{"id":20070,"date":"2015-12-23T05:07:11","date_gmt":"2015-12-22T18:07:11","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=20070"},"modified":"2015-12-23T05:07:11","modified_gmt":"2015-12-22T18:07:11","slug":"concert-review-haydns-esterhazy-orchestra-australian-haydn-ensemble","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=20070","title":{"rendered":"Concert Review: Haydn\u2019s Esterh\u00e1zy Orchestra\/ Australian Haydn Ensemble"},"content":{"rendered":"

\"ahe-logo-2016-red-copy_3\"<\/p>\n

Australian Haydn Ensemble<\/em><\/p>\n

Haydn\u2019s Esterh\u00e1zy Orchestra<\/em><\/p>\n

Utzon Room, Sydney Opera House<\/em><\/p>\n

20 December 2015<\/em>\u00a0<\/em><\/p>\n

Marc Destrub\u00e9 (Guest lead violin & co-director)\/\u00a0Erin Helyard (Guest co-director & harpsichord soloist)\/\u00a0Skye McIntosh (Artistic Director & violin)<\/p>\n

 <\/p>\n

The Australian Haydn Ensemble finished their musical year with a concert entitled Haydn\u2019s Esterh\u00e1zy Orchestra<\/em> which consisted of Haydn\u2019s symphonies numbers 6, 7 and 8 (the \u2018Time of Day\u2019 symphonies), together with his keyboard concerto in D, Hob. VIII:11.<\/p>\n

\"The
The Haydnsaal in the Schloss Esterh\u00e1zy, Eisenstadt. Image courtesy Larry Turner\u00a9<\/figcaption><\/figure>\n

In some of their previous concerts this year the AHE has performed Haydn\u2019s orchestral works in reduced versions for chamber ensembles.\u00a0 Although this was an authentic eighteenth century practice it should really be regarded only as a makeshift expedient \u2013 as indeed it was in the eighteenth century.\u00a0 It was therefore gratifying to see the AHE expanded to 22 players for this concert so we could hear the delightful solo instrumental episodes which Haydn distributes liberally throughout these symphonies.\u00a0 They were probably the first works Haydn wrote after his appointment as vice-Kapellmeister in charge of the Esterh\u00e1zy orchestra, and he took special care to provide each of the principal players of his new orchestra with distinctive solos which gave them an opportunity to display their individual talents and win the appreciation of their employer, Prince Paul Anton.\u00a0 The members of the AHE seized these opportunities and their many personal contributions were a highlight of the concert.\u00a0 Collectively, the mellow and well-blended sound of gut strings balanced against clear classical wind instruments was a joy to hear.<\/p>\n

The guest co-director, violinist Marc Destrub\u00e9, was very much at home with these works.\u00a0 His violin solos were produced with a clean, firmly-projected sound and he gleefully steered the ensemble through the many entertaining changes of mood and witty pauses that Haydn sprinkles through these works.\u00a0 As the lead second violinist, the Ensemble\u2019s Artistic Director, Skye McIntosh, matched Destrub\u00e9 nicely in their duo passages.\u00a0 Although these symphonies may not have been performed originally with a harpsichord continuo, the other co-director for this concert, Erin Helyard, provided a continuo which enhanced Haydn\u2019s witticisms with occasional humorous interpolations.<\/p>\n

Among the other orchestral soloists, the flautist Melissa Farrow played her many solos with a bright, fresh timbre and nice sense of style.\u00a0 Daniel Yeadon played his solo cello passages with a warm, rich tone, blending nicely with his ensemble partners.\u00a0 The double bass player, Jacqueline Dossor made the most of some rare solo opportunities for this instrument.\u00a0 These underlined the challenges of intonation and agility which Haydn posed, but Dossor met the challenges courageously, especially in the extended solo in the trio of the Le Soir<\/em> symphony.\u00a0 The two horns, Darryl Poulson and Doree Dixon played with the rustic sound that Haydn would have expected and bassoonist Simon Rickard made the most of the instrument\u2019s humorous disposition, especially in the trio of the Le Matin <\/em>symphony.\u00a0 The oboes, Amy Power and Julia Bauer had fewer solo opportunities but combined nicely, especially in the passages featuring the winds on their own.<\/p>\n

Erin Helyard was the soloist in Haydn\u2019s most popular keyboard concerto.\u00a0 The programme notes mention that this work was originally published in France and Helyard took this as an invitation to adopt a French approach to flexibility of tempo and the occasional use of French notes inegales<\/em>.\u00a0 The resulting interpretation was individual but nevertheless persuasive.\u00a0 The final \u2018Hungarian\u2019 rondo was executed exuberantly and with a great sense of unbuttoned enjoyment.\u00a0 Skye McIntosh announced that the Ensemble had just finished recording this concerto for commercial release.\u00a0 Their performance displayed the careful preparation for what should be an attractive CD.<\/p>\n

The Utzon Room is becoming an increasingly popular venue for chamber groups.\u00a0 For this concert the performing area was located at the end of the room instead of in the normal position in front of the large picture windows.\u00a0 This was presumably to accommodate the large audience.\u00a0 But this room is much smaller than the grandiose Esterh\u00e1zy concert hall at Eisenstadt, and the decision to employ a larger string group than Haydn used resulted in a very full sound in the confines of this moderately small and acoustically lively room.<\/p>\n

The lasting impressions from this concert were: firstly, the excellence of the AHE, both individually and as an ensemble and secondly, that one must admire the creativity which Haydn poured into everything he wrote.\u00a0 With over a hundred symphonies from his pen, the concert demonstrated yet again that even his early works were amazingly inventive \u2013 and above all, they were fun!<\/p>\n

Larry Turner for SoundsLikeSydney\u00a9<\/em><\/p>\n

Larry Turner has been singing in choirs for many years \u2013 both in Sydney and London.\u00a0 He is an avid attender of operas and concerts, with an emphasis on vocal music.\u00a0 He particularly enjoys music from both the great a capella period and the baroque \u2013 especially the lesser-known works of Bach and Handel.\u00a0 He has written programme notes for Sydney Philharmonia, the Intervarsity Choral Festival and the Sydneian Bach Choir and is currently part of a team researching the history of Sydney Philharmonia for its forthcoming centenary.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Australian Haydn Ensemble Haydn\u2019s Esterh\u00e1zy Orchestra Utzon Room, Sydney Opera House 20 December 2015\u00a0 Marc Destrub\u00e9 (Guest lead violin & co-director)\/\u00a0Erin Helyard…<\/p>\n","protected":false},"author":1,"featured_media":20071,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[37],"tags":[],"sls_format":[],"class_list":["post-20070","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"acf":{"deck":"","is_featured":false,"media_type":"standard","audio_embed":"","video_url":""},"yoast_head":"\nConcert Review: Haydn\u2019s Esterh\u00e1zy Orchestra\/ Australian Haydn Ensemble - Sounds Like Sydney<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soundslikesydney.com.au\/?p=20070\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Concert Review: Haydn\u2019s Esterh\u00e1zy Orchestra\/ Australian Haydn Ensemble - 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