Daniel Yeadon played Haydn’s Cello Concerto in C major with AHE

This was a special night for the Australian Haydn Ensemble (AHE) and a special treat for the audience. ‘Haydn and Mozart’, the Ensemble’s substantial third programme in its 2016 season, consisted of two symphonies and two concerti. This event coincided with the group’s City Recital Hall debut and the release of their first recording for ABC Classics.

      Above: the debut CD from the Australian Haydn Ensemble

AHE  took command of the Angel Place space with passionate and committed interpretations of works by Michael Haydn, Mozart and Josef Haydn. It was at all times an assured combination of charisma, clarity and refined communication. Expressive leadership was once more provided  by Erin Helyard. This concert saw Dr Helyard direct the Ensemble and provide eloquent fortepiano continuo on the replica Walter piano of the time.

Central to the programme were two key instrumental concerti of the eighteenth century, both of which continue to be concert hall favourite into this century. Mozart’s Keyboard Concerto No 14 in E flat K.449 enjoyed an authentic presentation on the fortepiano with Erin Helyard as soloist. After interval Daniel Yeadon presented a fresh version of Joseph Haydn’s Cello Concerto in C Major. Hob.VIIB/1.

It was a timely coincidence with the Sydney International Piano Competition, during which Mozart concerti are often chosen by finalists to negotiate on the modern piano. Mozart’s E flat major concerto was a work commissioned in 1784 by Herr von Ployer for his wife Babette, a promising student of Mozart’s. It was the first of six concerti written by Mozart in this year.

Erin Helyard delivered the drama and lyricism of this work with fluid display and cadenzas which were as exciting as they were refined in their contemplation. There was a fine balance between the Australian Haydn Ensemble and soloist. The plaintive subtlety of the early piano was securely projected in this venue’s acoustic.

Daniel Yeadon’s presentation of the well-known Haydn Cello Concerto was enhanced with a new expressive approach. Flexibility of tempo and rhythmic passage work combined with a new approach to vibrato assisted the uniqueness of his dazzling interpretation as well as emphasising Haydn’s progressive style. This version is a worthy opening to AHE’s first recording, The Haydn Album.

To open the concert and to precede the Mozart concerto, we heard the Symphony No. 25 in G Major, MH 334 by Michael Haydn. With the authorship debate of this work over, it was included as a symphony by the younger Haydn brother, its slow prelude added later by Mozart. Positioned chronologically in this concert order, the symphony emerged just one year before  Mozart E flat concerto.

The solemnity and Mozartean drama required for theintroduction  to this colourful work was commandingly handled by AHE. The symphony continued in broad strokes and with the crisp clarity as well as the elegant articulation we are always assured of from this group.

Music from Joseph Haydn continued the concert’s second half, and concluded the programme. From the year following Mozart’s Viennese piano concerto in E flat major, Haydn’s Symphony No 83 Hob I:83 (“La Poule”).

This vibrant work, known as “The Hen” due to effects in its opening movement further showcased AHE’s power of realising Classical Period gesture and colour. In particular the uniqueness of Joseph Haydn’s motivic and programmatic development within established formats was well celebrated and brought to life befor us.

This symphony’s stormy beginning was captivatingly played. Its joyous final Vivace and conclusion to this concert left us wanting more. Lucky for us there is now an AHE recording.