Image Credit: © Helen White
BEETHOVEN’S FIFTH
Intense. Exhilarating. Famous.
★★★★1/2 “…a celebration of what the Australian Haydn ensemble does best…”
State of the Art, Beethoven’s Seventh, 2023
ABOUT THIS CONCERT
AHE continues its exploration of historical arrangements of Beethoven’s masterworks on period instruments. Get up close and personal with Beethoven’s mighty Fifth Symphony, as the septet reveals surprising new intensities.
ABOUT BEETHOVEN’S FIFTH
Composed between 1804 and 1808, Beethoven's Symphony No. 5 stands as one of his most renowned works, and to many people, it immediately reads as “classical music”. Its’ iconic opening motif, with its memorable rhythm 'duh-duh-duh-duuuh', is instantly recognizable.
This performance offers a fresh perspective on a famous symphony.
As part of AHE’s ongoing exploration of Beethoven’s works in historical chamber arrangements, the Ensemble presents the world premiere of William Watts's version of Beethoven’s Fifth Symphony, arranged around 1820.
This unique arrangement is quite unlike any large-scale symphonic recording you may have heard or may be expecting!
Played by seven incredibly skilled musicians, Watts’ arrangement was made in Beethoven’s time, and with his blessing.
The Fifth is often referred to as ‘the Fate Symphony’ (German: Schicksalssinfonie). The famous four-note gesture at the opening is believed to symbolise fate knocking at the door. It reflects Beethoven's lifelong personal struggles including his increasing deafness, psychic anguish, and depression. This symphony is in many ways a poignant expression of his determination to overcome adversity and inner turmoil.
AHE's commitment to performing historical chamber arrangements has garnered widespread acclaim, with audiences amazed by the revelations unearthed through hearing these symphonies in a new way.
ABOUT FERDINAND RIES (BEETHOVEN’S RIGHT-HAND MAN)
Ferdinand Ries, renowned as Beethoven’s right-hand man, was not only a brilliant composer in his own right, he played a pivotal role in Beethoven’s life, particularly as the composer's hearing began to decline.
Beethoven regarded Ries as indispensable, relying on his assistance and companionship during difficult times. Their bond endured throughout their lives, with Beethoven imparting his knowledge and skills to Ries, shaping his development as a musician and composer.
ABOUT BOCCHERINI AND NIGHT MUSIC OF THE STREETS OF MADRID
At the composers’ request, Boccherini's Night Music of the Streets of Madrid remained unpublished for years after his death.
He felt that the piece was only relevant within Spain (not true!). The work is now one of his most popular and best-loved.
Its vibrant, compelling melodies take you straight to Madrid and its bustling streets with their boisterous and colourful nightlife.
Fun fact - the film Master and Commander: The Far Side of the World uses the main violin theme from Night Music of the Streets of Madrid extensively. Russell Crowe, as captain of the Surprise, and Paul Bettany as his ship's surgeon play violin and cello in the captain's quarters for their own pleasure and distraction throughout the film, which is directed by Australian Peter Weir.
PROGRAM
FERDINAND RIES
Flute Quintet Op. 107 in A minor READ MORE
BOCCHERINI
Night Music of the Streets of Madrid Op. 30 No. 6 (G. 324) READ MORE
BEETHOVEN
Symphony No. 5 (arr. Watts) READ MORE
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ISkye McIntosh, violin
Matthew Greco , violin
Karina Schmiz, viola
Nicole Divall, viola
Daniel Yeadon, cello
Pippa MacMillan, double bass
Melissa Farrow, flute
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Firstly, its not necessary to be an expert to enjoy our music! There are some fun facts though!
At AHE we play what’s known as a ‘period’ instrument. This is an instrument that was made at the time of Beethoven, Mozart or even earlier, or an instrument made by a master instrument maker that is ‘after’ a famous maker of the past.
Some instruments have survived over time more easily than others. For instance, it is more likely that a very old instrument will be a string instrument and less likely that it will be a wind instrument.
There is a great deal of research and scholarship that goes into the preparation and playing of these marvellous instruments, with their lower and softer sounds.
The benefit to you is that you can enjoy the music in a way that’s as close as possible to the sound world that the composers themselves knew.
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In Beethoven’s time, cchamber arrangements were the main way that new music became known in Beethoven’s time.
In a world without recordings, radio or even opportunities to attend concerts outside the larger cities, such arrangements were a vital source of income for composers and helped to make their music well-known.
They were typically played in intimate venues, often by groups of friends or by professional musicians at private concerts.
When we listen to them played today, on instruments that bring us into the sound-world that Beethoven knew, we get awhile ew experience of this incredible music.
Image Credit: Helen White
PERFORMANCES
Select a location & date from the list below and click on the link to book online.
* Southern Highlands | Saturday 22 June | 4pm | Bowral Memorial Hall
* Port Macquarie | Sunday 23 June | 5pm | The Glasshouse
* Canberra | Thursday 27 June 7pm | Wesley Music Centre, Forrest
* Berry | Friday 28 June 7pm | Berry Uniting Church Hall
* Wollongong | Saturday 29 June, 2pm, St Francis Xavier Cathedral
* Sydney | Sunday 30 June | 4pm City Recital Hall
* Australian Digital Cncert Hall | Sunday 30 June | 4pm, Australian Digital Concert Hall
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Most AHE concerts are around 90 minutes including a 20 minute interval.
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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.Most of our concerts are from 90 minutes to two hours long (with an interval halfway through).
You want to be relaxed and ready to be carried away by the music, not worrying about if your shoes are hurting.
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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!
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Interval refreshments vary from venue to venue for our concerts.
In the Southern Highlands and in Berry there is community-led catering.
In the Southern Highlands there are pre-concert and interval treats that are homemade and provided by the CWA. Alcohol is not available. There are gluten-free options and you can pay by cash or card.
The City Recital Hall in Sydney 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 .
WHAT YOU’LL HEAR
As far as we know, our performance of Beethoven’s Fifth Symphony will be a modern-day world premiere - with William Watt’s arrangement for string quintet, flute and double bass, having not been heard live since probably around 1820 - There are currently no recordings. It’s a fabulous work and we’ve included below in our Spotify list, a full orchestral recording of the Symphony along with recordings of Boccherini's Night Streets of Madrid and Ries’ Flute Quintet.