Youth and death

A return to Albert Hall for old some old mates, Australian Haydn Ensemble, performing in string quartet format behind baritone David Greco.  Incredibly in a front row centre seat necessitated by my recording setup: a mic stand between my legs, no less.  It was an interesting amalgamation of a series of Schubert lieders interpersing the four movements of a Mendelssohn string quartet (op.81) and with some introductions by David for several of the lieders.   Schubert lieder is a difficult and depressing thing to my ears, not for the performance, which was emotional and effective and very impressive, but for the themes and concerns of the age and the heavy, sometimes morbid lyrics.  David touched on that, a time of disease and difficulties, so perhaps understandable.  Apparently Schubert died at 31 (older than the 27 Club, rock stars who died at 27, including Jimi Hendrix, Janis Joplin, Brian Jones, and Jim Morrison).  So the song of the much loved son dreaming of the Erlking, who died in his father's arms and the difficult lives and loves of Youth and death and Winterreise and the Hurdy-gurdy man and the Death of the maiden.  Serenade was nicer.  But regardless of Schubert this was very well done, quieter and more emotional, and the Mendelssohn more restrained but still delicious.

David Greco (baritone) led the Australian Haydn Ensemble in string quartet formation with Skye Macintosh and Matthew Greco (violins), Karina Schmitz (viola) and Daniel Yeadon (cello) at the Albert Hall.

Crux

Australian Haydn Ensemble called the concert Heavenly Sopranos and sure enough most of the program featured a soprano and mezzo pairing.  AHE doesn't often perform with singers (3/28 posts on CJ).   This program featured several works by Johann Adolf Hasse, a renowned opera composer in his time,, Francesco Durante, a teacher of Pergolesi, and the feature, Stabat Mater by Pergolesi, who, interestingly, died young aged 28.  Stabat Mater has been around this Easter.  There were two other performances before this one.  I missed both but it was a topic of discussion.  Easter usually has a few double-ups, as there are recent historical double ups from Beethoven.  The playing was superb, as expected.  The styles of this era aren't too challenging, but I still was breathtaken by the unity of many lines, especially where all strings double timed with unison fills or where the violins expressed together or partly with viola.  There was a theorbo, too, quiet but often identifiable as a guitar plucked tone, and this bassist was hugely admiring of Pippa's obvious international experience and delicate skills.  I liked the first half but was somewhat perplexed by Stabat Mater.  Yeah, her son was going to save the world but he's still dying on the cross in front of her, so why is the music quite so light?  There are touches of tragedy but not much.  But the crux of it is the baroque and church thinking of the period, I guess.  Nonetheless, a stunning bit of performance.  Loved it.

Singers Celeste Lazarenko (soprano) and Helen Sherman (mezzo soprano) were accompanied by the Australian Haydn Ensemble at Wesley.  On the night, the AHE were Skye McIntosh (director, violin), Matthew Greco (violin), Karina Schmitz (viola), Anton Baba (cello), Pippa Macmillan (bass), Simon Martyn-Ellis (theorbo) and Joanna Butler (chamber organ).

Concision

We'd heard our mates, the Australia Haydn Ensemble, play a Beethoven Symphony no.6 at Wesley two years ago.   Last night they returned with another, B7.  Now this is a renowned work (the odd numbered symphonies are, but B6 is OK too) and I was looking forward to the listen, but what really hit me in the end was the effect of this concise version of a well known work.  They played it with one flute, two each of violins and violas, one each of cello and double bass so it had nothing of the huge impact of an orchestra but it had clarity and concision and I heard different things.  Well, maybe I responded to different lines that were more obvious, clear and precise even if less powerful.  Not better or worse but very different and thus informative and expressive.  And quite memorable.  Of course I listened to Jacqueline on bass, and thought of when I played this work and whether my bowing could have been quite so effective (of course not!).  The bass end was all clarity and dynamics, but then this was common throughout the players.  I remember sudden dynamic changes by all that stunned.  Maybe it's easier with fewer players to define those dynamics.  And I felt I understood the structure and changes better; they were more evident.  So this was different and hugely enjoyed.  It left me with a huge smile on my face.  But that was the second half.  The first half was another Beethoven, his Egmont Overture, similarly concise and clear.  The middle work was Boccherini String Quintet Cmin.  It was written for such an ensemble and the music was truly lovely, but nowhere near the complexity and avid life of the Beethoven, so it was lovely and the presentation was not unexpected.  It was what it was and it was lovely just for that.   So, I left with another dose of Beethoven awe and a huge smile.  BTW, they played well, too, and sounded a dream.

Australian Haydn Ensemble performed Boccherini, Beethoven Egmont and Beethoven 7 at Wesley.  AHE were Skye McIntosh and Matthew Greco (violins), Karina Schmitz and James Eccles (violas), Daniel Yeadon (cello), Jacqueline Dossor (double bass), Melissa Farrow (flute).

Done!

