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  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/haydns-string-quartets-and-nature</loc>
    <changefreq>monthly</changefreq>
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    <lastmod>2019-02-10</lastmod>
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  <url>
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    <lastmod>2019-11-23</lastmod>
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      <image:title>AHE News - Rehearsal Gallery - Midori &amp;amp; Mozart</image:title>
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  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/behind-the-score-salomon-and-haydn</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-01-16</lastmod>
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      <image:title>AHE News - Behind the Score: Salomon and Haydn</image:title>
      <image:caption>TITLE PAGE OF FIRST PUBLISHED EDITION OF ONE OF SALOMON’S ARRANGEMENTS</image:caption>
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      <image:title>AHE News - Behind the Score: Salomon and Haydn</image:title>
      <image:caption>JOHANN SALOMON - Thomas Hardy</image:caption>
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  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/inside-the-program-emperors-amp-armies</loc>
    <changefreq>monthly</changefreq>
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    <lastmod>2020-02-04</lastmod>
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      <image:title>AHE News - View from the Violin: Emperors &amp;amp; Armies</image:title>
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    <lastmod>2020-02-01</lastmod>
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      <image:title>AHE News - Program Notes: Emperors &amp;amp; Armies</image:title>
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  </url>
  <url>
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  </url>
  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/category/Review</loc>
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  </url>
  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/category/BLOG</loc>
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  </url>
  <url>
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    <changefreq>monthly</changefreq>
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  </url>
  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/tag/BLOG</loc>
    <changefreq>monthly</changefreq>
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  </url>
  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/tag/Blog</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
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  <url>
    <loc>https://www.australianhaydn.com.au/news-blog/tag/Ensemble+News</loc>
    <changefreq>monthly</changefreq>
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  </url>
  <url>
    <loc>https://www.australianhaydn.com.au/artists</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2016-11-11</lastmod>
    <image:image>
      <image:loc>https://static1.squarespace.com/static/57da73dff7e0ab084d5d55dc/582545cc5016e1763e4942fe/582545dccd0f68ee1b503d1f/1478839027138/AHE-HaydnsPassion.jpg</image:loc>
      <image:title>Featured Artists - Dr Erin Helyard</image:title>
      <image:caption>Praised as a virtuosic and eloquent soloist as well as an inspired and versatile conductor, Erin Helyard is at the forefront of a new generation of young musicians who combine the latest musicological and historical enquiry with live performance in contemporary culture. Erin graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in 2005 in fortepiano performance and a Ph.D. in Musicology in 2012 with Tom Beghin at the Schulich School of Music, McGill University, Montréal. He was named the Westfield Concert Scholar on fortepiano for 2009-2010 and from 2003 to 2012 Erin was a central member of the award-winning Montreal-based Ensemble Caprice. In Sydney, Erin is Artistic Director and co-founder of Pinchgut Opera and the Orchestra of the Antipodes. He has conducted from the keyboard acclaimed performances of Purcell’s Fairy Queen (Montreal Baroque Festival), Cavalli’s L’Ormindo, Purcell’s Dioclesian, Vivaldi’s Griselda, Cavalli’s Giasone, Salieri’s The Chimney Sweep, Vivaldi’s Bajazet, Grétry's L'amant jaloux (Pinchgut), Handel’s Acis and Galatea (NZ Opera), Handel’s Orlando (Hobart Baroque), Purcell’s Dido and Aeneas, and Handel’s Faramondo and Agrippina (Brisbane Baroque). For Faramondo in 2015 Erin was nominated for Best Music Direction at the Helpmann Awards. The production triumphed with five awards, including Best Opera. Erin is Senior Lecturer in Musicology and Historical Performance at the Melbourne Conservatorium of Music at the University of Melbourne and appears courtesy of that institution.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57da73dff7e0ab084d5d55dc/582545cc5016e1763e4942fe/582549e2e4fcb5d483d36f42/1478838857632/Melissa+Farrow+low+res-1.jpeg</image:loc>
      <image:title>Featured Artists - Melissa Farrow</image:title>
