Australian Haydn Ensemble - Haydn’s Oxford

Haydn’s London Symphonies reimagined: intimate, vibrant, and full of surprises.

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.

Photography credit: Helen White

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

ARTISTS

Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Rafael Font, viola
Daniel Yeadon, cello
Pippa Macmillan, double bass
Mikaela Oberg, flute

“..a jewel in the national period-instrument crown” Limelight

Ravishing Sound... " SMH

★★★★★ "balance, clear-sightedness and optimism" SMH

“..a young and engaged group” SHM

"This elegant programme by the AHE was more than just music – it was a lesson rich in history as told in music. The playing, polished with an instinctive understanding of each other, was beautifully balanced, technically impressive and cohesive." Sounds Like Sydney"

"...tight and attentive ensemble work and a lovely singing tone from McIntosh’s lead fiddle." Daily Telegraph

“…an extended standing ovation. … the Australian Haydn Ensemble is not to be missed.”

Carnegie Hall, New York Concert Review, 2023

“Australian Haydn Ensemble joy and expertise. This is their first American presence. Let it not be the end.”

The Classical Music Network, 2023

★★★★1/2 - “Led by Artistic Director Skye McIntosh, the six members of the Ensemble were in sparkling form for a programme that both moved and uplifted in equal measure. Limelight, 2023

"The Haydn Ensemble, led by director and violinist Skye McIntosh … played with crisply articulated stylishness, strong bass, and attentively unanimous ensemble playing." Sydney Morning Herald, 2024

RUNNING TIME

Approx 120 minutes with a 20 minute interval

TICKETS

General Admission $60 (plus booking fee)

Lake Mac Arts Member $54 (plus booking fee)

Not a member? Find out more here: Join here: Lake Mac Arts membership - Lake Macquarie Arts

Tickets available at the door subject to availability.

Please note there is no need to print your tickets for this event, staff can provide an electronic check in at the door.

VENUE INFORMATION

HERITAGE BUILDING

Rathmines Theatre is a heritage building and does not have air conditioning. Please dress warmly on cooler days.

PARKING

Parking is available in designated areas surrounding the venue, including two accessible parking spaces in front of the theatre.

ACCESSIBILITY

Accessible access to Rathmines Theatre is available via the ramp on the lake side of the theatre. There are two accessible parking spaces in front of the theatre. There is one accessible unisex toilet (right-hand transfer), and one accessible male toilet (ambulant).

HEARING LOOP

A Hearing Loop is available in the theatre. To receive the signal directly a patron can switch their hearing aid or cochlear implant process to the T Switch, or Telecoil position.

ACCESSIBLE SEATING

Accessible seating is available inside the theatre. Please indicate when booking your tickets or contact the theatre on 02 4921 0400 or email artsculture&tourisminfo@lakemac.nsw.gov.au

DRINKS AND SNACKS

Beer, wine, soft drinks and snacks will be available for purchase. Please note, Rathmines Theatre is an EFTPOS only venue.

ADVERSE WEATHER

If a performance needs to be cancelled due to adverse weather, this page will be updated and customers will be notified by email, phone call or sms.

This performance is supported by the NSW Government through Create NSW.