Its always a thrill to catch the beginning of a season performances by the premier period-instrument group specialising in the repertoire of the late Baroque and early classical eras. This ensemble, the Australian Haydn Ensemble (AHE) takes its name from the great Joseph Haydn, a leading composer of the late 18th century. The inspiration for AHE’S inventiveness and flexibility comes from Haydn’s fabled originality and the virtuosic musicians he worked with at the court of Esterhazy for almost 30 years.
The Ensemble presents programs of 18th century chamber versions of works by Haydn, Mozart, and Beethoven , as well as presenting the works of lesser composers, such as Boccherini, Wranitzky and Myslivecek.
Where better, acoustically and visually then to be ensconced in the sumptuous salon of the State Library’s Portraits Gallery, surrounded with Australian historical relatives- a perfect showcasing for chamber music. The outside world recedes as our esteemed musicians; Skye McIntosh, Artistic Director, and violin; Matthew Greco, violin; Rafael Font, viola and Daniel Yeadon, cello, mount the podium and Skye presents an outline of this late afternoon’s performance, delving into each composer’s unique, creative perspective: Haydn’s wit and imagination, Mozart’s radiant maturity and Mendelssohn’s astonishing early genius writing the Quartet in E flat at the tender age of 14. Together, these three quartets invite us to step into a youthful world of warmth, colour and imagination that’s full of optimism–a perfect antidote to the world outside.We begin with Haydn’s Quartet Op.33 No.3, nicknamed The Bird for its playful, chirping motifs in the first movement. The Op.33 quartets mark an important turning point in the history of string quartets, bringing a new sense of freedom, humour and connection–a conversation, if you will–between the players. Haydn himself proclaimed that he felt he had achieved something entirely “new” and different with these works.
At the heart of the program is Mozart’s String Quartet No.14 in G major. K.387, often associated with the idea of Spring for its sense of vitality and optimism. Written at the age of 28, its full of melodic invention and warmth reflecting his deep admiration for Haydn. Mozart’s inspiration is credited to Haydn’s Op.33 string quartets who expanded the genre further with the four instruments displaying a fresh level of equality, constantly sharing ideas and responding to one another as if in lively conversation.
Mendelssohn’s Quartet in E flat major offers an interesting contrast revealing his early development showing a composer already capable of depth and sophistication. Its lyrical slow movement and finely balanced structure suggests a musical voice that feels complete, reminding us of Mendelssohn’s extraordinary natural gifts. Together, these three quartets welcome us into a youthful world of warmth, colour, and imagination.
The Australian Haydn Ensemble certainly carried this enthusiasm and optimism in their wonderful dexterity and high energy in opening their new season with joy and life-affirming display that welded the enthusiastically receptive audience in a lengthy, rousing standing ovations.
Franz Joseph Haydn’s Bird revealed a style of quartets written in an entirely new and special way especially the scherzando(“joking”), in the second movement of Op.33 No.3, regarded as a decisive moment in the evolution of the string quartet and humour–where true musical conversation became possible.The chirruping opening theme of the Opus and the avian duet of the scherzo’s central section were designed to charm the listeners, as well as the players. So characterful is the opening subject that its barely noticed– the weightlessness, bass-free texture and the unprecedented first bar. The scherzo is as muted and hushed otto voice with all the instruments laying on their lowest strings, as its twittering central section is brilliant. The warmth of the Adagio opening phrases gives way to an unexpected playfulness and delicacy making the finale all the more compelling for being both so quiet, and so crisp.
Felix Mendelssohn wrote 13 short symphonies between the ages of 12 and 14 for his family’s get-togethers. Taking as his model the quartets of Haydn and Mozart, his idols, Felix penned his first full-length string quartet in E flat major MWVR18 with the opening Allegro moderato having a Mozart-like polish and warmth. The bitter-sweet second movement drops into a shadowy C-minor, in what seems a trial run, for the slow movement of his great String Octet still two years in the future. The playful minuet lives up to Haydn’s famous imprecation(“i wish someone would write a new minuet”) with just the lightest touch of romantic yearning and mystery in the central trio, and the finale follows the example of Haydn’s Op.20 quartets and (Mozart’s K. 387) by taking the form of an energetic, brilliantly-worked fugue. Dazzlingly done by a 14-year-old.
Wolfgang Amadeus Mozart’s work the K.387 was the first of Mozart’s 6 “Haydn” quartets, suggesting a fresh start by the master with a warmth and elegance that jumps forward from the page like a gentle pay-off of pure Haydn a la Mozart. The same could be said of the soft loud swells of the minuet and the glowing dialogue of the Andante, and soon in the fugal finale he fuses his great operatic piece with a Haydn-like movement, to wit. No two masters ever gave each other -or us, quite so much.
This wonderful Australian Haydn Ensemble took place on Sunday 8th March at the Paintings Gallery, State Library of New South Wales.
