Music / Haydn’s Oxford, Australian Haydn Ensemble At Gandel Hall, NGA, November 5. Reviewed by GRAHAM McDONALD
The Australian Haydn Ensemble are, as their name might suggest, a Sydney based group who concentrate on the music of the late 18th century composer Franz Haydn.
His string quartets are still a mainstay of the quartet repertoire, but his symphonies have largely been overlooked for many years. Haydn composed more than 100, scored for strings with three or four wind parts, and could be played by orchestras of all sizes.
Among the best known of Haydn’s symphonies are the 12 he wrote towards the end of his career during two extended visits to London, where he became a musical celebrity and was awarded an honorary doctorate from Oxford University.
The entrepreneur behind these musical visits was German-born violinist Johann Salomon who cleverly published condensed versions of these symphonies, scored for string quartet and a melody instrument such as a flute.
Under the direction of violinist Skye McIntosh, the AHE have specialised in the performance of Salomon’s arrangements of Haydn as well as other condensed arrangements of music of the period.
This concert was a little unusual in that it was only of three Haydn symphonies – No 92 in G the Oxford, No 95 in C minor and No 103 in E flat, the Drumroll – all in Salomon’s arrangements.
The Ensemble for this concert was Skye McIntosh and Matthew Greco on violins, violist Rafael Font, cellist Daniel Yeadon with the addition of bassist Pippa Macmillan and Mikaela Oberg playing a modern reproduction of an early 19th century keyless flute.
As we have come to expect from this group, the playing was excellent.
The core of McIntosh, Greco and Yeadon have been playing together for many years now and would have seemed to have developed the almost telepathic connection of great chamber musicians.
Violist Font is a more recent addition and has fitted in comfortably. Yeadon and Macmillan work closely together, at times sounding like extensions of each other.
Oberg’s flute has an intriguing tonality, sitting somewhere between a modern flute and a recorder and she blends it seamlessly with the violins and viola.
At times it does sound like there are more than six musicians on stage, which is a musical magic that can sometimes be conjured up by small chamber groups.
For all that there is a certain sameness about Haydn symphonies and in this format a limited tonal range, there is always enjoyment to be had from the Australian Haydn Ensemble.
There is no pretence in it, simply honest musicmaking done well.
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