There were seven days of Creation and they were covered within parts 1 and 2 of Haydn's Creation at the Canberra International Music Festival, if I got the lyrics right.  So what of part 3, after the interval?  It may have been Adam and Eve enjoying each other, for there were some lyrics thus suggesting.  But then I didn't get all the lyrics.  I was entranced by the truly excellent bass playing of Kirsty McCahon sitting tall and up front and I didn't catch much of the rest.  Even the whales that James mentioned at interval.  Well, maybe they were a big bass part (?) but I was just watching the bowing and hearing the incredible projection of one baroque, presumably gut, bass amongst such a large ensemble and the way she seemed to almost ignore the music and look around constantly.  I downloaded the music this morning and it's not so difficult to read, being baroque, but still, I was in awe.  But otherwise, the individual singers were very good to great, the chorus was impeccable, the orchestra based on the Australian Haydn Ensemble was tight and expressive and Chad, who I drove the other day, the keyboardist, was Euro-confident and again someone who knows when to raise his head from the music, the baroque horns just sounded great and Roland was his hyper-energetic self as conductor and driver of it all.  I was in awe from the first few minutes from the tightness and clarity and precision and overwhelming baroque beauty, and it just continued for the two-or-so hours of the performance, but then, for the sake of the occasion and the musical beauty, I was prepared to ignore some distinctly dated, particularly non-feminist awareness.  Did I say I enjoyed it?  Yeah, and the bassist was good too.

Haydn Creation (Die Schöpfung) was performed at the Canberra International Music Festival by Roland Peelman (conductor), Skye McIntosh (concert master and leader of the...) Australian Haydn Ensemble, Chad Kelly (keyboard), Alexandra Oomens (soprano), Andrew Goodman (tenor), James Ioelu (bass), Sydney Chamber Choir (vocals) with Kirsty McCahon (double bass).

B6 reduction

This was Beethoven 6 Pastoral Symphony in chamber format.  Australian Haydn Ensemble look for the interesting outings and they found one here, of particular interest given how know is this piece.  I think Skye mentioned it hadn't been played for yonks and they'd discovered it in some London archives.  That's how to make an investigative period ensemble.  Good on them and quite fascinating.  This  arrangement of B6 was by Williams Watts who had introduced much of Beethoven to Britain; he'd arranged all the symphonies for 2xviolin, 2xviola, flute, cello, bass and that was the format this evening.  All fascinating history and a new and fascinating take on the symphony, if lacking the power of 50+ players.  But they did it so well and we could follow the much reduced score in our heads.  And there were some demanding lines.  AHE featured a new bassist this evening, Bonita Williams, and I could only sit and admire some very fleet playing where, in the 3rd movement, I think.  And a strong bass presence.  Some cello floored me, too, as did some delicate lines from Matt at one stage, and generally from Skye and Melissa and viola Karina, too of course.  I just tend to the bottom end.  But the concert was a big event.  Before interval were a Boccherini string sextet and a Mozart Serenade.   Very different works, although again the Mozart, Haffner Serenade, originally arranged Masi with further work by Scolari & Lim) was a chamber arrangement with some selections.  Suffice to say this was a big program with intellectual clout and some great playing.  Always love a visit to my mate in the AHE.

The Australian Haydn Ensemble played Boccherini, Mozart and Beethoven 6 at Wesley.  AHE comprised Skye McIntosh (violin, Musical director), Matthew Greco (violin), Melissa Farrow (flute), Karina Schmitz and James Eccles (viola), Daniel Yeadon (cello), Bonita Williams (bass).

Not at all military

It's no secret that the world was a different place in the past. The past we are talking of is not so far back, just 250 years or so, the time of Mozart and Haydn, but still it was different. Music was still written for or dedicated to or performed for heads of various courts and often took a related name. I thought this listening to the Australia Haydn Ensemble, in quintet format, playing Mozart and Haydn nominated as The Emperor, First Prussian and The Military. The program had a comely pic of James sporting a revolutionary-styled poster amongst rubbish and a gilt frames. (AHE's 2020 catalogue is a beauty: gloriously presented, deliciously dressed and with a generous touch of whimsy). I missed the opening number by Boccherini (Los Parejas=The Couples, about horse parades). But the Mozart and two Haydns were lovely, attractive baroque pieces, to my ear not at all militaristic, although maybe uniform dress-coded and frolicksomely paradic. And played so nicely by our AHE mates with that baroque sensibility and genial sound in a nicely fitting space of the Wesley Church in Forrest. Just a lovely concert with no bloodshed and little discomfort (other than hard pews). A pleasure enjoyed by AHE's many Canberra followers.

The Australian Haydn Ensemble performed Boccherini, Mozart and Haydn at Wesley Church Forrest. On the night, they played as a quintet comprising Skye McIntosh and Matthew Greco (violins), James Eccles (viola), Anton Baba (cello) and Melissa Farrow (flute).

