemble Chronology Arts. As a chamber musician Anthony has collaborated with Charles Neidich, Marc Destrubé, Kathryn Selby and Neal Peres Da Costa, among others. He has been an Ian Potter Cultural Trust recipient in 2013 and 2014, and was nominated for the MCA Freedman Fellowship for the last two years.

AHE PATRONSCatagories are named after famous patrons of the classical era...

Lichnowsky’s $2 - $99Rob, Jo & Edwina SinclairBruce & Jan SimpsonEileen Bland

Razumovsky’s $100 - $499Robin TedderGeorge ClarkeCelia & Ecki Bischo�Mark & Carolyn BethwaiteCarolyn FletcherDr Jenepher ThomasVince & Jan PerrotJenanne McAdamMaria & Bob ElliotRodney LewisMichael & Helen HalletDr Peter & Patricia O’brienMarian FlynnJulie Goodsir & Tony MacCormickSandra LealMargaret JohnsonBruce McConochieJill & David WeekesMeriel Wilmot-WrightRobin & Rita TedderAnnie Whealy

SPECIAL THANKSJames Mills photographyPinchgut OperaOliver Miller (Photography)Bundnon TrustIronwood Ensemble

Lobkowitz’s $500 - $999Pam & Doug BartlettBrian & Fiona WilsonKirsten LockPeter & Carol ScottLinda Bergin OAMRichard Gri�n Michael & Rosemary SprangeAnonymousDavid SmithersReg Grinberg

Galitzin’s $1000 - $4999Martin & Ursula ArmstrongMargurite FoxonGeo�rey Wood & Melissa WaitesDavid & Barbara MortimerPamela Pearce & Wally PattersonMichael & Manuela DarlingRon & Suellen EnestromBronwyn EslickRalph & Maria EvansJennifer StevensonPeter Weiss AOChree Gledhill & Michael WilsonMichael & Frederique KatzKelvin McIntoshJan KingIan Kortlang & Claire Montgomery Paul & Annie MasiSimon & Catriona Mordant

Gottfried van Swieten’s $5000 - $9999Chris & Gina GrubbAnonymous x 2Kate EcclesRoger Massy-Greene

Eszterhåzy’s $10000 + Marco & Angela Belgiorno-ZengaTimothy & Eva PascoeTom & Sherry Gregory