August Magazine

AUGUST 2018

MAGAZINE

2019 SYDNEY SYMPHONY SEASON Interview with CEO Emma Dunch

THE BERNSTEIN SAGA Celebrating a Great Conductor

VAUGHAN WILLIAMS: 60 YEARS ON The Diversity of his Symphonies

A GENEROUS BENEFACTOR Discovering Stefan Kruger

UNMISSABLE CONCERTS THIS AUGUST

Brahms Revelations David Robertson Conducts SYMPHONY NO.4 ELGAR Serenade for strings DEAN Cello Concerto PREMIERE BRAHMS Symphony No.4 Alban Gerhardt cello

EMIRATES METRO SERIES

22 AUG, 6.30PM 24 AUG, 8PM 25 AUG, 2PM Sydney Opera House

FAVOURITE CONCERTOS BRAHMS Academic Festival Overture Double Concerto Piano Concerto No.1 Andrew Haveron violin Umberto Clerici cello Alexander Gavrylyuk piano

APT MASTER SERIES

29 & 31 AUG, 8PM 1 SEP, 8PM 3 SEP, 7PM Sydney Opera House

Music for Spanish Nights

Mahler Six

The acclaimed Steven Osbourne returns to perform Falla’s evocative Nights in the Gardens of Spain and a new piano concerto in a program of gorgeous symphonic impressions of Spain.

Experience the drama of Mahler’s intensely moving Sixth Symphony when Simone Young returns to the SSO.

Simone Young Conducts

Simone Young conductor ∙ Steve Davislim tenor Ludovic Morlot conductor ∙ Steven Osborne piano EMIRATES METRO SERIES

2 AUG, 1.30PM / 3 AUG, 8PM / 4 AUG, 2PM Sydney Opera House

sydneysymphony.com Call (02) 8215 4600 (9am–5pm Mon–Fri)

Booking fees of $5-$8.95 may apply depending on method of booking.

APT MASTER SERIES

8, 10 & 11 AUG, 8PM Sydney Opera House

Tickets also available at:

sydneyoperahouse.com 9250 7777

Contents VOL 45 No 8 2

Sydney Symphony’s 2019 Season

4

Fifty Years Apart

5

The Bernstein Saga

7

Vaughan Williams: 60 Years On

8

Forty Stellar Years

9

A Generous Benefactor

10 Program Guide and Composer List 42 French Eccentrics 43 Musical Families 44 What’s on: Sydney and Surrounds 45 Dissonant Voices 46 Classical CD Reviews 48 Jazz CD Reviews 49 Four Ladies of Jazz 50 Fine Music School Jazz Combo Competition 51 The One Who Gets Things Done: Jeannie McInnes

From The Chair Applications are currently open until 10 August for the 2019 Fine Music 102.5 Stefan Kruger Scholarship. This is open to fine music performers and composers based in Australia and aged between 21 and 30. The Scholarship is awarded to the applicant whose career, in the opinion of the judges, will be most likely to benefit from the achievement of his or her submitted project. The Scholarship consists of a cash prize of $10,000, and studio time and marketing support provided by Fine Music to the value of $5,000.

The Scholarship is only possible due to the wonderful generosity of the late Dr Stefan Kruger, a dedicated listener. Dr Kruger left Fine Music a very substantial bequest in his will when he died some years ago. Some of his bequest was used to purchase and equip our staff offices and CD library (which has been named in his honour). The remainder has been invested and, since 2014, the investment income has been used to fund the Scholarship prize.

Dr Kruger’s bequest is clearly exceptional. However, over the years a steady stream of smaller bequests has been vital, enabling us to fund projects and major purchases. To give just two examples, a bequest from the late Mrs Norma Walledge allowed us to buy a new grand piano for our performance studio, while a gift from the will of the late Ms Margaret Greenaway enabled us to replace ageing broadcasting equipment in our main studio.

If you are making or updating your will, could I please ask you to consider leaving a bequest to Fine Music. It really is a most wonderful way to ensure that the music you love so much can continue to be enjoyed by future generations. If you would like more information, please call 9439 4777 and ask to speak to our Station Manager, Rebecca Beare, for a confidential discussion.

Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay.

ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Assistant Editor: Elizabeth Hill Sub-editors and Proof readers: Chris Blower, Paul Cooke, Di Cox, Elizabeth Hill, Sue Jowell, Maureen Meers, Pamela Newling Contributors: Chris Blower, David Brett, Paul Cooke, Susan Gai Dowling, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Nicky Gluch, Elizabeth Hill, Sue Jowell, Randolph Magri-Overend, Laura-Jay Mathison, Jeannie McInnes, Michael Morton-Evans, Barry O’Sullivan, Frank Presley, Elaine Siversen, Robert Small The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Allen Ford, Raymond Horsey Program Logos: Simon Moore Distribution Coordinator: Sissy Stewart Art Direction: David James Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email friends@finemusicfm.com Cover image: Diana Doherty and Nigel Westlake; Photo: Daniela Testa

Wishing you great listening.

David Brett Chair, Music Broadcasting Society

MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD Our Mission is to be Sydney’s preferred fine music broadcaster, broadcasting classical, jazz and other fine music genres for the enjoyment and encouragement of music. We currently broadcast on FM and DAB+, streaming both from www.finemusicfm.com. Another aim is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and music education and to use our technical and broadcast resources to further this aim.

Honorary Patron: Prof. Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO Emerging Artists Patron: Toby Thatcher August 2018

1

SYDNEY SYMPHONY’S 2019 SEASON NICKY GLUCH INTERVIEWS CEO EMMA DUNCH

Tucked away on Argyle Street, just before the famous ‘Cut’, are the offices of the Sydney Symphony Orchestra. They’re far from imposing (indeed you might not find them if you didn’t know they were there) but what goes on inside them is, in CEO Emma Dunch’s words, ‘world-class’. The surrounding sandstone tells you ‘this is Australia’. The location in the Rocks, still very much a tourist capital, is the way the SSO wishes to be perceived: as representatives of Sydney to the world. It is a duality that informs everything that the orchestra does and, in a growing global society as it launches its 2019 season, it is more vital than ever, Dunch tells Fine Music, as she ‘lifts the lid’ on the coming year.

There is an element of magic to a season launch. With a deft hand, an organisation must present its plans in a way that intentionally conceals the hours of negotiations and strategic planning. Subscribers want to be enticed and web browsers enthralled, so asking Dunch what makes a great season almost feels like asking magicians to reveal their tricks. There is trepidation mixed with wanting to know and Dunch, in her experienced way, knows just what to say.

‘Dynamic’ is the first of three words chosen

by Dunch to capture what makes a season great. To Dunch, dynamic means variety, ‘a season that has something for every concertgoer but with an interweaving thread of world-class musicians playing great music’. More so, perhaps, in recent years, the SSO has striven to remove barriers and share music as widely as possible, ‘the core,’ Dunch says, ‘of everything we do’.

In line with the idea of being Sydney’s Symphony, the SSO recognises that audiences are made up of disparate people. Preferences vary, and thus rather than going for a one-size-

David Robertson Photo: Jay Fram

2

August 2018

Emma Dunch

Photo: Richard Blinkoff

fits-all approach, the organisation will strive to appeal to as broad a corpus as possible.

In 2019, the orchestra will therefore perform classical concerts on one night, family-friendly performances on another. There will be evenings of contemporary music, others of iconic film scores, all united by an underlying passion for music whatever the form.

Dunch’s second word is ‘world-class’. By it, she means the international talent that will perform with the orchestra, but embedded in the idea is the reciprocal proof that the SSO is a worldclass orchestra. Indeed, such is the SSO’s stature that when in musical circles abroad, I am often told how lucky I am that it is my local orchestra. Conductors returning to Sydney in 2019 include Vladimir Ashkenazy, Donald Runnicles and Simone Young who will each lead a themed program, personally significant to them and sure to delight audiences.

Not wanting to give too much away, Dunch merely sprinkles a handful of the other big names who will perform with the orchestra: “… James Ehnes, Geoffrey Lancaster, Lang Lang, Jazz at Lincoln Center … it will be a stellar year with plenty for everybody.”

This brings us to her third word, ‘exciting’. Dunch believes that a great season ‘should offer something different, something that excites the senses and reminds us of all that music has to offer’. The idea plays to the variety she has

previously mentioned, while the allusion to the senses hints at the idea that an orchestra is not a purely sonic being in the digital age. Vision is the new currency, as is experience, and the SSO recently demonstrated how it is embracing this wave. In June it streamed a broadcast of Verdi’s Requiem as part of international ‘Make Music Day’ celebrations. With pride, Dunch explains how the SSO led Australia’s participation in the festivities providing, for 24 hours, a view into the music made in the Sydney Opera House. “We were thrilled to be able to share our love of music with people around the globe,” says Dunch, “continuing in our mission to inspire musicians everywhere.”

Inspiration is part of Dunch’s mantra. Upon taking the CEO position last August, she told the Sydney Morning Herald how it was

Roger Benedict

attending SSO concerts as a school girl that made her realise how powerful the live performance of classical music could be. “You feel it in your body,” she told the Herald, “You can’t get it from the radio or a record. You have to experience it.” Bitten by the classical music ‘bug’, Dunch trained as a classical singer before accepting a trainee position in arts management. That decision led her to working as a publicist with the SSO and then to move to New York where she developed a knack for fundraising and philanthropy.

to the Sydney Opera House will see the SSO temporarily move from their home and, ever the optimist, Dunch is considering how this period may broaden the orchestra’s reach.

New venues could mean new audiences, disassociation of orchestra and hall, innovation and, after it all, the elation of a homecoming.

It is hard to believe the Opera House is less than 50 years old. It has become so synonymous with Sydney, a metaphor almost for the city in the way it is similarly ‘girt by sea’. The Opera House apparently has more Facebook likes than any other in the world, and how many other performance venues can boast their own resident seal? The Opera House, is, as Dunch says, ‘immediately recognisable and people come from all over to visit it’. As an architectural feat, it is then ‘brought to life with the various performances that go on within; it’s living, breathing and always evolving’.

The key to the American model is that patrons feel a sense of personal connection to the musicians. In line with this, the SSO has been trialling a ‘playlist’ series where individual musicians are featured in programs that are personal to them. What may differ, though, in Australia, as opposed to the United States, is the breadth of connection, or influence, Simone Young

Photo: Berthold Fabricius

Donald Runnicles Photo: Robert Catto

our orchestras must have. Whereas each city in the United States has a professional orchestra, the SSO has a responsibility not only to Sydney but to New South Wales as a whole. Regional touring is thus a crucial part of the SSO calendar, with 2018 marking 80 years of the initiative. Dunch explains how the orchestra returned to Wollongong ‘where it all began’ and also debuted in Nowra and Mittagong. After she had been abroad for 20 years, touring regional New South Wales must have felt like a true homecoming for her; ‘a wonderful experience,’ Dunch says, ‘of continuing our legacy of sharing music’.

To this idea, Dunch adds another achievement. The SSO not only shares music and inspires audiences but it also fosters the next generation of musicians. In 2016, an independent report by the BYP group found that 86 per cent of SSO Fellows had found jobs with local or international symphony orchestras. The Fellowship program, which commenced in 2001, sees talented musicians trained in a clinic setting by violist

and conductor Roger Benedict. Aside from performing in their own concerts, the Fellows are schooled in the requirements of working in a professional orchestra and are often found on stage with the SSO when additional players are needed. The success of the program has been rewarded, with new donors coming forward to provide the Fellowship opportunity to more and more musicians. To Dunch, it is another feature crucial to the SSO’s worldclass status; having our musicians in top orchestras abroad is proof of what musicians in this land-down-under can achieve.

In the year since the 2018 season was announced, the arts world has been thrown into turmoil. The #MeToo campaign saw more and more revelations of abuse of power and status, with many accusations still unresolved.

Who was safe to hire became a big question and Dunch handled the issue with aplomb.

2019 will hopefully be a calmer year, but it must also be one of strategic planning. Renovations

The SSO is an integral part of the Opera House’s history, ‘leading’, as Dunch explains, ‘the first official public concert in the Concert Hall in 1973 as well as performing for Queen Elizabeth II at the official opening ceremony’. Yes, Dunch says, the Opera House is ‘a special place of performances’, yes, it is ‘a meeting place for a variety of matter’, but most importantly for the SSO it’s home and most of all, for us, it’s home.

James Ehnes

Photo: B Ealovega

How apt, then, that the orchestra will open its season in tribute to this notion. David Robertson, the SSO’s Chief Conductor and Artistic Director, will lead a performance of Australian composer Nigel Westlake’s Oboe concerto, performed by Principal Oboe, Diana Doherty. The concert is a true celebration of what this nation can offer generally and what the orchestra can offer more specifically. It’s music that celebrates this country: part earth, part sea. It’s unique but yet it’s representative. In other words it’s ‘dynamic’, ‘exciting’ and ‘worldclass’. That’s what makes a great season.

Lang Lang

Photo: Robert Ascroft, Sony Classical

On 18 July Sydney Symphony will launch its 2019 season and, from that date, information can be found on the website www.sydneysymphony.com.

August 2018

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FIFTY YEARS APART

PAUL COOKE LOOKS AT THE LIVES OF LITOLFF AND BANTOCK British music (including, occasionally, his own). His growing reputation, and Edward Elgar’s recommendation, led to his appointment as Principal of the Birmingham and Midland Institute School of Music, the first of a number of significant educational positions that saw him recognised as an influential teacher. It was in the 1930s that he returned to Australia as part of world examination tours for the Trinity College of Music in London.

They were born exactly 50 years apart but nevertheless there are a number of interesting observations to be made on the lives of Henry Litolff, born on 7 August 1818 in London, and Granville Bantock, born in London on the same date in 1868.

Litolff was born into a musical family and was taught firstly by his Alsatian father, who had settled in England after being taken prisoner of war while he was a band musician in the Napoleonic army during the Peninsular War. Young Henry was then taught by the famous virtuoso pianist Ignaz Moscheles until, at the age of 17, he eloped with the first of his four wives. Bantock’s Scottish father, by contrast, was an eminent surgeon and gynaecologist who initially opposed his son’s lateblooming musical ambition and tried to shoehorn him into a career, first in the Indian Civil Service and then in chemical engineering.

For the first half of his career, Litolff Granville Bantock was a well-travelled virtuoso pianist who also composed music that he could when he is the equal of Mendelssohn.” perform, including solo piano salon pieces Granville Bantock was finally able to enter the and piano trios. Most notable, however, was Royal Academy of Music at the age of 20 and his development of the Classical keyboard he made up for lost time, studying composition concerto through the innovation of concertos and harmony, learning clarinet, violin, viola, symphoniques, which were four-movement horn, tuba, piano and symphonies with piano obbligato, the main organ, immersing himself thematic material being given to the orchestra in student cultural life and and embroidered by the piano. The scherzo composing energetically from Concerto symphonique no 4 in D minor and productively. After is his only composition to have a secure leaving the Academy, he place in the concert repertoire. Litolff was an founded and edited The important influence on Liszt, who dedicated New Quarterly Musical his first piano concerto to him. Liszt was Review. At the same one of a number of eminent musicians, time he emulated Litolff’s along with Berlioz, Hans von Bülow and nomadic lifestyle by Anton Rubinstein, whom Litolff attracted to becoming conductor with festivals that he organised in Braunschweig. the Gaiety Company on The attractions of an itinerant lifestyle ultimately began to pall and he settled in Paris. Here humility and maturity replaced flamboyance and he devoted more time to conducting, teaching and composing operas, several of which were performed.

Despite his status as a minor but influential composer, The Chamber Music Journal had this to say about him: “Listening to Litolff’s music is an extraordinary and surprising experience. There are times when Litolff is the equal of Beethoven, other times when he is the equal of Liszt and especially times 4

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its 15-month tour of the United States and Australia performing Sidney Jones’ A Gaiety girl, which gave him much practical experience.

Back home, Bantock became musical director of the Tower Orchestra in New Brighton, across the Mersey from Liverpool, transforming it into an orchestra with a national profile and devoting concerts to contemporary Henry Litolff

His status as a composer was probably hindered by his teaching career. It was not helped either by changing tastes or by works that were often of long duration or required massive or unwieldy forces: both Omar Khayyám and The Song of Songs are longer than two hours, and the Celtic symphony requires six harps (reminiscent of Litolff’s introduction of triangle and piccolo into the keyboard concerto).

Nevertheless, Mark Morris wrote that ‘it is Bantock, rather than Elgar, who represents in music that exploring, enquiring, slightly gullible wandering spirit of the best of the late-Victorian English romantics’.

We celebrate the anniversaries of Litolff and Bantock in Concert Hall at 10.30am on Tuesday 7 August.

THE BERNSTEIN SAGA

RANDOLPH MAGRI-OVEREND RECALLS A GREAT CONDUCTOR Sam Bernstein described his son Leonard as ‘… my gift to Uncle Sam … how could I know my son was going to grow up to be Leonard Bernstein!’

On the 100th anniversary of Leonard Bernstein’s birth it is time to reflect on what he has meant to the world, let alone to Uncle Sam. His importance to musical culture cannot be underestimated. He was composer, conductor, inspirational teacher, lyricist, motivator, soloist and many, many more disciplines besides.

He rubbed shoulders with presidents, prime ministers, emperors, kings, queens and, above all, with normal people like you and me.

As a composer he was no giant like Beethoven or Schubert, or even Gershwin, but he did compose West Side story, a giant of a musical.

Anything he composed after that did not measure up, which is when his conducting skills came to the fore. His demise as a composer coincided with his appointment as musical director of the New York Philharmonic Orchestra in 1958. He was an egotist. In his eyes, the rewards were as much about glory and adulation as about money. In his younger days he loved being the centre of attention and always made a beeline for the piano at parties.

If there was no piano he either sulked or left.

Koussevitzky had visions of Bernstein eventually succeeding him in Boston. However, it never materialised and it set the stage for Bernstein’s acclaimed debut as conductor of the New York Philharmonic when he deputised for an ailing Bruno Walter on 14 November 1943. Thereafter, Bernstein’s conducting career was virtually sealed and required only some more experience at conducting other orchestras before he emerged as sole master of the New York Philharmonic in 1958.

Bernstein was much more than a conductor and composer. He was an innovator, teacher and mentor. In 1958 he introduced the first of 14 seasons of his Young People’s Concerts on television in which he defined by illustration and/or music what motivated the great composers. As a mentor he took under his wings John Mauceri, Claudio Abbado, Seiji Ozawa, Marin Alsop and many others. You may recall that in 2013 Alsop was the first woman to conduct the Last Night of the Proms in London. She is currently the music director of the Baltimore Symphony

His early musical mentors, Aaron Copland, Dimitri Mitropoulos and Serge Koussevitzky were among many who thought Bernstein special.

Captivated by Bernstein’s playing of some of his own (Bernstein’s) compositions and a Chopin nocturne, Mitropoulos told the 18-yearold he exuded greatness, perhaps even genius. Both Copland and Mitropoulos advised Bernstein to forget composing and concentrate on a conducting career. Serge Koussevitzky was different from the others. For a start he was attracted to Bernstein because of his musical talent.

More importantly, he not only encouraged Bernstein to conduct, he offered him the tools of the trade: an orchestra with which to experiment, the Boston Symphony Orchestra.

Koussevitzky was then musical director at the Boston Symphony and first met Bernstein at the Orchestra’s Leonard Bernstein summer school, Tanglewood.

Orchestra where she has seen the resurgence of the orchestra with increased ticket sales.

Meanwhile the spirit of Bernstein pervades everything Alsop does. “One of the greatest gifts Bernstein shared with me,” she recalls, “was the significance of story; that every piece has an inherent story and that every composer spends his life trying to articulate his own personal story and answer those existential questions that are so consuming for him. For me the thing that set LB apart was not only his embracing of the story, but his profound understanding that every story has a moral that connects all of us on the most basic human level.”

Bernstein loved to conduct in Israel, which he first visited in 1947. He conducted the then Palestine Symphony in Mahler’s Resurrection Symphony in the open air surrounded by the Israeli army. He was selected as the musical director to the renamed Israel Philharmonic Orchestra in 1948 and conducted in Beersheba during the so-called War of Independence.

After his New York Philharmonic contract expired in 1969, he spent more time in Europe. In cities like Vienna he had the cult following of a ‘pop’ star. His recording career with CBS (now Sony Classical) boomed, too. In 1975 CBS released Bernstein from his contract and he signed up with Deutsche Grammophon, which was looking to expand in the US market. According to Peter Munves, a former CBS executive: “Bernstein opened up a whole new world in his career with Deutsche Grammophon. He became an international star, eclipsing every other living conductor.”

By now Bernstein had started filming and recording all of his albums live. Not only was he maximising his revenue from three lucrative sources but, in addition, his old CBS recordings were reissued and became best sellers all over again.

And all this just for playing the piano!

Look for the Bernstein 100 logo to find the celebratory programs during August.

August 2018

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THE WIFE Aug 6 BOOK CLUB Sept 3

CHRISTIAN SLATER GLENN CLOSE JONATHAN PRYCE

AUG 10 EMPIRE RECORDS AUG 12 THE LAST ACTION HERO & DEMOLITION MAN AUG 24 ROCKY HORROR PICTURE SHOW SING-A-LONG AUG 26 BATTLESTAR GALACTICA SEPT 9 DELIVERANCE + DOG DAY AFTERNOON SEPT 14 TRON SEPT 28 PLEASANTVILLE

TOM CRUISE HENRY CAVILL

THE WIFE

MISSION IMPOSSIBLE: FALL OUT

FROM AUGUST 2

FROM AUGUST 2

ALL SEATS $7 JEAN-PIERRE BACRI JEAN-PAUL ROUVE GILLES LELLOUCHE

C’EST LA VIE FROM AUGUST 16

ADAM DRIVER TOPHER GRACE LAURA HARRIER

BLACK K KLANSMAN FROM AUGUST 16

MORNING TEA & BISCUITS ALL TIX

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AUG 8 MAMMA MIA 2 SEPT 5 BOOK CLUB

“LYRICAL AND RAPTUROUS” VARIETY. FROM THE IAN MCEWAN NOVEL SAOIRSE RONAN & BILLY HOWLE.

ON CHESIL BEACH FROM AUGUST 9

DIANE KEATON, JANE FONDA, CANDICE BERGEN MARY STEENBURGEN

BOOK CLUB FROM AUGUST 23

HAYLEY ATWELL EWAN MCGREGOR JIM CUMMINGS

CHRISTOPHER ROBIN FROM SEPT 13

OLGA KURYLENKO ROWAN ATKINSON EMMA THOMPSON

ELISABETH MOSS SAOIRSE RONAN ANNETTE BENING

JOHNNY ENGLISH

THE SEAGULL

FROM SEPT 20

FROM SEPT 27

VAUGHAN WILLIAMS: 60 YEARS ON DAVID BRETT REVEALS A REVOLUTIONARY COMPOSER

British composer Ralph Vaughan Williams remains a somewhat enigmatic figure in 20th century music. While his two short masterpieces, The lark ascending and Fantasia on a theme by Thomas Tallis, regularly feature near the top of polls for the most popular pieces of classical music, he nonetheless remains largely out of favour in professional and critical circles.

Having eschewed atonalism and other modernistic techniques, Vaughan Williams has been seen as a late Romantic composer, offering little by way of innovation to 20th century musical development. Worse, he is identified as the leader of a group of composers specialising in a somewhat ‘schmaltzy’ brand of nostalgia for a longlost rustic paradise. Even before his death 60 years ago on 26 August 1958, critic Elisabeth Lutyens had called Vaughan Williams and others like Holst, Ireland and Bax ‘the English school of cow-pat music’.

Increasingly, however, Vaughan Williams is being seen as nowhere near as onedimensional as his critics would like him to appear. Specifically, his symphonies are being reappraised and winning plaudits for their variety, breadth and contribution to symphonic development. The nine symphonies are unique in that they were composed over as long a time span as half a century (from the Edwardian to the modern Elizabethan eras) and in themselves recognise both the composer’s development and the evolution of musical trends. It has become customary to group the symphonies into three groups of three: early, middle and late, a convenient, if potentially misleading, framework.

of Grass and Grove has identified, within its tonal construction, harmonic dissonances that pre-echo the early works of Stravinsky.

The first three symphonies were not numbered at first but were given titles probably because each has programmatic elements or themes, absent from the later six. A sea symphony was soon followed by the London Symphony, another large-scale work that creates a complex sound picture of an urban landscape.

Albert Coates, who conducted the premiere of the revised version of the work in 1920, provided a detailed program of the places portrayed, but the composer disowned this, suggesting the symphony was impressionistic, not descriptive. This was followed in 1921 by the Pastoral Symphony, which reinforced Vaughan Williams’ reputation as a composer of English rustic idylls. Ironically, the music had been largely sketched out while Vaughan Williams was an ambulance driver in Flanders during World War I and was inspired by the vision of the devastated French countryside. The use of the spectral Last post in the second movement and the lament by a wordless soprano solo in the finale make the sense of loss clear.

Fourth Symphony astonished listeners with its striking dissonance and was widely perceived as an anti-war composition, an idea firmly resisted by Vaughan Williams. In contrast, the Fifth Symphony, written during World War II, was a work of peace and contemplation, providing consolation at a time of tragedy.

Like the Fourth, the Sixth Symphony gives the lie to any notion of Vaughan Williams as a nostalgic composer. It is turbulent, even angry initially and ends with a finale that is a strange, desolate pianissimo throughout.

The last three symphonies, all written in the 1950s, were products of Vaughan Williams’ old age, but still inventive and original. The Seventh reflected his interest in the new genre of film music and was a symphonic reworking of his score for the film Scott of the Antarctic. The Eighth is a brief, lighthearted work that makes a wider use of percussion than Vaughan Williams had ever employed before. The Ninth, which premiered just four months before the composer’s death, was more sombre, with scoring for a flugelhorn and a great amount of percussion.

At an early age Vaughan Williams gravitated to composition rather than to performance but he was no prodigy, rather the reverse. One of his tutors at the Royal College of Music, Henry Wood, described him as ‘hopelessly bad’ at composition. He later studied under Max Bruch in Germany and, even at the age of 35, went to Paris to learn orchestration from Maurice Ravel.

The tuition obviously paid off and, in 1910, at the age of 38, Vaughan Williams premiered his First Symphony, the Sea Symphony.

It is difficult today to appreciate the revolutionary aspects of this work. At around 80 minutes, it was of exceptional length, totally unprecedented for an English symphony.

More importantly, it was the first choral symphony to give a role to vocal soloists and a full choir in every movement. It sets to music text from Walt Whitman’s poem Leaves

Ralph Vaughan Williams The middle three symphonies, published between 1935 and 1948, are purely orchestral, generally shorter and conventional in structure and form. They are scored for smaller orchestral forces than the first three. The

All of Vaughan Williams’ symphonies will be broadcast during Evenings with the Orchestra on the third Friday of each month with the second program of the series at at 8pm on Friday 17 August.

August 2018

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FORTY STELLAR YEARS

OWEN FISHER CELEBRATES MUSICAL MILESTONES This month, On Parade: Music that’s Band celebrates two 40th anniversaries: John Williams’ music for the film Star Wars and Ronald Demkee’s 40-year milestone as conductor of the Allentown Band, America’s oldest civilian brass band.

Based in Allentown, Pennsylvania, the Allentown Band has been performing since its first documented performance on 4 July 1828, although its origins can be traced back to 1822. Over the years the band has played on many important occasions and in front of several Presidents, including Abraham Lincoln.

In these programs the Allentown Band will pay tribute to one of the most renowned composers of film music.

In his 85th birthday year John Williams looks back on a career spanning almost six decades in which he has composed some of the most recognisable Allentown Band film scores in cinematic 8

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history. In 2005 the American Film Institute hailed Williams’ score for the 1977 film, Star Wars as the greatest American film score of all time. In addition to his prolific output for cinema, he has also composed music for the Olympic Games, numerous television themes and many substantial concert works for orchestras and other ensembles.

Academy Film Awards and 23 Grammy Awards. With 50 Academy Award nominations, he is the second most nominated individual after Walt Disney. He was inducted into the Hollywood Bowl’s Hall of Fame in 2000, and in 2004 he received the Kennedy Center Honors. He was awarded the American Film Institute Life Achievement Award in 2016.

