While Beethoven’s somewhat eccentric Eighth Symphony (what he termed his “little symphony in F”) headlines this program for the Australian Haydn Ensemble playing as sextet and septet (adding Mikaela Oberg on baroque flute), two other works prove to be equal highlights.

One is Mozart’s rousing and eminently hummable Symphony No. 40 in G minor, performed at a lively tempo and sounding remarkably modern and ‘full’ for a work written in 1788 and stripped back from the full orchestral score to septet by Giambattista Cimador in 1820.

Without the drama of a full orchestral, we hear instead the lighter and more delicate details of this clever work, including the disciplined metre provided by the violas (Rafael Font and Kristen Linfante) in the Menuetto, and the fuller sound somehow enabled by a single flute substituting for a full woodwind section in the first movement and finale.

Beethoven’s Eighth. Australian Haydn Ensemble directed by Skye McIntosh. Photo © Peter Hislop

The second is a remarkable new commission in four movements by Sydney composer Ella Macens, called Forever Ours, inspired in part by the aching longing obvious in Beethoven’s secret and never-dispatched letter of July 1812 addressed to his mysterious “immortal beloved”. This letter would have been written while Beethoven was composing the Eighth Symphony.

According to Macens, the later part of the work is redolent of her Latvian heritage and a recent visit to Latvia where she connected with these roots and was reminded of elements of traditional Latvian folk music, including the distinctive vocal techniques used in song.

Ella Macens, Skye McIntosh and Matthew Greco. Photo © Peter Hislop

The first violin (in the hands of AHE Artistic Director Skye McIntosh) playing alone opens with a simple, delicate melodic call, answered by the second violin (Matthew Greco). Reflective chords played in progression, evocative perhaps of Henryk Górecki, then achieve the sweetest introspective atmosphere.

There are no sudden shifts or contrived ornaments introduced to draw attention, but then one violin departs from the easy harmonic mood by portamento raising the top line by a quartertone, with magnificent effect. Later, a fuller orchestral sound with portamento effects on cello (Daniel Yeadon) contrasting with plucked double bass (Pippa Macmillan) drives the piece forward into a relay between violins, violas and cello, before a warm, shimmering and poignant ending at pianissimo. This is a special, emotive work that deserves regular performance and a definitive recording.

Beethoven’s Eighth, Australian Haydn Ensemble. Skye McIntosh and Matthew Greco. Photo © Peter Hislop

Finally, the Beethoven piece – which AHE plays in Frederick Crouch’s seven-player arrangement – may not have been performed since its 1820s premiere. It’s majestic and creative, with all Beethoven’s distinctive flair, drama and mischievousness on display at various times. But then it plays with the audience, lulling listeners into expecting climactic phrases and familiar cadences, and then delivering something quite different.

The players here rejoice in Beethoven’s confidence and unorthodoxy, the cello working very hard to provide melody, harmony lines and continuo, the flute again giving body and richness, and the violins and violas giving the right shafts of vibrato to colour the canvas. Beethoven brings a satisfying conclusion in the finale, ending the evening on a high note with this skilled ensemble.

Australian Haydn Ensemble performs Beethoven’s Eighth at City Recital Hall, Sydney (3 November), The Glasshouse, Port Macquarie (6 November) and the Rathmines Theatre on 8 November. Visit this link for details.