One take

In some ways it takes one to know one. I'm learning that as I listen to music I've played or groups in the style I play. I joked as we entered the Albert Hall for the latest Australian Haydn Ensemble concert, featuring visiting European period violin star Midori Seiler, that we were there to learn from our betters. From the first notes, I decided it was evidently true. I don't think I'd quite realised it before to this extent, but this was very close to home, an ensemble in format somewhat like Musica da Camera and playing Mozart and Haydn much like much of our music (although we can be more disparate, too, more modern, even minimalist). But the clarity and precision and sweet tones did it for me. And the glances at Midori as leader and her bodily interpretation. All wonderful and exemplary. I can blame the instruments to some degree (we play modern instruments tuned to A=440 and no gut) and I do, but that's mainly a joke, although the tone is wildly different and avidly apt. Jackie's bass was sweet, deep, soft (gut, baroque bow) where mine is edgy, crisp, clear and hard to bow (Spirocores, modern bow). But that's just one aspect. Ignoring that, they just do it like a dream. I love AHE in their end-of-year large format and with Midori they just positively sang. They played one symphony and one violin concerto from each of Mozart and Haydn (K.319 and K.211; VIIa/1 and I:80). Did I mention I enjoyed it? And that learnt a motza? Just a fabulous outing.

Australian Haydn Ensemble were led by Midori Seiler (violin) at the Albert Hall.

Discovering Schubert

Despite their reputation, I hadn't warmed to Schubert's songs before but this was different. Australian Haydn Ensemble came to town with guest singer David Greco. The ensemble was restructured at the short notice after a death in the family meant leader and first violinist Skye couldn't make it. Simone moved from second to first violin and Rafael sat in on second. Otherwise the team was James and James and Jacqueline. The program also changed with mostly alternating Schubert songs and miniature string quartets from The Four Seasons by Felicien David. FD was also new to me but generally much more light and joyous than the Schubert. The whole was presented as a single set with no interval and with discussions and translations of Schubert's songs ad backgrounds by David. Delightfully and unexpectedly, the concert went off with no applause until the end. This was a pleasure. I've come to dislike clapping for jazz solos and the response here was blissfully uninterrupted. It may leave the performers a little lost between tunes but it carries the flow of music purposefully. The playing was neat and involved as always. Jacqueline was solidly tested in a later song, the famed Der Erlkonig, but her presence was rich and full throughout. So were the others. I wondered about balance at one time as passages passed between strings, but it's relatively trivial, and the commitment, especially from Simone, was captivating. David's interpretations were stunners, with big, rich voice, clear enunciation (although given that it's German, I didn't catch much anyway) and emotive, even dramatic, presentation. His tonal formation was to die for. My choir does nothing of the sort: I'd love to hear the choirs he's appointed to, given this sample (Westminster Abbey and Sistine Chapel, no less!). It was a short program given the last-minute changes but deeply satisfying so the repertoire change was no disappointment and it taught me the impressiveness of this Schubert song repertoire. So, it went well. Our condolences to Skye.

David Greco (baritone) sang with the Australian Haydn Ensemble at ANU University House. Tonight AHE comprised Simone Slattery and Rafael Font (violins), James Eccles (viola), James Bush (cello) and Jacqueline Dossor (bass).

The sounds of Spain

Our mates, the Australian Haydn Ensemble, were back in town again, this time at the Albert Hall. Just a small format of five players: a string quartet with a guitar. The theme was Spanish music at the end of the 17th Century and everyone think guitar when they think of Spain. Several works featured guitar and all had some relevance to Spain. Boccherini was Italian but he fell in love with a Spanish opera singer and toured with her company. He had two works, a string quartet (op.26 no.4 Amaj) and a guitar quintet (Fandango Gmaj). Mozart wasn't Spanish and neither was Porro who arranged his K.304, but the odd combination featured guitar with violin and cello. Canales was Spanish and worked for the Spanish court and was influenced by Boccherini. AHE played his string quartet op.3 no.2 Cmin. Perhaps the least of the connections was Haydn's op.51 Seven last words of Christ our saviour on the cross that was a profound experience for a congregation in Cadiz. But a worthy piece anyway. And one final work for solo guitar, Sor Into and variations on a theme by Mozart op.9. The strings were gut with bows to match and the guitar was an interesting modern copy of a romantic guitar by Australian Johann Stauffer: small bodied with an adjustable neck and violin-like tuning pegs. The sound of the guitar was lighter, sharper, thinner than a modern classical but it all fitted nicely to give a treble lift to the gut strings. The playing was lovely: detailed, conversational, lithe, sometimes quiet as to be discrete. And the informative chats and casual interactions after are a pleasure. Loved it yet again.

Australian Haydn Ensemble performed at Albert Hall. On the night they comprised Skye McIntosh (violin, director), Simone Slattery (violin), James Eccles (viola) and Anton Baba (cello) with guest Simon Martyn-Ellis (guitar).