John Williams served as the Boston Pops Orchestra’s Principal Conductor from 1980 to 1993 and is now the orchestra’s laureate conductor. He has won five Academy Awards, four Golden Globe Awards, seven British

November 2017 was a milestone and a remarkable year for Ronald Demkee. It marked his 40 years as the conductor of the amazing Allentown Band which he joined as a tuba soloist in 1964. He believes it is a profound privilege to be part of this venerable organisation and a truly singular honour to serve as conductor of this talented and dedicated group of musicians.

Listen to On Parade: Music that’s Band for the Allentown Band playing music of John Williams on Saturdays 4 and 18 August at 11.30 am.

A GENEROUS BENEFACTOR NICKY GLUCH’S SEARCH FOR STEFAN KRUGER When I wrote a piece on the Stefan Kruger Scholarship (in May Fine Music magazine), I became curious about the man behind the bequest. The internet revealed nothing except for one small mention of a Stefan Kruger who was the NSW Chess Champion in 1949 and 1951. Kruger’s bequest had appeared almost miraculously, for in life the man had never made himself known to Fine Music. It became clear that we were dealing with a mystery man and I accepted that my search might have to end there.

My request for information from the NSW Chess Association had been acknowledged and I was sent an article from the Chess Times which proclaimed Kruger’s victories.

Bless the author for he had thought to include Kruger’s age, place of birth and fascinating history. The photo captured a young man who seemed possessed of a sweet humility and intellect. It would take some searching to prove that this man was our Stefan Kruger but something in my gut told me to pursue it.

Stefan Kruger and his parents, Max and Dr Anna (née Spitzer), were ‘38ers’, the name given to the Jews and other persecuted people who fled Austria after the Anschluss. Kruger’s uncle, Dr Hans Spitzer, came to Australia with his family in November 1938 and soon sponsored the immigration of his sister and his wife’s brother. The Krugers arrived in July 1939 and would have had just months to get comfortable before Britain declared war on Germany. Suddenly all Germans and Austrians, even the refugees, were classed as enemy aliens and many of the men found themselves being sent to detention camps.

Fortunately, most of the refugees were able to prove their reasons for fleeing and were soon released. What this meant, however, was that these immigrants had to assimilate into Australian society, and fast. The German language had to be left behind and dinner had to become the main meal of the day.

Kruger was 12 when he arrived in Sydney, but just over three years later he graduated from Scots College as dux of his year. He went on to study organic chemistry at university (following in the footsteps of his Uncle Hans) and after graduating started taking chess lessons from Lajos Steiner (another ‘38er’ and a nine-time state champion). Kruger took his chess from amateur to professional while also completing his MSc and being awarded two fellowships. Always so humble, Kruger underplayed each of these achievements.

The Hungarian violinist, violist and conductor,

Stefan Kruger

Photo courtesy NSW Chess Association

Robert Pikler (who immigrated to Australia in 1946) was Kruger’s contemporary. Besides their chess connection, Pikler is the first hint to the music world that may have surrounded Kruger. It was Pikler who, with Richard Goldner and others, established the Musica Viva Chamber Players. To be an AustroHungarian émigré was to have come from a world we can barely imagine. Musicians hadn’t just played in orchestras, they’d played under Mahler or Richard Strauss. In the intellectual class, it was the women who

brought people together. In their famous salons, they hosted the leading authors, painters, musicians and philosophers of their day. When poverty struck after World War I, those with property took in lodgers including Samuel Barber and Gian Carlo Menotti.

Everyone in that society knew everyone, and everyone supported everything: science, art, politics … there were no divisions between them. Thus Pikler, the musician, played chess and Kruger, the chemist, loved music.

In the early 1950s, Kruger headed to the United States where he completed his PhD and became a pharmacology researcher at Tulane University. In Louisiana, he met Cecilia Estes and the couple married in 1956. Although they divorced later in life, it is clear that Cecilia and Stefan shared their love of music. At Cecilia’s funeral, she was remembered with donations to the Tuesday Musical Club where she had been president. From Louisiana, Stefan and Cecilia headed to Pittsburgh where Kruger took up a position at the University and the Leech Farm Road Hospital, a neuropsychiatric hospital and veterans research facility. Kruger became a celebrity for a day when the rock garden he was sculpting outside his home made the local papers.

Kruger eventually returned to Sydney where he lived out the rest of his years in Castlecrag.

It was this small, but crucial, detail that finally allowed me to verify that this Kruger was our benefactor. As well as enabling the Scholarship, his bequest allowed the purchase of another section of the new building that now houses the record library. One hopes Dr Kruger found comfort and companionship in 2MBS-FM/Fine Music, listening to his friends’ performances perhaps, and the music he’d come to love throughout his lifetime.

Stefan Kruger, we thank you for your humility, and for your immense generosity which is benefiting young musicians and the programmers of Fine Music.

Stefan Kruger

Photo from a newsaper cutting courtesy NSW Chess Association

Cameron Lam, 2018 Kruger Scholar August 2018

9

Wednesday 1 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Frank Morrison Wolf-Ferrari, E. Suite from The jewels of the Madonna (1911). Royal PO/José Serebrier.

ASV DCA 861 17 Serenata, five songs for baritone (1936).

Marc Canturri, bar; Anna Tilbrook, pf.

Avie AV2193 10 Piano trio no 2 in F sharp, op 7 (1900). Ilona Then-Bergh, vn; Gerhard Zank, vc; Michael Schäfer, pf.

MD+G L 3310/11 26 O giola la nube leggera, from Susanna’s secret (1909). Dora Rodriques, sop; Royal Liverpool PO/Vasily Petrenko.

Avie AV2193 47 Serenade in E flat (c1893). I Solisti Italiani.

Denon CO-78838 23 10:30 CONCERT HALL Prepared by Elaine Siversen Schubert, F. String quartet in D minor, D810 (1824; orch Stein). Buffalo PO/JoAnn Falletta.

Naxos 8.572051 40 Vaughan Williams, R. On Wenlock Edge (1908; orch. 1921-23). Robert Tear, ten; City of Birmingham SO/Simon Rattle.

EMI 7 64731 2 20 Mussorgsky, M. Boris Godunov, symphonic synthesis (1874; orch. 1936 Stokowski).

Cleveland O/Oliver Knussen.

DG 457 646-2 23 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists & those from culturally emerging nations

13:00 FRENCH ECCENTRICS Satie, E. Véritables préludes flasques (pour un chien) (1912). Roland Pöntinen, pf.

BIS CD-317 3

Orgia, chimera dall’occhio vitreo, from Edgar.

Jonas Kaufmann, ten; Saint Cecilia Academy O/Antonio Pappano.

Sony 88875092522 5

Ballet réaliste: Parade (1917). Toulouse Capitole O/Michel Plasson.

EMI CDC 7 49471 2 15

In quelle trine morbide, from Manon Lescaut (1893). Kiri Te Kanawa, sop; Lyon National Opera O/Kent Nagano.

Apex 2564 67391-4 3

Je te veux (1900). Yvonne Kenny, sop; Malcolm Martineau, pf.

Walsingham WAL 8022-2CD 4 Alkan, C-V. Concert sonata in E, op 47 (1856). Yvan Cihiffoleau, vc; Olivier Gardon, pf.

Timpani IC 1013 32 14:00 IN CONVERSATION with Michael Morton-Evans Each week we meet one of the world’s great musicians, singers, composers or conductors, along with up-and-comers and some of the men and women who influence the arts landscape. The program goes live to air so you never quite know what’s going to happen.

19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by James Nightingale

Kyrie, from Messa di gloria (1880). Antonello Palombi, ten; Gunnar Lundberg, bar; Hungarian Radio Choir; Hungarian Opera O/ Pier Giorgio Mirandi.

Naxos 8.555304 5 Capriccio sinfonico (1883); Prelude to Le villi (1884). Berlin RSO/Riccardo Chailly.

Decca 410 007-2 15

Gabrieli, G. Sonata XX (1615). London SO Brass/Eric Crees.

Naxos 8.554129 7

15:00 PUCCINI EXPLORED Part 1 Prepared by Michael Morton-Evans Puccini, G. Preludio sinfonico, op 1 (1882).

London SO/Antonio Pappano.

EMI 5 57159 2 9

Ei giunge! ... Torna ai felici di, from Le villi.

Jonas Kaufmann, ten; Saint Cecilia Academy Ch & O/Antonio Pappano.

Sony 88875092522 7 Prelude to Act I of Edgar (1889). BBC PO/ Gianandrea Noseda.

Chandos CHAN 10634 4

The Symphonies of Anton Bruckner prepared by Ron Walledge: Fridays 3, 17 at 2pm Sunday Special, Master Key prepared by Anne Irish and James Nightingale: Sunday 5 at 3pm Koechlin Showcase prepared by Rex Burgess: Tuesday 7, 21 at 1pm Musical Families prepared by Jennifer Foong: Tuesdays 7, 21 at 2pm Rossini 150, At the Opera, Semiramide prepared by Camille Mercep: Wednesday 8 at 8pm Sunday Special, Simply Shostakovich prepared by Paolo Hooke: Sunday 12 at 3pm Evenings with the Orchestra,The Symphonies of Vaughan Williams prepared by David Brett: Friday 17 at 8pm.

Died for Love: At the Opera, A village Romeo and Juliet (Delius) prepared by Elaine Siversen: Wednesday 22 at 8pm August 2018

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

Cesti, A. Le disgrazie d’Amore. Opera in three acts. Libretto by Francesco Sbarra.

First performed Vienna, 1667.

VENUS: Maria Grazia Schiavo, sop VULCAN: Furio Zanasi, bar CUPID: Paolo Lopez, male sop DECEIT: Carlos Natale, ten FLATTERY: Gabriella Martellacci, cont AVARICE: Martin Oro, ct FRIENDSHIP: Elena Cecchi Fedi, sop Auser Musici/Carlo Ipata.

Hyperion CDA67771 2:34 Synopsis at finemusicfm.com/Opera

CONTINUING PROGRAM SERIES

10

Manon. senti, amor mio, from Manon Lescaut. Giuseppe di Stefano, ten; La Scala TO/Tullio Serafin.

Sarabandas 54040 2

23:00 PRELUDES AND FUGUES Prepared by Gael Golla Mozart, W. Prelude and fugue in F, K404a no 4 (1782). Grumiaux Trio.

Philips 422 513-2 10 Bach, J.S. Prelude and fugue in A minor, BWV894. Trevor Pinnock, hpd.

DG 479 1915 10 Bernstein, L. Prelude, fugue and riffs (1949).

Harmen de Boer, cl; Netherlands Wind Ensemble/Richard Dufallo.

Chandos CHAN 9210 8 Castelnuovo-Tedesco, M. Prelude and fugue no 11 in F minor, from The welltempered guitars, op 199 (1962). Duo Tedesco, guitars.

Schwann 3-1224-2 8 Beethoven, L. Grand fugue in B flat, op 133 (1826). Melos Quartet.

DG 415 676-2 15

Thursday 2 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Paul Cooke Mendelssohn, Fanny. August, from Das Jahr (1841). Els Blesemans, fp.

Genuin GEN 12244 5 Beethoven, L. Six variations in D on the air, Ich denke dein, WoO74 (1805). Maria Ferrante, sop; Cullan Bryant, Dmitry Rachmanov, pf.

Naxos 8.572519-20 6 Spohr, L. Variations in A, op 8 (1806).

Moscow Philharmonic Concertino String Quartet.

Marco Polo 8.225983 8 Haydn, J. Octet in G for baryton, horns and strings, Hob.X:5 (1775). Members of Haydn Sinfonietta/Manfred Huss.

BIS CD-1796/98 14 Bach, J.S. Keyboard suite no 6 in D minor, BWV811, English (bef. 1725). Murray Perahia, pf.

Sony SK 60276 24 Mozart, W. Clarinet quartet in F, K496. JeanClaude Veilhan; cl; Trio Stadler.

K617 045 23 10:30 CONCERT HALL Prepared by Giovanna Grech Glinka, M. Kamarinskaya fantasy (1848, orch. 1860). Suisse Romande O/Ernest Ansermet.

Decca 480 0038 7 Respighi, O. Concerto all’antica (pub. 1923).

Ingolf Turban, vn; English CO/Marcello Viotti.

Claves 50-9017 28 Balakirev, M. Symphony no 1 in C (1897).

Philharmonia O/Yevgeny Svetlanov.

Hyperion CDA66691-2 44 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 SPIRITS AND GHOSTS Prepared by Robert Small Edwards, R. Oboe concerto, Bird spirit dreaming (2002). Diana Doherty, ob; Melbourne SO/Arvo Volmer.

ABC 476 3768 18 Beethoven, L. Piano trio in D, op 70 no 1, Ghost (1808). Australian Trio.

Fine Music concert recording 31

Krzysztof Penderecki

Florent Schmitt

Britten, B. The world of the spirit (1938; arr.

Hindmarsh). Susan Chilcott, sop; Pamela Helen Stephen, mezz; Martyn Hill, ten; Hannah Gordon, narr; Cormac Rigby, narr; BBC PO/Richard Hickox.

Chandos CHAN 9487 42

Castelnuovo-Tedesco, M. Overture: Antony and Cleopatra, op 134 (1947). West Australian SO/Andrew Penny.

Naxos 8.572500 18

Kats-Chernin, E. The spirit and the maiden.

Muses Trio. musestrio.com 903494 44380 16 15:00 A POLISH HOUR Prepared by James Nightingale Chopin, F. Étude no 7 in C sharp minor, op 25 no 7 (1836). Roger Woodward, pf.

Artworks AW012 6 Penderecki, K. Flute concerto da camera (1992). Petri Alanko, fl; Tapiola Sinfonietta/ Okko Kamu.

Naxos 8.554185 20 Szymanowski, K. String quartet no 1 in C, op 37 (1917). Goldner String Quartet.

Naxos 8.554315 19 Tausig, C. The ghost ship, op 1. Tamara Anna Cislowska, pf.

ABC 476 6301 8 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Prepared by Rex Burgess Cimarosa, D. Overture to Cleopatra (1789).

Nicolaus Esterházy Sinfonia/Alessandro Amoretti.

Naxos 8.570508 4 Scarlatti, A. Mark Anthony and Cleopatra.

Sandrine Piau, sop; Gérard Lesne, ct; Il Seminario Musicale.

Virgin 5 45126 2 14 Schmitt, F. Antony and Cleopatra: Suite no 1, op 69a (1920). Buffalo PO/JoAnn Falletta.

Naxos 8.573521 22

Graun, C. Voglio strage, e sangue voglio, from Caesar and Cleopatra (1742). Iris Vermillion, mezz; Concerto Cologne/René Jacobs.

Harmonia Mundi HMX 2908150.52 5 Berlioz, H. The death of Cleopatra (1829).

Béatrice Uria-Monzon, mezz; Lille NO/JeanClaude Casadesus.

Harmonia Mundi HMC 901542 21 Schmitt, F. Antony and Cleopatra: Suite no 2, op 69b (1920). Buffalo PO/JoAnn Falletta.

Naxos 8.573521 24 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by James Nightingale Martinu, B. Sextet for winds and piano (1929). Geoffrey Collins, fl; Celia Craig, ob; Catherine McCorkill, cl; Andrew Barnes, bn; Anthony Grimm, bn; Bernadette Balkus, pf.

Fine Music concert recording 16 Haydn, J. Variations in F minor, Hob.VII no 6 (1793). Tamara Anna Cislowska, pf.

MBS 42 14 Pierné, G. Piano quintet in E minor, op 41 (1917). Piers Lane, pf; Goldner String Quartet.

Hyperion CDA68036 40 Rose, J. Between worlds (2013). Nicholas Russoniello, sax; Acacia Quartet. www.nickrussoniello.com.au 15 Fauré, G. The birth of Venus, op 29. Sara Macliver, sop; Jenny Duck-Chong, mezz; Paul McMahon, ten; Teddy Tahu Rhodes, bar; Cantillation; Sinfonia Australis/Antony Walker.

ABC 481 2646 24

“We do not play the piano with our fingers but with our mind.”

— Glenn Gould August 2018

11

Friday 3 August 13:00 FROM THEATRE AND CONCERT HALL Prepared by Giovanna Grech Adam, A. Overture to Giralda (1850). New Philharmonia O/Richard Bonynge.

Decca 466 431-2 8 Tubin, E. Suite from Kratt (1961). Bamberg SO/Neeme Järvi.

BIS CD-306 24 Barber, S. Symphony no 1, op 9 (1935-36).

Baltimore SO/David Zinman.

Argo 436 288-2 19 Joseph Joachim 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen Schubert, F. 15 Original dances from D365 (arr. Schubert). Gil Shaham, vn; Göran Söllscher, gui.

DG 479 2565 12 Falla, M. de Suite from El amor brujo (191525; arr. Falla). Daniel Ligorio, pf.

Naxos 8.555065 12 Bach, J.S. Lute suite no 5 in G minor, BWV995 (1727-31; arr. Bach from Cello suite, BWV1011). Nigel North, lute.

Linn CKD 055 22 Martinu, B. Sextet (1932; arr. Martinu for orchestra 1950). Janácek CO. Chandos CHAN 10678 18 Stravinsky, I. Suite from The soldier’s tale (1918; arr. Stravinsky 1919). Nigel Westlake, cl; Dene Olding, vn; David Bollard, pf.

Fine Music concert recording 15 10:30 CONCERT HALL Prepared by James Nightingale Lyapunov, S. Symphonic poem: Zelazowa Wola, op 37 (1909). USSR SO/Yevgeny Svetlanov.

Melodiya 10-00173 15 Joachim, J. Violin concerto no 2 in D minor, op 11, In the Hungarian style (1861). Suyoen Kim, vn; Staatskapelle Weimar/Michael Halász.

Naxos 8.570991 46 Honegger, A. Symphony no 1 (1929-30).

Bavarian RSO/Charles Dutoit.

Erato 2292-45242-2 22 12:00 A JAZZ HOUR with Barry O’Sullivan 12

14:00 THE SYMPHONIES OF ANTON BRUCKNER Prepared by Ron Walledge Bruckner, A. Helgoland (1893). Chicago Symphony Ch & O/Daniel Barenboim.

DG 437 250-2 14 Mass in D minor (1864). Joan Rodgers, sop; Catherine Wyn-Rogers, cont; Keith Lewis, ten; Alastair Miles, bass; Corydon Singers; James O’Donnell, org; Corydon O/Matthew Best.

Hyperion CDA66650 44 Ecce sacerdos magnus (1885). City of Birmingham Symphony Ch & Wind Ensemble; Peter King, org; Simon Halsey, cond.

Conifer CDCF 192 6 Symphony no 1 in C minor (1866).

Staatskapelle Dresden/Eugen Jochum.

Brilliant Classics 92084 47 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small Saint-Saëns, C. Symphonic poems: no 2, Phaeton; no 3, Danse macabre (1873-74).

Lille NO/Jun Märkl.

Naxos 8.573745 15 Walton, W. Violin concerto in B minor (193839/43). Joshua Bell, vn; Baltimore SO/David Zinman.

Decca 478 2826 31 Sibelius, J. Symphony no 1 in E minor, op 39 (1899). Danish National RSO/Leif Segerstam.

Chandos CHAN 9107 43 Ravel, M. Shéhérazade (1903). Renée Fleming, sop; Radio France PO/Alan Gilbert.

Decca 478 3500 19

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

22:00 BAROQUE AND BEFORE Ferrara: the heart of the Italian Renaissance Prepared by Susan Foulcher Dufay, G. Ballade: C’est bien raison de devoir essaucier (c1430). Diabolus in Musica/ Antoine Guerber.

Alpha 116 7 Martini, Johannes. Salve Regina. Clerks’ Group/Edward Wickham.

ASV GAU 171 12 Obrecht, J. Lute pieces: Christe de si dedero; Ik draghe de mutse clutse (arr.

Wallace). Frank Wallace, vihuela.

Centaur CRC 2109 4 Josquin Desprez. Missa Hercules dux Ferrariae (1503). Ashley Stafford, ct; Robert Jones, ct; Mark Padmore, ten; Gordon Jones, bar; David Beavan, bass; Hilliard Ensemble/ Paul Hillier.

EMI CDC 7 49960-2 27 Brumel, A. Motets: Noe noe; O Domine Jesu Christe. Pro Cantione Antiqua; London Cornett and Sackbutt Ensemble/Bruno Turner.

LP Archiv 2533 378 4 d’Este, E. Angelus Domini descendit (pub.

1543). Musica Secreta/Deborah Roberts.

Obsidian 717 12 Rore, C. de Non è che il duol mi scemi.

Doron David Sherwin, cornett; Andrea Marcon, hpd.

Giulia GS 201010 4 Anchor che col partire. Nancy Hadden, fl; Erin Headley, bass viol; Andrew Lawrence-King, hp.

Hyperion CDA66298 3 Marenzio, L. Liquide perle amor; Che fa oggi il mio sole; Partirò dunque, from Primo libro di madrigali à cinque voci (1580). La Compagnia del Madrigale.

Glossa GCD 922802 6 Wert, G. de Sorgi e rischiara; Grazie ch’a poch, from Madrigals for five voices, bk 7 (pub. 1581). Song Company/Roland Peelman.

ABC 454 518-2 11 Dowland, J. Lady Hunsdon’s puffe.

Christopher Wilson, lute.

Virgin VC 7 91216-2 2 Galiards: The King of Denmark; The Earl of Essex; M Thomas Collier. Dowland Consort/ Jakob Lindberg.

BIS CD-315 5 Gesualdo, C. Moro Lasso; Belta poi che t’assenti; Gia piansi nel dolore, from Madrigals for five voices, bk 6 (pub. 1611).

Collegium Vocale Gent/Philippe Herreweghe.

Outhere Music LPH024 9

Saturday 4 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early classical 1760-1800 Prepared by Brian Drummond Herschel, W. Symphony no 2 in D (1760).

London Mozart Players/Matthias Bamert.

Chandos CHAN 10048 10 Albrechtsberger, J. Partita in F (1772). Anna Lelkes, hp; Györ PO/János Sándor.

LP Budapest FX 12299 19 Bach, C.P.E. Rondo in A minor, Wq56 no 5 (1778). Geoffrey Lancaster, fp.

Fine Music concert recording 9 Bortnyansky, D. Sacred concerto no 5 (c1790). Russian State Symphonic Cappella/ Valery Polyansky.

Chandos CHAN 9729 8 Mozart, W. Adagio in B flat for winds, K411 (1785). Tetsuo Hirosawa, cl; Markus Euler, cl; Sabine Neher, bshn; Alfred Wurm, bshn; Margarete Fiedler, bshn.

Naxos 8.570897 6 Haydn, J. Symphony in C, Hob. I:69, Loudon (1779). Heidelberg SO/Thomas Fey. Hänssler 98.268 21 10:30 SMALL FORCES Mozart, W. Piano quartet no 1 in G minor, K478 (1785). Frank Peter Zimmermann, vn; Tabea Zimmermann, va; Tilmann Wick, vc; Christian Zacharias, pf.

EMI CDC 7 49879 2 25 Brahms, J. String quintet no 2 in G, op 111 (1890). Raphael Ensemble.

Hyperion CDA66804 30 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Williams, J. Hymn to New England. 4 The raider’s march, from Indiana Jones. 6 Theme, from JFK. 5 March; Can you read my mind? from Superman. 8

Sibelius, J. Symphonic poem: En saga, op 9 (1892/1901). Lahti SO/Osmo Vänskä.

BIS CD-800 22 Strauss, R. Tone poem: Don Juan, op 20 (1888). Vienna PO/André Previn.

EMI 5 74116 2 17 Smetana, B. Symphonic poem: Hakon Jarl, op 61 (1860-61). BBC PO/Gianandrea Noseda.

Chandos CHAN 10413 17 Myaskovsky, N. Symphonic poem after Shelley: Alastor, op 1 (1913). Russian Federation SO/Yvgeny Svetlanov.

Warner Classics 69689-8 25 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Zeller, C. Der Obersteiger. Operetta in three acts. Libretto by Ludwig Held and Moritz West. First performed Vienna, 1894.

COUNTESS FICHTENAU/JULIE: Cornelia Zink, sop MINE MANAGER ZWACK: Wolfgang MüllerLorenz, ten NELLY: Anna Siminska, sop MARTIN: Bernhard Berchtold, ten PRINCE RODERICH: Santiago Bürgi, ten ELFRIEDE: Donna Ellen, sop Schönbrunn Music Theatre Ch & O/Herbert Mogg. cpo 777 549-2 1:26

Shostakovich, D. Suite from the incidental music to Hamlet, op 32a (1932). Boston SO/ Andris Nelsons.

DG 479 5201 14

Excerpts from Der Vögelhändler (1891).

Teresa Stratas, sop; Lucia Popp, sop; Adolfo Dallapozza, ten; Gartnerplatz State Theatre Choir; Graunke SO/Frans Bauer-Theussl.

Philips 420 665-2 26

22:00 SATURDAY NIGHT AT HOME Prepared by Randolph Magri-Overend

Strauss, R. Suite from Der Rosenkavalier (1911). Vienna PO/André Previn.

DG 437 790-2 22 17:30 STAGING MUSIC Prepared by Angela Cockburn Adaptations: Henry V 18:00 SOCIETY SPOT Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Sullivan, A. Overture to Macbeth (1888).

English Northern Philharmonia/David LloydJones.

Hyperion CDA66515 8

Liszt, F. Symphonic poem no 12: The ideals (1857). London PO/Bernard Haitink.

Philips 438 754-2 27

Liszt, F. Après une lecture du Dante, fantasia quasi sonata, from Years of pilgrimage, bk 2 (1837-49). Stephanie McCallum, pf.

ABC 476 124-2 15

Synopsis at finemusicfm.com/Opera

20:00 THE WORD TRANSFORMED Prepared by Paul Cooke

13:00 A SYMPHONIC POEMFEST Prepared by Rex Burgess

Alfvén, H. Suite from The mountain king (1917-22). Royal Scottish NO/Niklas Willén.

Naxos 8.553962 16

Koechlin, C. Three poems, op 18 (189901). Iris Vermillion, mezz; Johan Botha, ten; Ralf Lukas, bar; RIAS Chamber Choir; Berlin RSO/David Zinman.

BMG Records 09026 61955 2 18

Allentown Band/Ronald Demkee (all above)

AMP AB V 31

André Previn

Lang, M. Nonsense rhymes and pictures, op 42 and 43. Donald George, ten; Lucy Mauro, pf.

Delos DE 3407 10

Sibelius, J. King Christian II, op 27 (1898).

New Zealand SO/Pietari Inkinen.

Naxos 8.57008 26

Elgar, E. Cello concerto in E minor, op 85 (1918-19). Yo-Yo Ma, vc; London SO/André Previn.

CBS M2K 44562 29 Rachmaninov, S. The bells, choral symphony, op 35 (1913). Suzanne Murphy, sop; Keith Lewis, ten; David Wilson-Johnson, bar; Scottish National Ch & O/Neeme Järvi.

Chandos CHAN 8476 37 Schubert, F. Symphony no 9 in C, D944, Great C major (1825-28). Royal Concertgebouw O/John Eliot Gardiner.

Radio Nederland RCO11004 48 Schubert’s Symphony no 9 in C, D944, The great C major is often called ‘Great’ but this is a misnomer. That’s not because it isn’t a great symphony, which it is, but because the term ‘great’ is to distinguish this last symphony from the earlier and shorter Sixth Symphony in the same key.

August 2018

13

Sunday 5 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Robert Small Dufay, G. Moribus et genere (1446). Huelgas Ensemble/Paul van Nevel.

Harmonia Mundi HMX 2908250.79 9 Gesualdo, C. Two motets (arr. Maxwell Davies). Graham Ashton Brass Ensemble.

ABC 446 735-2 8 Schütz, H. Magnificat (c1664). Boys’ and Congregational Choir of Roskilde Cathedral; Gabrieli Consort and Players/Paul McCreesh.

