Australian Haydn Ensemble in Review
Australian Haydn Ensemble
Skye McIntosh, artistic director
Weill Hall at Carnegie Hall, New York, NY
October 16, 2023
On the evening of October 16, 2023, the Australian Haydn Ensemble (AHE) took an enthusiastic audience on a bit of time travel where Carnegie’s Weill Hall was transformed into an 18th century salon (well, an 18th century salon with electricity!) for a program of symphonies by Johann Christian Bach, Haydn (Joseph), and Mozart.
Formed in 2012, the eighteen-member Australian Haydn Ensemble is a leader in what they call historically informed performances, specializing in late Baroque and early Classical repertoire using period instruments. The oboe, bassoon, flute and horn (valveless) sound substantially different from their modern counterparts. Love them or hate them, they do give one the authentic “sound” of the times when these works were composed and first played.
Violinist Skye McIntosh led the conductorless ensemble, whose members played standing. I suspect this was to honor the performing style of those times, even though there is some dispute as to whether this was widespread practice. Ms. McIntosh was also a charming host, speaking with the audience to give some history about the works offered. I would like to break with my usual convention and name all the members of this fine ensemble: Skye McIntosh, Matthew Greco, Anna McMichael, Annie Gard, Alice Richards, Ella Bennetts, Emma Williams, violins; Karina Schmitz, Kristen Linfante, violas; Daniel Yeadon, Eva Lymenstull, cellos; Pippa Macmillan, double bass; Melissa Farrow, flute; Joel Raymond, Kirsten Barry, oboes; Simon Rickard, bassoon; Michael Dixon, Dorée Dixon, horns.
Johann Christian Bach, the “London Bach,” was highly regarded during his relatively short life, but time has not been so kind to him. His current reputation has relegated him to almost an afterthought, only meriting the faintest praise that is tantamount to “Well, he tried.” One should consider that Mozart thought highly of him (one can hear shadows of J.C. in some of his works), and that alone should give one pause to reconsider his worth. The Symphony in G minor, Op. 6, No. 6 is an impressive work, in which J.C. goes his own way in a manner we had not heard from his famous father.
The AHE tore into the stormy first movement with a roiling intensity that caught my attention right away – this was passionate, emotionally powerful and impactful playing. The second movement had an austere quality played with simple sincerity, and the finale was dispatched with élan, complete with a surprise quiet ending that could have been written by Haydn. It was an impressive start to the evening.
Written in 1761, Symphony No. 6 in D major (Le Matin), Symphony No. 7 in C major (Le midi), and Symphony No. 8 in G major (Le Soir), were Haydn’s fulfillment of Prince Esterházy’s suggested theme for composition: three times of day, morning, noon, and evening – hence the nicknames. These works could just as easily be classified as concerti grossi as symphonies. No. 7 was not included in tonight’s program.
Haydn had just been hired by Prince Esterházy and probably was eager to impress his new patron. The Prince’s orchestra counted some brilliant musicians, which gave Haydn the opportunity to write dazzling solo passages to show off both their virtuosity as performers and his own as a composer. It probably enhanced his working relationship with the musicians, as it was often customary for a player to be rewarded with extra pay for pleasing the Prince with brilliant playing – an early example of “paying it forward.” These symphonies are chock full of such solos – one suspects many an extra coin filled the pockets of those musicians. On a side note, Ms. McIntosh reminded the audience that Prince Esterházy’s orchestra also had eighteen members.
One could feel the warmth of the rising sun in the introduction before kicking into high gear. Flute, oboe, and horn all had featured solos, with special kudos to flutist Melissa Farrow for her virtuosity. One must also give double bassist Pippa Macmillan special praise for her nimble solo work in the Trio. Ms. McIntosh and cellist Daniel Yeadon reveled in soloistic moments. All in all, it was quite the “morning,” which could take the place of coffee to get the day going!
Le Soir is a night with some storminess (the finale Presto, sometimes subtitled La tempesta). The opening movement quotes Gluck – Je n’aimais pas le tabac beaucoup (I didn’t like tobacco much) – from Le diable à quatre, and once again, there were virtuosic solos (violins, cello) throughout. The finale sizzled with a tempestuous energy that was thrilling. It was notable how well these players meshed together – with such small forces one can’t “hide” behind a large section, so any gaffes are easily heard. One would have been hard pressed to find any significant issues with ensemble.
Mozart’s Symphony No. 29 in A major, K. 201, written when the composer was eighteen years old, opened the second half. There are some who might suggest that this work needs the full forces of a larger orchestra to accentuate its grandeur. I believe that is incorrect, and the AHE validated my opinion. These eighteen musicians brought more than enough passion, power, and brilliance to their sparkling performance. It was the highlight of the evening for this listener.
After the last notes were played the audience was returned to the 21st century and rewarded this fine ensemble with an extended standing ovation. For all lovers of period instruments and the music of this epoch played by superior musicians, the Australian Haydn Ensemble is not to be missed.
