ARTISTS
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Rafael Font, viola
Daniel Yeadon, cello
Pippa Macmillan, double bass
Mikaela Oberg, flute
PROGRAM
HAYDN
Symphony No. 92 in G major Oxford arr. Salomon
HAYDN
Symphony No. 95 in C minor arr. Salomon
HAYDN
Symphony No. 103 in E flat major Drumroll arr. Salomon
CONCERT DURATION:
Approx 120 minutes with a 20 minute interval
ABOUT THIS CONCERT
Haydn’s London Symphonies: Part 1
Part 1! How enticing. If a CD revival eventually eclipses the current vinyl vogue, can we look forward to a 300th birthday /Brisbane Olympics “boxed set” of all 12 by 2032?
Violinist and impresario Peter Salomon was the guardian angel (slash shrewd businessman) who put Haydn on a boat to London after a younger “less enlightened” (ok, philistine) Esterházy sacked all his musicians and kept the composer on for domestic duties. English audiences went wild, symphonies poured out and sterling poured in but these “tours” represented a genuine sea-change in music history: the fans were middle to upper-middle class music lovers, not diversion-seeking aristocrats. And in the absence of a foyer CD (let alone vinyl) stall, they were all ravenous to listen again at home. So… you guessed it, Salomon added a lucrative by-line in downsized arrangements for amateur parlour use.
As AHE listeners will know, these versions, often for string sextet and flute, are a long way from pale imitations: newly imagined for the medium, they are actually a refreshing listen when compared to the brass and drum heavy “warhorse” school of orchestral playing.
Alright, pedants put up your quills: we know No. 92 The Oxford is not officially a Londoner. It premiered in Paris, but such was Salomon’s haste to get Haydn his doctorate, he didn’t have time to write any new ones and so white-lied in his exam by recycling his most recent, sweetened by some palindromic canons for the egg-headed panellists. Had he stopped at 92, it would be a summation of his art. The Rossini-like finale is especially fabulous: the hero, a scurrying staccato melody, is subjected to all manner of comic indignities; buffeted by giddying chromatic winds and turned every which way but loose.
No. 95 is the only one that threatened to disappoint the aficionados (What? Minor key? No slow intro?) but, statistically, major thirds crowd out the tragic E flats and the sun-drenched final movement is as gloriously contrapuntal as the one that closes Mozart’s Jupiter.
No. 103 in E flat needs no introduction (but of course has one; “audience we value your feedback”). It’s simply one of the greatest symphonies of the era. The splendid finale is an epic tapestry tightly woven from a simple short horn call motif. How will they pull off the drumroll though? Wait and see.
An exciting, dramatic and thoroughly satisfying season’s end.
3 down and 7 to go, roll on Parts 2, 3 and 4.
PERFORMANCES & TICKETS
Saturday 31 October, 4pm
Southern Highlands
Bowral Memorial Hall,
Bowral
Monday 2 November, 7pm
Sydney
The Neilson, ACO On The Pier,
Dawes Point
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Get single tickets
Thursday 5 November, 7pm
Canberra
Gandel Hall,
National Gallery of Australia
Sunday 8 November, 4pm
Sydney
The Neilson, ACO On The Pier,
Dawes Point
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Get single tickets
18th Century Unpacked - 3
Thursday 29 October, 6pm
Sydney, NSW
Friends Room,
State Library of NSW
AHE SPOTIFY PLAYLIST
Listen to further selections from the program on our spotify playlist.
DEEP DIVE
Learn more about the Composers and Music in this performance from the following links:
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
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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.
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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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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.
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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.
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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.
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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.