What makes a group

I sat in admiration listening to the Australian Haydn Ensemble this night. It's not the first time, but it surprises me each time. I'm playing music like this now so I can feel just how difficult and inspirational is this close interaction. They all play wonderfully, of course, but the stunning thing for me was the dynamics and the close interplay. This is a group thing, a matter of togetherness, shared understanding, often of friendship or at least musical closeness. Simone shows it openly, with frequent smiles and grins. The others smile and glace less obviously or frequently but they are all eyes and ears, too. You see it as they come to a pause, or the end of a phrase, how they look up to Skye or each other. Then the exact attack, the shared fortes or denouements, at the most detailed level, within and between phrases. This is close playing and it's a key to chamber music with its intimate scale and unprotected exposure. They just did it so well and so comfortably. Jacqueline was unavailable so this was played without bass, interestingly, as much of this early classical music was written. The program was all Haydn: London Trio (flute, violin and cello), a string quartet and the Symphony no.104 London. The trio was written for home playing. I could only sit aghast thinking of the demands placed on home musos. But there was no TV in those days, so plenty of time for practice for the comfortable classes. Some lines just flawed me: from Anton's cello, or Skye's lead or Simone's responses or just how the whole group stopped then seemed to float for a lengthy pause, twice, I think, in the final movement of the symphony. I've said much of this group as they are friends and I've seen them numerous times, but I am never unsurprised. Truly lovely stuff.

Australian Haydn Ensemble performed in the Great Hall at ANU University House. AHE were Skye McIntosh (violin 1), Simone Slattery (violin 2), James Eccles (viola), Anton Baba (cello), Melissa Farrow (flute) and Nathan Cox (fortepiano).

Sweating the detail

I met up with a fellow player from the NCO at the end-of-year gig of the Australian Haydn Ensemble at Albert Hall. It was his first AHE concert and he struck the big format, full string orchestra, sometimes appended with wind instruments (AHE often play in smaller formats, quintets or thereabouts). He was ecstatic, asking how they get to such detail, control, unanimity. I'd noticed just the same thing and it's just enhanced in this larger format. My experience with a very similar format, Musica da Camera, raises my awareness of the details, the informed and share understandings. I'd noticed one melodic snippet that had been strong then weak, played fp or perhaps sfz>. It was repeated neatly for one passage, then played without dynamics for another. It's just detail, but it's this detail played through a group that makes for the lush convergence of it all. This understanding is usually shared in rehearsal, when a leader details how to play whatever passage, the band busily annotating and coming to a common understanding. Of course you need the chops and communication and the rest on stage, too. AHE does it was panache, smiles passed around amidst the serious music making. I'd commented on the smiles but also the overt face of one player and AHE stalwart Simone agreed and commented that you have to get on well and AHE does. It's obvious. Skye led the strings, but mostly Erin conducted from the harpsichord, standing for the symphonic works but seated for the keyboard concerto. They played Mozart (symphony no.29 Amaj), two CPE Bach (Keyboard concerto Cmaj and Sinfonia Ebmaj) and Haydn (Symphony no.52 Cmin). All were lovely, but I took a particular pleasure in the two CPE Bachs, being courtly but lively and inventive. The Haydn was an early Sturm und Drang work so an attempt to perceive human experience in its variety, or rather its impassioned agitation. It's virtuosic and pre-romantic but seems untimely to my contemporary ears. The Mozart was just plain sweet all round. Just another highly capable and investigative concert from AHE, this time in bigger orchestral format in Albert Hall, rectangular, timbered and high ceilinged, a space that authentically matches the style. Loved it.

Australian Haydn Ensemble performed Mozart, CPE Bach and Haydn at Albert Hall. AHE featured Skye McIntosh (violin, artistic director) and Erin Helyard (guest director, harpsichord).

Hearing the same differently

I was back in Canberra and so was the Australian Haydn Ensemble. This concert also continues their work with Neal Peres Da Costa. Together, they are recording the Beethoven's piano concerti, but in a new way and often with new arrangements. Apparently, Skye and the group were intrigued and enamoured by the arrangements of Cimador. They are obscure (the diminutive entry on Cimador in Wikipedia is just proof) but the arrangements are intriguing, true to period and suit AHE, so, with the help of Australian arranger, Mark Vi Kim Ling, they are performing and recording Beethoven piano concerti in this style. The results are intriguing and attractive. On the night, AHE played Beethoven Concerto no.5 Ebmaj 'Emperor'. I played this with NCO earlier a few months back, so I know it reasonably well. Even with similar orchestration, it's fascinating how a piece changes, how new ideas appears and prominences change. Here it was so much greater, like a new vision of the work. The arrangement has parts taken by different instruments, and apparently this is annotated, so a viola line maybe be identified as from oboe or clarinet or whatever. Cimador's forces were two violins, two violas, cello, bass, flute and keyboard. The cello and bass seemed to just take the known lines, presumably also the two violins for the two violin sections, and, I thought, the piano, but the two violas and flute presumably took on any number of lines from woodwinds or brass or whatever. So it was a fascinatingly different but similar piece. So what else did I note? The whole was sweeter and more open than an orchestra. AHE do great dynamics, but still gut and pianoforte doesn't manage the extremes of modern instruments. The tonal colours of lines changed with the different instruments playing them. The violins and flute were a bit quiet, but maybe that's from where I was sitting. There were also odd tones from odd combinations, eg, flute and cello. These are great musicians and I enjoyed the playing immensely. The bass and cello are a firm and committed block and often prominent - Jacqueline's pizz was particularly effusive - and their application was a pleasure. This group always enjoys itself with smiles all round, but I've noted that before. Some interpretation was unexpected, like the slow take on the early part of the third movement. That surprised me but it was effective. And those lithe runs from the strings and complex plays between hands by the piano. All a huge pleasure and intriguing. Otherwise, they played Mozart Symph no39 Prague and Overture to Magic Flute. More staid than the challenging Beethoven but with their own challenges, not least with some devastating lines. So a great pleasure for my return.