Decca 478 3640 16

Brahms, J. Trio in E flat for horn, violin and piano, op 40 (1865). Wolfgang Tomboeck, hn; Johannes Tomboeck, vn; Madoka Inui, pf.

Naxos 8.557471 28 15:00 SUNDAY SPECIAL Master key: F sharp; G flat Prepared by Anne Irish Bach, J.S. Prelude and fugue in F sharp, BWV882, from The well-tempered clavier, bk 2 (c1740). Sviatoslav Richter, pf.

Olympia OCD 537 5

Gjeilo, O. Ubi caritas (bef. 2016). Voces8; Ola Gjeilo, pf; Barnaby Smith, cond.

Decca 478 8689 5

Fauré, G. Ballade in F sharp, op 19 (1881).

François-Joël Thiollier, pf; NSO of Ireland/ Antonio de Almeida.

Naxos 8.550754 14

Pärt, A. Triodion (1998). Tallis Scholars/Peter Phillips.

Gimmel CDGIM 049 14

Debussy, C. La fille aux cheveux de lin, from Préludes, bk 1 (1911). Pascal Rogé, pf.

Decca 478 5644 2

10:00 THE CLASSICAL ERA Prepared by Sheila Catzel

Dvorák, A. Humoresque in G flat, op 101 no 7 (1894. arr. Kreisler). Anne-Sophie Mutter, vn; Berlin PO/Manfred Honeck.

DG 479 1060 3

Salieri, A. Overture to La locandiera (1773).

Chandos CHAN 9877 7 Field, J. Piano concerto no 3 in E flat (1816).

Míceál O’Rourke, pf.

Chandos CHAN 9495 33 London Mozart Players/Matthias Bamert (2 above) Stamitz, C. Oboe quartet in D, op 8. Paul Goodwin, ob; Terzetto.

Harmonia Mundi HMU 907220 15 Kuhlau, F. Trio in G for two flutes and piano, op 119 (1831). Jean-Pierre Rampal, fl; Claudi Arimany, fl; John Steele Ritter, pf.

Delos DE 3212 16 Onslow, G. Grand septet for winds, double bass and piano, op 79 (1849). Marc Marder, db; Jean Hubeau, pf; Nielsen Quintet. apex 0927 49536 2 37 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson A 20-part series based on his comprehensive book on the development of jazz in Australia 13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia

14

Saint-Saëns, C. Romance in E, op 67 (1885).

Barry Tuckwell, hn; Daniel Blumenthal, pf.

Etcetera KTC 1135 9

Schubert, F. Impromptu in G flat, D899 no 3 (1827). Alfred Brendel, pf.

Philips 456 727-2 6 Bowen, Y. Melody for the G string in G flat (1917). Lawrence Power, va; Simon Crawford-Phillips, pf.

Hyperion CDA67651-52 4 Chopin, F. Barcarolle in F sharp, op 60 (1846). Maurizio Pollini, pf.

Philips 456 940-2 9 Wolf-Ferrari, E. Piano trio no 2 in F sharp, op 7 (1900). Ilona Then-Bergh, vn; Gerhard Zank, vc; Michael Schäfer, pf.

MD+G L 3310/11 26 Ravel, M. Introduction and allegro for harp, flute, clarinet and string quartet (1906). Osian Ellis, hp; Melos Ensemble.

Decca 421 154-2 10 Beethoven, L. Piano sonata no 24 in F sharp, op 78 (1809). Stephen Kovacevich, pf.

EMI 5 62700 2 10 Moeran, E.J. Rhapsody in F sharp (1943).

John McCabe, pf; New Philharmonia O/ Nicholas Braithwaite.

Lyrita SRCD.248 19

14:00 ROMANTIC HORN Prepared by Chris Blower

17:00 HOSANNA Prepared by Stephen Matthews

Schumann, R. Concert piece in F for four horns and orchestra, op 86 (1849). American Horn Quartet; Sinfonia Varsovia/Dariusz Wisniewski.

Naxos 8.557747 17

Hymns: Praise my soul the King of Heaven; Christ is made the sure foundation; All glory, laud and honour. Choir of King’s College, Cambridge/Stephen Cleobury.

Decca 452 252-2 10

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Ravi Shankar Cavalli, F. Salve Regina. The Sixteen/Harry Christophers.

Coro COR16053 6 Skeats, H. Psalm 139. Choir of St John’s College, Cambridge/George Guest.

Decca 483 1290 7 Kayser, I. Laudate pueri. Orpheus Vocal Ensemble; Ars Antiqua Austria/Jurgen Essl.

Carus 83.479 6 Brahms, J. Missa canonica. RIAS Chamber Choir/Marcus Creed.

Harmonia Mundi HMG501591 11 Purcell, H. Sonata for trumpet and organ.

Miroslav Holub, tpt; Jan Kral, org.

Antiphona AA0082-2231 5 Hymns: Glory to Thee my God this night; The day Thou gavest Lord is ended. Choir of King’s College, Cambridge/David Willcocks.

Decca 452 252-2 6 18:00 CHAMBER FROM ASIA Prepared by Rebecca Zhong Vali, R. Persian suite (2002). Laura Chislett, fl; Stephanie McCallum, pf. onepoint.fm/Laurachislettjones 7 Wang Xianwei. Suzhou trip. Shanghai Chinese Music Ensemble.

Private JZH5 4 Shankar, R. The enchanted dawn. Geoffrey Collins, fl; Alice Giles, hp.

Tall Poppies TP031 13 Huie, J. Tiger Jack. Fang Yu, gu zheng; Patrick Murphy, vc; Hugh Fraser, db; John Huie, gui; Bala Sankar, clay pot; Michael Kieran Harvey, pf.

Private recording JZH5 7 Dikmans - Norman. Dapne-bushi (1994).

Anne Norman, shakuhachi, Greg Dikmans, rec.

Move MD 3163 6 Das - Umezaki. If you shall return (c2015). Bill Frisell, gui; Silk Road Ensemble/Yo-Yo Ma. Sony 88875181012 7 Mayer, J. When it rains. Jonathan Mayer, sitar, zither, elec pf.

First Hand Records FHR09 5

Monday 6 August

Sunday 5 August 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Cherubini, L. Overture to The crescendo (1810). Tuscan O/Donato Renzetti.

Europa 350-221 12 Kabalevsky, D. Cello concerto no 2 in C, op 77 (1964). Steven Isserlis, vc; London PO/ Andrew Litton.

Virgin VC 7 90811-2 27 Ravel, M. Deux mélodies hebraïques (1914).

Barbara Hendricks, sop; Lyon Opera O/John Eliot Gardiner.

EMI CDC 7 49689 2 5 Sullivan, A. Symphony in E, Irish (1866).

BBC PO/Richard Hickox.

Chandos CHAN 9859 36 20:30 NEW HORIZONS Prepared by Calogero Panvino Nyman, M. While you here do snoring lie; Prospero’s magic, from Prospero’s books (1991). Sarah Leonard, sop; Michael Nyman Band/Michael Nyman.

Decca 425 224-2 6 Maderna, B. Serenade for a satellite (1969).

Aldo Orvieto, pf; Renato Maioli, pf; Támmitam Percussion Ensemble/Guido Facchin.

Dynamic CDS 97 10 Scelsi, G. Konx-om-pax (1969). Krakow Philharmonia Choir; Krakow RTO/Jürg Wyttenbach.

Accord 476 1072 18 Donatoni, F. Cloches III (1991). Aldo Orvieto, pf; Renato Maioli, pf; Támmitam Percussion Ensemble/Guido Facchin.

Dynamic CDS 97 8 Scelsi, G. Uaxuctum (1966); Pfhat (1974).

Krakow Philharmonia Choir; Krakow RTO/ Jürg Wyttenbach.

Accord 476 1072 29 Nyman, M. The masque, from Prospero’s books (1991). Marie Angel, sop; Ute Lempe, sop; Deborah Conway, cont; Michael Nyman Band/Michael Nyman.

Decca 425 224-2 12 22:00 AFTER HOURS JAZZ with Kevin Jones Michael Nyman composed the score for Prospero’s Books, a 1991 avant-garde film based on Shakespeare’s play The Tempest. The film combined mime, dance, opera and animation with John Gielgud providing off-stage narration and voices for the various characters. In some scenes digital image manipulation was used to overlay multiple moving and still pictures with animations.

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1920 Prepared by Di Cox Elgar, E. Severn suite, op 87 (1920). London Brass Virtuosi/David Honeyball.

Helios CDH88013 20 Turina, J. Danzas fantásticas, op 22 (1920; arr.). Guitar Trek.

ABC 476 3389 15 Korngold, E. Tanzlied des Pierrot, from Die tote Stadt (1920; arr. Willms). Nicola Benedetti, vn; Bournemouth SO/Kirill Karabits.

Decca 478 3529 4 Howells, H. Procession (1920). London SO/ Richard Hickox.

Chandos CHAN 9410 5 Sibelius, J. Suite Mignonne, op 98a (1920).

Erik T. Tawaststjerna, pf.

BIS CD-367 7 Beach, A. Piano trio in A minor, op 150 (1920). Elizabeth Layton, vn; Naomi Butterworth, vc; Diana Ambache, pf.

Chandos CHAN 9752 15 Respighi, O. Adagio with variations (1920).

Raphael Wallfisch, vc; Bournemouth Sinfonietta/Tamás Vásáry.

Chandos CHAN 8913 10 10:30 CONCERT HALL Prepared by Denis Patterson

Ernst Märzendorfer Dohnányi, E. Piano quintet in C minor, op 1 (1895). Schubert Ensemble of London.

Hyperion CDA66786 29 Bach, J.S. Trio sonata in D minor, BWV527 (c1730). Purcell Quartet.

Chandos CHAN 0654 13 Borodin, A. Polovtsian dances, from Prince Igor (1887; arr. Gassot, Pepin). Sabine Meyer, cl; Alliage Quintet.

Sony 88875190972 12 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Haydn, J. Symphony in D, Hob.I:53, L’Impériale (c1776-80). Vienna CO/Ernst Märzendorfer.

Musical Heritage Society OR H-201-249 23 Schumann, C. Piano concerto in A minor, op 7 (1835-36). Veronica Jochum, pf; Bamberg SO/Joseph Silverstein.

Pro Arte CDD 395 21

Glinka, M. Overture to Ruslan and Ludmila (1842). Sydney SO/Edo de Waart.

ABC 481 0616 5

Brahms, J. Symphony no 4 in E minor, op 98 (1884-85). Gewandhaus O/Riccardo Chailly.

Decca 478 5344 38

Paderewski, I. Symphony in B minor, op 24, Polonia (1903-08). BBC Scottish SO/Jerzy Maksymiuk.

Hyperion CDA67056 1:14

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Celeste Haworth

12:00 SWING SESSIONS with John Buchanan

with Chris Wetherall

Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell Briccialdi, G. Wind quintet in D, op 124.

Avalon Wind Quintet.

Naxos 8.553410 16 Vivaldi, A. Trio sonata in E flat, RV65.

Salvatore Accardo, vn; Franco Gulli, vn; Rohan de Saram, vc; Bruno Canino; hpd.

Newton 8802034 10

19:00 JAZZ PULSE 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson The 19th century flautist Giulio Briccialdi is not exactly a household name but in 1996 the asteroid N.7714 was named in his memory. His career began and ended in Italy but it was during his stay in England that Briccialdi made his mark as an innovator who made many technical improvements to the Boehm flute that are still in use today.

August 2018

15

Tuesday 7 August

Jean-Yves Thibaudet

David Oistrakh

Igor Oistrakh

0:00 CONTEMPORARY COLLECTIVE

13:00 KOECHLIN SHOWCASE Prepared by Rex Burgess

Shostakovich, D. Violin concerto no 2 in C sharp minor, op 129 (1967). David Oistrakh, vn; Moscow PO/Gennady Rozhdestvensky.

Brilliant Classics 9239 28

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Ravel, M. Gaspard de la nuit (1908). JeanYves Thibaudet, pf.

Decca 433515-2 22 Buxtehude, D. Suite in G minor. Jacqueline Ogeil, hpd.

Move MD 3191 7 Schumann, R. Three fantasy pieces, op 73 (1849). Georg Pedersen, vc; Len Vorster, pf.

Fine Music concert recording 11 Shostakovich, D. Piano trio no 1 in C minor, op 8 (1923). Oslo Trio.

Simax PSC 1014 14 Beethoven, L. Piano sonata no 32 in C minor, op 111 (1821-22). Gerard Willems, pf.

ABC 465 077-2 28 10:30 CONCERT HALL Anniversary celebrations Prepared by Paul Cooke Bantock, G. Camel caravan, from Omar Khayyám (1906). Royal Philharmonic Ch & O/ Vernon Handley.

Hyperion CDA67250 8 Litolff, H. Symphonic concerto no 4 in D minor, op 102 (c1852). Peter Donohoe, pf; Bournemouth SO/Andrew Litton.

Hyperion CDA66889 38 Bantock, G. A Hebridean symphony (1915).

Royal PO/Vernon Handley.

Hyperion CDA66450 35 12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands 16

Koechlin, C. Le buisson ardent, part 1, op 203 (1945); Le buisson ardent, part 2, op 171 (1938). 39 Le sommeil de Canope, op 31 (1902-06, orch. 1921). Juliane Banse, sop. 15 Christine Simonin, ondes martenot; Stuttgart RSO/Heinz Hollinger (2 above) SWR Music SWR19046 14:00 MUSICAL FAMILIES David and Igor Oistrakh Prepared by Jennifer Foong Vitali, G. Ciacona in G minor. David Oistrakh, vn; Vladimir Yampolski, pf.

Brilliant Classics 8402 10 Mozart, W. String duo no 1 in G, K423 (1783). Igor Oistrakh, vn; David Oistrakh, va.

Decca 470 258-2 16 Benda, G. Trio sonata in E. David Oistrakh, vn; Igor Oistrakh, vn; Vladimir Yampolsky, pf.

DG 463 616-2 15 Sarasate, P. de Navarra, Spanish dance in A for two violins and orchestra, op 33 (1889). David Oistrakh, vn; Igor Oistrakh, vn; Gewandhaus O/Franz Konwitschny.

DG 463 616-2 6 Glinka, M. Trio pathétique in D minor (1832).

Oistrakh Trio.

Brilliant Classics 9272 15 Mozart, W. Violin sonata no 26 in B flat, K378 (1779). Igor Oistrakh, vn; Natalia Zertsalova, pf.

Melodiya MA 13689 17

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Korngold, E. String quartet no 2 in E flat, op 26 (1934). Philippa Ibbotson, vn; Mark Denman, vn; Robert Gibbs, va; David Newby, vc.

ASV DCA 1035 24 Bantock, G. Pagan poem (1950). Kenneth Smith, fl; Paul Rhodes, pf.

ASV DCA 862 5 Liszt, F. Piano sonata in B minor (1852-53).

Yuja Wang, pf.

DG 477 8140 31 Grandval, M. Two pieces. Jeremy Polmear, ob; Naomi Butterworth, vc; Diana Ambache, pf.

BBC Music Magazine BBC MM45 7 Schubert, F. Piano trio no 2 in E flat, D929 (1827). Christiaan Bor, vn; Godfried Hoogeveen, vc; Pascal Devoyon, pf.

Vanguard 99020 44

Today we hear two disparate works of Shostakovich. In Diversions in Fine Music, Colours of the Keyboard you’ll hear his opus 7 Piano Trio. Later in Musical Families there is the opus 29 Violin Concerto. These works are separated by 34 years.

The former, a student work, was unfinished and its last 16 bars were completed by Shostakovich’s pupil, Boris Tishchenko.

Alternative endings have been provided also by Leslie Howard and Boris Lyatoshynsky. In contrast, the Violin Concerto is a work of the composer’s maturity. It was his last concerto and was composed as a 60th birthday gift for the dedicatee David Oistrakh who premiered the work.

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Wednesday 8 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Randolph Magri-Overend Piazzolla, A. Tango ballet (1956; arr.

Bragato). Flinders Quartet.

Fine Music concert recording 12 Soledad (1974; transcr. Liarmakopoulos).

Achilles Liarmakopoulos, tb; Pedro Giraudo, db; Hectór del Curto, ban; Octavio Brunetti, pf.

Naxos 8.572596 9 Buenos Aires symphony, op 15 (1951). Daniel Binelli, ban; Nashville SO/Giancarlo Guerrero.

Naxos 8.572271 26 Tangazo (1988). New World SO/Michael Tilson Thomas.

Argo 436 737 - 2 14 Histoire du tango (1986). William Bennett, fl; Simon Wynberg, gui.

ASV DCA 692 19 10:30 CONCERT HALL Prepared by Stephen Wilson Stenhammar, W. Excelsior! op 13 (1896).

Gothenburg SO/Neeme Jarvi.

BIS CD-251 12 Lyapunov, S. Violin concerto in D minor, op 61 (1915/21). Maxim Fedotov, vn; Russian PO/Dmitry Yablonsky.

Naxos 8.570462 23 Bomtempo, J. Symphony no 2 in D. Algarve O/Álvaro Cassuto.

Naxos 8.557163 42 12:00 JAZZ SKETCHES with Robert Vale 13:00 BRISBANE CHAMBER CHOIR Recorded for FINE MUSIC by Peter Bell Finzi, G. My spirit sang all day (1934-37). 2 Leek, S. High places (1999).

3 Daunais, L. Le pont Mirabeau (1977).

3 Rathbone, J. Absolon, my son (2003).

5 Orlovich, M. Butterflies dance (2009).

5 Vaughan Williams, R. Rest (c1902).

3 Swingle, W. Give us this day (2005).

4 Tomkins, T. Holy, holy, holy (1668).

3 Edwards, R. Kyrie, from Mass of the Dreaming: Missa Alchera (2009).

2 Morton, G. Lute book lullaby (2007).

2 Victoria, T. de Vere languores (1572).

4 Scarlatti, A. Exultate Deo (1702).

3 McFerrin, B. The 23rd Psalm.

3 Butterley, N. Exultate.

3 Brisbane Chamber Choir/Graeme Morton (all above)

Mirella Freni

Richard Bonynge

14:00 IN CONVERSATION with Michael Morton-Evans

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Ross Hayesr

15:00 PUCCINI EXPLORED Part 2 Prepared by Michael Morton-Evans Puccini, G. Salve Regina (1880). Plácido Domingo, ten; Julius Rudel, pf.

CBS MK 44981 6 Frontcloth scene, from La bohème (1896; arr.

Hocking). West Australian SO/Dobbs Franks.

ABC 476 1999 6 Musetta’s waltz song, from La bohème.

Joan Carden, sop; Queensland PO/Roderick Brydon.

Walsingham WAL 8026-2 3 O soave fanciulla, from La bohème. Angela Gheorghiu, sop; Roberto Alagna, ten; Royal Opera House O/Richard Armstrong.

EMI 5 56117 2 4 Chrysanthemums. Australian CO/Richard Tognetti.

Sony SK62855 8 E lucevan le stelle, from Tosca (1900).

Luciano Pavarotti, ten; Royal PO/Leone Magiera.

Decca 475 9349 3 Vissi d’arte, vissi d’amore, from Tosca. Maria Callas, sop; Conservatoire Concerts Society O/Georges Prêtre.

EMI CDC 7 54702 2 3 Un bel di vedremo, from Madama Butterfly (1904). Anna Netrebko, sop; Saint Cecilia National Academy O/Antonio Pappano.

DG 479 5015 5 Vogliatemi bene, from Madama Butterfly.

Mirella Freni, sop; Luciano Pavarotti, ten; Vienna PO/Herbert von Karajan.

Decca 478 7583 8 Avanti Urania! (1899). Roberta Alexander, sop; Tan Crone, pf.

Etcetera KTC 1050 2 Storiella d’amore (1883). Plácido Domingo, ten; Julius Rudel, pf.

CBS MK 44981 5

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Camille Mercep Rossini, G. Semiramide. Opera in two acts.

Libretto by Gaetano Rossi. First performed Venice, 1823.

SEMIRAMIDE: Joan Sutherland, sop ARSACE: Marilyn Horne, cont ASSUR: Joseph Rouleau, bar AZEMA: Patricia Clark, sop OROE: Spiro Malas, bass Ambrosian Opera Ch; London SO/Richard Bonynge.

Decca 425 481-2 2:48 Synopsis at finemusicfm.com/Opera Serenata (1823). Members of Ex Novo Ensemble.

Giulia GS 201001 7 Assisa a piè d’un salice, from Otello (1816).

Cecilia Bartoli, mezz; Vienna Volksoper O/ Giuseppe Patanè.

Decca 425 430-2 9 The gondola ride. Thomas Hampson, bar; Geoffrey Parsons, pf.

EMI CDC 7 54436 2 8 23:30 FROM THE ITALIAN BAROQUE Prepared by Rex Burgess Telemann, G. Sonata in E flat (pub. 1728).

Kim Walker, bn; Clena Stein, db; Darryl Nixon, hpd.

Gallo 337 8 Uccellini, M. Sonata for two violins, op 7 no 9 (pub. 1660). Arcadian Academy.

Harmonia Mundi HMU 907066 8 Mancini, F. Flute sonata no 12 in G (1724).

Tempesta di Mare.

Chandos CHAN 0801 8 August 2018

17

Thursday 9 August Symphony no 1, Jeremiah (1942). Christa Ludwig, mezz; Israel PO/Leonard Bernstein.

DG 415 964-2 25 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Monarchs, real and imagined Prepared by Elaine Siversen Vladimir Horowitz

Michael Tilson Thomas

0:00 CONTEMPORARY COLLECTIVE

Ashkenazy, pf & dir.

Ondine ODE 950-2 28

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Brian Drummond Chopin, F. Polish songs, op 74: no 1, The wish (1829); no 2, Spring (1838); no 3, The sad stream (1831). Annette Celine, sop; Felicia Blumenthal, pf.

Olympia OCD 629 7 Cello sonata in G minor, op 65 (1845-46).

Maria Kliegel, vc; Bernd Glemser, pf.

Naxos 8.553159 24 Rossini, G. La regata veneziana; La pesca, from Soirées musicales (1830-35). Renata Scotto, sop; Bianca Casoni, cont; Antonio Beltrami, pf.

LP EMI 1C 065 99868 9 Polonaise in F sharp minor, op 44 (1840-41).

Vladimir Horowitz, pf.

CBS MK 42412 10 Czerny, C. Andante e polacca (1848).

Hermann Baumann, hn; Leonard Hokanson, pf.

Philips 416 816-2 11 Offenbach, J. Cello duet in D, op 49 no 6 (c1847). Andrea Noferini, vc; Giovanni Sollima, vc.

Brilliant Classics 94475 8 Chopin, F. Ballade no 1 in G minor, op 23 (1831-35). Arturo Benedetti Michelangeli, fp.

Cetra CDAR 2002 9 10:30 CONCERT HALL Prepared by James Nightingale Sibelius, J. Tapiola, op 112 (1926). Vienna PO/Lorin Maazel.

Decca 478 8541 19 Rautavaara, E. Piano concerto no 3, Gift of dreams (1998). Helsinki PO/Vladimir 18

Larsson, L-E. Symphony no 2, op 17 (1937).

Helsingborg SO/Hans-Peter Frank.

BIS CD-426 36 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 ROMANCES Prepared by Rex Burgess Beethoven, L. Romance no 2 in F, op 50 (1798). Anne-Sophie Mutter, vn; New York PO/Kurt Masur.

DG 471 349-2 8 Schumann, R. Three romances, op 28 (1839). Volker Banfield, pf. cpo 999 598-2 15 Bottesini, G. Dramatic romance. Thomas Martin, db; Anthony Halstead, pf.

Naxos 8.570399 8 Grieg, E. Old Norwegian romance with variations, op 51 (1906). Malmö SO/Bjarte Engeset.

Naxos 8.557991 22 14:00 A BERNSTEIN CENTENARY Prepared by Michael Field 1918 2018

3:00 CLASSICAL TILL DAWN

Leona r d

Bernstein 100th A nniversary

Bernstein, L. Symphonic dances from West Side story (1960). New York PO/Leonard Bernstein.

CBS MYK 44773 21 Halil (1980-81). Sharon Bezaly, fl; São Paulo SO/John Neschling.

BIS CD-1799 15 Suite: A quiet place (1983). London SO/ Michael Tilson Thomas.

DG 439 926-2 22 Concerto for orchestra, Jubilee games (1986). Nathan Gunn, bar; New Zealand SO/ James Judd.

Naxos 8.559100 30

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Charpentier, M-A. The judgement of Solomon (1702). Nantes Vocal Ensemble; Ensemble Stradivaria/Paul Colleaux.

Arion ARN 68037 37 Sibelius, J. Incidental music to King Christian II, op 27 (1898). Gothenburg SO/Neeme Järvi.

DG 447 760-2 24 Schumann, R. Abschied von der Welt, from Songs by Queen Mary Stuart, op 135 (1852).

Juliane Banse, sop; Graham Johnson, pf.

Hyperion CDJ33103 3 Donizetti, G. Excerpts from Maria Stuarda (1835). Edita Gruberova, sop; Gerald Häussler, voice; Markus Hollop, voice; Munich RO/Elio Boncompagni.

Nightingale NC180560-2 26 Shostakovich, D. Incidental music to King Lear, op 137 (1940). Belgian RSO/José Serebrier.

RCA Victor RD 87763 20 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Paul Cooke Bach, C.P.E. Fantasia in B flat, Wq61 no 3 (1785-86). Geoffrey Lancaster, fp.

ABC 432 248-2 6 Glanville-Hicks, P. Etruscan concerto (1956).

Caroline Almonte, pf; Tasmanian SO/Richard Mills.

ABC 476 3218 15 Weber, C.M. Clarinet concertino in C minor, op 26 (1811). Alan Vivian, cl; Sydney SO/ Patrick Thomas.

ABC 476 4570 9 Prokofiev, S. Cello sonata, op 119 (1949).

Catherine Hewgill, vc; Vladimir Ashkenazy, pf.

Decca 481 6562 22 Tromlitz, J. Partita V, from Six partitas for solo flute (arr. Crossley). Alicia Crossley, rec.

Move MCD 508 12 Williamson, M. The altar is adorned, from The growing castle (1968). Margreta Elkins, mezz; Bamberg SO/Hans Gierster.

ABC 461 992-2 5 Brahms, J. Piano quartet no 1 in G, op 25 (1856-61). Ironwood.

ABC 481 4686 41

Friday 10 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Wallace, V. Piano transcriptions: Va pensiero, from Verdi’s Nabucco; Bella figlia dell’amore, from Verdi’s Rigoletto. Rosemary Tuck, pf.

Naxos 8.572774 9 Pasculli, A. Grand concerto on themes from Verdi’s opera, The Sicilian Vespers. Ivan Paisov, ob; Natalia Shcherbakova, pf.

Naxos 8.570567 15 Liszt, F. Paraphrase on Verdi’s Aïda (pub.

1879). Daniel Barenboim, pf.

Erato ECD 75477 12 Bassi, L. Fantasy on themes from Verdi’s Rigoletto (1885). Seunghee Lee, cl; Arlene Shrut, pf.

Summit Records DCD 276 13 Tárrega, F. Fantasia on themes of Verdi’s La traviata. Silvina Strano, gui.

Walsingham 2WAL80282 7 Thalberg, S. Grand concert fantasy on Verdi’s Il trovatore, op 77. Francesco Nicolosi, pf.

Marco Polo 8.223367 10 Lovreglio, D. Fantasy concerto on themes from Verdi’s La traviata, op 45. Jennifer Showalter, cl; Joel Clifft, pf.

Jennifershowalter.com 1001 12 10:30 CONCERT HALL Prepared by Paul Hopwood Brahms, J. Tragic overture, op 81 (1880-81).

Columbia SO/Bruno Walter.

Sony SMK 64 472 13 Crusell, B. Clarinet concerto no 3 in B flat, op 11 (1812). Karl Leister, cl; Lahti SO/Osmo Vänskä.

BIS CD-345 24 Tchaikovsky, P. Symphony no 4 in F minor, op 36 (1877). London SO/Gennady Rozhdestvensky.

IMP PCD 867 44 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FAIR WEATHER AND FOUL Prepared by Frank Langley Berlioz, H. Royal hunt and storm, from The Trojans (1856-58). City of Birmingham SO/ Louis Frémaux.

