Beethoven, Mozart and Boccherini • 3 May 2026 • The Nielsen, ACO on the Pier
The Australian Haydn Ensemble’s program traced the development of the classical symphony with virtuosity and insight. These clever little pocket symphonies were delivered with impressive technical skill and real flair by musicians who specialise in historical performance on period instruments. Founded in 2012 by Artistic Director and Principal Violinist Skye McIntosh, the AHE is now in its fifteenth year and stands as one of Australia’s leading authentic performance ensembles. Specialising in late Baroque and early Classical repertoire, the group has become known for its championing of chamber versions of Mozart and Beethoven symphonies, reminding us how such music was originally enjoyed in homes and salons long before recordings existed.
The Australian Haydn Ensemble continues to enrich its audiences by championing lesser-known composers outside the familiar Haydn-Mozart Viennese mainstream. Boccherini, who spent much of his career in Spain, was a true specialist in chamber music and wrote his String Quintet in A minor, Op. 25 No. 6, for two violins, viola and two cellos. In this performance, one cello was replaced by double bass, lending the work a particularly warm, resonant depth. The cellos and bass were central to its charm, providing not only harmonic foundation and rhythmic drive but also beautifully singing, expressive melodic lines. The four movements unfolded with graceful charm: the Allegro non molto featured flexible rhythms and surprising modulations; the Minuet’s Trio sparkled with guitar-like pizzicato in the upper strings; the Largo cantabile opened with ornate dialogue between the violins before Skye McIntosh delivered a beautifully poised solo; and the spirited finale burst forth with a powerful unison across the ensemble, driven home with infectious energy by Daniel Yeadon’s cello and Pippa Macmillan’s double bass.
Mozart’s Haffner Symphony No. 35 in D originated as a serenade for the Haffner family in Salzburg, before the composer quickly adapted it into a four-movement symphony. In Cimador’s septet arrangement, Melissa Farrow’s flute contributed to the brightness of the string texture. The work radiates festive D-major brilliance and operatic buffa vitality, characterised by exuberant rhythms, regal fanfares, and an irrepressible high-spirited energy.
The musicians approached this intimate arrangement with evident joy and precision: the Allegro con spirito brimmed with fire and energy, the Andante unfolded with graceful lyricism, the Menuetto – a stately procession, and the Presto finale raced forward with comic exuberance. Farrow’s flute wove seamlessly throughout — reinforcing fanfares in the outer movements, imparting lyricism in the higher registers and underscoring why the Haffner feels so theatrical next to the more relaxed Boccherini composition.
Even in this intimate chamber reduction, Beethoven’s Symphony No. 4 in B Flat stood as the heavyweight of the program. This performance featured William Watts’ 1817 septet arrangement by the London violinist and Philharmonic Society Secretary, created for domestic and salon use.
Pippa Macmillan’s double bass was deployed with remarkable agility and character, highlighting Beethoven’s subtle experimentation with orchestral colour and form. The players hammered out crisp, emphatic accents and bold dynamic contrasts, generating surges of intensity and dramatic power that gave the work its full symphonic stature. The first movement opened with a mysterious slow introduction of descending strings and dark, searching harmonies before switching to lines that drove the momentum forward. The Adagio sang with warm lyricism, the violins of Skye Mcintosh and Mathew Greco, and the violas of John Ma and Rafael Font shining brightly as they supported the long, cantabile themes. The Scherzo danced with playful energy, while the finale bubbled with buffa humour, culminating in a delightfully comic rapid sixteenth-note passage for cello and bass before the brilliant close.
The performance drew a stomping ovation inside the Nielson room. This ensemble consistently demonstrates not only technical excellence but a genuine, heartfelt understanding of the music — making historical works feel immediate and alive for the audience.
Photos by Oliver Miller