Australian Haydn Ensemble performed Mozart, Mozart and Beethoven at ANU University House. They comprised Skye McIntosh and Matt Greco (violins), James Eccles and Martin Wiggins (violas), Daniel Yeadon (cello), Jacqueline Dossor (bass), Melissa Farrow (flute) and Neal Peres Da Costa (fortepiano). Australian Haydn Ensemble, Skye McIntosh, Matt Greco, James Eccles, Martin Wiggins, Daniel Yeadon, Jacqueline Dossor, Melissa Farrow, Neal Peres Da Costa

Listening

Listening improves with experience, like many other capabilities. Last night was the Australian Haydn Ensemble. I've heard them many times but I noticed I'm hearing more now. Not all the time, but more frequently. I play music something like this (although don't play it quite like this!) so my awareness has been honed, my hearing attuned. So I marvelled at the way the phrasing moved between players; how the phrases were spelt out together, in conformity, yet not lifelessly cloned; how individual instruments would spell out their parts (Anthony's cello was impeccable) so even a note had form and life, or would bounce with staccato; how the whole was dynamic and expressive and how a few passing glances would hold this all together. The tunes of this are often not so very difficult to read or to play, mostly with harmonies and melodies that fit scalar or arpeggiated patterns except for the occasional oddball phrasing that may trips you up or some cadenza that flies with semiquavers. This is not music of dissonances or odd times but of order and dignity and some humour, except maybe for the slow middle movements that can be things of exquisite beauty. There were the tuning interludes, which are so much a part of this period music, but the rounded tone is the end result and so lovely. And these are friends: those glances were often little smiles and the guys joshed at the end and they all glowed with pleasure. The theme was the baroque oboe and a few quartets named "the Hunt". The format was quartet for all, string quartets or three strings with oboe. The music was Haydn String Quartet ‘The Hunt’ Op.1 No.1 Bbmaj, Mozart Oboe Quartet K.370 Fmaj, Janitsch Oboe Quartet Gmin and Mozart String Quartet ‘The Hunt’ K.458 Bbmaj. This was a small incarnation of the AHE, a core with oboe, but they are always intellectually thoughtful and musically wonderfully satisfying. That delicacy and unity that a string quartet can portray, this time with music and instruments located somewhere in the early classical period. Just a joy as always and an education in just performance.

Australian Haydn Ensemble performed Haydn, Mozart and Janitsch at ANU University House. On the night, AHE comprised Skye McIntosh (violin), Simone Slattery (violin), James Eccles (viola), Anthony Albrecht (cello) and Amy Power (oboe).

The happiest band

They were happy. I was intrigued and amused to watch the various faces, sometimes concentrating, often smiling, actually doing both. Australian Haydn Ensemble were beaming. So was their guest, Melvyn Tan. They were dressed in black and white with red features. Some features were pretty insignificant, not that they should have been too flashy. A few socks and some waistcoats and cravats. I hadn't noticed the colours as a theme until James told me afterwards. Just the smiles. Smile, and so they should. Skye has crafted this ensemble over several years into a worthy, international-level group playing with period authority and a relaxed elan. They don't always play as such a large ensemble, but they did record this way, and they do return at least yearly in a large format. I loved the music, of course, Chevalier de St-George, Mozart and Haydn, from that early classical era, and I especially loved how they played it (that explains their smiles and mine). The dynamics were so detailed and shared, with swells and dims and cres turning on a note and phrases that were spelt out in notes and dynamics that moved together. So well done; so strong and together. This is what matters, the shared expression in and around the melody and the driving consistency of the rhythms, and this had all these. Melvyn Tan just played one piece, the Mozart Concerto for keyboard no.18 K456, leading from the chair with music oddly on a stand to his left. He played fortepiano, so softer and less sustained than a modern piano. We were sitting right in front and even for us it could hide behind a decent forte from the orchestra. Melvyn, too, was all smiles, obviously a generous and welcoming guest, bent over the keyboard for his solos or twisted to the orchestra and waving in leadership. The other pieces were Chevalier's symph op.11 no.2 Dmaj and Haydn Symph no.85 Bbmaj 'La Reine', dedicated to Marie Antoinette. Of these, the Haydn was the more demanding with some tortuous lines in a few places. But mostly I notice the easy speed. This music is pretty regular and reasonably easy to read and play, but to spell the phrasing and to easily hold the swift lines demanded of all the instruments (bass gets its share) and to do it all with lightness and vivacity is the challenge. AHE does it with ease and aplomb and much good humour. So, congrats to Skye and her group for the development so far, and it'll be interesting to watch just how far this can go. Just a wonderful, joyous concert with considerable historical authority.