EMI CDM 1 66434-2 9 Delius, F. In a summer garden (1908). Welsh

National Opera O/Charles Mackerras.

Argo 430 202-2 14 Chopin, F. Étude in A minor, op 25 no 11, Winter’s wind (1834). Alfred Cortot, pf.

Larrikin DDC 936 4 Britten, B. Four sea interludes, from Peter Grimes, op 33a (1944-45). Ulster O/Vernon Handley.

Chandos CHAN 8473 16 Franck, C. Symphonic poem: Les éolides (1875-6). Suisse Romande O/Ernest Ansermet.

Decca 452 890-2 11 Debussy, C. La mer (1903-05). Royal Concertgebouw O/Bernard Haitink.

Radio Nederland RCO12004 25 14:30 A SPANISH FEAST Prepared by Gael Golla Soler, A. Fandango in D minor. Scott Ross, hpd.

Erato 2292-45435-2 12 Hidalgo, J. La noche tenebrosa. Marion Verbruggen, rec; Stephen Stubbs, fl, gui; Andrew Lawrence-King, hp; Newberry Consort/Mary Springfels.

Harmonia Mundi HMU 907022 5 Sor, F. Six divertimenti, op 8 (pub. 1818).

Goran Krivokapic, gui.

Naxos 8.570502 11 Turina, J. Sextet, op 7, Andalusian scene (1912). Christine Busch, vn; Paul Coletti, va; Anna Deutschler, va; members of Menuhin Festival Piano Quartet.

Claves 50-9403 11 Granados, E. Galante; Fandango, from Spanish dances, op 5 (1892-1900). Pro Arte Guitar Trio.

ASV WHL 2061 7 Albéniz, I. El polo, from Iberia, bk 3 (1907).

Jean-François Heisser, pf.

Erato 4509-94807-2 6 Falla, M. de Lullaby; Jota, from Seven Spanish folksongs (1914-15). Della Jones, mezz; Malcolm Martineau, pf.

Chandos CHAN 9277 5 Rodrigo, J. Summer concerto (1943).

Michael Guttman, vn; Royal PO/José Serebrier.

ASV DCA 855 21 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Katy Rogers-Davies Waldteufel, E. Waltz: The skaters, op 183

Asmira Woodward-Page (1882). West Australian SO/David Measham.

ABC 476 4621 5 Rautavaara, E. Cantus arcticus, 61 (1972).

Royal Scottish NO/Hannu Lintu.

Naxos 8.554147 19 Korngold, E. Prelude and serenade, from The snowman (1908; orch. Zemlinsky 1910).

Bruckner O/Caspar Richter.

ASV DCA 1074 5 Vivaldi, A. Violin concerto in F minor, RV297, Winter (pub. 1725). Australian CO/Richard Tognetti, vn & dir.

BIS 2103 9 Prokofiev, S. Suite from Lieutenant Kijé, op 60 (1934). Queensland SO/Vladimir Verbitsky.

ABC 476 3510 22 Delius, F. Sleigh ride (c1890). Northern Sinfonia/Richard Hickox.

EMI 5 65067 2 6 Vaughan Williams, R. Symphony no 7, Sinfonia antartica (1949-52). Patricia Rozario, sop; BBC Women’s Ch & SO/Andrew Davis.

Teldec 0630-13139-2 43 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Vivaldi, A. Il flauto dolce, an instrumental opera pasticcio (arr. Dyer). Genevieve Lacey, rec; Australian Brandenburg O/Paul Dyer.

ABC 461 828-2 1:01 Bach, J.S. Goldberg variations, BWV988 (1741-42; transcr. Sitkovetsky). Asmira Woodward-Page, vn; Glen Donnelly, va; Christopher Pidcock, vc.

Fine Music concert recording 56 Einojuhani Rautavaara’s Cantus arcticus is also known as Concerto for birds and orchestra because he included recordings of the beautiful songs of birds from the Arctic Circle and the bogs of Liminka in his native Finland. The final movement, Swans migrating, takes the form of a long crescendo for orchestra with the sounds of whooper swans.

August 2018

19

Saturday 11 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early Classical 1760-1800 Prepared by Robert Small Stamitz, J. Symphony in E flat, op 11 no 3 (pub. 1758). New Zealand CO/Donald Armstrong.

Naxos 8.553194 17 Dittersdorf, C. Viola concerto in F. Petr Pribyl, va; South Bohemia Chamber PO/ Ondrej Kukal.

Campion RRCD 1342 25 Dussek, F. Sinfonia in E flat (c1760). Helios 18/Marie-Louise Oschatz.

Naxos 8.555878 25 Wagenseil, G. Trombone concerto in E flat.

Northern Sinfonia/Alain Trudel, tb & dir.

Naxos 8.553831 10 10:30 SMALL FORCES Prepared by Frank Morrison Ernst, H. Fantasie brillante on themes from Rossini’s Otello, op 11. Frank Huang, vn; Dina Vainstein, pf.

Naxos 8.557121 13 Respighi, O. Snuffbox suite (1930). Alberto Boschi, picc, fl; Antonio Plotino, fl; Paolo Bottini, ob; Sergio Dagnino, ob, cora; Gabriele Screpis, bn; Luigi Tedone, bn; Hector Moreno, Norberto Capelli, pf.

Dynamic CDS 96 10 Vachon, P. String quartet in D, op 7 no 2 (1772). Rasumovsky Quartet.

ASV GAU 151 14 Kreutzer, R. Grand oboe quintet in C (179099). Sarah Francis, ob; Allegri String Quartet.

Hyperion CDA66143 15 11:30 ON PARADE Prepared by Robert Small Sherwin, M. A nightingale sang in Berkeley Square (arr. Catherall). 5 Respighi, O. The pines of the Appian Way (arr. Graham). 5 Thomas, A. Overture to Raymond (arr.

Rimmer). 6 Arlen, H. Somewhere over the rainbow (1939). 4 Wagner, J. Under the Double Eagle (arr.

Langford). 4 Sellers Engineering Brass Band (all above) Soho CD051 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 20

George Gershwin

Marcel Dupré

13:00 IN A SENTIMENTAL MOOD with Maureen Meers

18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame Dupré, M. Carillon, op 27 no 4 (1931). 6 Schumann, R. Excerpts from Six pieces in canonic form, op 56. 9 Dupré, M. Cortège et litanie, op 19 no 2. 7 Schumann, R. Excerpts from Six pieces in canonic form, op 56. 10 Fugue no 2 on BACH, op 60. 6 Dupré, M. Prelude and fugue in B, op 7. 8 Amy Johansen, org (all above) Private recording

Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 AN HOUR OF MANY COLOURS Prepared by Gael Golla Jenkins, K. Orange song (2013). Adiemus Singers; Pacho Flores, tpt; Colores O/Karl Jenkins.

DG 479 1067 7 Kats-Chernin, E. Purple prelude (1996). Lisa Moore, pf.

Tall Poppies TP147 6 Trad. Why are the flowers so red? Shu-Cheen Yu, sop; Sinfonia Australis/Antony Walker.

ABC 472 223-2 4 Anon. Greensleeves to a ground. Clas Pehrsson, rec; Cecilia Peijel, gui.

BIS CD-135 5

19:00 THE MAGIC OF STAGE AND SCREEN Rags to riches, part 1 Prepared by Adam Bowen Rodgers, R. Overture to Cinderella (1957).

Studio O. Bayview RNBW108 3

Ravel, M. A great black sleep (1895). Laurent Naouri, bar; David Abramovitz, pf.

Naxos 8.554176-77 4

Raksin, D. Theme, from Forever Amber (1947). New PO/David Raksin.

RCA Victor GD081490 7 Schönberg, C-M. Bring him home, from Les misérables (1980). David Hobson, ten; Tasmanian SO/Guy Noble.

ABC 482 3700 3

Gershwin, G. Rhapsody in blue (1924).

Columbia SO/Leonard Bernstein.

CBS MYK 42611 16

Danna, M. Vanity fair (2004). Original soundtrack.

Decca 986 4409 12

15:00 MESSIAH Recorded by Peter Bell for FINE MUSIC Handel, G. Oratorio: Messiah, HWV56 (1742).

Miriam Allan, sop; Helen Sherman, mezz; Andrew Goodwin, ten; David Greco, bar; Paul Goodchild, tpt; Sydney Philharmonia Choirs & O/Elizabeth Scott.

2:11

Rota, N. Theme, from The godfather (1972).

Massimo Palumbo, pf.

Chandos CHAN 9771 6

Smetanin, M. Chromium yellow (1996).

Stephen Robinson, ob; Marshall McGuire, hp.

Tall Poppies TP202 6

Organ concerto in G minor, HWV291 (1735-36). Paul Nicholson, org; Brandenburg Consort/Roy Goodman.

Hyperion CDA67291/92 10 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Bass basses: The villains

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Barry, J. Chaplin (1992). Royal PO/John Barry.

Epic Soundtrack 472490 2 3 Desplat, A. Coco avant Chanel (2009).

Original soundtrack.

Varese-Sarabande 302 066 968 2 14 20:00 THE WORD TRANSFORMED Prepared by Rebecca Zhong Janácek, L. String quartet no 1, Kreuzer sonata (1923). Talich Quartet.

Calliope CAL 3333 17

Saturday 11 August

Sunday 12 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Richard Verco Bach, J.S. Cantata, BWV80: Ein feste Burg ist unser Gott (1724). Wilhelm Wiedl, treb; Paul Esswood, ct; Kurt Equiluz, ten; Ruud van der Meer, bass; Tölz Boys’ Choir; Vienna Boys’ Choir; Concentus Musicus Vienna/ Nikolaus Harnoncourt.

Teldec 2564 69943-7 23

Galina Vishnevskaya Beethoven, L. Overture to Egmont, op 84 (1810). Vienna PO/Karl Böhm.

DG 479 1949 9 Mussorgsky, M. Songs and dances of death (1877). Galina Vishnevskaya, sop; London PO/Mstislav Rostropovich.

EMI 5 62829 2 21 Britten, B. Six metamorphoses after Ovid, op 49 (1951). François Leleux, ob.

Harmonia Mundi HMN 911556 16 Schumann, R. Märchenbilder, op 113 (1851).

Paul Coletti, va; Leslie Howard, pf.

Hyperion CDA66946 16 Chausson, E. Poème de l’amour et de la mer, op 19 (1882-90). Françoise Pollet, sop; Monte Carlo PO/Armin Jordan.

FNAC 592275 29 22:00 SATURDAY NIGHT AT HOME Longing for Spring Prepared by Elaine Siversen Ysaÿe, E. Winter song, poem no 3, op 15 (arr. J. Ysaÿe). Marcel Debot, vn; Belgian RT CO/Edgard Doneux.

LP EMI 4C161-9589/900 13 Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter dreams (1866). Russian Federation State SO/Yevgeny Svetlanov.

Emergo Classics EC 3629-2 41 Suk, J. Spring, op 22a (1902). Radoslav Kvapil, pf.

Unicorn-Kanchana DKP(CD)9159 14 Delius, F. On hearing the first cuckoo in Spring (1911-12). English CO/Daniel Barenboim.

DG 442 8333 7 Dyson, G. A Spring garland (1957). Osian Ellis, hp; Royal College of Music Chamber Choir/David Willcocks.

Unicorn-Kanchana DKP(CD)9061 14 Bridge, F. Enter Spring (1926-27). Hallé O/ Mark Elder.

Hallé HLL 7528 21

Sweelinck, J. Te Deum laudamus.

Netherlands Chamber Choir; Bernard Winsemius, org; Peter Phillips, cond.

BFO Centre Netherlands Music A 3 12 Telemann, G. Jesus und die Seele: Dein Schade ist verzweifelt böse. Dorothee Mields, sop; Klaus Mertens, bass; Accademia Daniel/ Shalev Ad-El. cpo 777 249-2 17 10:00 THE CLASSICAL ERA Prepared by Richard Verco Schubert, F. Concerto in A minor for viola d’amore and strings, D821, Arpeggione (1824; arr.). Alexander Labko, va d’amore; RIAS Sinfonietta/Jirí Stárek.

Musica Mundi 316 023 F1 23 Mozart, W. Sonata in D for two pianos, K448 (1781). Murray Perahia; pf; Radu Lupu, pf.

Sony MK 39511 22 Beethoven, L. Adelaïde, op 46 (1794-95).

Peter Schreier, ten; András Schiff, pf.

Decca 444 817-2 6 Crusell, B. Bassoon concertino in B flat (1829). Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 18 Giuliani, M. Guitar concerto in A, op 30 (pub. 1808). John Williams, gui; English CO/ Charles Groves.

CBS M2YK 45610 22 Ries, F. Sextet for winds and piano, op 142.

Dieter Klöcker, cl; Karl Hartmann, bn; Nury Guarnaschelli, hn; Wolfgang Güttler, db; Edward Witsenburg, hp; Werner Genuit, pf.

Schwann 310 001 H1 20 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide 14:00 ROMANTIC CLARINET Prepared by Chris Blower Kalliwoda, J. Morceau de salon, op 228.

Colin Bradbury, cl; Oliver Davies, pf.

ASV DCA 701 9

Baermann, C. Duo concertant, op 33.

Paul Meyer, cl; David Rowden, cl; Maria Raspopova, pf.

Fine Music concert recording 12 Burgmüller, N. Duo, op 15 (1834). Michael Collins, cl; Michael McHale, pf.

Chandos CHAN 10637 11 Brahms, J. Sonata in E flat, op 120 no 2 (1894). Thea King, cl; Clifford Benson, pf.

Hyperion CDA66202 21 15:00 SUNDAY SPECIAL Simply Shostakovich Prepared by Paolo Hooke Shostakovich, D. Symphony no 10 in E minor, op 93 (1953). Berlin PO/Herbert von Karajan.

DG 439 036-2 52 Violin concerto no 1 in A minor, op 77 (194748). David Oistrakh, vn; Czech PO/Yevgeny Mravinsky.

Praga RR256 019 34 String quartet no 8 in C minor, op 110 (1960).

Borodin Quartet.

Melodiya 74321 40715 2 22 17:00 HOSANNA Prepared by Meg Matthews Hymns: O Thou who comest from above; O the deep, deep love of Jesus. Choir of Hereford Cathedral/Roy Massey.

Griffin GCCD 4060 7 Jommelli, N. Te Deum (1763). Judy Berry, sop; Marta Benacková, cont; John La Pierre, ten; Nikolaus Meers, bass; Prague Chamber Choir; Virtuosi of Prague/Hilary Griffiths.

Orfeo C 453 001 A 13 Wesley, S.S. Blessed be the God and Father (1853). 8 Ireland, J. Greater love hath no man. 7 Choir of St Paul’s Cathedral; Andrew Lucas, org; John Scott, cond (2 above) Hyperion CDA 66374 Bernstein, L. Psalms: nos 108 and 100, from Chichester Psalms (1965). Vienna Boys’ Choir; Israel PO/Leonard Bernstein.

DG 457 757-2 4 Archer, M. Gloria, from Missa, Omnes sancti (2005). Choir of Christ Church St Laurence; Peter Jewkes, org; Neil McEwan, cond.

CCSL 06 5 18:00 CHAMBER FROM EUROPE Prepared by Rebecca Zhong Ravel, M. Introduction and allegro for harp, flute, clarinet and string quartet (1906).

Egbert Jan Louwerse, fl; Lars Wouters van den Oudenweijer, cl; Gwyneth Wentink, hp; Matangi String Quartet.

RN Music MCCN120 11 August 2018

21

Sunday 12 August

Monday 13 August

Britten, B. Two lullabies (1936). Stephen Hough, pf; Ronan O’Hara, pf.

Decca 478 5364 6 Dvorák, A. Bagatelles, op 47 (1878). Charles Castleman, vn; Julie Gigante, vn; Pamela Frame, vc; Barbara Harbach, harmonium.

Albany TROY 041 16 Haydn, J. String quartet in E flat, op 33 no 2 (1782). Salomon Quartet.

Hyperion CDA66681 19 19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello Mendelssohn, F. Overture to Ruy Blas, op 95 (1839). Bamberg SO/Claus Peter Flor.

RCA Victor RD 87905 8 Mozart, W. Horn concerto no 3 in E flat, K447 (1784-87). Dennis Brain, hn; Philharmonia O/ Herbert von Karajan.

EMI CDH 7610132 16 Tchaikovsky, P. Manfred symphony, op 58 (1885). Philharmonia O/Riccardo Muti.

EMI 7 673142 2 58 20:30 NEW HORIZONS Prepared by James Nightingale Brophy, G. Charm (1996). Geoffrey Collins, fl; Patricia Pollett, va; Marshall McGuire, hp.

ABC 456 696-2 7 Bray, C. Songs from Yellow leaves (2012).

Claire Booth, sop; Andrew Matthew-Owens, pf.

NMC NMCD202 12 Conyngham, B. Recurrences (1986).

Melbourne SO/Richard Mills.

ABC 426 807-2 16 Henderson, M. Cross hatching (1984).

Stephanie McCallum, pf.

Tall Poppies TP037 11 Harvey, J. Tranquil abiding (1998). BBC Scottish SO/Llan Volkov.

NMC NMCD141 15 Saariaho, K. Nymphéa (1987). Cikada String Quartet.

ECM New Series 1799 472 4222 19 22:00 AFTER HOURS JAZZ with Kevin Jones Lord Byron’s 1817 poem Manfred has been an inspiration for a number of composers. Tchaikovsky’s unnumbered symphony, Manfred, was composed between the Fourth and Fifth Symphonies and is the most extensive work composed on the subject. He initially considered the work to be one of his best but later changed his mind and considered destroying all but the opening movement. Fortunately he didn’t.

22

Hubert Parry

Paul Tortelier

0:00 CLASSIC-ALL THROUGH THE NIGHT

Antheil, G. Symphony no 3, American (1939/46). Frankfurt RSO/Hugh Wolff. cpo 777 040-2 25

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1878 Prepared by Madilina Tresca Strauss, R. Lullaby (1878). Shu-Cheen Yu, sop; Queensland SO/Brett Kelly.

ABC 476 261-0 4 Parry, H. Fantasie cello sonata in B (1878).

Erich Gruenberg, vn; Roger Vignoles, pf.

Helios CDH55266 14 Tchaikovsky, P. Children’s album, op 39 (1878; orch. Milman, Spivakov). Moscow Virtuosi/Vladimir Spivakov.

RCA 09026 61964 2 27 Sullivan, A. I’m called Little Buttercup, from HMS Pinafore (1878). Gillian Knight, mezz; New SO of London/Isadore Godfrey.

ABC 480 4510 2 Fauré, G. Après un rêve (1878; transcr.

Kondonassis). Yolanda Kondonassis, hp.

Telarc 80581 3 Franck, C. Cantabile in B (1878). James Lancelot, org.

ASV QS 6175 6 Rheinberger, J. Mass in E flat, op 109 (1878). Choir of Gonville and Caius College, Cambridge/Geoffrey Webber.

ASV DCA 989 21 10:30 CONCERT HALL Prepared by Derek Parker Liszt, F. Symphonic poem no 6: Mazeppa (1851). London PO/Bernard Haitink.

Philips 438 751-2 16 Marx, J. Romantic piano concerto in E (191819). Marc-André Hamelin, pf; BBC Scottish SO/Osmo Vänskä.

Hyperion CDA66990 37

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

12:00 SWING SESSIONS with John Buchanan 13:00 MASTERS OF THE CELLO Prepared by Mariko Yata Boccherini, L. String quintet in G, op 27 no 2 (1779). La Magnifica Comunità.

Brilliant Classics 94386 10 Offenbach, J. Cello concerto in G, Militaire (1847). Guido Schiefen, vc; Cologne WDR RO/Helmut Froschauer. cpo 777 069-2 24 Tortelier, P. Suite in D minor (1944). Paul Tortelier, vc.

Chandos CHAN 9898 20 14:00 MUSIC AND WAR Prepared by Gerald Holder Hindemith, P. Symphony, The harmony of the world (1951). BBC SO/Yan Pascal Tortelier.

Chandos CHAN 9217 34 Shostakovich, D. Symphony no 7 in C, op 60, Leningrad (1941). London PO/Bernard Haitink.

Decca 425 068-2 1:19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Tuesday 14 August

Roberta Alessandrini

Zubin Mehta

Yuja Wang

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ RHYTHM with Jeannie McInnes

18:00 SYDNEY SYMPHONY 2018 Produced by Andrew Bukenya

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Paul Cooke

13:00 CONTRASTS Prepared by Ron Walledge Rossini, G. Overture to The barber of Seville (1816). Academy of St Martin in the Fields/ Neville Marriner.

Philips 473 967-2 7

Bach, J. Christian Duet in A, op 18 no 5.

Rafael Puyana, Genoveva Galvez, hpd.

Mercury 478 5092 10

Copland, A. Appalachian Spring (1943-44).

Seattle SO/Gerard Schwarz.

Delos DE 3154 24

Fauré, G. Piano trio in D minor, op 120 (1923). Augustin Dumay, vn; Frédéric Lodéon, vc; Jean-Philippe Collard, pf.

EMI CMS 7 62545 2 20

14:00 A BERNSTEIN CENTENARY Prepared by Chris Blower

Mendelssohn, Fanny. Liederkreis on poems

by Johann Gustav Droysen (1829). Francine van der Heijden, sop; Ursula Dutschler, fp.

Claves 50-9901 8 Carmichael, J. From the dark side (1992).

Antony Gray, pf.

ABC 476 619-1 15 Grieg, E. Violin sonata no 1 in F, op 8 (1865).

Henning Kraggerud, vn; Helge Kjekshus, pf.

Naxos 8.553904 21 10:30 CONCERT HALL Prepared by Denis Patterson Barber, S. Suite from Souvenirs, op 28 (1952). New Zealand SO/Andrew Schenck.

Koch 3-7005-2 18

1918 2018

Monti, V. Csárdás (1902; arr. Boak). Bruno Siketa, tpt; Rhys Boak, org.

Move MD 3379 5

Glazunov, A. Violin concerto in A minor, op 82 (1904-05). Itzhak Perlman, vn; Israel PO/ Zubin Mehta.

EMI CDC 7 49814 2 20

Leona r d

Bernstein 100th A nniversary

Bernstein, L. Suite from On the waterfront (1954).

Naxos 8.559177 19 Serenade for violin, strings, harp and percussion (1954). Philippe Quint, vn.

Naxos 8.559245 31 Bournemouth SO/Marin Alsop (2 above) Little Smary; Greeting, from Arias and barcarolles (1988). Judy Kaye, sop; Michael Barrett, pf.

Koch International KIC 700-2 5 Suite no 2 from Dybbuk (1974). New York PO/Leonard Bernstein.

DG 423 582-2 17

Dussek, J. Harp concerto in E flat, op 15 (1789). Roberta Alessandrini, hp; Mantua O/ Vittorio Parisi.

Naxos 8.553622 25

Symphony no 2, The age of anxiety (1948).

Marc-André Hamelin, pf; Ulster O/Dmitry Sitkovetsky.

Hyperion CDA67170 36

Kalinnikov, Vasily. Symphony no 1 in G minor. Royal Scottish NO/Neeme Järvi.

Chandos CHAN 9546 38

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Penderecki, K. Sextet for clarinet, horn and strings (2000). Ronald van Spaendonck, cl; Hervé Joulain, hn; Graf Mourja, vn; Lise Berthaud, va; Marie Hallynck, vc; Muhiddin Dürrüoglu, pf.

Fugo Libera FUG585 30 Milhaud, D. Scaramouche, op 165b (1937).

Michael Collins, cl; Piers Lane, pf.

Chandos CHAN 10615 10 Dohnányi, E. Cello sonata in B flat, op 8 (1899). Paul Katz, vc; Barry Snyder, pf.

Pro Arte CDD 239 23 Beethoven, L. String quartet no 14 in C sharp, op 131 (1825-26). Alban Berg Quartett.

EMI 7 04413 2 1 38 Skryabin, A. Piano sonata no 2 in G sharp minor, op 18 (1892-97). Yuja Wang, pf.

DG 477 8140 12 Darius Milhaud’s Scaramouche was originally composed for piano duo and premiered at the Paris International Exposition in 1937. As time went on, Scaramouche became something of a bête noire for the composer; it was so popular that he found himself repeatedly creating new arrangements for publishers.

August 2018

23

Wednesday 15 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jennifer Foong Onslow, G. Toccata in C, op 6 (1811).

Howard Shelley, pf.

Hyperion CDA 67947 4 String quartet in G, op 10 no 1. Mandelring Quartet. cpo 999 329-2 20 Wind quintet in F, op 81 no 3. Stalder Quintet.

Jecklin 554-2 21 Six pieces for piano (c1848). Howard Shelley, pf.

Hyperion CDA67947 13 Piano trio, op 14 no 1. Trio Cascades. cpo 777 232-2 22 10:30 CONCERT HALL Prepared by Michael Field Strauss, R. Symphonic fantasy on Die Frau ohne Schatten. Rainer Honeck, vn; Vienna PO/Christian Thielemann.

DG 479 1426 22 Delius, F. Concerto for violin, cello and orchestra (1915). Tasmin Little; vn; Raphael Wallfisch, vc; Royal Liverpool PO/Charles Mackerras.

EMI 5 73113 2 21 Czerny, C. Symphony no 2 in D, op 781.

Brandenburg State O, Frankfurt/Nikos Athinäos.

Christophorus CHE 0140-2 41 12:00 JAZZ SKETCHES with Robert Vale 13:00 SIBLINGS IN PERFORMANCE Prepared by Gael Golla Dvorák, A. Violin sonatina in G, op 100 (1893). Gil Shaham, vn; Orli Shaham, pf.

DG 449 820-2 18 Ghys - Servais. Brillant variations on God save the king, op 38. Renaud Capuçon, vn; Gautier Capuçon, vc.

Virgin 5 455762 0 10 Debussy, C. Clair de lune, from Suite bergamasque (1905; arr. E. Grigoryan). 5 Sor, F. Cantabile, from L’encouragement, op 34 (1828). 6 Slava Grigoryan gui; Leonard Grigoryan, gui (2 above) ABC 476 3338 D’Rivera, P. The village street quartet (2000).

Ying Quartet.

Quartz QTZ 2003 15 24

14:00 IN CONVERSATION with Michael Morton-Evans 15:00 PUCCINI EXPLORED Part 3 Prepared by Michael Morton-Evans Puccini, G. String quartet in D (1880).

Raphael String Quartet.

Etcetera KTC 1050 8 Ch’ella mi creda, from La fanciulla del West (1910). Donald Smith, ten; Tasmanian SO/ Vanco Cavdarski.

EMI 1 66283 2 2 Una partita a poker! from La fanciulla del West. Renata Tebaldi, sop; Cornell MacNeil, bar; Saint Cecilia Academy O/Franco Capuano.

Decca 470 280-2 6 Una parola sola! ... Or son sei mesi, from La fanciulla del West. Jonas Kaufmann, ten; Saint Cecilia Academy O/Antonio Pappano.

Sony 88875092522 3 Ore dolci e divine, from La rondine (1917).

Amelia Farrugia, sop; BBC SO/Alexander Briger.

Decca 987 5237 5 Parigi! È la città dei desideri, from La rondine.

Jonas Kaufmann, ten; Saint Cecilia Academy O/Antonio Pappano.

Sony 88875092522 3 Il bel sogno di Doretta, from La rondine.

Leona Mitchell, sop; National PO/Kurt Herbert Adler.

Decca 466 903-2 3 Doretta’s aria, from La rondine (arr. Parkes).

Mark Walters, flugelhorn; Grimethorpe Colliery Band/Peter Parkes.

Chandos CHAN 4552 4 Folle di gelosia, from Il tabarro (1918).

Renata Scotto, sop; Plácido Domingo, ten; Philharmonia O/Lorin Maazel.

Sony 88697298152 4 Come è dificile esser felice! from Il tabarro.

Cheryl Barker, sop; Peter Coleman-Wright, bar; Tasmanian SO/Martin André.

ABC 465 699-2 8 Michele! Michele! from Il tabarro. Renata Tebaldi, sop; Robert Merrill, bar; Florence Maggio Musicale O/Lamberto Gardelli.

