ARTISTS

Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Rafael Font, viola
Daniel Yeadon, cello
Pippa MacMillan, double bass
Melissa Farrow, flute

PROGRAM

BOCCHERINI
String Quintet in A minor Op. 25 No. 6

MOZART
Symphony No. 35 in D major Haffner arr. Septet (Cimador) 

BEETHOVEN
Symphony No. 4 in B flat major arr. Septet (Watts)

CONCERT DURATION:
Approx 120 minutes with a 20 minute interval

ABOUT THIS CONCERT

Beethoven, Mozart & Boccherini

How does that one go again? Neglected even amongst Beethoven’s even-numbered “B-side” symphonies, No. 4 in B flat can be a little slow to spring to mind, but once that effervescent first subject banishes the portent of the mock-gloomy introduction, the delights of this work come flooding back. Really remarkable passages abound-suspension, resolution, modulation, deliberate confounding of expectation to comic effect; “masterclass” is applicable, but it’s far too much fun for that. Besides rescuing a bassoonist from a fiendish solo in the finale, the Watts arrangement for flute and string sextet lends a filagree of clarity to a warm and witty work that will leave you beaming.

Pre-interval also sees the AHE in miniature symphonic mode. In 2025, listeners loved the Linz, so roll on Mozart’s prequel, the Haffner Symphony, K. 385, also presented in Cimador’s bite-sized arrangement. Poor Wolfgang couldn’t put a foot right with his dad, who requested this as a flattery piece for a bigwig about to officially enter the aristocracy. The proverbial dog ate Mozart’s homework (“up to his ears” as he was in Seraglio, newly weddedness and house-moving), and by the time it reached his livid father, Herr Haffner’s festoons had long been consigned to the family schloss’s landfill. Sometime later the symphony arrived back in Mozart’s mailbox and, while he’d forgotten literally every note of it, he discovered it was rather good. Generations of listeners agree: it brims over with opera buffa bravura and rollicking rhythm.

Boccherini may be short on symphonies to pare down, but his predilection for extra bottom end with his string quintets always gives them an ambition beyond the chamber. The one in A minor from 1778’s Op. 25 has the deep lustre and nobility of a substantial work. But as you’ll discover, there’s no shortage of Luigi’s unmistakable character: from galloping caballos to a closing rondo-in Turkish style-that beats Mozart to the post.

Lean but lovely fare and a fourth to be reckoned with.

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PERFORMANCES & TICKETS

Friday 1 May, 7pm
Berry

Berry Uniting Church Hall,
Berry

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Saturday 2 May, 4pm
Southern Highlands

Bowral Memorial Hall,
Bowral

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Sunday 3 May, 7pm
Sydney

The Neilson, ACO On The Pier,
Dawes Point

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Thursday 7 May, 7pm
Canberra

Gandel Hall,
National Gallery of Australia

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DEEP DIVE

Learn more about the Composers and Music in this performance from the following links:

AHE SPOTIFY PLAYLIST

Listen to further selections from the program on our spotify playlist.

CONCERTS 101: WHAT TO EXPECT

First time attending a concert and not sure what to expect? Don’t worry! Scroll down to find out about attending an AHE concert. If you have questions that you don’t see the answer to here, send us an email and we’d be happy to help. Contact one of our friendly team at: info@australianhaydn.com.au

  • Firstly, you should know there are no rules. Going to a concert can be a great time to glam it up. If that feels right, then go ahead – there’ll almost certainly be plenty of others dressing up.

    It’s also totally fine to come in jeans – and plenty of people do. The only real “rule” is to wear something that’s comfortable.

  • Don’t worry – nobody is going to get into trouble for clapping in the “wrong” place. The only real rule is not to clap while the musicians are actually playing (as other people can’t hear them).

    The thing to know is that applause conventions have changed over time. People used to talk all the way through the opera in the 1700s, and we don’t tend to do that now!

    At AHE, the music we play will often come to the end of a section (known as a movement) with what feels like a ‘big finish’. It’s like the composer is begging you to respond. And in days of old, they may well have shouted or clapped or cheered at that point!

    When that happens, and you “accidentally” clap and not many others do, you have done nothing wrong! Just sit back and let it all sink in. You may still feel the vibration of the music in the air, and it can be quite a magical moment.

    The performers will be getting ready for the next movement, which may have a very different feel to it. That’s all part of the journey of the piece as a whole.

    Think of it like a book, with each movement like a chapter. You save your Goodreads five-star review for the end – and that has now become the convention for clapping at concerts.

    At the end of the work, there will once again be a lovely pause while the final notes die away.

    Watch for the body language of the players and let that be your guide. The majority of people around you may also start clapping too – so that’s always a good sign to let go and express yourself.

    You don’t have to hold back at all now! Feel free to clap as loud and long as you like, cheer or you can even stamp your feet on the floor while you are still seated if you really loved it!

    Sometimes you’ll see people standing up and clapping too (called a standing ovation). You don’t have to do this, but when and if you do, just know that it’s the highest honour an audience can give the musicians and a sign of maximum appreciation.

    Most of all – listen and enjoy!

  • Each performance has a detailed concert program that explains the history of the composers, the music and provides information about the musicians.

    You can pick up a concert program at the performance or read it online a few weeks before the concert. Once, available, we upload it to our Concert Programs page and include it on the event page (above)

    We also try to provide information about the music in the lead up to a concert on our website, social channels and via emails.

    In our ‘Deep Dive’ section (also on this page for each concert), you will find links to various background information pages that will help to give you more insight into the works and composers on the program.

    Be sure you have opted in to receive emails so that you get all the info.

  • Yes, depending on the venue. The availability of refreshments varies from venue to venue and changes from time to time.

    Below is information about what is currently available at our own venues.

    BERRY: In Berry, we have community-led catering which usually includes tea and coffee, wine, cakes and snacks served by our wonderful local supporters.

    BOWRAL MEMORIAL HALL: Delicious pre-concert and interval homemade treats are provided by the CWA. Alcohol is not currently available. There are gluten-free options and you can pay by cash or card.

    BURRAWANG, SCHOOL OF ARTS: In Burrawang, we have gorgeous community-led catering which usually includes tea and coffee, wine and snacks served by the wonderful hall committee.

    CANBERRA: Wesley Music Centre. Interval tea and coffee is on the cards for this venue in the future!

    CITY RECITAL HALL: In Sydney, the City Recital Hall operates a full service bar before the concert and at interval. You can even take your drink inside the concert! Note that the City Recital Hall is a cashless bar. More information on all the dining options and bars is available here.

    LAKE MACQUARIE: Tea and coffee, wine and snacks available.

    PORT MACQUARE: Tea, coffee and wine available.

  • Between pieces definitely. Our instruments aren’t amplified so we ask you to respect everyone’s experience and that you don’t talk whilst the musicians are playing.

  • Photos are fine between pieces and when the musicians are bowing at the end of pieces, provided the flash is off.

    Our musicians are concentrating hard whilst they are performing though, so we ask that your phone is off and away during the performance itself.