Melvyn Tan (fortepiano) appeared with the Australian Haydn Ensemble at Albert Hall. AHE comprised Skye McIntosh (violin 1, artistic director, concertmaster) with Matt Greco, Simone Slattery and Lathika Vithanage (violins 1), Rafael Font, Stephen Freeman, Annie Gard and Alice Rickards (violins 2), Deirdre Dowling, James Eccles, Gabrielle Kancachian and Martin Wiggins (violas), Anthony Albrecht, Anton Baba and Natasha Kraemer (cellos), Jacqueline Dossor (bass), Melissa Farrow (flute), Ingo Müller and Amy Power (oboes), Takako Nugumi and Simon Rickard (bassoons), Doree Dixon and Darryl Poulsen (horns).

Outlands

This was an odd concert by the Australian Haydn Ensemble in a number of ways. They mix big with small concerts and this was a smaller one, a quintet. But 2 cellos, a string quartet with double cellos? It's a strange arrangement, but there's music written for it, so it's valid and interesting and strangely satisfying. The two cellos took different roles at different times. One might be playing a bass line while the other plays melody, or unison with viola or even a melody part to respond to a violin or they might just play a line in octaves. So the first item of unusualness was the lineup. Second was the program. Mozart and Boccherini are common names on a baroque program but the works here were different. The Mozart was Fantasy in F minor, K.504 rearranged for "mechanical organ" and it was a strange thing that held little similarity to the ordered, often light, sometimes humourous music of Mozart. The first Boccherini, String quintet op.25 no.6 Amin, was Spanish-influenced and understandable enough in the baroque context but his op.30 "Night music of the streets of Madrid" was anything but. It was written by Boccherini to be performed only in Spain (the Italians are a proud people!) and not to be published outside. But it was, so we have it. It's a programmatic work, with parts named Ave Maria Bell or Soldier's drum or Minuet of blind beggars or Retreat. It tells a story. It also plays the part. First up, a strong rhythmic passage on one note from first violin; a little later, strummed chords on cellos held on laps like guitars (apparently required by the score); still later, a mad viola bowing on one note representing drums and a very challenging bowing over all four strings on violin 2, repeated a few bars later (I was amused to see Caroline's relief after carrying off each of these!). All strange, not particularly contrapuntal or otherwise baroque-like and very resonant of Spain and Flamenco. Thus oddity of this concert. Another, perhaps, was Cambini, a lesser-known baroque composer with a satisfying but fairly uneventful piece. Good to hear music like this occasionally, rather than just the masters: it gives perspective. So, an divergent but satisfying concert, for the notable playing, the humour and interesting journey, but especially for the strange but informative program.

This night the Australian Haydn Ensemble comprised Skye McIntosh and Caroline Hopson (violins), James Eccles (viola) and Anton Baba and Daniel Yeadon (cellos).

Answers to different questions

There are answers here, but to totally different questions. We went to hear the latest concert of our mates, the Australian Haydn Ensemble, and it was fabulous. This was a larger ensemble for the night - they do a bigger ensemble every now and then. We've followed AHE since early days and they are seriously getting in their stride now, having released their wonderful first album on ABC records, and with a following and a history, they are developing a sense of presence and real purpose and, from the frequent open smiles, a great pleasure in the whole outing. AHE brings players from around Australia, but also from OS, not least some expat Aussies from London. This program featured a lineup of 21 in various combinations, guest directed by Eric Helyard with leader Skye McIntosh and solo flautist Melissa Farrow. The music was three of CPE Bach - Sinfonia E min Wq.178, Flute concerto D minor Wq.22 and Harpsichord concerto F minor Wq.43/1 - and one of namesake Haydn - Symphony no.49 F minor "La Passione". The whole was played with great dynamics and a fabulous sense to time and togetherness - I was in awe. We were lucky to be up front. Melissa's flute was clearly articulated and massively quick. I was stunned by the fast scalar lines with tack sharp tonguing. Fabulous. Then Erin with his harpsichord concerto part, again fast as, sweeping through phrasings that spelt harmonies that moved at will. Fabulous in playing and in the intellectual feat of the composition. Then Haydn. I'd played this (NCO 20 Aug 2016) so knew it intimately and that's both exciting and engrossing. The score doesn't look too scary, but this baroque era is unrelenting with occasional tripwire rhythms and sudden double-time phrases, so it can be tricky. And what pleasure to hear such experts laying into a tune you know: the easy bowing, nimble fingerings, comfortable reading, all on gut with baroque bows. And of course, the horns and bassoons and flutes and the rest, appearing inexorably but subtly amongst the strings, of the passages passed to seconds or violas, or Skye's lovely, purposeful solo-as-leader melodies. Suffice to say I enjoyed this immensely and it had us driving home, thinking of London, where so many concerts must be like this. A huge pleasure.