      <image:caption>Based in Sydney, Melissa has a very active and fulfilling career in the Australian early music scene as a period flautist, teacher and recorder player. She has been Principal Flute of the Australian Brandenburg Orchestra (ABO) since 2003. She performs and records regularly with Pinchgut Opera in the Orchestra of the Antipodes, and is a core member of the exciting new Sydney-based chamber music ensemble the Australian Haydn Ensemble (AHE). Melissa has also performed with Ironwood, the Australian Chamber Orchestra, Luduvico’s Band, Sinfonia Australis and Sydney Philharmonia. In 2012 she was the inaugural recipient of the ABO’s International Baroque Study Program as well as receiving an Australia Council Professional Development Grant, supporting a tour to Europe to research playing techniques of Baroque, Classical and Romantic flutes. Melissa’s undergraduate studies were undertaken at the Sydney Conservatorium of Music and postgraduate studies and tweede fase at the Conservatorium van Amsterdam in modern flute, recorder and traverso with Walter van Hauwe and Marten Root. In 2013 Melissa appeared as a flute soloist in Telemann’s Flute and Violin Concerto (with Stefano Montanari and the ABO) and Benda’s Flute Concerto in E minor under the direction of Erin Helyard and the AHE. In 2014 she performed Mozart’s Flute and Harp Concerto with harpist Marshall Macguire and the ABO and Abel’s Concerto in G with the AHE. She enjoys teaching early flutes and recorder and has given workshops/lectures and masterclasses at the Flute Connections studio, MLC and to the Australian Flute Festival.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57da73dff7e0ab084d5d55dc/582545cc5016e1763e4942fe/58254a87ff7c50364e54ecbc/1478838979649/dannyyeadon.jpg</image:loc>
      <image:title>Featured Artists - Danny Yeadon</image:title>
      <image:caption>Daniel Yeadon is exceptionally versatile as a cellist and viola da gambist, performing repertoire ranging from the Renaissance to contemporary. As a chamber musician he has performed in many major venues and festivals throughout the world. He co-founded Ironwood, an Australian ensemble known for its presentations of the classics alongside new commissions for early instruments. Daniel is a part-time member of the Australian Chamber Orchestra, has appeared as soloist with the Australian Brandenburg Orchestra and has performed on several national chamber music tours for Musica Viva Australia. He performs every year with Pinchgut Opera. Originally from the UK, Daniel read physics at Oxford University and studied historical performance at the Royal College of Music in London. For many years he was a member of the renowned period instrument ensemble Florilegium and later joined the Fitzwilliam String Quartet. Daniel continues to be guest principal cellist with many of the period instrument ensembles based in London, including the English Baroque Soloists and the Orchestra of the Age of Enlightenment. Daniel has made many award-winning recordings, including an ARIA winning disc of sonatas by J.S. Bach with Richard Tognetti and Neal Peres Da Costa; the J.S. Bach sonatas for viola da gamba and harpsichord with Neal Peres Da Costa; J.S. Bach cantatas and Brandenburg concertos with John Eliot Gardiner and English Baroque Soloists, in addition to many critically acclaimed recordings with Ironwood, Florilegium and the Fitzwilliam Quartet. Daniel is in much demand as a teacher. Associated with the Sydney Conservatorium of Music since 2005, he also has a key role in the education team of the ACO. He recently completed a Ph.D. at Sydney University focusing on the group learning experiences of students in tertiary music institutions.</image:caption>
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      <image:title>Featured Artists - Melvyn Tan</image:title>
      <image:caption>Exploration, insight and imagination are vital ingredients in Melvyn Tan’s blend of artistic attributes. He established his international reputation in the 1980s with pioneering performances on fortepiano and continues to cast fresh light on music conceived for the piano’s early and modern forms. Tan possesses a profound understanding of his instrument’s history, its technical evolution and musical development. His performances of piano masterworks, whether on a late eighteenth-century fortepiano or today’s concert grand, penetrate the surface of interpretive traditions and received wisdom to reveal countless expressive nuances and rarely heard tonal contrasts. Acclaimed for the wit and poetry of his playing, Tan has also received ovations for his bold programming and exceptional ability to switch from fortepiano and modern piano, even in the same recital. Tan’s mature musicianship is informed by extensive knowledge of the piano from the time of its invention three centuries ago and of its historic development. He has reached back in time to perform on everything from copies of early fortepianos to restored instruments associated with Beethoven, Chopin, Liszt and Brahms. In addition he has applied lessons learned on pianos from the past to conjure subtle new colours, fine details of articulation and delicate shadings from the modern concert instrument. Tan’s work as recitalist, chamber musician and concerto soloist has been heard at