Decca 470 280-2 2 Hai ben ragione, from Il tabarro. Jonas Kaufmann, ten; Saint Cecilia Academy O/ Antonio Pappano.

Sony 88875092522 2 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Wolfgang Mozart 20:00 AT THE OPERA Prepared by Colleen Chesterman Mozart, W. The magic flute, K620. Opera in two acts. Libretto by Emanuel Schikaneder.

First performed Vienna,1791.

TAMINO: Peter Schreier, ten PAMINA: Anneliese Rothenberger, sop PAPAGENO: Walter Berry, bar PAPAGENA: Olivera Miljakovic, sop QUEEN OF THE NIGHT: Edda Moser, sop SARASTRO: Kurt Moll, bass Bavarian State Opera Ch & O/Wolfgang Sawallisch.

EMI CDS 7 47827 8 2:19 Synopsis at finemusicfm.com/Opera String quartet no 16 in E flat, K428 (1783).

Amadeus String Quartet.

Westminster RC 8808678121735 27 23:00 PATRIOTIC PIECES Prepared by Yola Center Bizet, G. Overture: La Patrie, op 19 (1873).

Detroit SO/Paul Paray.

Mercury 478 5092 11 Smetana, B. Vltava, from Má vlast (1874-79).

Vienna PO/James Levine.

DG 419 768-2 12 Sibelius, J. Finlandia, op 26 (1899-1900).

Berlin PO/Herbert von Karajan.

DG 413 755-2 9 Falla, M. de Nights in the gardens of Spain (1909-15). Artur Rubinstein, pf; Philadelphia O/Eugene Ormandy.

RCA 5666-2 RC 21 In 1790 when Mozart was desperately short of money and not feeling appreciated, his old friend, actor, singer and poet Emanuel Schikaneder, proposed their collaboration on an opera about magic, a theme then very popular in Vienna. The Magic Flute, full of magic, love and humour, resulted and has become one of the most popular operas of all time.

Thursday 16 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Chris Blower Kalliwoda, J. Salon piece, op 228. Paul Dombrecht, ob; Jos van Immerseel, pf.

Accent ACC 78330 D 10 Haydn, J. Arietta with 12 variations, Hob. XVII: 3. Jenö Jandó, pf.

Naxos 8.553972 16 Beethoven, L. Welsh folksongs, WoO155 (1810): no 1, Sion, the son of Evan; no 14, The dream. Catrin Wyn Davies, sop; John Mark Ainsley, ten; Christopher Maltman, bar; Marieke Blankestijn, vn; Ursula Smith, vc; Malcolm Martineau, pf.

DG 477 5128 8

Simone Young Sallinen, A. Quattro per quattro, op 12 (1964-65). Gunilla von Bahr, fl; Ari Angervo, vn; Veikko Höylä, vc; Eva Nordwall, hpd.

BIS CD-64 17 14:00 MAINLY STRINGS Prepared by Rex Burgess

Czerny, C. Fantasy for horn and piano, op 339 no 3 (1836). Barry Tuckwell, hn; Daniel Blumenthal, pf.

Etcetera KTC1121 19

Bree, J. van Allegro moderato for four string quartets (1845). The Hague Residency O/ Ferdinand Leitner.

Olympia OCD 502 12

Bazzini, A. Two salon pieces, op 12 (1845).

Chloe Hanslip, vn; Caspar Frantz, pf.

Naxos 8.570800 8

Bottesini, G. Gran duetto no 3 (1836-39).

Joel Quarrington, db; Harold Hall Robinson, db.

Naxos 8.557042 12

Debussy, C. Sonata for flute, viola and harp (1915). Members of Nash Ensemble.

Virgin VC 7 91148-2 17 10:30 CONCERT HALL Prepared by Elaine Siversen Gluck, C. Suite from Don Juan (1761).

Rhenish CO/Jan Corazolla.

Christophorus CHE 0064-2 19 Joachim, J. Violin concerto no 2 in D minor, op 11, In the Hungarian style (1861). Suyoen Kim, vn; Staatskapelle Weimar/Michael Halász.

Naxos 8.570991 46 Weber, C.M. Symphony no 2 in C (1807).

Academy of St Martin in the Fields/Neville Marriner.

Brilliant Classics 99935 18 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 BALTIC ROUNDABOUT Prepared by Francis Frank Rangström, T. Three dance miniatures (1934). Members of Holmen Quartet. cpo 999 689-2 6 Holewa, H. Duettino (1983). Emil Dekov, vn; Magnus Andersson, gui.

Phono Suecia PSCD 49 12 Valen, F. String quartet no 2, op 13 (1932).

Oslo String Quartet.

Naxos 8.554384 16

Borodin, A. String trio in G. Alexander Detisov, vn; Alexander Polonsky, vn; Alexander Osokin, vc.

Brilliant Classics 94410 19 Vaughan Williams, R. The lark ascending (1914/20). Nigel Kennedy, vn; City of Birmingham SO/Simon Rattle.

EMI 5 62813 2 18 Martinu, B. Musiques de chambre no 1, Fêtes nocturnes (1959). Julien Hervé, cl; Maud Lovett, vn; Karine Lethiec, va; Romain Garioud, vc; Sandrine Chatron, hp; Frédéric Lagarde, pf.

Alpha 143 20 Strauss, R. Metamorphoses (1945). West Australian SO/Simone Young.

ABC 476 6811 28 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Star-crossed lovers Prepared by Raj Gopalakrishnan Hasse, J. Ah non è ver, ben mio, from Piramo e Tisbe (1768). Vince Yi, ct; Armonia Atenea/ George Petrou.

Decca 478 8094 5

Dmitry Kabalevsky Fauré, G. Suite from Pelléas et Mélisande, op 80 (1898). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8952 17 Chen, G. Violin concerto, Butterfly lovers (1959). Takako Nishizaki, vn; Shanghai Conservatory SO/Fang Chengwu.

Naxos 8.554334 28 Svendsen, J. Romeo and Juliet fantasia, op 18 (1876). Bergen PO/Neeme Järvi.

Chandos CHAN 10693 10 Tchaikovsky, P. Romeo and Juliet duo: Do you not hear the nightingale? (1869; compl. and orch. Taneyev). Suzanne Murphy, sop; Keith Lewis, ten; Scottish NO/Neeme Järvi.

Chandos CHAN 8476 13 Kabalevsky, D. Suite from incidental music to Romeo and Juliet, op 56 (1956). Moscow SO/ Dmitrij Kitaenko.

Melodiya MA 15745 35 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Elaine Siversen Haydn, J. Symphony in G, Hob.I:92, Oxford (1789; arr. Dussek). Paul Wright, vn; Geoffrey Lancaster, fp.

ABC 472 561-2 25 Beethoven, L. Trio in C for two oboes and cor anglais, op 87 (1795). Guy Henderson, ob; Claire Fox, ob; Peter Newberry, cora.

LP ABC R.02424 21 Mozart, W. Grande sestetto after Sinfonia concertante in E flat, K364 (1779-80: arr.

Anon 1808). Richard Tognetti, vn; Kirsten Williams, vn; Hartmut Lindemann, va; Colin Cornish, va; Cameron Retchford, vc; Rosemary Quinn, vc. 30 Schubert, F. Piano trio no 1 in B flat, D898 (1828). Robert Ingram, vn; Hans Györs, vc; Gerard Willems, pf. 36 Fine Music concert recordings (2 above)

“Rhythm and harmony find their way into the inward places of the soul.”

— Plato August 2018

25

Friday 17 August

Ferenc Fricsay

Andrew Davis

Johann Fux

0:00 CONTEMPORARY COLLECTIVE

12:00 A JAZZ HOUR with Barry O’Sullivan

22:00 BAROQUE AND BEFORE Imperial Vienna Prepared by Elaine Siversen

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Paul Cooke Milhaud, D. Suite after Corrette, op 161b (1937). Zdenek Hedba, ob; Adolf Nechvátal, cl; Pavel Zedník, bn.

Le Chant du Monde PR 240009 9 Guastavino, C. Flores argentinas (arr.

Jenkins). Kiri Te Kanawa, sop; London SO/ Karl Jenkins.

EMI 0946 3 53257 2 0 9 Bach, J.S. Pastoral in F, BWV590 (c1710; transcr. Whittaker). Antony Gray, pf.

ABC 476 5171 13 Arensky, A. Variations on a theme by Tchaikovsky, op 35a (1894). St Petersburg Camerata/Saulius Sondeckis.

Sony SMK 58 976 14 Carwithen, D. East Anglian holiday (1954; arr. Lane). BBC Concert O/Gavin Sutherland.

Epoch CDLX 7266 16 Various. Bright Cecilia: Variations on a theme

by Purcell (2002). BBC PO/Gianandrea Noseda.

BBC MM223 18 10:30 CONCERT HALL Prepared by Gerald Holder Brahms, J. Tragic overture in D minor, op 81 (1881). Royal Concertgebouw O/Nikolaus Harnoncourt.

Radio Nederland RCO11004 14

26

13:00 NOGA QUARTET Recorded by Peter Bell for FINE MUSIC Kurtág, G. Six moments musicaux, op 44 (2005). 15 Schubert, F. String quartet no 14 in D minor, D810, Death and the maiden (1824). 39 Noga Quartet (2 above) 14:00 THE SYMPHONIES OF ANTON BRUCKNER Prepared by Ron Walledge Bruckner, A. Mass in F minor (1867-68).

Ingela Bohlin, sop; Ingeborg Danz, cont; Hans-Jörg Mammel, ten; Alfred Reiter, bar; RIAS Chamber Choir; Champs-Élysées O/ Philippe Herreweghe.

Hamonia Mundi HMC 901976 55 Symphony no 2 in C minor (1871). Chicago SO/Georg Solti.

Decca 436 844-2 56 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA The symphonies of Vaughan Williams Prepared by David Brett Bruch, M. Scottish fantasy, op 46 (1880).

Kyung Wha Chung, vn; Rudolf Kempe, cond.

Decca 478 2826 28

Bartók, B. Piano concerto no 1 (1926). Géza Anda, pf; Berlin RSO/Ferenc Fricsay.

DG 447 399-2 25

Vaughan Williams, R. Fantasia on a theme

by Thomas Tallis (1910). Pinchas Zukerman, cond.

Decca 478 9386 16 Royal PO (2 above) Ravel, M. Suite no 2 from Daphnis et Chloé (1905). Philharmonia O/Carlo Maria Giulini.

EMI CZS 7 67723 2 17

Mozart, W. Symphony no 36 in C, K425, Linz (1783). English Baroque Soloists/John Eliot Gardiner.

Philips 422 419-2 42

Vaughan Williams, R. Symphony no 2, A London Symphony (1913/20/33). BBC SO/ Andrew Davis.

Teldec 4509-90858-2 49

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Isaac, H. Motet: Tota pulchra es. Tallis Scholars/Peter Phillips.

Gimell CDGIM 023 9 Monte, P. de Motet: Super flumina Babylonis (1583). Choir of New College, Oxford/Edward Higginbottom.

Collins 15272 6 Froberger, J. Lamentation on the death of His Imperial Majesty Ferdinand III (1657).

Gustav Leonhardt, hpd.

Harmonia Mundi GD 77923 6 Pachelbel, J. Was Gott tut, das ist wohlgetan. Renate Brosch, sop; Herbert Klein, alto; Paul Mühlschlegel, ten; Bernhard Jäger, bass; Pforzheim Motet Choir; Pforzheim Childrens’ Choir; Pforzheim Bach O/Rolf Schweizer.

Da Camera Magna CD 5011 9 Kerll, J. Suite in F. John O’Donnell, hpd.

Tall Poppies TP 121 6 Fux, J. Plaudite, sonat tuba (1736). Kurt Equiluz, ten; Stephen Keavy, tpt; Capella Caldara/Uwe Christian Harrer.

Philips 422 997-2 18 Bononcini, G. Divertimento da camera no 6 in C minor (pub. 1722). Michala Petri, rec; George Malcolm, hpd.

Philips 476 7072 7 Bononcini, A. Fac me custodiri; Quando corpus morietur, from Stabat Mater.

Christopher Keyte, bass; Choir of St John’s College, Cambridge; Philomusica of London/ George Guest.

Decca 443 868-2 5 Wagenseil, G. Symphony in B flat (c1755).

L’Orfeo Baroque O/Michi Gaig. cpo 999 450-2 15 Caldara, A. Cantata: Vicino a un rivoletto.

René Jacobs, ct; Sigiswald Kuijken, vn; Anner Bijlsma, vc; Gustav Leonhardt, hpd.

RCA RL 30417 23

Saturday 18 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early classical 1760-1800 Prepared by Frank Morrison Cimarosa, D. Overture to L’Italiana in Londra (1779). Haydn Philharmonia/Ezio Rojatti.

Nuova Era 6726 8 Dard, A. Sonata no 5 (1769). Jesse Read, bn; Doug McNames, vc; Karen Flint, hpd.

Etcetera KTC 1087 9 Hummel, J. Mandolin concerto in G (1799).

Edith Bauer-Slais, mand; Vienna Pro Musica O/Vinzenz Hladky.

Tuxedo TUX 1026 20 Vachon, P. String quartet in D, op 7 no 2 (1772). Rasumovsky Quartet.

ASV GAU 151 14 Haydn, J. Symphony in E flat, Hob.I:99 (1793). Cologne CO/Helmut Müller-Brühl.

Naxos 8.554110 24 10:30 SMALL FORCES Prepared by Paul Hopwood Berwald, F. Grand septet (1842). Gervase de Peyer, cl; Melos Ensemble.

EMI 5 65995 2 23 Mozart, W. Violin sonata no 23 in D, K306 (1778). Fabio Biondi, vn; Olga Tverskaya, pf.

Opus OPS 30-216 29 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Williams, J. Dry your tears, from Indiana Jones. 4 March; Swing, swing, swing, from 1941. 4 Moravian College Choir (2 above) Theme from Schindler’s list. Stefan Xhori, vn. 6 Imperial march, from Star wars. 3 Princess Leia’s theme, from Star wars IV. 4 Allentown Band/Ronald Demkee (all above) AMP AB V 31 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN WOODS AND FORESTS Prepared by Stephen Wilson Wagner, R. Forest murmurs, from Siegfried (1856-71; arr. Hutschenruyter). Seattle SO/ Gerard Schwarz.

Naxos 8.572767 8 Vaughan Williams, R. In Windsor Forest (1931). Bournemouth Symphony Ch; Bournemouth Sinfonietta/Norman Del Mar. EMI CDC 7 49738 2 18

Monica Sinclair

Slava Grigoryan

Tournier, M. Towards the fountain in the wood (1922). Judy Loman, hp.

Naxos 8.554561 4

17:30 STAGING MUSIC Prepared by Angela Cockburn

Geminiani, F. Ballet: The enchanted forest (c1752). Milan Angelicum O/Newell Jenkins.

LP Nonesuch H-71151 31

18:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie

Dvorák, A. From the Bohemian woods, op 68 (1884). Duo Crommelynck, pf.

Claves CD 50-9106 25 Glazunov, A. Orchestral fantasy: The forest, op 19 (1887). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00156 21 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Sullivan, A. The gondoliers. Operetta in two acts. Libretto by W.S. Gilbert. First performed London,1889.

DUKE OF PLAZA-TORO: Geraint Evans, bar DUCHESS OF PLAZA-TORO: Monica Sinclair, cont CASILDA: Edna Graham, sop DON ALHAMBRA: Owen Brannigan, bass LUIZ: Alexander Young, ten MARCO PALMIERI: Richard Lewis, ten GIUSEPPE PALMIERI: John Cameron, bar TESSA: Marjorie Thomas, cont GIANETTA: Elsie Morison, sop Glyndebourne Festival Ch; Pro Arte O/ Malcolm Sargent.

EMI CMS 7 64394 2 1:37 Synopsis at finemusicfm.com/Opera Excerpts from The Yeomen of the Guard (1888). Muriel Harding, sop; Ann DrummondGrant, cont; Leonard Osborn, ten; Martyn Green, bar; D’Oyly Carte Opera Company Ch & O/Isidore Godfrey. 10 Excerpts from HMS Pinafore (1878). Muriel Harding, sop; Joan Gillingham, mezz; Ella Halman, mezz; Leonard Osborn, ten; Martyn Green, bar; Leslie Rands, bar; Darrell Fancourt, bass-bar; D’Oyly Carte Opera Company Ch/New Promenade O/Isidore Godfrey. 25 Naxos 8.111311/12 (2 above)

Adaptations: Henry VIII

Debussy, C. Arabesque no 1 (1888); The girl with the flaxen hair (1911). Pro Arte Guitar Trio.

ASV WHL 2063 7 Falla, M. de Homage for the tomb of Claude Debussy (1921; arr. Williams). John Williams, gui.

CBS MK 44794 3 Debussy, C. Rêverie (1890; arr. Groningen Guitar Duo). Groningen Guitar Duo. Ottavo OTR C49135 5 Petite suite (1889). Amsterdam Guitar Trio.

Newton 8802093 13 Syrinx (1910). Virginia Taylor, fl; Timothy Kain, gui.

Tall Poppies TP003 3 Suite bergamasque (1890/1905; arr.

Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui.

ABC 476 6088 17 Golliwog’s cakewalk, from Children’s corner (1906-08; arr. Kain). David Nuttall, ob; Timothy Kain, gui.

Tall Poppies TP119 3 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Behind and in front of the lens: Actor/directors 20:00 THE WORD TRANSFORMED Prepared by James Nightingale Sibelius, J. Tone poem: Pohjola’s daughter, op 49 (1905-06). Bergen PO/Edward Gardner.

Chandos CHSA 5178 14 Britten, B. Les illuminations, op 18 (1939).

Ian Bostridge, ten; strings of Berlin PO/Simon Rattle.

EMI 5 58049 2 23 August 2018

27

Saturday 18 August

Sunday 19 August 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Bach, C.P.E. Heilig ist Gott, Wq217 (1776).

Wiebke Lehmkuhl, cont; RIAS Chamber Choir; Akademie für Alte Musik Berlin/HansChristoph Rademann.

Harmonia Mundi HMC 902167 8

Nicanor Zabaleta Rautavaara, E. Piano sonata no 2, op 64, The fire sermon. Aura Go, pf.

Master Performers MP 026 10 Bruch, M. Nine Lieder, op 60 (1892).

Darmstadt Concert Choir/Wolfgang Seeliger.

Christophorus CHE 0176-2 22 Glanville-Hicks, P. Thirteen ways of looking at a blackbird (1948). Lisa Harper-Brown, sop; David Wickham, pf.

Stone Records 5060192780390 12 Adams, J. Fearful symmetries (1988). O of St Luke’s/John Adams.

Elektra Nonesuch 979218 -2 28 22:00 SATURDAY NIGHT AT HOME Prepared by Stephen Wilson Vaughan Williams, R. Serenade to music (1939). Pearl Berridge, sop; Elaine Blighton, sop; Janet Delpratt, sop; Marilyn Richardson, sop; Lauris Elms, mezz; Ruth Gurner, mezz; Helen McKinnon, mezz; Suzanne McLeod, mezz; Ronald Dowd, ten; Gerald English, ten; Raymond McDonald, ten; David Parker, ten; Lyall Bevan, bass; Robert Dawe, bass; Graham McIntosh, bass; Donald Shanks, bass; Sydney SO/Patrick Thomas.

ABC 476 4565 12 Gounod, C. Little symphony in B flat (1885).

Athena Ensemble.

Chandos CHAN 6543 20 Elgar, E. Nursery suite (1931). William Bennett, fl; Stephanie Gonley, vn; English CO/Paul Goodwin.

Harmonia Mundi HMG 507258 22 Berlioz, H. Absence, from Summer nights, op 7 no 4 (1840). Diane Montague, mezz; Lyon Opera O/John Eliot Gardiner.

Apex 0927 49583 2 5 Rodrigo, J. Concerto-serenade (1952).

Nicanor Zabaleta, hp; Berlin RSO/Ernst Märzendorfer.

DG 463 648-2 23 Schubert, F. Symphony no 5 in B flat, D485 (1816 ). Hanover Band/Roy Goodman.

Nimbus NI 5172 28 28

Bruckner, A. Christus factus est (1884). John Alldis Choir/John Alldis.

Decca 425 075-2 5 Haydn, J. Missa in angustiis, Hob.XXII:11, Nelson Mass (1798). Sylvia Stahlman, sop; Helen Watts, cont; Wilfred Brown, ten; Tom Krause, bar; Choir of King’s College, Cambridge; Simon Preston, org; London SO/ David Willcocks.

Decca 458 623-1 41 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). Concertgebouw O/Otto Klemperer.

Memories HR 4248/49 12 Beethoven, L. Piano trio no 4 in B flat, op 11 (1797). Beaux Arts Trio.

Philips 438 948-2 18 Crusell, B. Bassoon concertino in B flat (1829). Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 18 Bishop, H. Home, sweet home (1823; arr.

Gamley). Yvonne Kenny, sop; Melbourne SO/ Vladimir Kamirski.

ABC 442 509-2 2 Field, J. Piano concerto no 1 in E flat (1799).

Míceál O’Rourke, pf; London Mozart Players/ Matthias Bamert.

Chandos CHAN 9368 20 Krommer, F. Partita in B flat, op 78. Budapest Wind Ensemble/Kálmán Berkes.

Naxos 8.553498 19 Boccherini, L. Symphony no 24 in A, op 37 no 4 (1787). London FO/Ross Pople.

Hyperion CDA66904 20 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson 13:00 WORLD MUSIC: Whirled Wide 14:00 ROMANTIC BASSOON Prepared by Chris Blower Schumann, R. Fantasy pieces, op 73 (1849).

Massimo Data, bn; Piero Barbareschi, pf.

Brilliant Classics 95009 16 Glinka, M. Trio pathétique in D minor for

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

clarinet, bassoon and piano (1832). Deborah de Graaff, cl; Lorelei Dowling, bn; Peter Sagar, pf Fine Music concert recording 15 Kalliwoda, J. Variations and rondo in B flat, op 57. Albrecht Holder, bn; Stuttgart PO/ Nicolas Pasquet.

Naxos 8.553456 12 Kreutzer, C. Fantasy for bassoon and orchestra. Karen Geoghegan, bn; BBC PO/ Gianandrea Noseda.

Chandos CHAN 10613 10 15:00 SUNDAY SPECIAL Bernstein as conductor Prepared by Katy Rogers-Davies 1918 2018

0:00 CLASSIC-ALL THROUGH THE NIGHT

Leona r d

Bernstein 100th A nniversary

Bloch, E. Schelomo: Hebraic rhapsody for solo cello and large orchestra (1915-16).

Mstislav Rostropovich, vc; French NO. EMI 5 65701 2 23 Schuman, W. Symphony no 3 (1951).

DG 419 780-2 32 Gershwin, G. An American in Paris (1928).

CBS MYK 42611 18 Ives, C. Symphony no 2 (1896-1902).

CBS MK 42407 39 New York PO (3 above) Leonard Bernstein, cond (all above) 17:00 HOSANNA Prepared by Richard Munge Hymn: Sing a new song. 3 Psalm: No 69, Save me O God. 9 Choir of St Andrew’s Cathedral, Sydney; Mark Quarmby, org; Michael Deasey, cond (2 above) STA 0101 Stanford, C. Villiers Te Deum; Jubilate in A. Choir of Ely Cathedral; Jeremy Filsell, org; Paul Trepte, cond.

Heritage HTGCD 219 12 Britten, B. Excerpts from Missa brevis, op 63 (1959). Choir of Canterbury Cathedral; Michael Harris, org; David Flood, cond.

York 120 10 Bach, J.S. Jesu joy of man’s desiring, from Cantata, BWV147. Choir of St George’s Chapel, Windsor; Roger Judd, org; Timothy Byram-Wigfield, cond.

Delphian DCD 34048 6 Hymn: And did those feet in ancient time?

Choir of Westminster Abbey; Robert Quinney, org; Jame O’Donnell, cond.

Hyperion CDA 68013 3 Bach, J.S. Toccata and fugue in D minor, BWV565. Keith Wright, org.

Priory PRCD 746 9

Monday 20 August

Sunday 19 August

bassoon and harpsichord. Ricercar Consort.

Ricercar RIC 049027 7 Albéniz, I. Tango, from España, op 165 no 2 (arr. Schaupp). Karin Schaupp, gui; David Leisner, gui.

ABC 476 226-9 3 Sibelius, J. String quartet in E flat (1885).

Tempera Quartet.

BIS CD-1376 18

Joseph Jongen

Benjamin Grosvenor

18:00 CHAMBER FROM THE AMERICAS Prepared by Rebecca Zhong Machado, C. Brazilian folk dances. Guitar Trek.

ABC 476 3389 10 Hurtado, J-L. Son de la bruja (2007).

Quinteto Latino.

Con Brio CBR21144 3 Barber, S. Summer music, op 31 (1956).

Michael Thompson Wind Quintet.

Naxos 8.553851 12 Morel, J. Danza brasileira. Virginia Taylor, fl; Timothy Kain, gui.

Tall Poppies TP003 3 Foote, A. Piano quintet in A minor, op 38 (1897). James Barbagallo, pf; Da Vinci Quartet.

Naxos 8.559009 24

0:00 CLASSIC-ALL THROUGH THE NIGHT

19:00 SUNDAY NIGHT CONCERT Prepared by Denis Patterson Tchaikovsky, P. Overture to The Voyevoda (1869). Ukraine NSO/Theodore Kuchar.

Naxos 8.554845 9 Jongen, J. Cello concerto, op 18 (1900).

Henri Demarequette, vc; Royal Liége PO/ Christian Arming.

Musique en Wallonie MEW1785 34 Kalinnikov, Vasily. Symphony no 1 in G minor. Royal Scottish NO/Neeme Järvi.

Chandos CHAN 9546 38 20:30 NEW HORIZONS Prepared by Nev Dorrington Blais, J-M. Dans ma main (2018); Cascades (2017).

Arts and Crafts BO7BF7BNM 36 Il (2016).

Arts and Crafts BO1BXW2FIA 21 Jean-Michel Blais, pf (2 above) Mertens, W. Lir (1982). Wim Mertens, pf.

Windham Hill WD 1056 18 Blais, J. Casa; Pour Johanne. Jean-Michel Blais, pf; Karine Bouchard, pf.

Arts and Crafts BO1BXW2FIA 11 22:00 AFTER HOURS JAZZ with Kevin Jones

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1862 Prepared by Rex Burgess Verdi, G. Overture to The force of destiny (1862/69). Vienna PO/Giuseppe Sinopoli.

Philips 468 183-2 7 Wieniawski, H. Violin concerto no 2 in D minor, op 22 (1862). Itzhak Perlman, vn; Paris O/Daniel Barenboim.

DG 479 1928 22 Chabrier, E. Souvenir de Brunehaut, valse (1862). Georges Rabol, pf.

Naxos 8.553010 13 Berlioz, H. Nocturne, from Beatrice and Benedict (1860-62). April Cantelo, sop; Helen Watts, mezz; London SO/Colin Davis.

Decca 421 314-2 12 Saint-Saëns, C. Cello suite, op 16 (1862).

Luigi Piovano, vc; Luisa Prayer, pf.

Eloquentia EL 1024 26 10:30 CONCERT HALL Prepared by Paul Hopwood Albéniz, I. Suite: Iberia (1906-08; orch.

Arbós). Philharmonia O/Yan Pascal Tortelier.

Chandos CHAN 8904 33 Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933). Cristina Ortiz, pf; Bournemouth SO/Paavo Berglund.

Brilliant Classics 9412 22 Spohr, L. Symphony no 6 in G, op 116, Historical (1840). Bavarian RSO/Karl Anton Rickenbacher.

Orfeo C 094-841 A 26 12:00 SWING SESSIONS with John Buchanan 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell Stölzel, G. Sonata for violin, horns, oboes,

Piazzolla, A. Fear, from Tango sensations.

Alois Posch, db; Per Arne Glorvigen, ban; Alban Berg Quartett.