Australian Haydn Ensemble performed CPE Bach and Haydn at the Great Hall at ANU University House under Erin Helyard (conductor, harpsichord soloist) and Skye McIntosh (violin, leader, musical director) with Melissa Farrow (flute soloist) and 18 others.

Liking it big

This was another stellar outing for the Australian Haydn Ensemble, this time in a bigger format. They are releasing their first album (with ABC records) as I write this. We'd seen that program on tour in preparation for recording back in December or so. I have yet to hear it, but this was similarly generous in performers and a lovely, early classical style. As they play. Skye led the first violins; Eric Helyard directed and featured on a period fortepiano for a Mozart concerto; Daniel Yeadon performed a Haydn cello concerto. I remain in awe of Jacqueline's bass playing, so fast and neat and crisp, but I can also enjoy others, and I particularly enjoyed watching a few violins in easy visual access (the sound in the Great Hall at ANU University House is satisfying, but the stage is low and the seats are many, so sight lines are not good), Simone and Anna, both regulars and at least Anna is a local product. I was enamoured by the large ensemble from the very start, their accurate intonations and firm statements and period tones but especially the superbly interactive phrasing. Getting the notes is one thing, but getting the internal movements, the flows and peaks and stops and pauses, all together and believable, takes skills at this level, and it was lovely to hear. The music was Michael Haydn Symphony no.25 Gmajor (with an intro by Mozart and sometimes allotted to him), Mozart Keyboard concerto no.14 Ebmajor, and two from Joseph Haydn, Cello concerto Cmajor and Symphony no.83 "La Poule" (the chook). All delightful in the neat and ordered classical way with some devilish lines occasionally appearing. They pulled it all off with aplomb. My modern ear, trained with Steinways and modern orchestral strings, found the solo instruments a bit overwhelmed by the orchestra at times, but I guess that's part of the experience of music of this time. Their instruments were like this. But what a great pleasure and even a triumph.

Australian Haydn Ensemble played a program of Michael and Joseph Haydn and Mozart on period instruments at the Great Hall at ANU University House. Soloists were Erin Helyard (guest director, fortepiano), Daniel Yeadon (solo cello), Skye McIntosh (artistic director and leader) with Skye McIntosh, Matthew Greco, Stephen Freeman, Anna McMichael, Simone Slattery, Cath Shugg and Rafael Font (violins), Gabrielle Kancachian, James Eccles and Marianne Yeomans (violas), Daniel Yeadon, Anthea Cottee and Anthony Albrecht (cellos), Melissa Farrow (flute), Jacqueline Dossor (bass), Emma Black and Ingo Muller (oboes), Simon Rickard and Jackie Newcomb (bassoons), Darryl Poulsen and Doree Dixon (horns).

Vienna below Feather

One friend applauded this Australian Haydn Ensemble concert at the interval for its serene beauty and apt recreation of the experience of a Viennese salon. I always admire AHE's and Skye's programs for the intellectual component, the search for a theme and often the finding of a little known piece from an era. This time, too, there was one of those: a Flute Quintet by Wanhal which Skye expected had never been recorded before. Certainly there was no Wanhal Flute Quintet on the Naxos streaming service (BTW, this collection of 120,000 streaming CDs is free to members of the ACT Library Service). Skye described it as a petite concerto and demanding on flute with its use of extreme registers and wondered who it would have been written for. Otherwise, this Vienna salon had music of Hoffmeister, an early musician who managed to live relatively free of patrons, as a publisher and music teacher, Albrechtsberger and Mozart's Hoffmeister quartet. The music was variously a flute quartet and quintet and a few string quartets. The format of the AHE changes with different programs, but there's a core of performers who are regular. This time, Skye, Matthew, Melissa with Anton and Shelley. The playing is always delightful. That wooden flute and the individually expressive string sounds. I admire and learn from the cello bowing. All so light and expressive but also surprisingly voluminous in the large space which is the ANU University House Great Hall. And surprisingly apt, even fronting a wall-sized modernist mural by Leonard French.

Australian Haydn Ensemble performed Hoffmeister, Albrechtsberger, Wanhal and Mozart in the Great Hall at ANU University House. AHE comprised Skye McIntosh (artistic director, violin), Matthew Greco (violin), Shelley Sorensen (viola), Anton Baba (cello) and Melissa Farrow (flute).

