Australian Haydn Ensemble completed their March tour at the Utzon Room, Sydney Opera House last night to a packed venue. Keeping it trim, the Ensemble was represented by Artistic Director and concert master Skye McIntosh, violinist Matthew Greco, violist Karina Schmitz and cellist Daniel Yeadon. The program was a beautiful selection featuring three optimistic and complimentary string quartets. They perfectly suited the setting of the Utzon room. The audience listened as they watched the gently darkening sky beyond the floor to ceiling windows. The harbour was quiet and relatively free of traffic which kept attention in the room.
Opening the program was the title work for the Tour, Haydn’s “Sunrise” Quartet, extracted from a set of 6 quartets in his Opus 76. Making it special, the opus was the final completed set of published Quartets in Haydn’s lifetime. Although he wrote an enormous amount, this is a well recognised and much loved quartet filled with all the golden colours and sparkling fun you would expect from such a title. It’s as if Haydn never really tired of finding new ways to express himself. Was he influenced by another composer?
The four movements musically carried us through a journey. The opening Allegro con spirito movement depicted the awe of the changing sky colours, an Adagio that might well be suited to a ballet pas de deux. The Menuetto resembled a country dance complete with cello droning in the background, finishing with Allegro ma non troppo featuring rounds and moments of playful pizzicato like children laughing.
The musicians were clearly enjoying each movement as much as the audience. The tempi were more relaxed than usual, offering opportunity to listen more closely to the detail. They bent and swayed, then pulled back together in a performance that was completely charming.
Second String Quartet
Next was Beethoven’s String Quartet Opus 18 No. 1, published the same year as Haydn’s Sunrise. Haydn was in the closing years of his career whilst Beethoven, in the next generation down, was just getting started and in his late 20’s.
Beethoven did not shy away from admitting he was new to writing quartets and altered this one a number of times during its years of development. The influence of Haydn as his tutor (for a few years, at least) appears. The opening Allegro con brio sounds quite operatic, as if you are sitting in the theatre listening to an opera overture. It hints at the drama to come and feels like a new era has begun in music. Whilst Haydn’s quartet was sweet and easily pictured in a nobleman’s salon, the style of Beethoven’s work felt more substantial with its feet on the ground. There’s a marvellous crescendo in the opening movement which is just delicious.
The second Adagio movement was purportedly based around the Tomb scene of Shakespeare’s Romeo and Juliet. This too, is easy to picture as a tone poem, starting dark, driving forward, then hesitating as if desperately searching for what to do next. The drama lies in its unpredictability and the score offers great opportunity for the lead violin to really stretch out in full dramatic expression.
The third Scherzo movement is much more upbeat, almost like a country pastoral dance with a few donkey brays and some syncopated, though controlled, fun. The final Allegro built to a natural big finale. Again, everyone in the room was loving it.
Third String Quartet
After interval, the final quartet was a rare one by Fanny Mendelssohn, sister to Felix Mendelssohn. The early 1800’s were not a time for female composers who wanted to find a publisher. As a wife and mother, she was able to organise, perform in and even conduct, afternoon concerts. Many of her works were lieder accompanied by piano. The string quartet was considered a major work for her.
Fanny and Felix appreciated each other’s feedback. In her string quartet, Fanny added parts that were rather unconventional in their fluidity of expression which drew criticism from Felix. Letters showed her confidence was dented by this and she went back to writing for smaller ensembles.
Felix released some of her works under his own name (His Opus 8 and Opus 9). It was only after she was married and was able to travel to meet other artists such as Clara Schumann that she began to release compositions under her own name. An early death made this work Fanny’s one and only string quartet.
With influence from Beethoven, it made for a natural flow on in the program. The short opening Adagio ma non troppo felt solemn as if calling attention because it had something to say. The tempo rose then suddenly paused, followed through by viola. One wonders if it had been heavily edited to make such a short movement. The bouncy Allegretto featured wonderful playing from Schmitz and Yeadon, which prompted approving murmurs from the audience.
The Romanze movement felt similar to the opening – and final act – of La Boheme. Thin, sad chords swelling to a flourish before sinking back against the bed pillows again. The final Allegro molto vivace did not disappoint with the feeling of a glorious party in the ballroom and a sprightly waltz. We could almost hear Fanny playing it on her piano. Excellent work by Greco providing a substantial foundational support for McIntosh as she lead the ensemble.
Being from a slightly more modern era, the Mendelssohn quartet felt like the HIP (Historically Informed Performance) playing could have been left behind with Beethoven, bringing us further into the 19th century. The period style playing was not consistent amongst the musicians which affected congruence of unity. However, the audience were delighted with the concert as a whole and gave a long and happy applause.
This style of concert is really delightful. If you love classical music and want to get up close to the professional musicians, the Utzon Room is the perfect place to be. Don’t pass by these concerts just because they are small. The concert hall can make a big sound, especially with the new improved acoustics from the renovation, but the intimate concerts give you a very different perspective. They are bound to increase your musical appreciation for classic composers as well as the wonderful live performers playing just within a few metres from your seat.
Keep an eye out for the next concert tour by Australian Haydn Ensemble.
Well done and congratulations to the AHE quartet musicians. Thank you for a lovely evening.
Artists
Skye McIntosh – Artistic Director and violin
Matthew Greco – Violin
Karina Schmitz – Viola
Daniel Yeadon – Cello
Program
HAYDN – “Sunrise Quartet” String Quartet Op. 76 no. 4 in B flat major
BEETHOVEN – String Quartet Op. 18 no. 1 in F major
MENDELSSOHN, FANNY – String Quartet in E flat major
Where is the next Australian Haydn Ensemble concert?: https://www.australianhaydn.com.au/tickets-to-our-next-concert
What else is on at the Utzon Room?: https://www.sydneyoperahouse.com/whats-on?date=All&venue%5B486%5D=486