EMI 5 57778 2 4 Mozart, W. Horn quintet, in E flat, K407 (1782). Barry Tuckwell, hn; Kenneth Sillito, vn; Kenneth Essex, va; Ian Jewel, va; Kenneth Harvey, vc.

Decca 421 393-2 19 14:00 A VERY REMARKABLE PIANIST Prepared by Barrie Brockwell Chopin, F. My joys; A maiden’s wish (transcr.

Liszt).

Decca 478 3206 7 Granados, E. Valses poéticos (1887).

Decca 478 5334 10 Chopin, F. Nocturne in C sharp minor (1830).

4 Ravel, M. Scarbo, from Gaspard de la nuit (1908). 9 Decca 478 3206 (2 above) Liszt, F. Gondoliera; Tarantella, from Venezia e Napoli, S161 (1859).

Decca 483 0255 15 Ravel, M. Piano concerto in G (1931). Royal Liverpool PO/James Judd. 21 Gershwin, G. Love walked in (transcr.

Grainger). 4 Decca 478 3527 (2 above) Gould, M. Boogie woogie étude (1943). 2 Bach, J.S. Overture, from Partita no 4 in D, BWV828 (1731). 5 Decca 478 5334 (2 above) Mendelssohn, F. Prelude and fugue in F minor, op 35 no 5 (1832-37). 7 Franck, C. Prélude, choral and fugue, FWV21, (1884). 18 Decca 483 0255 (2 above) Benjamin Grosvenor, pf (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson August 2018

29

Tuesday 21 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Frank Morrison Mendelssohn, F. Piano quartet no 2 in F minor, op 2 (1823). Menuhin Festival Piano Quartet.

Ars FCD 368 312 22 Poulenc, F. Elegy (1960). Pascal Rogé, pf; Jean-Philippe Collard, pf.

Decca 443 968-2 7 Philips, P. Amarilli di Julio Romano (1603).

Anneke Uittenbosch, hpd.

Etcetera KTC 1022 5 Field, J. Piano sonata in A, op 1 no 2 (1801).

Miceál O’Rourke, pf.

Chandos CHAN 8787 14 Stravinsky, I. Suite from The soldier’s tale (1919). Eimer Trio.

Dynamic CDS60 15 Korngold, E. Piano sonata no 1 (1908-09).

Geoffrey Tozer, pf.

Chandos CHAN 9389 17 10:30 CONCERT HALL Prepared by Denis Patterson Korngold, E. Incidental music to Much ado about nothing (1918). Mineria SO/Carlos Miguel Prieto.

Naxos 8.570791 16 Mozart, W. Violin concerto no 5 in A, K219 (1775). Australian CO/Richard Tognetti, vn & dir.

BIS SACD 1754 28 Balakirev, M. Symphony no 2 in D minor (1900-08). Philharmonia O/Yevgeny Svetlanov.

Hyperion CDA66586 37 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 KOECHLIN SHOWCASE Prepared by Rex Burgess Koechlin, C. Chansons bretonnes, bk 1, op 115 (1931). Mats Lidström, vc; Bengt Forsberg, pf.

Hyperion CDA66979 15 Au loin (1895). Michael Korstick, pf.

SWR Music SWR19047 7 L’album de Lilian, première série, op 139 (1934). Jayne West, sop; Fenwick Smith, fl; 30

Antoine Forqueray

Louise Farrenc

Martin Amlin, pf.

Hyperion CDA66414 20

Forqueray, A. Suite V in C minor for two viole da gamba and harpsichord (pub. 1747).

Wieland Kuijken, va da gamba; Sigiswald Kuijken, va da gamba; Gustav Leonhardt, hpd.

Harmonia Mundi GD 77145 25

Suite en quatour, op 55 (1911-15). Tatjana Ruhland, fl, Mila Georgieva, vn; Ingrid Philippi, va; Yaara Tal, pf.

SWR Music SWR19047 11 14:00 MUSICAL FAMILIES Forqueray and Arne Prepared by Jennifer Foong Arne, T. Overture no 8 in G minor (pub.

1751). Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 436 859-2 9 Forqueray, A. Pieces for two viole da gamba and harpsichord. Kaori Uemura, va da gamba; Ricardo Rodriguez, va da gamba; Michèle Dévérité, hpd.

Harmonia Mundi HMM 905286.89 9 Arne, T. Trio sonata no 7 in E minor (1757).

Collegium Musicum 90.

Chandos CHAN 0666 13 Forqueray, J-B-A. La Couperin. Charivari Agréable.

ASV GAU 159 4 Arne, M. Die Maid mit dem lieblichen Sinn. Elisabeth Schwarzkopf, sop; Michael Raucheisen, pf.

Acanta 43801 3 Forqueray, J-B-A. La Morangis ou La Plissay, op 1 no 4. Lars Ulrik Mortensen, hpd.

Chandos CHAN 0531 8 Arne, T. Keyboard concerto no 3 in A (pub.

1793). Parley of Instruments Baroque O/Paul Nicholson, fp & dir.

Helios CDH55251 17 On a day, alack the day (c1747). Anthony Rolfe Johnson, ten; Graham Johnson, pf.

Hyperion CDA66480 3 Symphony no 3 in E flat (1767). Bournemouth Sinfonietta/Kenneth Montgomery.

LP EMI ESD 1060241 9

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Arne, T. Rule Britannia, from Alfred (1740).

Catherine Bott, sop; Joseph Cornwell, ten; Psalmody; Parley of Instruments/Peter Holman.

Hyperion CDA67115 4 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Farrenc, L. Wind sextet in C minor, op 40 (1852). Les Vents Français.

Warner Classics 0825646231850 24 Mendelssohn, Fanny. Piano trio in D, op 11 (1846). Oliver Butterworth, vn; Michael Evans, vc; Frank Wibaut, pf.

Hyperion CDH55078 27 Sirmen, M. String quartet no 2 in B flat. Erato Quartet Basel. cpo 999 679-2 12 Widor, C-M. Piano quintet in D minor, op 7 (1868). Ilona Prunyi, pf; New Budapest Quartet.

Naxos 8.555416 29 Glazunov, A. The forest, op 19 (1882-87; arr.

Glazunov). Aurora Piano Quartet.

Naxos 8.557717D 17

Wednesday 22 August Opera Ch; Vienna Boys’ Choir; Vienna PO/ Herbert von Karajan.

DG 410 645-2 8 Requiem (1905; ed. Spada). Douglas Paterson, va. 6 Vexilla regis (1874-80). Shelley Everall, sop. 4 Choir of Gonville and Caius College; Christopher Monks, org; Cambridge/Geoffrey Webber, cond (2 above) ASV DCA 914

Alfredo Casella

Franz Brüggen

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Rex Burgess Britten, B. The young person’s guide to the orchestra, op 34 (1946). London SO/ Benjamin Britten.

Decca 478 5616 17 Suite for viola and piano, op 6 (1935).

Alexander Barantschik, va; John Adey, pf.

Decca 478 5364 16 Four sea interludes, from Peter Grimes, op 33a (1944-45). Philharmonia O/Carlo Maria Giulini.

EMI CZS 7 67723 2 17 Introduction and rondo alla burlesca, op 23 no 1 (1940). Stephen Hough, pf; Ronan O’Hora, pf.

Virgin VC 7 91203-2 9 Te Deum in C (1934). Choir of St. John’s Coll., conductor.

Naxos 8.554791 7 Phantasy no 2 for oboe quintet. Janet Craxton, ob; Gabrieli String Quartet.

Decca 478 5364 13 10:30 CONCERT HALL Prepared by Giovanna Grech Planquette, R. Overture to Les cloches de Corneville (1866). New Philharmonia O/ Richard Bonynge.

Decca 466 431-2 5 Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). Isaac Stern, vn; Philadelphia O/ Eugene Ormandy.

CBS MPK 45555 24 Casella, A. Symphony no 2 in C minor, op 12 (1910). BBC PO/Gianandrea Noseda.

Chandos CHAN 10605 49

13:00 HAFFNER ON THE DOUBLE Prepared by Dan Bickel Mozart, W. March in D, K249, Haffner (1776).

4 Serenade in D, K250, Haffner (1776). Lucy van Dael, vn. 51 O of the 18th Century/Frans Brüggen (2 above) Philips 432 997-2 14:00 IN CONVERSATION with Michael Morton-Evans

Humming chorus, from Madama Butterfly (1904). Slovak Philharmonic Ch; Slovak RSO/ Alexander Rahbari.

Naxos 8.553963 3 Nessun dorma, from Turandot. Luciano Pavarotti, ten; Wandsworth School Boys’ Choir; John Aldis Choir; London PO/Zubin Mehta.

Decca 475 9349 3 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Died for love Prepared by Elaine Siversen

O mio babbino caro, from Gianni Schicchi (1918). Marilyn Richardson, sop; Queensland SO/Vladimir Kamirski.

ABC 438 196-2 3

Delius, F. A village Romeo and Juliet. Opera in six scenes. Libretto by composer and Jelka Delius after Gottfried Keller’s Romeo und Julia auf dem Dorfe. First performed, Berlin, 1907.

MANZ: Barry Mora, bar MARTI: Stafford Dean, bar SALI as a child: Samuel Linay, ten VRELI as a child: Pamela Mildenhal, sop SALI: Arthur Davies, ten VRELI: Helen Davies, sop DARK FIDDLER: Thomas Hampson, bar Arnold Schoenberg Choir; ORF SO/Charles Mackerras.

Argo 430 275-2 1:51

Avete torto! from Gianni Schicchi. Matthew Polenzani, ten; Royal PO/Charles Rosenkrans.

Naxos 8.557309 3

Paris, song of a great city (1899-1900).

London SO/Anthony Collins.

Belart 461 3582 10 24

15:00 PUCCINI EXPLORED Part 4 Prepared by Michael Morton-Evans Puccini, G. Intermezzo, from Suor Angelica (1918). BBC PO/Gianandrea Noseda.

Chandos 10634 4 Senza Mamma, from Suor Angelica. Maria Callas, sop; Philharmonia O/Tullio Serafin.

EMI 5 62794 2 6

Inno a Roma (1923). Plácido Domingo, ten; Julius Rudel, pf.

CBS MK 44981 4 Signore, ascolta! … non piangere, Liù … Ah! Per l’ultima volta, from Turandot (1920-24; compl. Alfano 1926). Montserrat Caballé, sop; Luciano Pavarotti, ten; Pier Francesco Poli, ten; Piero de Palma, ten; Tom Krause, bar; Nicolai Ghiaurov, bass; John Alldis Choir; London PO. Decca 460 805-2 8 Gira la cote! ... Perché tarda la luna ... Lá sui monti dell’est, from Turandot. Vienna State

Synopsis at finemusicfm.com/Opera

22:30 ÉTUDES Prepared by Angela Bell Godard, B. Études de concert, op 149, bk 4 (1893). Jean Martin, pf.

Naxos 8.223802 21 Riisager, K. Ballet: Études, after Czerny (1948). Danish National RSO/Gennady Rozhdestvensky.

Chandos CHAN 9432 41 Alkan, C-V. Trois études de bravoure, scherzi, op 16 (1837). Ronald Smith, pf.

Arabesque Z 6604 20 August 2018

31

Thursday 23 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Frank Morrison Lalo, E. Piano trio no 1 in C minor, op 7 (1849). Trio Henry.

Pierre Verany PV 794031 21

Schubert, F. Fantasie in F minor, D940 (1828). Murray Perahia, Radu Lupu, pf.

Sony MK 39511 19 Rachmaninov, S. Vocalise, op 34 no 14 (1915). Joan Rodgers, sop; Howard Shelley, pf.

Chandos CHAN 9477 6 Mendelssohn, F. Two piano pieces (pub.

1860). Daniel Barenboim, pf.

DG 453 061-2 6 Haydn, J. String quartet in B minor, Hob.III:68 (1790). Kodály Quartet.

Naxos 8.550673 19 10:30 CONCERT HALL Prepared by Rex Burgess Barber, S. Cello concerto, op 22 (1945).

Christian Poltéra, vc; Bergen PO/Andrew Litton.

BIS SACD-1827 27 Berlioz, H. Tristia, op 18 (1831/48). SouthWest German Radio Vocal Ensemble & SO/ Sylvain Cambreling.

Hänssler 93.210 20 Rachmaninov, S. Symphonic dances, op 45 (1940). Berlin PO/Lorin Maazel.

DG 410 894-2 34 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 GALA Pacific Opera and Willoughby Symphony Orchestra Recorded by Peter Bell for FINE MUSIC Mascagni, P. Intermezzo, from Cavalleria rusticana (1890). 4 Verdi, G. Caro nome, from Rigoletto (1851).

Ayako Ohiake, sop. 7 Puccini, G. Chi il bel sogno di Doretta, from La rondine (1917). Pamela Andrews, sop. 4 Verdi, G. Va pensiero, from Nabucco (1842).

Willoughby Symphony Choir. 5 Puccini, G. E lucevan le stelle, from Tosca (1900). Caleb Son, ten. 4 Willoughby SO/Nicholas Milton (all above) 32

Walter Piston 13:30 SLOW AND SUBLIME Prepared by Chris Blower Onslow, G. Piano trio, op 3 no 3, mvt 2 (1781) Trio Cascades. cpo 777 232-2 7 Hummel, J. Piano quintet in E flat, op 87, mvt 3 (1802). Schubert Ensemble of London.

Helios CDH55427 2 Beethoven, L. String quartet no 15 in A minor, op 132, mvt 3 (1825). Tokyo String Quartet.

Harmonia Mundi HMU 807481.83 16 14:00 LEONARD BERNSTEIN His teachers, influences and friends Prepared by Elaine Siversen 1918 2018

Mahler, G. Ich bin der Welt abhanden gekommen, from Five Rückert-Lieder (1901).

Jessye Norman, sop; Irwin Gage, pf.

Philips 426 642-2 7

Leona r d

Bernstein 100th A nniversary

Piston, W. Concerto for piano and chamber orchestra (1937). Gary Steigerwalt, pf; Philharmonia Virtuosi of New York/Richard Kapp.

LP Turnabout TV 34733 14 Blitzstein, M. Variation II; Pas de deux; Three-four dance. Bennett Lerner, pf.

Etcetera KTC1036 8 Verdi, G. Pace, pace mio Dio, from La forza del destino (1862). Renata Tebaldi, sop; O/ Dimitri Mitropoulos.

Legato Classics LCD 183-1 6 Copland, A. Piano variations (1930).

Benjamin Pasternack, pf.

Naxos 8.559184 12 Glinka, M. Overture to Ruslan and Ludmila (1842). Chicago SO/Fritz Reiner.

RCA 0902661958 2 5 Thompson, R. Stopping by woods on a snowy evening. Turtle Creek Chorale; Dallas Wind Symphony/Timothy Seelig.

Reference Recordings RR-49CD 5 Ravel, M. Rhapsodie espagnole (1907).

Boston SO/Serge Koussevitzky.

Naxos 8.110154 17 Foss, L. Three American pieces (1944).

Arnold Steinhardt, vn; Victor Steinhardt, pf.

Naxos 8.559235 12

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Diamond, D. Psalm (1936). Seattle SO/ Gerard Schwarz.

Naxos 8.559155 9 Schuman, W. Carols of death (1958).

University of Texas Chamber Singers/James Morrow.

Naxos 8.559358 10 Bernstein, L. Somewhere; Scherzo, from Symphonic dances from West Side Story.

London SO/Michael Tilson Thomas.

DG 439 926-2 5 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Lucifer, Mephisto and Diablo Prepared by Robert Small Carissimi, G. Lucifer. Consortium Carissimi.

Naxos 8.555076 5 Liszt, F. Mephisto waltz no 1, Der Tanz in der Dorfschenke (1859-60). Leslie Howard, pf.

Hyperion CDS44520 11 Piazzolla, A. Romance del diablo (arr.

Crabb). James Crabb, accordion; Benjamin Martin, pf; Australian CO/Richard Tognetti.

Chandos CHAN 10163 7 Scarlatti, A. Humanity and Lucifer (1704).

Rossana Bertini, sop; Massimo Crispi, ten; Europa Galante/Fabio Biondi. naïve OP 30498 1:01 Nielsen, C. Suite: The Luciferan, op 45 (1919-20). Elisabeth Westenholz, pf.

BIS CD-167/168 22 Douglas, S. Mephistopheles. Frickley Colliery Band.

Music Digital 6249 3 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Chris Blower Tchaikovsky, P. String quartet no 1 in D, op 11 (1871). Australian String Quartet.

Fine Music concert recording 27 Albéniz, I. Leyenda, from Suite española no 1. Guitar Trek.

ABC 476 3389 6 Mozart, W. Piano quartet in G minor, K478 (1785). Warrawee Ensemble.

Fine Music concert recording 26 Rossini, G. Wind quartet no 1 in F (c1804; arr. Berr, Zachert). Canberra Wind Soloists.

ABC 434 718-2 11 Haydn, J. Flute quartet in G, op 5 no 2.

Australian Haydn Ensemble/Skye McIntosh. 12 Kreisler, F. String quartet in A minor (1919).

Acacia Quartet. 29 Fine Music concert recordings (2 above)

Friday 24 August Beethoven, op 8 (1930). Nordic CO/Christian Lindberg.

BIS CD-1538 11 Rautavaara, E. Cantus articus, Concerto for birds and orchestra, op 61 (1972). Lahti SO/ Osmo Vänskä.

BIS CD-575 17 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter

John Williams

Lorin Maazel

0:00 CONTEMPORARY COLLECTIVE

(1945). Gil Shaham, vn; London SO/André Previn.

DG 439 886-2 25

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Di Cox Beethoven, L. Overture to Fidelio (1804/14; transcr. Sedlak). Melbourne Windpower/ Richard Runnels.

Move MD 3110 6 Bach, J.S. Violin concerto no 2 in E, BWV1042 (bef. 1730; transcr. Williams for guitar). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito.

CBS MK 39560 18 Liszt, F. Am stillen Herd, from Die Meistersinger (1866-67; transcr. 1871). Asher Fisch, pf.

Melba MR301141 9 Britten, B. Matinées musicales, after Rossini, op 24 (1941). English CO/Alexander Gibson.

EMI 1 66442 2 16 Vaughan Williams, R. Greensleeves (1934; transcr. Smith, Rhodes). Kenneth Smith, fl; Paul Rhodes, pf.

ASV DCA 768 6 Ravel, M. Suite: Mother Goose (1908-10; transcr. Walter). Claire Désert, pf; Moraguès Quintet.

Le Chant du Monde LDC2781116 15 Sculthorpe, P. Little suite for strings (arr.

Nelson). Melbourne Mandolin O/Slava Iourgaev.

Move MCD 410 7 10:30 CONCERT HALL Prepared by James Nightingale Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Slovak PO/ Oliver Dohnányi.

Naxos 8.554433 14 Korngold, E. Violin concerto in D, op 35

Ben-Haim, P. Symphony no 2 (1945). North German RPO/Israel Yinon. cpo 777 677-2 44 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MUSIC OF THE DANCE Prepared by Elaine Siversen Alwyn, W. Suite of Scottish dances (1946).

Royal Liverpool PO/David Lloyd-Jones.

Naxos 8.570704 8 Field, J. Irish dance: Go to the devil (c1797).

Míceál O’Rourke, pf.

Chandos CHAN 9315 4 Stanford, C. Villiers Four Irish dances (19035; transcr. Grainger). Piers Lane, pf.

Hyperion CDA67279 15 Arnold, M. Four Welsh dances, op 138.

Queensland SO/Andrew Penny.

Naxos 8.553526 10 Tomlinson, E. First suite of English folk dances (1951). Light Music Society O/Vivian Dunn.

EMI 7 64131 2 14 14:00 A NORDIC CAVALCADE Prepared by Rex Burgess Crusell, B. Concertino in B flat (1829). Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 18 Alfvén, H. A legend of The Skerries, op 20 (1904). Royal Scottish NO/Niklas Willén.

Naxos 8.553729 18 Palmgren, S. Pictures from Finland, op 24 (1908). Turku PO/Jacques Mercier.

Finlandia 4509-95852-2 17 Sibelius, J. Symphony no 5 in E flat, op 82 (1915). Vienna PO/Lorin Maazel.

Decca 478 8541 28 Leifs, J. Pastoral variations on a theme of

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Frank Morrison Hummel, J. Clarinet quartet in E flat (1808).

Alan Hacker, cl; members of The Music Party.

L’Oiseau-Lyre 444 167-2 30 Strauss, R. Burleske in D minor (1885-88).

Daniel Barenboim, pf; Berlin PO/Zubin Mehta.

CBS MK 42322 20 Korngold, E. Piano trio in D, op 1 (191013). Glenn Dicterow, vn; Alan Stepansky, vc; Israela Margalit, pf.

EMI 5 55401 2 30 Pleyel, I. Symphony in C minor (1778).

Capella Istropolitana/Uwe Grodd.

Naxos 8.554696 28 22:00 BAROQUE AND BEFORE Venetian Baroque Prepared by Paul Cooke Marcello, A. Oboe concerto in D minor. Heinz Holliger, ob; I Musici.

Philips 420 189-2 12 Sartorio, A. Quando voglio, from Julius Caesar in Egypt (1676); Orfeo, tu dormi, from L’Orfeo (1672). Patricia Petibon, sop; Venice Baroque O/Andrea Marcon.

DG 477 8763 8 Marcello, B. Sonata in F, op 2 no 1 (pub.

1712). Michala Petri, rec; George Malcolm, hpd.

Philips 476 7072 9 Monteverdi, C. Lamento di Penelope, from Il ritorno d’Ulisse. Evelyn Tubb, sop; Consort of Musicke/Anthony Rooley.

IMP PCD 881 12 Gabrieli, A. - Gabrieli, G. A Venetian coronation 1595: grand ceremonial music for the coronation of Doge Marino Grimani.

Gabrieli Consort and Players/Paul McCreesh.

Virgin 7 59006 2 1:11 As well as his A legend of Skerries, Hugo Alfvén was inspired by these islands to write his Fourth Symphony, From the Outermost Skerries.

August 2018

33

Saturday 25 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early classical 1760-1800 Prepared by Mariko Yata

Haydn, J. String quartet in B minor, op 33 no 1 (1781). Kodály Quartet.

Naxos 8.550788 18 Mozart, W. Keyboard sonata in G, K283 (1774). Kristian Bezuidenhout, fp.

Harmonia Mundi HMU 907528 17 Bortnyansky, D. Sacred concerto no 10 (1790-95). Russian State Symphonic Capella/ Valery Polyansky.

Chandos CHAN 9783 13 Boccherini, L. Cello concerto no 6 in D (pub. 1770). Anner Bijlsma, vc; Concerto Amsterdam/Jaap Schröder. apex 0927 49805 2 15 10:30 SMALL FORCES Prepared by Melissa Evans Boccherini, L. Guitar quintet no 4 in D, Fandango (1798). Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Philips 438 769-2 17 Debussy, C. Cello sonata in D minor (1915).

Tatjana Vassilieva, vc; Yumiko Urabe, pf.

Naxos 8.555762 11

14:00 JOIN THE HUNT Prepared by Derek Parker Deisenroth, F. Seven hunting marches.

Munich Hunting Horn Players.

Orfeo C 034-821 A 4 Strauss, J. II At the hunt, op 373 (1875).

Vienna PO/Mariss Jansons.

Sony 88875174772 2 Weber, C.M. The huntsmen’s chorus, from Der Freischütz (1821). Red Army Choir/Vikto Eliseev.

FGL 479 2311 3 Liszt, F. Wild hunt. Jenö Jandó, pf.

Naxos 8.553119 5 Haydn, J. Symphony in D, Hob.I:73, Hunt (c1781). Esterházy O/David Blum.

Vanguard 08 9061 71 20 Locatelli, P. Violin concerto in F, op 4, no 8, Hunting horn (pub. 1735). Raglan Baroque Players/Elizabeth Wallfisch, vn & dir.

Hyperion CDA67041/2 9

Beethoven, L. String quartet in C minor, op 18 no 4 (1800). Tokyo String Quartet.

RCA 09026 61284 2 24

Mouret, J-J. Symphonies de chasse (c1729).

André Both, hn; La Grande Écurie et La Chambre du Roy/Jean-Claude Malgoire.

LP CBS SBR 235988 8

11:30 ON PARADE Prepared by Paul Hopwood

Myers, S. Cavatina, from The deer hunter (1970; arr. Field). Saffire.

ABC 476 701-2 4

12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes

15:00 BERNSTEIN THE COMPOSER Prepared by Paul Cooke 1918 2018

Sousa, J.P. Royal Welch Fusiliers march (1929); Untitled march (1930); Songs of grace and songs of glory (1892); Patrol: Rose, shamrock and thistle (1901); March: Bullets and bayonets (1918); March: King cotton (1895); Legend: Willow blossoms (1892).

Royal Artillery Band/Keith Brion.

Naxos 8.559059 28

34

Vienna Boys Choir

Leona r d

Bernstein 100th A nniversary

Bernstein, L. Overture to Candide (1956/88).

Melbourne SO/Jorge Mester.

ABC 481 0616 4 Four anniversaries (1948). Thomas Lanners, pf.

Centaur CRC 2702 6 Prelude, fugue and riffs (1949). Harmen de Boer, cl; Netherlands Wind Ensemble/Richard Dufallo.

Chandos CHAN 9210 8

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Songfest: A cycle of American poems (1977).

Clamma Dale, sop; Rosalind Elias, mezz; Nancy Williams, mezz; Neil Rosenshein, ten; John Reardon, bar; Donald Gramm, bass; Washington NSO/Leonard Bernstein.

DG 415 965-2 43 Peter, Peter (1950; arr. Fraser, Rosenberger).

Nai-Yuan Hu, vn; Carol Rosenberger, pf.

Delos DE 3201 4 Facsimile: choreographic essay (1946).

Bournemouth SO/Marin Alsop.

Naxos 8.559245 19 Clarinet sonata (1941). Alan Vivian, cl; Susanne Powell, pf.

Revolve AJM 1314 11 Symphony no 3, Kaddish (1963/77).

Montserrat Caballé, sop; Michael Wager, narr; Vienna Youth Choir; Vienna Boys’ Choir; Israel PO/Leonard Bernstein.

DG 423 582-2 39 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Coloratura sopranos: Difficult ladies 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers 1918 2018

Martines, M. Sinfonia in C (1770). Bay Area Women’s PO/JoAnn Falletta.

Newport Classic NCD 60102 15

Leona r d

Bernstein 100th A nniversary

Bernstein, L. Excerpts from On the town.

Nancy Walker; Betty Comden; Adolph Green, voices; members of original Broadway cast.

Columbia Broadway SK 60538 19 Suite from West Side story (1957). O/Richard Hayman.

Naxos 8.578039-40 10 Excerpts from Candide. Barbara Cook; Max Adrian; Robert Rounsville, voices.

Columbia Broadway SK 86859 19

20:00 THE WORD TRANSFORMED Prepared by Elaine Siversen Vaughan Williams, R. Songs of travel (1904). John Shirley-Quirk, bass-bar; Viola Tunnard, pf.

Heritage HTGCD 283/4 25 Schumann, R. Overture to Manfred, op 115 (1848-49). Swedish CO/Thomas Dausgaard.

BIS SACD-1619 11 Koehne, G. Three poems of Byron (1993).

Valda Wilson, sop; Bourbaki Ensemble/David Angell.

Fine Music concert recording 11 Barber, S. Music for a scene from Shelley, op 7 (1933). Baltimore SO/David Zinman.

Argo 436 288-2 9 Myaskovsky, N. Alastor, op 14, Symphonic poem after Shelley (1913). Russian Federation SO/Yevgeny Svetlanov.

Warner Classics 69689-8 25 Elgar, E. Suite from incidental music to The starlight express, op 78 (1915).

Cynthia Glover, sop; John Lawrenson, bar; Bournemouth Sinfonietta/George Hurst.

Chandos CHAN 6582 27 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Bach, C.P.E. Flute concerto in G, Wq169 (c1755). Patrick Gallois, fl; Carl Phillip Emanuel Bach CO/Peter Schreier.