many of the world’s leading concert halls, from the Amsterdam Concertgebouw and Vienna Konzerthaus to London’s Wigmore Hall and Royal Festival Hall and New York’s Lincoln Center, and at the festivals of Salzburg, Edinburgh, La Roque d’Anthéron, at Bath’s Mozartfest and City of London festival. In recent seasons Tan has connected with audiences across China and South East Asia, introducing many to their first experience of fortepiano and attracting young people to attend recitals on early and modern pianos. Others have discovered his work through his large discography, complete with ground-breaking fortepiano recordings of concertos by Mozart and Beethoven and Schubert’s Impromptus for EMI Classics, and releases on the Archiv, Deux-Elles, Harmonia Mundi, NMC and Virgin Classics labels. Melvyn Tan was born in Singapore in 1956. He showed prodigious musical talent during childhood and, at the age of twelve, came to England to study at the Yehudi Menuhin School. Tan’s piano teachers – Nadia Boulanger, Vlado Perlemuter and Marcel Ciampi – sparked his lifelong passion for French music in general and the works of Debussy, Ravel and Messiaen in particular. He was encouraged to think about the nature of music during his time at the Menuhin School, to consider its structure and shaping forces, and ask questions of the score. After Tan enrolled at the Royal College of Music in 1978, he broadened his scope of enquiry to include the sounds of early pianos and the playing styles that conditioned them. Tan’s decision in 1980 to specialise in fortepiano, brave and forward-looking at the time, was rewarded by rapid professional progress over the following decade. He forged an enlightened artistic partnership with Roger Norrington and the London Classical Players, intensified in 1987 during the course of a landmark tour of Europe, America, Canada, Australia and Japan. Capacity audiences attended their Beethoven Experience weekend at London’s South Bank Centre and subsequent international tour, during which Tan performed on Beethoven’s Broadwood fortepiano of 1817. Not content to rest in the box reserved for early music practitioners, Tan began exploring works on the modern concert grand piano. He launched this new phase in his career on Christmas Day 1996 with a performance of Mozart’s Piano Concerto No.9 ‘Jeunehomme’, given in Cologne in company with the Deutsche Kammerphilharmonie. The following year he gave a recital of Chopin’s Préludes and Schumann’s Kreisleriana at Wigmore Hall. Tan’s refreshing interpretations of everything from Bach and Rameau to Chopin and Debussy are directly informed by his knowledge of historical playing styles and intuitive feeling for the modern piano’s timbres and textures. Tan has performed as concerto soloist with such prestigious ensembles as the London Philharmonic Orchestra, the Academy of St Martin’s in the Fields, the Hong Kong Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, Stuttgart Radio Symphony Orchestra, Salzburg’s Camerata and Mozarteum orchestras, Melbourne Symphony and on tour with the Australian Chamber Orchestra. More recently, Tan has made regular appearances with the Singapore Symphony Orchestra and with the London Chamber Orchestra, recording Mozart’s Piano Concerto No. 12 and Beethoven’s Piano Concerto No. 2 on the orchestra’s LCO Live label. After an absence of two decades, Melvyn Tan made a triumphant return to Singapore. He played to a full Esplanade Hall in January 2011 and has since returned regularly to Singapore for orchestral and recital performances and to teach young musicians. Since September 2012 he has shared his knowledge of pianos old and new and of the art of interpretation as Artist in Residence at Singapore’s Yong Siew Toh Conservatory.</image:caption>
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      <image:title>Featured Artists - Neal Peres da Costa</image:title>
      <image:caption>A graduate of the University of Sydney, the Guildhall School of Music and Drama (London), the City University (London) and the University of Leeds (UK), Neal Peres Da Costa has forged a highly successful career as a performing scholar, music educator and researcher, specialising in historically informed performance. Currently, he is Associate Professor and Chair of the Historical Performance Unit at the Sydney Conservatorium of Music (University of Sydney). Previously held posts include at the University of New South Wales, the Royal Academy of Music and Trinity College in London, and the University of Leeds from which he was awarded a PhD in 2002. His monograph Off the Record: Performing Practices in Romantic Piano Playing (Oxford University Press, New York: 2012) has received critical acclaim. Limelight Magazine hailed it as ‘engaging and thought provoking … an outstanding contribution’ and a book that ‘no serious pianist should be without.’ Alex Ross - music critic of The New Yorker and author of The Rest is Noise - honoured it as a notable book on his 2012 Apex List. In 2012, Off the Record was the subject of both a five-part series broadcast by ABC Classic FM during the Sydney International Piano Competition and an in depth interview with Christopher Lawrence for the ABC Classic FM Music Makers programme. Notable performances include Bach’s monumental Goldberg Variations at the Festival Baroque in Perth (2009), and the Peninsula Summer Festival (2010) broadcast on ABC Classic FM. With Ironwood, he is involved in on going cutting-edge projects that have led to performances and recordings of late-Romantic chamber repertoire in period style. To that end his collection of keyboard instruments has expanded to include historical nineteenth-century grand pianos including by Collard and Collard (English c.1840), Erard (French c.1869), and Streicher (Viennese replica c.1860). Neal has performed and recorded with a host of distinguished soloists and ensembles in Australia and abroad including Fiona Campbell, Emma Kirkby, Pieter Wispelwey, Florilegium, London Sinfonietta, the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Ironwood, the Australian Chamber Orchestra, the Sydney Symphony Orchestra, the Song Company, Orchestra of the Antipodes, Pinchgut Opera, Latitude 37, the Australian Brandenburg Orchestra, and Orchestra Victoria.</image:caption>
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      <image:title>Featured Artists - Ingo Müller</image:title>
      <image:caption>Ingo Müller graduated in baroque oboe and music pedagogy from the Conservatories of music in Trossingen and Freiburg (Germany). Furthermore he studied German philology at the University of Freiburg and completed his studies with a PhD in the history of German literature. He graduated with first-class honours and his monograph of Alban Berg’s opera dramaturgy was awarded with the Gerhart-Baumann-Medal for outstanding interdisciplinary studies in literature. Since 2011 Ingo has been researching and lecturing on the interdisciplinary field of music, literature and aesthetics at the University of Freiburg. In 2014 he became a fellowship-holder of the "Thyssen Foundation" to undertake a research project on the aesthetics of Heinrich Heine’s poetry and Robert Schumann’s associated settings. The monograph will appear in 2017. At the same time Ingo maintains a notable career as a baroque oboe player. He performs regularly with various well-known European early music ensembles such as Kammerorchester Basel, Concerto Köln, Balthasar Neumann Ensemble, Orfeo 55, Bachstiftung St. Gallen amongst others. Ingo has worked with outstanding artists such as Cecilia Bartoli, Nuria Rial, Simone Kermes, Philippe Jaroussky and Franco Fagioli as well as several renowned conductors and instrumentalists. He has appeared at prestigious European festivals such as Salzburger Festspiele, Leipziger Bachwoche, Festival de St. Denis and many others. A wide range of radio productions and recordings provide a testiment to his international artistic activities. Ingo made his Australian debut in 2014 when he was kindly invited by Ironwood and The Song Company to perform Bach’s B-minor Mass in a series of highly acclaimed concerts. In 2016 he returned to Australia to collaborate with the Australian Haydn Ensemble and Dr. Erin Helyard. Future musical projects include the ongoing recording of Bach’s entire vocal oeuvre by the Swiss Bach-Foundation.</image:caption>
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      <image:loc>https://static1.squarespace.com/static/57da73dff7e0ab084d5d55dc/t/5825508f197aea282ed0cba4/1478839027138/</image:loc>
      <image:title>Featured Artists - Dr Erin Helyard</image:title>
      <image:caption>Praised as a virtuosic and eloquent soloist as well as an inspired and versatile conductor, Erin Helyard is at the forefront of a new generation of young musicians who combine the latest musicological and historical enquiry with live performance in contemporary culture. Erin graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in 2005 in fortepiano performance and a Ph.D. in Musicology in 2012 with Tom Beghin at the Schulich School of Music, McGill University, Montréal. He was named the Westfield Concert Scholar on fortepiano for 2009-2010 and from 2003 to 2012 Erin was a central member of the award-winning Montreal-based Ensemble Caprice. In Sydney, Erin is Artistic Director and co-founder of Pinchgut Opera and the Orchestra of the Antipodes. He has conducted from the keyboard acclaimed performances of Purcell’s Fairy Queen (Montreal Baroque Festival), Cavalli’s L’Ormindo, Purcell’s Dioclesian, Vivaldi’s Griselda, Cavalli’s Giasone, Salieri’s The Chimney Sweep, Vivaldi’s Bajazet, Grétry's L'amant jaloux (Pinchgut), Handel’s Acis and Galatea (NZ Opera), Handel’s Orlando (Hobart Baroque), Purcell’s Dido and Aeneas, and Handel’s Faramondo and Agrippina (Brisbane Baroque). For Faramondo in 2015 Erin was nominated for Best Music Direction at the Helpmann Awards. The production triumphed with five awards, including Best Opera. Erin is Senior Lecturer in Musicology and Historical Performance at the Melbourne Conservatorium of Music at the University of Melbourne and appears courtesy of that institution.</image:caption>
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      <image:title>Musicians - Anton Baba</image:title>
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      <image:title>Musicians - Simon Rickard</image:title>
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