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.

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).

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).

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

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).

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).

AHE swells

I'd seen the stage set up, but I was still surprised when the augmented Australian Haydn Ensemble entered from the rear of the Sitsky room. This was 21 musicians; far larger than I'd seen before from this group. They just kept coming. This was not the only surprise. The 2 keyboards, plucked and hammered, at centre and the version of Haydn that seemed not to have been recorded before. Then straight into that unrecorded work: the Vernier version of Haydn Symphony no.22 The Philosopher in Ebmajor, apparently rearranged in the vibrant Paris of the time, using flutes in place of cor anglais. My recording may be a world premiere; that's exciting. The rest of the program comprised 3 works by CPE Bach to end the AHE's celebration of his 300th anniversary year. Firstly, his Concerto for harpsichord and fortepiano, utilising the two keyboards again, also in Ebmajor. After the interval, two pieces without accidentals (near enough), his Sinfonia in C major and Cello concerto in A minor featuring cello soloist Daniel Yeadon. The AHE has established itself in remarkably short time: this is only its second year. Proof is their welcoming of significant names in period music and their role as ensemble in residence at ANU this year. As well as Erin Helyard conducting from the harpsichord, Daniel Yeadon and Neal Peres Da Costa on the fortepiano, this concert featured Catherine Mackintosh (of Orchestra of the Age of Enlightenment, Royal College of Music, and much more) as guest leader. Many AHE guests are new names to me, but the discoveries are a pleasure. This is all courtly, dignified music, although with its share of humour and pleasure and even profundity, although it's never too obviously displayed. THis was just a wildly successful performance. There were a few slips but all was welcomed with joy and verve and this is of so much more importance in my book. This is not at all staid. Erin was vibrant and mobile; Neal was all eyes, to Erin and Catherine and further; I think it was Simone who was buoyant with joy at the pleasure of it all; AHE stands, so there's constant movement. I noticed myself moving with this music: it's alive, vibrant, it invites movement so you squirm in your seat. The pleasure was evident as the musicians left and in their joy after. A wonderful, musically populated, enlivening concert.

The Australian Haydn Ensemble finished its year at ANU with a CPE Bach 300th anniversary concert in the Larry Sitsky room. Erin Helyard (director, harpsichord) led 21 musicians: Catherine Mackintosh, Matthew Greco, Stephen Freeman, Mayee Clohessy, Anna McMichael, Skye McIntosh, Simone Slattery, Raphael Font, Cath Shugg (violins), James Eccles, Heather Lloyd (violas), Daniel Yeadon, Anthea Cottee, Anthony Albrecht (cellos), Jacqueline Dossor (bass), Melissa Farrow, Mikaela Oberg (flutes), Darryl Poulsen, Doree Dixon (horns), Neal Peres Da Costa (fortepiano). Daniel Yeadon performed the cello solo; Catherine Mackintosh was quest leader.