DG 439 895-2 25 Mozart, W. An die Freude, K53 (1768); Dans un bois solitaire, K308 (1777-78); An die Einsamkeit: Sei du mein Trost, K391 (1782); Die Zufriedenheit: Wie sanft, wie ruhig fühl’ ich Hier, K473 (1785). Barbara Bonney, sop; Geoffrey Parsons, pf.

Teldec 2292-46334-2 13 Haydn, J. Symphony in D, Hob.I:61 (1776).

Northern CO/Nicholas Ward.

Naxos 8.550723 23 Poulenc, F. Concert champêtre for harpsichord and orchestra (1927-28).

Elisabeth Chojnacka, hpd; Lille NO/JeanClaude Casadesus.

Naxos 8.554241 23 Rimsky-Korsakov, N. Suite from The golden cockerel (1907). Cleveland O/Lorin Maazel.

Decca 480 6627 27 Wanda Landowska was mainly responsibe for the reintroduction of the harpsichord in the early 20th century.

At her suggestion, Francis Poulenc composed a concerto for harpsichord and orchestra, Concert champêtre.

Because she played on a specially made, more powerful instrument than those of earlier eras, it is scored for a large orchestra full of brass and percussion.

Sunday 26 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Schoenberg, A. Prelude to Genesis, op 44 (1945). Simon Joly Chorale; Philharmonia O/ Robert Craft.

Naxos 8.557528 6 Bernstein, L. Chichester Psalms (1965).

Vienna Youth Choir.

DG 469 115-2 19 Three meditations, from Mass (1971).

Mstislav Rostropovich, vc.

DG 415 966-2 17 Israel PO/Leonard Bernstein (2 above) Brubeck, D. Rabboni, from Beloved son (1978). Thomasin Trezise, sop; Alan Opie, bar; London Oratory School Schola; London Voices; Dave Brubeck Quartet; London SO/ Russell Gloyd.

Telarc 2CD-80621 10 10:00 THE CLASSICAL ERA The English connection Prepared by Chris Blower Bach, J. Christian Quintet in C for flute, oboe, violin, viola and continuo, op 11 no 1.

Members of English Concert.

Archiv 423 385-2 17 Pinto, G. Piano sonata in C minor (1802-03).

Ian Hobson, pf.

Arabesque Z 6595 19 Wesley, S. String quartet in E flat. Salomon Quartet.

Hyperion CDA66780 22 Cramer, J. Piano concerto no 2 in D minor, op 16 (pub. 1797). London Mozart Players/ Howard Shelley, pf & dir.

Chandos CHAN 10005 25 Clementi, M. Symphony no 4 in D. Philharmonia O/Francesco d’Avalos.

ASV DCS 247 26 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 ROMANTIC FLUTE Prepared by Chris Blower Spohr, L. Sonata in C minor for flute and harp. Marc Grauwels, fl; Catherine Michel, hp.

Marco Polo 8.220441 17 Moscheles, I. Four divertimenti, op 82b (c1829). Kazunori Seo, fl; Makoto Ueno, pf.

Naxos 8.573175 17 Benoit, P. Flute concerto, op 43a, Symphonic tale (1865). Gaby van Riet, fl; Royal Flanders PO/Frédéric Devreese.

Marco Polo 8.223827 20

15:00 SUNDAY SPECIAL Bernstein as conductor Prepared by Lyn Chong 1918 2018

Saturday 25 August

Leona r d

Bernstein 100th A nniversary

Beethoven, L. Overture to Leonore no 3, op 72a (1806).

CBS MK 42222 13 Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933). William Vacchiano, tpt; André Previn, pf.

CBS MPK 44850 22 New York PO (2 above) Mahler, G. Symphony no 5 in C sharp minor (1901-02). Vienna PO. DG 477 8825 1:15 Leonard Bernstein, cond (all above) 17:00 HOSANNA Prepared by Jeremy Hall Hymns: Christ is our cornerstone; Nearer, my God, to Thee. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP12102 5 Stanford, C. Villiers Magnificat and Nunc dimittis in G. George Bartle, treb; Choir of Ely Cathedral/Paul Trepte.

Herald HAVPCD 159 8 Vaughan Williams, R. Te Deum in G. Corydon Singers; Thomas Trotter, org; Matthew Best, cond.

Hyperion CDA66076 7 Stanford, C. Villiers A song of trust. George Bartle, treb; Choir of Ely Cathedral/Paul Trepte.

Herald HAVPCD 159 6 Chilcott, R. A little jazz Mass. Wellensian Consort; Gemma Beeson, pf; Will Todd Trio/ Christopher Finch.

Naxos 8.573158 12 Palestrina, G. da Sicut cervus. Choir of Westminster Cathedral/James O’Donnell.

Hyperion CDA66850 4 Laurisden, M. O nata lux. Polyphony/ Stephen Layton.

Hyperion CDA67449 4 Hymn: The Church’s one foundation. Choir of Wells Cathedral; Rupert Gough. org; Malcolm Archer, cond.

Hyperion CDA12102 4 18:00 CHAMBER FROM AUSTRALIA Prepared by Rebecca Zhong Kats-Chernin, E. Fast blue village 2 (2006).

Acacia Quartet.

Vexations840 840-1202 5 August 2018

35

Sunday 26 August Sculthorpe, P. Dream tracks (1992). Verdehr Trio.

Crystal Classics CD745 14 Grainger, P. Children’s march: Over the hills and far away (1918). Leslie Howard, pf; David Stanhope, pf.

ABC 481 1601 7 Edwards, R. Prelude and dragonfly dance (1991). Synergy.

Tall Poppies TP030 8 Hill, A. String quartet no 17 in C (1938).

Dominion String Quartet.

Naxos 8.573416 18 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Fauré, G. Concert suite: Pelléas et Mélisande, op 80 (1898; orch. Koechlin).

Sarah Wagener, sop; South-West German RSO/Heinz Hollinger.

SWR Music SWR19046 21 Chabrier, E. Habanera (1882). Vienna PO/ John Eliot Gardiner.

DG 447 751-2 4 Koechlin, C. The Persian hours, op 65 (1913-19; orch. 1921). South-West German RSO/Heinz Hollinger.

SWR Music SWR19046 56 20:30 NEW HORIZONS Prepared by Lyn Chong Daugherty, M. Raise the roof (2003). Brian Jones, timp; Detroit SO/Neeme Järvi.

Naxos 8.559372 13 Rojas, D. Piano concerto no 1, Latinamericanismos (2006). Daniel Rojas, pf; North Sydney SO/Maria Lindsay.

Fine Music concert recording 31 Todd, W. Among angels (2006). Tenebrae; English CO/Nigel Short.

Signum SIGCD298 15 Foss, L. Phorion (1967). New York PO/ Leonard Bernstein.

Sony SMK 63164 10 Smetanin, M. If stars are lit (2010). Michael Duke, sax; David Howie, pf.

Cala CACD77013 9 Ladder of escape (1984). Nigel Westlake, bass cl.

Jade JAD 1024 4 22:00 AFTER HOURS JAZZ with Kevin Jones Australian composer Daniel Rojas writes of his First Piano concerto, Latinamericanismos that ‘it is in essence a celebration of music from various Latin American regions integrated within the context of the concert hall’. It reflects influences of his Chilean birthplace and parentage.

36

Monday 27 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1787 Prepared by Derek Parker Cimarosa, D. Overture to Voldomiro (1787).

Nicolaus Esterházy Sinfonia/Alessandro Amoretti.

Naxos 8.570508 4 Kozeluch, L. Sinfonia in G minor (1787).

Czech Chamber PO Pardubice/Marek Štilec.

Naxos 8.573627 17

Michael Haydn

Bach, C.P.E. Fantasie in F sharp minor, Wq67 (1787). Danny Driver, pf.

Hyperion CDA67908 12

Réminiscences de Don Juan (1841). Jorge Bolet, pf.

Philips 456 814-2 19

Boccherini, L. Symphony in D, G521 (1787).

New Berlin CO/Michael Erxleben.

Brilliant Classics 94386 6

Fantasy on themes from Beethoven’s The ruins of Athens (c1848-52). Philip Thomson, pf; Hungarian State O/Kerry Stratton.

Hungaroton HCD 31525 11

Danzi, F. Fantasy for clarinet and orchestra on Là ci darem la mano, from Mozart’s Don Giovanni (1787). Andreas Ottensamer, cl; Potsdam Chamber Academy.

Decca 481 4711 10 Clementi, M. Piano sonata in C, op 20 (1787). Howard Shelley, pf.

Hyperion CDA67729 15 Mozart, W. Serenade no 13 in G, K525, Eine kleine Nachtmusik (1787). Academy of St Martin in the Fields/Neville Marriner.

EMI CDM 1 66423 2 17 10:30 CONCERT HALL Prepared by Derek Parker

Liebestraum no 3 in A flat: O lieb, so lang du lieben kannst (c1850). Yundi Li, pf.

DG 479 1302 5 14:30 SIBLINGS Prepared by Gael Golla Bach, C.P.E. Symphony in E minor, Wq178 (1757-62). Akademie für Alte Musik.

Harmonia Mundi HMG 501711 11 Bach, W.F. Duet no 4 in F, F57 (aft. 1770).

Wolfgang Schulz, fl; Hansjörg Schellenberger, ob.

Sony SK 58 965 12

Grofé, F. Grand Canyon suite (1931).

Cincinnati Pops O/Erich Kunzel.

Telarc CD 80086 32

Haydn, M. Trumpet concerto in C (1763).

Crispian Steele-Perkins, tpt; King’s Consort/ Robert King.

Hyperion CDA67266 10

Menotti, G. Violin concerto (1952). Jennifer Koh, vn; Spoleto Festival O/Richard Hickox.

Chandos CHAN 9979 29

Haydn, J. Keyboard sonata no 58 in C, Hob. XVI:48 (1789). András Schiff, pf.

Teldec 0630-17141-2 12

Gershwin, G. Catfish Row, symphonic suite (1936; ed. Bowen). Gewandhaus O/Riccardo Chailly.

Decca 478 2739 24

Mendelssohn, Fanny. Nachtreigen, op 3 no 7, from Gartenlieder (1846). Heidelberg Madrigal Choir/Gerald Kegelmann.

Bayer BR 100 041CD 6

12:00 SWING SESSIONS with John Buchanan

Mendelssohn, F. Piano trio no 1 in D minor, op 49 (1839). Guarneri Trio.

Globe GLO 5007 28

13:00 LISZT’S FANTASIES Prepared by Krystal Li Liszt, F. Fantasia and fugue on BACH (1855).

Peter Nicholson, org.

LP Move MS 3048 10 Hungarian fantasia (1853). Cyprien Katsaris, pf; Philadelphia O/Eugene Ormandy.

EMI CDM 1 66431 2 15 Wanderer fantasy, after Schubert (1851).

Michel Béroff, pf; Gewandhaus O/Kurt Masur.

EMI CZS 7 67214 2 20

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Tuesday 28 August

Virgil Thomson

Rafael Kubelik

George Enescu

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds

Rossini, G. Bassoon concerto (1845). Patrick de Ritis, bn; Würzburg PO/Enrico Calesso.

Naxos 8.573382 18 Mahler, G. Symphony no 1 in D, Titan (1888/93/96-98). Bavarian RSO/Rafael Kubelik.

DG 477 8825 50 12:00 JAZZ RHYTHM with Jeannie McInnes

Bottesini, G. Gran quintetto, op 99 (1858).

Turin Teatro Regio String Quartet.

Chandos CHAN10867 28 Mozart, W. Clarinet quintet in A, K581 (1789).

David Rowden, cl; members of Omega Ensemble.

ABC 481 4667 33

9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Jennifer Foong Dussek, S. Introduction and waltz (1822).

Masumi Nagasawa, hp; Richard Egarr, pf.

Etcetera KTC1436 4 Rebel, J-F. Sonata no 5 in D (1713). Andrew Manze, vn; Jaap ter Linden, va da gamba; Richard Egarr, hpd.

Harmonia Mundi HMU 907221 11 Bach, C.P.E. Quartet no 3 in G for flute, strings and keyboard, Wq95 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp.

L’Oiseau-Lyre 433189-2 16 Binchois, G. Ballade: Je loe amours et ma dame mercye. Christopher Hogwood, org.

Virgin 5 61284 2 2 Montéclair, M. de Cantata: Le triomfe de la constance (c1709). Judith Nelson, sop; Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 436 185-2 11 Gibbons, C. Fantasy-suite in F for strings and continuo. Pavlo Beznosiuk, vn; Rodolfo Richter, vn; Mark Levy, bass viol; Richard Egarr, org.

Harmonia Mundi HMU 807551 12 Parcham, A. Sonata in G. David Munrow, rec; Oliver Brookes, bass viol; Christopher Hogwood, hpd.

Decca 440 079-2 6 Bach, W.F. Harpsichord concerto in A minor (1733). Richard Egarr, hpd; London Baroque/ Charles Medlam.

Harmonia Mundi HMC 901558 15 10:30 CONCERT HALL Prepared by Michael Field Thomson, V. Suite from The plow that broke the plains (1936). New London O/Ronald Corp.

Hyperion CDA66576 16

13:00 THE RISE OF FRENCH OPERA Cambert, R. Passons nos jours dans ces vergers; Que voyez-vous, mes yeux? from Pomone (1671). Musica Antiqua Cologne/ Reinhard Goebel.

DG 463 446-2 4 Lully, J-B. Excerpts from Persée (1682). Cyril Auvity, ct; Bruno Rostand, bass; Les Talens Lyriques/Christophe Rousset.

Ambroisie AM 167 18 Overture; Je suis trahi! Ciel!; Chaconne, from Roland (1685). Nicholas Testé, bass; Les Talens Lyriques/Christophe Rousset. naïve V5197 19 Enfin, il est en ma puissance; Plus j’observe ces lieux, from Armide (1686). Guillemette Laurens, sop; Howard Crook, ten; La Chappelle Royale O/Philippe Herreweghe.

Harmonia Mundi HMX 2908150.52 13 Rameau, J-P. Excerpts from Hippolyte et Aricie (1733). Véronique Gens, sop; Meredith Hall, sop; Bernarda Fink; mezz: Jean-Paul Fouchécourt, ten; Russel Smythe, bar; Jacques-François Loiseleur des Lonchamps, bar; Laurent Naouri, bass-bar; Luc Coadou, bass; Jean-Louis Georgel, voice; Les Musiciens du Louvre/Marc Minkowski.

MBF 1108 24 14:30 A QUARTET OF QUINTETS Prepared by Derek Parker Schubert, F. Piano quintet in A, D667, The trout, mvt 4 (1819). lstvan Tóth, db; Jenõ Jandó, pf; members of Kodály Quartet.

Naxos 8.578281-82 7 Bach, J. Christian Quintet in C for flute, oboe, violin, viola and continuo, op 11 no 1.

English Concert.

Archiv 423 385-2 17

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Brian Drummond Mendelssohn, F. String quartet no 2 in A minor, op 13 (1827). Ysaÿe Quartet.

Decca 473 255-2 29 Franck, C. Violin sonata (1886). Sarah Chang, vn; Lars Vogt, pf.

EMI 5 57679 2 28 Beethoven, L. Piano sonata no 13 in E flat, op 27 no 1 (1800-01). Stephen Kovacevich, pf.

EMI 5 62700 2 15 Enescu, G. String octet in C, op 7 (1900).

Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 9131 39 By the age of 16, George Enescu had already written four accomplished ‘study’ symphonies, and at 19, wrote his String octet in C. He acknowledged that it was a transitional work before he had reached his maturity as a composer.

Nevertheless it is impressive because of its large scale, textural richness and the composer’s mastery of counterpoint. The work is very ambitious with the opening movement presenting no less than six themes that form the basis of the whole work giving it thematic unity. There is also a rhythmic pulse throughout that drives the contrapuntal web spun by the eight players.

August 2018

37

Wednesday 29 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Chris Blower Elgar, E. Serenade in E minor for strings, op 20 (1892). Royal PO/Charles Groves.

ASV RPO 8020 13 Romance in C minor, op 1 (1878); Gavotte in A (1885). Marat Bisengaliev, vn; Benjamin Frith, pf.

Naxos 8.572643-45 10 I sing the birth (1928). Jonathan Milton, treb; Jeffrey Gray, ten; Ian Bell, bass; Choir of Worcester Cathedral; Adrian Partington, org; Donald Hunt, cond.

Hyperion CDA66313 8 Laura valse (1887); March in D (1887); Mina (1932-33); Impromptu (1932). Piers Lane, pf.

Hyperion CDA67857 11 Spanish serenade, op 23 (1892); The snow, op 26 no 1 (1894). Liverpool Philharmonic Choir; Royal Liverpool PO/Charles Groves.

EMI CDC 7 47511-2 11 String quartet in E minor, op 83 (1918). Mistry Quartet.

Argo 433312-2 25 10:30 CONCERT HALL Prepared by Denis Patterson Rossini, G. Overture to Semiramide (1823).

Tasmanian SO/Ola Rudner.

ABC 476 259-9 12 Beethoven, L. Triple concerto in C, op 56 (1803-04). David Oistrakh, vn; Mstislav Rostropovich, vc; Sviatoslav Richter, pf; Berlin PO/Herbert von Karajan.

EMI 5 66902-2 36 Spohr, L. Symphony no 8 in G, op 137 (1847). North German Radio PO/Howard Griffiths. cpo 777 178-2 31 12:00 JAZZ SKETCHES with Robert Vale 13:00 PLAYING WITH FIRE Prepared by Gael Golla Handel, G. Music for the royal fireworks, HWV351 (1749; arr. Loussier c2002).

Jacques Loussier Trio.

Telarc CD-83544 15 Wagner, R. Magic fire music, from The Valkyrie (1854-56). Philadelphia O/Eugene Ormandy.

RCA Victrola VD87819 4 38

Iván Fischer

Francesca Lombardi Mazzulli

Tchaikovsky, P. January: by the fireside, from The seasons, op 37b no 1 (1875-78; transcr.). Slava Grigoryan, gui; Leonard Grigoryan, gui.

Which Way Music WWM014 5 Debussy, C. Fireworks, from Preludes bk 2 (1913). Lev Vinocour, pf.

Soundscapes SSCD 923 4 Vaughan Williams, R. The roadside fire, from Songs of travel (1904). Bryn Terfel, bass-bar; Malcolm Martineau, pf.

DG 445 946-2 2 Stravinsky, I. Suite no 2 from The firebird (1919). Budapest FO/Iván Fischer.

Hungaroton HCD 31095 20

Antheil, G. A jazz symphony (1925). Vera Beths,vn; Johan Kracht, vn; Henk Guittart, va; Wim Straesser, vc; Antony Woodrow, db; Willy Goudswaard, perc; Michael de Roo, perc; Arthur Cune, perc; Maarten Bon, pf; members of Netherlands Wind Ensemble/ Reinbert de Leeuw.

LP Telefunken 6.42196 7

14:00 IN CONVERSATION with Michael Morton-Evans 15:00 AMERICAN MUSIC EXPLORED Prepared by Michael Morton-Evans Anon. Spirituals medley: Swing low, sweet chariot; Old time religion; Dem bones; This little light of mine; Joyful, joyful, we adore you.

Melbourne Gospel Choir.

ABC 476 4678 9 Ginastera, A. Suite of Creole dances, op 15 (1946). Barbara Nissman, pf.

Globe GLO 6012 6 Foster, S. Camptown races (1850). Alan Light, bass; Conservatorium Singers & O/Eric Gross.

Move MS 3029 2 Joplin, S. Magnetic rag (pub. 1916). Scott Joplin, reproducing pf. foné 90 F 16 2 Harris, R. Kentucky Spring (1949). Louisville O/Robert S. Whitney.

First Edition Music FECD-0005 11 Copland, A. Waltz and celebration, from Billy the Kid (1938; arr.). Peter Zazofsky, vn; Paul Posnak, pf.

Naxos 8.559102 6 Creston, P. Celebration overture, op 61 (1955). President’s Own United States Marine Band/Gerard Schwarz.

Naxos 8.573121 8

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Opera oscura: The school for jealousy Salieri, A. La scuola de’ gelosia. Opera in three acts. Libretto by Caterino Mazzolà. First performed Venice, 1778.

COUNT: Emiliano d’Aguanna, ten COUNTESS: Francesca Mazzulli Lombardi, sop BLASIO: Federico Sacchi, bass ERNESTINA: Roberta Mameli, sop LIEUTENANT: Patrick Vogel, ten Massimiliano Toni, fp; l’arte del mondo/ Werner Ehrhardt.

Harmonia Mundi 88985 33228 2 2:41 Synopsis at finemusicfm.com/Opera Haydn, J. Dice benissimo chi si marita, Hob. XXIVb:5 (1780). Thomas Quasthoff, bass-bar; Freiburg Baroque O/Gottfried von der Goltz.

DG 477 7469 3 23:00 AMERICAN ADVENTURES Prepared by Randolph Magri-Overend Piazzolla, A. Le grand tango (1982). Trish O’Brien, vc; Renate Turrini, pf.

MBS CD41 12 Copland, A. Suite from Billy the Kid (1938).

London SO/Aaron Copland.

CBS MK 42431 21 Bernstein, L. Symphonic dances from West Side story (1957). London SO/Michael Tilson Thomas.

DG 439 926-2 22

Thursday 30 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Jennifer Foong Bach, J. Christian Sextet in C for oboe, two horns, violin, cello and keyboard. English Concert.

Archiv 423 385-2 17 Mozart, W. Fantasia in C minor, K475 (1785).

Alfred Brendel, pf.

Philips 454 244-2 12 Saint-Georges, J. Sonata in E flat for flute and harp. Amélie Michel, fl; Sandrine Chatron, hp.

Ambroisie AM 179 9 Arne, T. Come away death (1741). Peter Pears, ten; Benjamin Britten, pf.

BBC Music BBCB 8016-2 5 Cherubini, L. Souvenir pour son cher Baillot (rev. Spada). Quintetto Boccherini.

LP Italiadc ITL 700008 7 Sibelius, J. But my bird is long in homing, op 36 no 2 (1899). Karita Mattila, sop; Ilmo Ranta, pf.

Ondine ODE 1108-2 3 Spohr, L. Octet in E flat for winds and strings, op 32 (1814). Vienna Octet.

Decca 466 580-2 25 10:30 CONCERT HALL Prepared by Elaine Siversen Bach, C.P.E. Symphony in B flat for strings, Wq182 no 2. Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 472 424-2 10 Mendelssohn, F. String symphony no 1 in C (1821). Northern CO/Nicholas Ward.

Naxos 8.553161 12 Schoeck, O. Concerto for cello and string orchestra, op 61 (1947). Christoph Croisé, vc; I TEMPI CO/Gevorg Gharabekyan.

Genuin GEN 18497 31 Tchaikovsky, P. Serenade in C for strings, op 48 (1880). Moscow Virtuosi/Vladimir Spivakov.

RCA 09026 61964 2 29

Cipriani Potter

Geoffrey Parsons

Symphony in G, Hob.I:88 (c1787). Friedrich Dolezal, vc; Austro-Hungarian Haydn O/Adám Fischer.

Nimbus NI 5417/8 22

Rossini, G. Overture to Cinderella (1817).

Philharmonia O/Carlo Maria Giulini.

EMI 5 62802 2 9

Mozart, W. Piano concerto no 11 in F, K413 (1782-83). English CO/Murray Perahia, pf & dir.

Sony SX4K 46 442 23 Symphony no 35 in D, K385, Haffner (1782).

New York PO/Bruno Walter.

Sony SMK 64 473 18 14:30 FORGOTTEN COMPOSER Cipriani Potter Prepared by Stephen Wilson Potter, C. Bravura variations on a theme

by Rossini (1829). Tasmanian SO/Howard Shelley.

Hyperion CDA68151 15 Symphony no 8 in E flat (1828). Milton Keynes CO/Hilary Davan Wetton.

Unicorn-Kanchana DKP(CD)9091 35 Piano concerto no 4 in E (1835). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA68151 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson

Prokofiev, S. The ugly duckling, op 18 (1914). Carole Farley, sop; Scottish CO/José Serebrier.

ASV DCA 760 12 Nielsen, C. Suite from Aladdin, op 34 (191819). South Jutland SO/Niklás Willén.

Naxos 8.557164 25 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Chris Blower Bach, J.S. Flute sonata in C, BWV1033 (c1736). Vernon Hill, fl; Jacqueline Johnson, vc; Roger Heagney, hpd.

Move MD 3118 9 Wert, G. de Qual musico gentil. Tommie Andersson, lute; Song Company/Roland Peelman.

ABC 454 518-2 10

19:00 THE NEW JAZZ STANDARD with Frank Presley

Mozart, W. String quartet no 16 in E flat, K428 (1783). Tankstream Quartet.

Fine Music concert recording 25

20:00 MUSICAL PORTRAITS Fairy tale characters Prepared by Rebecca Zhong

Tartini, G. Sonata in G minor, op 1 no 10, Dido abbandonata (1734). Thomas Jones, vn; Rachel Valler, pf.

Fine Music Concert Recording 14

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Dukas, P. The sorcerer’s apprentice (1897).

French NO/Lorin Maazel.

CBS MYK 42610 12

13:00 PUBLIC POPULARITY Classical music in the late 18th century Prepared by Albert Gormley

Martinu, B. A fairy-tale of Goldilocks (1910).

Giorgio Koukl, pf.

Naxos 8.572025 14

Haydn, J. String quartet in E flat, op 33 no 2 (1782). Salomon Quartet.

Hyperion CDA66681 19

Martinu, B. The tale of Puss in Boots, from Spalícek (1931-32). Anna Kratochvílová, sop; Miroslav Kopp, ten; Richard Novák, bass; Kantiléna Children’s Chorus; Kühn Female Ch; Státní PO; Brno PO/Frantisek Jílek.

Supraphon SU 3925-2 17

Turner, J. Rumpelstilzchen (2010). Hartt School Wind Ensemble/Glen Adsit.

Naxos 8.573342 17

Brahms, J. Clarinet sonata in E flat, op 120 no 2 (1894). Donald Westlake, cl; Geoffrey Parsons, pf.

RCA VRL1 0341 21 Didone abbandonata is based on the story of Dido and Aeneas in Virgil’s fourth book of the Aeneid.

August 2018

39

Friday 31 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Haydn, J. Divertimento in B flat, Hob.II:46, St Antoni (bef. 1784; arr. Perry). Sydney Wind Quintet.

Fine Music Tape Archive 11

Hans Zender

Sigiswald Kuijken

Grand duet no 1 in A, from String quartet, Hob.III:7 (bef. 1765; arr. Fossa for two guitars). Jukka Savijoki, gui; Erik Stenstadvoid, gui. apex 0927 49452 2 18

14:30 A CLASSICIST OR A ROMANTIC? Max Reger Prepared by Stephen Wilson

Parra, perc; Michael Behringer, hpd.

Alia Vox AV 9820 4

Trio in G, Hob.XV:41 (1767; arr. for flute, cello and piano). Canterbury Belles.

Move MCD 063 12 Menuet and trio, Hob.III:75 (1797; arr.

Segovia). Eliot Fisk, gui.

MusicMasters 01612-67174-2 3 The bonny wee thing, Hob.XXXIa:102 (arr.

Beethoven). Scottish Early Music Consort.

Chandos CHAN 8636 3 Symphony in G, Hob.I:92, Oxford (1789; arr.

Dussek for violin and keyboard). Paul Wright, vn; Geoffrey Lancaster, fp.

ABC 472 561-2 25 Andante, from Symphony no 94 in G, Surprise (arr. Swann). Members of the BBC Music Division; Hoffnung SO/Lawrence Leonard.

EMI CMS 7 63302 2 6 10:30 CONCERT HALL Prepared by Dan Bickel Walton, W. Spitfire prelude and fugue (1942).

New Philharmonia O/William Walton.

EMI 5 65003 2 8 Mozart, W. Piano concerto no 12 in A, K414 (1782). Berlin PO/Daniel Barenboim, pf & dir.

Teldec 0630-13162-2 24 Khachaturian, A. Symphony no 2, The bell (1943). Royal Scottish O/Neeme Järvi.

Chandos CHAN 8945 51 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 VERDI’S REQUIEM Verdi, G. Messa da Requiem (1874). Natalie Aroyan, sop; Ashlyn Tymms, cont; Andrew Goodwin, ten; Adrian Tamburini, bass; Sydney University Graduate Choir & O/ Christopher Bowen.

