The Australian Haydn Ensemble was in string-quartet mode for this first concert for 2024, with works by Haydn, WA Mozart and Felix Mendelssohn.

This music covered a time period of under 60 years, across the late 18th to early 19th century and a fascinating glimpse into the development of the writing for string quartet over that period. 

Haydn is credited for the establishment of the string quartet as music for the four instruments as equals, breaking away from the baroque idea of a soloist with accompanists. Mozart further developed the idea as did Mendelssohn.

The opening Haydn quartet – Op 20 No 4 in D major – is from 1772 and one of a group of quartets that fully realised Haydn’s revolutionary ideas.

The Mozart quartet, No 15 in D minor, K421, is from 11 years later and noticeably more complex and adventurous in the use of the four instruments. 

Meldelssohn’s String Quartet Op12, No 1 in E flat major, is his first published quartet from 1829, written when he was 21 years old, yet full of inventiveness and delight. In the third andante movement, the quartet hit that magical quartet moment where it sounded like there were more than four instruments on stage.

The quartet for this tour is the AHE artistic director Skye McIntosh, regular violist and cellist Karina Schmitz and Daniel Yeadon, with the second violin spot taken by Alice Evans, replacing Matthew Greco who has been a constant in the ensemble for some years.

The Australian Haydn Ensemble have deservedly grown in popularity over the past decade and this success is now manifesting itself in full houses at Wesley Uniting Church. 

The pews in the front half of the church were emblazoned with signs informing the audience that they were reserved for subscription ticket holders with a determined couple of ushers attempting to control the seating with demand for the famous Wesley cushions at a premium.

Wesley holds around 200 people and really is the only option in Canberra for intimate concerts of chamber music.

For years there has been a pressing need for a 250-300-seat, acoustically suitable venue but has always been overlooked in favour of grand plans for large concert arenas.

Perhaps in this election year a commitment to build a small, appropriate and affordable concert space might find some support from the musical community.