Clas­si­cal

The Weekend Australian - Review - - Music Reviews - Meldi Arkin­stall

The Haydn Album The Aus­tralian Haydn En­sem­ble ABC Clas­sics The Aus­tralian Haydn En­sem­ble burst on to the scene seem­ingly from nowhere five years ago, driven by vi­olin­ist and artis­tic direc­tor Skye McIn­tosh. Ded­i­cated to the per­for­mance of works from the late baroque and early clas­si­cal pe­riod on pe­riod in­stru­ments, the group has a flour­ish­ing an­nual con­cert se­ries and former NSW gover­nor Marie Bashir as pa­tron. McIn­tosh plays an 1820 vi­o­lin by Lon­don maker Joseph Panormo, pur­chased for her in 2015 by an anony­mous donor. Three Haydn works are fea­tured: Cello Con­certo in C Ma­jor, Sym­phony No 6 in D Ma­jor ( Le Matin sym­phony) and Harpischord Con­certo in D Ma­jor.

Haydn’s well-known first Cello Con­certo in C Ma­jor was pre­sumed lost un­til it resur­faced at the National Mu­seum in Prague in 1961. Cel­list Daniel Yeadon re­veals an abil­ity to shape phrases beau­ti­fully here and with a poised en­thu­si­asm. Or­na­men­ta­tion is care­fully con­sid­ered and in keep­ing with the pe­riod, and the vir­tu­osic third move­ment sees Yeadon show off his agile tech­nique. Haydn’s morn­ing sym­phony de­picts a sun­rise in the first move­ment. Pe­riod wind in­stru­ments are used to lovely ef­fect to de­pict the twit­ter­ing of birds wak­ing. Erin Hel­yard gives a won­der­fully en­er­getic per­for­mance as soloist in the harp­si­chord con­certo, play­ing a French dou­ble­man­ual harp­si­chord. The quick-paced Hun­gar­ian Rondo fea­tures Haydn’s mis­chievous side with its off­beat crushed dis­so­nant notes.

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