It was a good strong house of fans gathered at the Neilson, ACO on the Pier for the final Australian Haydn Ensemble concert of the 2026 season. Sitting above the Harbour water in downtown Sydney, the purpose-built concert space is intimate, set in a square with raked seating and a single row of “circle” seats that run all the way around the mezzanine. You can take in your glass of wine and pretend you are in the “salon” with your own musicians.
There are modern amenities, a lift from street level to the foyer, plenty of seating on both foyer levels and a bar for drinks and snacks. (I wish they had more snacks with less rattly wrappings.)
The Ensemble was graced with the presence of their patron, Margaret Beazley, Governor of NSW. It was lovely to see her support them in person.
The program was based around Haydn’s two visits to England. As court composer, he’d spent more than 40 years working for the aristocracy, most prominently, in the palaces of the powerful Esterházy family. They did own property in Vienna, where Haydn got to mix and mingle with other great talents in the music world. However, the head of the family preferred to spend most of his time in the isolated “Eszterháza” in what is now known as rural Hungary.
During his time with the Esterházy’s, Haydn had his contract re-negotiated so that he could compose for others outside the family and to sell his work to publishers. This meant that, whilst locked away in a country palace, his name, reputation and popularity were spreading fast across Europe.
Crunch time came with the passing of his employer, Prince Nikolaus Esterházy. The Prince’s successor was less interested in keeping a large musical entourage and allowed Haydn to travel independently, whilst still holding his title and salary.
This was when musician and entrepreneur, Johann Peter Salomon from Germany, stepped into Haydn’s life. Salomon travelled to Vienna to meet Haydn and convince him to come to London and stay for a while.
As any great promoter would do, Salomon setup meetings with all the great connections and musical patrons in London, visited the most influential drawing rooms plus organised a subscription concert series of Haydn’s work for the public at the Hanover Square Rooms. The audiences went wild for all things Haydn and he was surprised to find himself lauded as a celebrity.
Haydn paid two visits to London, each 18-20 months long where he composed what was collectively called “The London Symphonies”. Salomon, stepping in again, arranged the symphonies for smaller ensembles and published the works.
In those days many more people played instruments and used music as their entertainment in the evenings. To be able to buy the smaller ensemble versions of the works and play them at home swelled sales to a feverish pitch.
The program for “Haydn’s Oxford” concert featured 3 symphonies. Each one contained diverse and colourful movements providing wonderful entertainment throughout the duration.
Opening the concert was the “Oxford” itself. Oxford University offered Haydn an honorary Doctor of Music degree and, to match, organised a series of concerts at the Sheldonian Theatre. Haydn offered Symphony 92, which he’d written a couple of years earlier, as part of the program. The audience loved it so much, the work was nicknamed “Oxford” in honour of the celebration. Set in a classic 4 movement structure, it begins quite gracefully, perks up, quietens down for the Adagio, creates a playful Menuet featuring Austrian folk music and finishes with an energetic Presto.
In addition to the strings was Mikaela Oberg on Baroque Flute which provided lovely balance. Oberg kept her parts modest and un-intrusive, representing the woodwind section in the original orchestra. She is a very fine player with a light touch.
Next came Symphony no. 95 which was composed whilst Haydn was in London. It is written in a minor key and holds much stormy drama in comparison to the first work. The Andante movement featured a marvellous solo for Daniel Yeadon on cello, allowing him to stretch out and fully express himself. The final Vivace, literally was vivacious and a lot of fun. The audience loved it.
After interval featured Symphony No. 103. It is nicknamed “Drumroll”, named after the unusual timpani solo which opens the work and is used towards the end as well, including a drumroll. With no percussion in the group, AHE created a shiver with the strings that swelled in volume and then faded before the opening, rather dark and serious, notes emerged. It shows Haydn creating something unique and dramatic. No wonder it was so memorable for the London audiences. Movements swing between that same dark and mystical feeling and the lighter European folk music. It would have been a delightful way to introduce the English to the musical traditions from where Haydn had been working and living.
Summing up, the concert was unique and very enjoyable. The audience gave long applause for curtain call and left, eagerly discussing what they had witnessed.
Let’s applaud the Australian Haydn Ensemble for yet another wonderful year of music. We greatly appreciate you, your staff and musicians for all you offer us. You give us culture, education and plenty of musical fun in our lives.
Thank you so much.
We look forward to seeing what you have in store us in 2027.
Program
HAYDN Symphony No. 92 “Oxford”, arr. Salomon
HAYDN Symphony No. 95, arr. Salomon
HAYDN Symphony No. 103 “Drumroll”, arr. Salomon
Artists
Skye McIntosh – Artistic Director and Violin
Matthew Greco – Violin
Rafael Font – Viola
Daniel Yeadon – Cello
Pippa Macmillan – Bass
Mikaela Oberg – Flute
Related Links
What’s on next with Australian Haydn Ensemble: https://www.australianhaydn.com.au/
More about venue, The Neilson at ACO on the Pier: https://www.aco.com.au/pier23/hire-our-spaces