Both sorrow and joy

It's coming on Easter (another nebulous reference to Joni Mitchell) so it's time for the dolorous strains of the Stabat Mater. Not something to josh about. Stabat Mater dolorosa is a theme that's widely composed (600 versions is mentioned in the program): intimate and profound, a recounting of mother Mary below the cross of Christ. With any mother it would be a painful image. We heard Boccherini's 1781 version to text attributed to Jocopone da Todi for the 13th century. Sara Macliver sang with accompaniment from the Australian Haydn Ensemble. A work of ~45 minutes of both sorrow and redemptive joy. I found it surprisingly uncomplicated musically, or at least technically, and maybe that's apt for real passion. The rest of the program was Mozart and Boccherini. B's Flute quintet in G minor, then a string of arias and the Divertimento from strings in Bb from Mozart. One aria, Laetari iocari from Apollo and Hyacinth, was written by Mozart at age 11 (!) and was a bravura demonstration of quick, neat and accurate voice production, fast arpeggios and terrific control. It was fun to hear the ex-chorists in the break lauding Sara's control. The AHE is always a huge pleasure, bringing together informed programming and wonderfully capable playing of the baroque and early classical repertoire that it explores. I particularly follow Jacqueline on bass for her delicate phrasing and some awesomely rapid lines when called for. Also close to the bass end is Anthony on cello, playing with careful distinction. I loved one line well into the thumb position that he played unison with first violin and musical director, Skye. It was intriguing to notice how he prepared for a line, quietly plucking a string in the background to ensure a prominent entry pitch was right. The two violins, Skye and Simone worked neatly together. I find it intriguing to compare tones of violin pairs in small ensembles like this and I've noticed the differences before. In this case, Skye's tone appeared more mellow than Simone's. James rounded out the strings on his new viola. Lovely to hear the embellishments of harmonies from this internally placed instrument. Melissa played her period flute on several works, not least the flute concerto, of course, but not for the whole program. I immensely enjoy this tone that works well with gut to place the sound of the ensemble. AHE is drawn from all ends of the world: based in Sydney; Sara was invited from Perth; Jacqueline and Anthony are now resident in London but relatively frequent returnees. Another wonderful concert from these mates. The next Stabat Mater for me is jsut a few weeks off: Pergolesi's with a few excerpts from Vivaldi's by Adhoc Baroque on 22 March.

Sara Macliver (soprano) sang with the Australian Haydn Ensemble at University House at ANU. AHE were Skye McIntosh (violin, musical director), Simone Slattery (violin), James Eccles (viola), Anthony Albrecht (cello), Jacqueline Dossor (bass) and Melissa Farrow (flute).

Esterhazy at Albert

It was the dynamics that most impressed me about Australian Haydn Ensemble this time. I've seen them as a smaller group, perhaps 6 players, and once or twice in a larger format. This was probably the largest I've seen: 22 players. But I know how difficult it is to concentrate on dynamics when you are struggling to catch the notes but it's essential and it worked gloriously here. Detailed, gentility, gentleness, the quietest of passages, the frequent glances that make all this happen. I could see this, up close. There's no conductor, of course, so those glances go to the concertmaster, in this case Canadian Marc Destrubé, or to the co-director, Eric Helyard on harpsichord for the night. The other thing I melted over was Jacqueline's bass lines, rapid and clear as they were demanded, disturbingly easily played. But I'll give you that that's a concern of a fellow bassist. Perhaps not just me. Bass is a strangely popular instrument and I noticed several people eyeing off Jacqueline's aged bass in the breaks. But the fast lines in the final presto movement of Haydn's Le soir, Symphony no.9, were stunners and she played them out with aplomb. It wasn't just bass, of course. Bassoon was wonderfully expressive at times, even once in a duo with bass; the baroque horns were mightily satisfying, so much more than modern brass, if only for this outing. Marc Destrubé's subtle and delicate phrasing was a telling lead. And the flute of Melissa Farrow for her parts. All delicate, detailed, precise, understanding, dynamic. I loved this concert: one of the best of the AHE. The period tones right for this music; the place right, being Albert Hall, our oddly monarchical place that hosts carpet sales and mineral displays and any fine music that warms to the rich reverb. So, what did they play? A string of pieces from the orchestra of the Esterhazy Palace. I'm told they were originally played with a smaller ensemble but expanded here. All Haydn: Symphonies 6,7,8 (Le Matin, Le Midi, Le Soir) and the Harpsichord concerto in D major featuring Erin Helyard. The harpsichord was a somewhat lost in this space, despite Erin's always vibrant and immediate performance (at least from where I was sitting, although not in the recording I made form a more central location). All on period instruments, of course: gut and valve-free horns and different bows, all soft and tender in tone. This outfit will be recording soon, I think for ABC. Expect a well developed and nicely understood performance. These are mates of mine but also greatly admired.

Australian Haydn Ensemble performed Haydn at the Albert Hall. Performers were Erin Helyard (harpsichord, co-director), Marc Destrubé (violin, co-director), Skye Mcintosh (artistic director, violin), Matthew Greco, Simone Slattery, Anne McMichael, Catherine Shugg, Raphael Font (violins), Shelley Sorenson, John Ma, James Eccles (violas), Daniel Yeadon, Anton Baba, Anthony Albrecht (cellos), Jacqueline Dossor (bass), Melissa Farrow, Mikaela Oberg (flutes), Amy Power, Julia Bauer (oboes), Simon Rickard (bassoon), Darryl Poulson, Doree Dixon (horns).