SUGC recording 1:20 40

Reger, M. Romantic suite, op 125 (c1912).

Saarbrücken RSO/Hans Zender. cpo 999 480-2 29 Serenade in G, op141a (1915). Peter-Lukas Graf, fl; Sandor Vegh, vn; Rainer Moog, va.

Claves 50-8104 15 Schlummerleid, from Liebeslieder (1902).

Michaela Schuster, mezz; Markus Schlemmer, pf.

Oehms OC 1833 2 Piano concerto in F minor, op 114 (1910).

Marc-André Hamelin, pf; Berlin RSO/Ilan Volkov.

Hyperion CDA67635 37 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Calgero Panvino Rachmaninov, S. Isle of the dead, op 29 (1909). BBC Welsh SO/Tadaaki Otaka.

Nimbus NI 5344 22 Shostakovich, D. Symphony no 14, op 135 (1969). Julia Varády, sop; Dietrich FischerDieskau, bar; Concertgebouw O/Bernard Haitink.

Decca 417 514-2 50 Rachmaninov, S. The bells, choral symphony, op 35 (1913). Elena Ustinova, sop; Kurt Westi, ten; Jorma Hynninen, bar; Danish National Radio Choir & SO/Dmitri Kitaienko.

Chandos CHAN 8966 41 22:00 BAROQUE AND BEFORE On a ground Valente, A. Gallarda napolitana (1576). Jordi Savall, treble viol; Arianna Savall, double hp; Xavier Diaz, gui; Pedro Estevan, perc; Eliseo

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Purcell, H. Be welcome then, great Sir, from Fly, bold rebellion, Z324 (1683). James Bowman, ct; King’s Consort/Robert King.

Hyperion CDA 66412 4 Geminiani, F. Concerto grosso in D minor, La folia (c1727). François Fernandex, vn; Richte van der Meer, vc; La Petite Bande/Sigiswald Kuijken.

Harmonia Mundi CDC 7 47656-2 12 Ortiz, D. Recercadas sobre el passamezzo moderno: nos 3 and 5 (1553). Jordi Savall, bass viol; Paolo Pandolfo, bass viol; Rolf Lislevand, vihuela; Ton Koopman, hpd.

Astrée E 8717 5 Muffat, Gottlieb. Chaconne in G (1736). Mitzi Myerson, hpd.

Glossa GCD 921804 8 Bach, J.S. Jesu, der du meine Seele; Wir eilen mit schwachen, from Cantata BWV78 (1724). Ruth Holton, sop; Sytse Buwalda, ct; Holland Boys’ Choir; Netherlands Bach Collegium/Pieter Jan Leusink.

Brilliant Classics 99371/2 10 Marais, M. La Sonnerie de Sainte-Geneviève du Mont de Paris (1723). Members of Musica Antiqua Cologne.

Archiv 477 8624 8 Jommelli, N. Symphony in E flat, Periodical overture (1766). Concerto Cologne/Pablo Heras-Casado.

Archiv 479 2050 6 Frescobaldi, G. Partite sopra l’Aria di Ruggiero (c1616-28). Rinaldo Alessandrini, hpd.

Arcana A 904 10 Purcell, H. An evening hymn: Now that the sun hath veil’d his light, Z193 (c1688). Harry van der Kamp, bass; Gustav Leonhardt, org.

Sony SK 53981 4 Bach, J.S. Partita no 2 in D minor, BWV1004 (1720). Sigiswald Kuijken, vn.

Harmonia Mundi 05472 77527-2 27

The following composers have works of at least five minutes on the August dates listed Adam, A. 1803-1856 3 Adams, J. b1947 18 Albéniz, I. 1860-1909 10,20,23 Albrechtsberger, J. 1736-1809 4 Alfvén, H. 1872-1960 4,24 Alkan, C-V. 1813-1888 1,22 Alwyn, W. 1905-1985 24 Antheil, G. 1900-1959 13,29 Archer, M. b1952 12 Arensky, A. 1861-1906 17 Arne, T. 1710-1778 21 Arnold, M. 1921-2006 24 Bach, C.P.E. 1714-1788 4,9,19,25,27,28,30 Bach, J. Christian 1735-1782 14,26,28,30 Bach, J.S. 1685-1750 1,2,3,5,6,10,12,17,19,24,31 Bach, W.F. 1710-1784 27,28 Baermann, C. 1810-1885 12 Balakirev, M. 1837-1910 2,21 Bantock, G. 1868-1946 7 Barber, S. 1910-1981 3,14,19,23,25 Bartók, B. 1881-1945 17 Bassi, L. 1833-1871 10 Bazzini, A. 1818-1897 16 Beach, A. 1867-1944 6 Beethoven, L. 1770-1827 1,2,5,7,9,11,12,14,16,19,23, 24,25,26,28,29 Ben-Haim, P. 1897-1984 24 Benda, G. 1722-1795 7 Benoit, P. 1834-1901 26 Berlioz, H. 1803-1869 2,10,20,23 Bernstein, L. 1918-1990 1,9,14,23,25,26,29 Berwald, F. 1796-1868 18 Bizet, G. 1838-1875 15 Blais, J-M. b1984 19 Blais, J. 21st c 19 Blitzstein, M. 1905-1964 23 Bloch, E. 1880-1959 19 Boccherini, L. 1743-1805 13,19,25,27 Bomtempo, J. 1771-1842 8 Bononcini, A. 1677-1726 17 Bononcini, G. 1670-1747 17 Borodin, A. 1833-1887 6,16 Bortnyansky, D. 1751-1825 4,25 Bottesini, G. 1821-1889 9,16,28 Brahms, J. 1833-1897 4,5,6,9,10,12,17 Bray, C. b1982 12 Bree, J. van 1801-1857 16 Briccialdi, G. 1818-1881 6 Bridge, F. 1879-1941 11 Britten, B. 1913-1976 2,10,11,12,18,19,22,24 Brophy, G. b1953 12 Brubeck, D. 1920-2012 26 Bruch, M. 1838-1920 17,18,22 Bruckner, A. 1824-1896 3,17

Burgmüller, N. 1810-1836 12 Buxtehude, D. 1637-1707 7 Caldara, A. c1670-1736 17 Carissimi, G. 1605-1674 23 Carmichael, J. b1930 14 Carwithen, D. 1922-2003 17 Casella, A. 1883-1959 22 Castelnuovo-Tedesco, M. 1895-1968 1,2 Cavalli, F. 1602-1676 5 Cesti, A. 1623-1669 1 Chabrier, E. 1841-1894 20 Charpentier, M-A. 1635-1704 9 Chausson, E. 1855-1899 11 Chen, G. b1935 16 Cherubini, L. 1760-1842 5,30 Chilcott, R. b1955 26 Chopin, F. 1810-1849 2,5,9,20 Cimarosa, D. 1749-1801 18 Clementi, M. 1752-1832 26,27 Conyngham, B. b1944 12 Copland, A. 1900-1990 14,23,29 Cramer, J. 1771-1858 26 Creston, P. 1906-1985 29 Crusell, B. 1775-1838 10,12,19,24 Czerny, C. 1791-1857 9,15,16 d’Este, E. 1515-1575 3 D’Rivera, P. b1948 15 Danna, M. b1985 11 Danzi, F. 1763-1826 27 Dard, A. 1715-1784 18 Daugherty, M. b1954 26 Debussy, C. 1862-1918 10,16,18,25 Delius, F. 1862-1934 10,11,15,22 Desplat, A. b1961 11 Diamond, D. 1915-2005 23 Dittersdorf, C. 1739-1799 11 Dohnányi, E. 1877-1960 6,14 Donatoni, F. 1927-2000 5 Donizetti, G. 1797-1848 9 Dufay, G. c1400-1474 3,5 Dukas, P. 1865-1935 30 Dupré, M. 1886-1971 11 Dussek, F. 1766-1816 11 Dussek, J. 1760-1812 14 Dvorák, A. 1841-1904 12,15,18 Dyson, G. 1883-1964 11 Edwards, R. b1943 2,26 Elgar, E. 1857-1934 4,6,18,25,29 Enescu, G. 1881-1955 28 Ernst, H. 1814-1865 11 Falla, M. de 1876-1946 3,15 Farrenc, L. 1804-1875 21 Fauré, G. 1845-1924 2,5,14,16,26 Field, J. 1782-1837 5,19,21 Foote, A. 1853-1937 19 Forqueray, A. c1672-1745 21 Forqueray, J-B-A. 1699-1782 21 Foss, L. 1922-2009 23,26

Franck, C. 1822-1890 10,13,20,28 Frescobaldi, G. 1583-1643 31 Froberger, J. 1616-1667 17 Fux, J. 1660-1741 17 Gabrieli, G. c1556-1612 1 Geminiani, F. 1687-1762 18,31 Gershwin, G. 1898-1937 11,19,27 Gesualdo, C. c1561-1613 3,5 Gibbons, C. 1615-1676 28 Ginastera, A. 1916-1983 29 Giuliani, M. 1781-1829 12 Gjeilo, O. b1978 5 Glanville-Hicks, P. 1912-1990 9,18 Glazunov, A. 1865-1936 14,18,21 Glinka, M. 1804-1857 2,6,7,19,23 Gluck, C. 1714-1787 16 Godard, B. 1849-1895 22 Gounod, C. 1818-1893 18 Grainger, P. 1882-1961 26 Granados, E. 1867-1916 10,20 Grandval, M. 1828-1907 7 Graun, C. 1704-1759 2 Grieg, E. 1843-1907 9,14 Grofé, F. 1892-1972 27 Guastavino, C. 1912-2000 17 Handel, G. 1685-1759 11,29 Harris, R. 1898-1979 29 Harvey, J. 1939-2012 12 Hasse, J. 1699-1783 16 Haydn, J. 1732-1809 2,4,6,12, 16,18,19,23,25,27,30,31 Haydn, M. 1737-1806 27 Henderson, M. b1941 12 Herschel, W. 1738-1822 4 Hill, A. 1870-1960 26 Hindemith, P. 1895-1963 13 Holewa, H. 1905-1991 16 Honegger, A. 1892-1955 3 Huie, J. 20th c 5 Hummel, J. 1778-1837 18,24 Ireland, J. 1879-1962 12 Isaac, H. c1450-1517 17 Ives, C. 1874-1954 19 Janácek, L. 1854-1928 11 Jenkins, K. b1944 11 Joachim, J. 1831-1907 3,16 Jommelli, N. 1714-1774 12,31 Jongen, J. 1873-1953 19 Josquin Desprez. c1440-1521 3 Kabalevsky, D. 1904-1987 5,16 Kalinnikov, Vasily. 1866-1901 14,19 Kalliwoda, J. 1801-1866 12,16,19 Kats-Chernin, E. b1957 2,11,26 Kayser, I. 1712-1771 5 Kerll, J. 1627-1693 17 Khachaturian, A. 1903-1978 31 Koechlin, C. 1867-1950 4,7,21,26

Koehne, G. b1956 25 Korngold, E. 1897-1957 7,21,24 Kozeluch, L. 1747-1818 27 Kreisler, F. 1875-1962 23 Kreutzer, C. 1780-1849 19 Kreutzer, R. 1766-1831 11 Krommer, F. 1759-1831 19 Kuhlau, F. 1786-1832 5 Kurtág, G. b1926 17 Lalo, E. 1823-1892 23 Lang, M. 1867-1972 4 Larsson, L-E. 1908-1986 9 Leifs, J. 1899-1968 24 Liszt, F. 1811-1886 4,7,10,13,20,23,24,25,27 Litolff, H. 1818-1891 7 Locatelli, P. 1695-1764 25 Lovreglio, D. 1841-1907 10 Lully, J-B. 1632-1687 28 Lyapunov, S. 1859-1924 3,8 Machado, C. b1953 19 Maderna, B. 1920-1973 5 Mahler, G. 1860-1911 23,26,28 Mancini, F. 1672-1737 8 Marais, M. 1656-1728 31 Marcello, A. 1684-1750 24 Marcello, B. 1686-1739 24 Marenzio, L. 1533-1599 3 Martines, M. 1744-1812 25 Martini, Johannes. c1440-c1498 3 Martinu, B. 1890-1959 2,3,16,30 Marx, J. 1882-1964 13 Mayer, J. 1930-2004 5 Mendelssohn, F. 1809-1847 12,19,20,21,23,24,27,28,30 Mendelssohn, Fanny. 18051847 14,21,27 Menotti, G. 1911-2007 27 Mertens, W. b1953 19 Milhaud, D. 1892-1974 14,17 Moeran, E.J. 1894-1950 5 Monte, P. de 1521-1603 17 Montéclair, M. de 1667-1737 28 Monteverdi, C. 1567-1643 24 Moscheles, I. 1794-1870 26 Mouret, J-J. 1682-1738 25 Mozart, W. 1756-1791 1,2,4,7, 12,15,16,17,18,20,21,23,25, 27,28,30,31 Muffat, Gottlieb. 1690-1770 31 Mussorgsky, M. 1839-1881 1,11 Myaskovsky, N. 1881-1950 4,25 Nielsen, C. 1865-1931 23,30 Nyman, M. b1948 5 Offenbach, J. 1819-1880 9,13 Onslow, G. 1784-1853 5,23 Pachelbel, J. 1653-1706 17 Paderewski, I. 1860-1941 6 Palmgren, S. 1878-1951 24 Parcham, A. 17th-18th c 28 Parry, H. 1848-1918 13

Pärt, A. b1935 5 Pasculli, A. 1842-1924 10 Penderecki, K. b1933 2,14 Piazzolla, A. 1922-1992 8,23,29 Pierné, G. 1863-1937 2 Pinto, G. 1785-1806 26 Piston, W. 1894-1976 23 Planquette, R. 1848-1903 22 Pleyel, I. 1757-1831 24 Potter, C. 1792-1871 30 Poulenc, F. 1899-1963 21,25 Prokofiev, S. 1891-1953 9,10,30 Puccini, G. 1858-1924 1,8,15 Purcell, H. 1659-1695 5 Rachmaninov, S. 1873-1943 4,23,31 Raksin, D. 1912-2004 11 Rameau, J-P. 1683-1764 28 Rangström, T. 1884-1947 16 Rathbone, J. 20th c 8 Rautavaara, E. 1928-2016 9,10,18,24 Ravel, M. 1875-1937 3,5,7,12,17,20,23,24 Rebel, J-F. 1666-1747 28 Reger, M. 1873-1916 31 Respighi, O. 1879-1936 2,6,11 Rheinberger, J. 1839-1901 13 Ries, F. 1784-1838 12 Riisager, K. 1897-1974 22 Rimsky-Korsakov, N. 1844-1908 25 Rodrigo, J. 1901-1999 10,18 Rojas, D. b1974 26 Rose, J. b1951 2 Rossini, G. 1792-1868 8,9,14,23,28,29,30 Rota, N. 1911-1979 11 Saariaho, K. b1952 12 Saint-Georges, J. 1739-1799 30 Saint-Saëns, C. 1835-1921 3,5,20 Salieri, A. 1750-1825 5,29 Sallinen, A. b1935 16 Sarasate, P. de 1844-1908 7 Sartorio, A. 1630-1680 24 Scarlatti, A. 1659-1725 2,23 Scelsi, G. 1905-1998 5 Schmitt, F. 1870-1958 2 Schoeck, O. 1886-1957 30 Schoenberg, A. 1874-1951 26 Schubert, F. 1797-1828 1,3,4,5,7,12,16,17,18,23,28 Schuman, W. 1910-1992 19,23 Schumann, C. 1819-1896 6 Schumann, R. 1810-1856 5,7,9,11,19,25 Schütz, H. 1585-1672 5 Sculthorpe, P. 1929-2014 24,26 Shankar, R. b 1920 5 Sherwin, M. 1902-1974 11 Shostakovich, D. 1906-1975 4,7,9,12,13,20,26,31

Sibelius, J. 1865-1957 3,4,6,9,15,18,20,24 Sirmen, M. 1745-1818 21 Skeats, H. 1757-1831 5 Skryabin, A. 1872-1915 14 Smetana, B. 1824-1884 4,15 Smetanin, M. b1958 11,26 Soler, A. 1729-1783 10 Sor, F. 1778-1839 10,15 Sousa, J.P. 1854-1932 25 Spohr, L. 1784-1859 2,20,26,29,30 Stamitz, C. 1745-1801 5 Stamitz, J. 1717-1757 11 Stanford, C. Villiers 1852-1924 19,24,26 Stenhammar, W. 1871-1927 8 Stölzel, G. 1690-1749 20 Strauss, R. 1864-1949 4,15,16,24 Stravinsky, I. 1882-1971 3,21,29 Suk, J. 1874-1935 11 Sullivan, A. 1842-1900 4,5,18 Svendsen, J. 1840-1911 16 Sweelinck, J. 1562-1621 12 Szymanowski, K. 1882-1937 2 Tárrega, F. 1852-1909 10 Tausig, C. 1841-1871 2 Tchaikovsky, P. 1840-1893 10,11,12,13,16,19,23,29,30 Telemann, G. 1681-1767 8,12 Thalberg, S. 1812-1871 10 Thomas, A. 1811-1896 11 Thomson, V. 1896-1989 28 Todd, W. b1970 26 Tomlinson, E. 1924-2015- 24 Tortelier, P. 1914-1990 13 Tromlitz, J. 1725-1805 9 Tubin, E. 1905-1982 8 Turina, J. 1882-1949 6,10 Turner, J. b1983 30 Uccellini, M. c1603-1680 8 Vachon, P. 1731-1803 11,18 Valen, F. 1887-1952 16 Vali, R. b1952 5 Vaughan Williams, R. 1872-1958 1,10,16,17,18, 24,25,26 Verdi, G. 1813-1901 20,23,31 Vitali, G. 1632-1692 7 Vivaldi, A. 1678-1741 6,10 Wagenseil, G. 1715-1777 11,17 Wagner, R. 1813-1883 18 Wallace, V. 1812-1865 10 Walton, W. 1902-1983 3,31 Weber, C.M. 1786-1826 9,16 Wert, G. de 1535-1596 3 Wesley, S. 1766-1837 26 Wesley, S.S. 1810-1876 12 Widor, C-M. 1844-1937 21 Wieniawski, H. 1835-1880 20 Wolf-Ferrari, E. 1876-1948 1,5 Ysaÿe, E. 1858-1931 11 Zeller, C. 1842-1898 4

Key Music duration is shown after the record and citation Orchestra Ch & O: Chorus & RTO: Radio & Television Orchestra CO: Chamber Orchestra Orchestra RTV SO: Radio and FO: Festival Orchestra Television Symphony NO: National Orchestra NSO: National Symphony Orchestra SO: Symphony Orchestra Orchestra PO: Philharmonic Orchestra TO: Theatre Orchestra alto: male alto RO: Radio Orchestra ban: bandoneon RSO: Radio Symphony

bar: baritone bshn: basset horn bass: bass bn: bassoon bass bar: bass baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

db: double bass dbn: double bassoon did: didjeridu elec: electronic fl: flute fp: fortepiano gui: guitar hn: french horn hp: harp hpd: harpsichord

mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder

sax: saxophone sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin

August 2018

41

FRENCH ECCENTRICS

ELAINE SIVERSEN NOTES SOME COMPOSERS’ FOIBLES French composer and brilliant pianist CharlesValentin Alkan was known for his eccentricity and his life was as odd as his death. Apparently he fainted and, in reaching for support, brought a heavy coat-umbrella rack down upon himself.

Before that, after a stellar career, he retreated into his private world for about 20 years, shunning public attention Erik Satie to the point of being a Charles-Valentin Alkan recluse. During this time, when a government official brought him the The colourful figure of Erik Satie is often news of a state honour which he had been regarded as the quintessential eccentric awarded, Alkan responded saying that it was French composer. He even referred to himself not convenient as he was having his dinner as a ‘phonometrician’ (someone who measures and slammed the door in the official’s face. sounds). He was prone to playing hoaxes on Just as suddenly as he had retreated, he the musical world, the first being when he returned to public performance once more. published an announcement of the premiere

of Le bâtard de Tristan, an anti-Wagnerian opera that he probably never even composed.

A number of Satie’s piano compositions bear tongue-in-cheek titles such as Véritables préludes flasques pour un chien (Flabby preludes for a dog). He channelled his interest in the medieval age into a peculiar secret hobby: in a filing cabinet he kept a collection of imaginary buildings described as being made out of metal, which he drew on little cards.

On occasion, he would publish anonymous small announcements in local journals, offering some of these buildings for sale or for rent described, for example, as a ‘castle in lead’.

You can hear music of these composers at 1pm on Wednesday 1 August.

In Conversation: Richard Gill, AO & Simon Moore North Sydney Community Centre Friday 24 August, 6:30-8:30pm, $20 www.northsydneycentre.com.au

MUSICAL FAMILIES

ELIZABETH HILL EXPLORES FATHER AND SON RELATIONSHIPS Thomas Arne is generally remembered for a handful of songs, yet he is regarded as the most important English composer of the 18th century. His musical taste was largely formed at the Opera, and he taught his sister, later famous as the actress Mrs. Cibber, and his brother to sing.

begun to decline in popularity in favour of the cello. Today, modern viol players regard Antoine and Jean-Baptiste’s music as some of the most technically and harmonically challenging in the instrument’s repertoire.

As a Catholic Arne was barred from writing for the Court and the Anglican Church but made up for this with a prolific career in the London theatre. His early melodic style was natural and elegant, owing something to Scots, Irish and Italian sources; his later music became more Italianate and ornamented. His legacy includes some odes, the oratorio Judith, symphonies, overtures, keyboard concertos, chamber music and many fine songs, particularly those set to texts of Shakespeare.

David Oistrakh is recognised as one of the greatest violinists of his time. Often referred to as the ‘Paganini of the East’ it has been said that when he played, one felt there was nothing coming between the composer and the listener. He believed that a violinist’s essence was communicated through clever and subtle use of the bow, and to this end he developed a technique that was equally capable of producing delicate expressive nuances and great volume and projection.

His son Michael worked primarily as a composer of stage music, writing several songs for London’s pleasure gardens, where Londoners went to hear music from the most notable composers and performers of the day. He also wrote nine operas, collaborated on at least 15 others, and wrote a small amount of music for the harpsichord and organ. Despite a successful musical career, his interest in alchemy, a hobby that soon turned into an obsession, ruined him financially and he died in poverty in 1786.

The phrase ‘like father, like son’ has often been used to describe musical family legacies, and in the case of Antoine Forqueray and his son JeanBaptiste it was hard to distinguish one from the other. Both were celebrated as child prodigies and both went on to hold the coveted position of Musician of the King’s Chamber in the court of Louis XIV.

Thomas Arne on trumped up charges; in 1725 he even schemed to have him exiled from France.

Antoine’s obituary noted him as the author of some 300 pieces for viol, but he is mainly remembered for 32 pieces for viol and continuo published posthumously by his son, and for his son’s transcriptions of these works for harpsichord. Jean-Baptiste enjoyed a successful career as a performer, teacher and composer during a period when the viol had

Antoine was a younger contemporary of Marin Marais, the renowned viol player, but their styles were completely different.

While Marais’ style was praised for its sweetness and French sensibility, Antoine’s was dramatic and Italianate. It was said that Marais ‘played like an angel, and Forqueray like the devil’, with his compositions being so difficult that only he and his son could execute them with grace.

However, beneath the surface of this father-son image, was a tumultuous relationship. Antoine was envious of his son’s musical talent and had him imprisoned Antoine Forqueray

Always a champion of his Soviet contemporaries, he added their new compositions to his already broad repertoire and was the dedicatee of numerous violin works

by Shostakovich, Prokofiev and Khachaturian.

A whole generation of Soviet violinists numbered among David Oistrakh’s pupils, first and foremost being his son Igor. Unlike the brittle Forqueray relationship, this father and son played and recorded in a unique duo for 27 years in works for two violins or for violin and viola. Although Igor has his own sound and unique style, he is regarded by critics as equal to his father in virtuosity, and has had a spectacular career in his own right, both as a soloist and a conductor.

Music of these fathers and their sons will be broadcast in Musical Families on Tuesdays 7 and 21 August at 2pm.

David Oistrakh August 2018

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What’s On ALL BEETHOVEN CONCERT Sydney University Graduate Choir/ Christopher Bowen OAM Soloists: Anita Kyle, Agnes Sarkis, Nicholas Jones, Simon Lobelson Sunday 12 August 2018, 3pm-5pm Great Hall, University of Sydney Tickets: Adults $50, pensioners $45, students $25 Bookings: sydunigradchoir.eventbrite.com, or at the door Website: https://www.facebook.com/ SydneyUniversityGraduateChoir/

Sydney University Graduate Choir presents its August concert dedicated entirely to the work of Ludwig van Beethoven. The concert features the great Mass in C major, op 86 and the Cantata on the death of Emperor Franz Joseph, WoO87 for full choir, orchestra and soloists.

The Mass was composed in 1807 when

Beethoven was almost completely deaf, and reveals a vivid and intensely personal response to the traditional Mass text. The beautiful Cantata, composed in Bonn when Beethoven was just 19, gives us a glimpse into the mind of the youthful composer while also revealing his distinctive personal style.

SCHUBERT SONGS

The Ensemble brings you a stunning selection of his most-loved songs in newly commissioned chamber arrangements for string quintet and baritone, interwoven with a selection of Soirée movements from French composer Félicien David’s Les quatre saisons, a series of moving yet almost entirely unknown pieces for string quintet with double bass.

Australian Haydn Ensemble/Skye McIntosh David Greco, baritone Saturday 11 August, 7pm Utzon Room, Sydney Opera House Bookings: (02) 9250 7777 or www.sydneyoperahouse.com Sunday 12 August, 3pm Independent Theatre, North Sydney Bookings: (02) 9409 4462 or www.theindependent.org.au Tickets: $30 - $85 Further information: www.australianhaydn.com.au Renowned Australian baritone David Greco joins AHE for a magical program interwoven with Schubert’s Lieder and chamber music.

Schubert’s Lieder are powerful and sublime.

ENJOY, LEARN, DISCUSS LECTURE SERIES Is it on Tape?

Presenter: Derek Parker Sunday 19 August, 2.30pm Fine Music Centre 72-76 Chandos St, St Leonards Bookings and information 9439 4777 or finemusicfm.com/ELD

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Derek Parker, who made his first broadcast over 60 years ago, remembers the triumphs and disasters of life as a radio man-of-allwork: programs which soared and programs which plummeted, and interviews with the famous and infamous, including Georg Solti and Malcolm Sargent, Margot Fonteyn and Rudolph Nureyev, Michael Tippett and Malcolm Arnold, John Gielgud and Judi Dench. It was often easy enough to pin them down but getting their voices safely on tape was another matter.

David Greco, one of Australia’s finest baritones, has performed throughout Europe with cutting-edge early music ensembles including the Freiburg Baroque Orchestra, the Orchestra of the Age of Enlightenment, the Academy of Ancient Music and the Amsterdam Baroque Orchestra.

Audiences will also have a rare opportunity to hear movements from Schubert’s emotive String Quartet, Rosamunde, performed on period instruments.

DISSONANT VOICES

LAURA-JAY MATHISON DISCUSSES A DISTINCTIVE OPERATIC STYLE When one thinks of ‘nationalism’, perhaps at first glance baroque opera does not appear to be the place to find it. However, by the end of the 16th century France and Italy had developed distinctive musical cultures that developed further over the course of the following century and beyond. By the late 1600s, French musical culture had largely come under the control of Louis XIV (16381715) and musical activities were concentrated at Versailles and several establishments in Paris that were under royal control.

Pierre Perrin (c1620-1675), the French poet and librettist, was one of the earliest to exert an influence on the cultivation of French musical genres and the development of the tragédie lyrique (also referred to as tragédie en musique). In 1669, Perrin was awarded the sole privilege of establishing musical academies in France to stage musical spectacles in the French language ‘on the footing of those of Italy’. He founded what eventually became the Opéra de Paris. He, among many others at the time, lamented such things as ‘the insufferable length of librettos, wearisome arias and artificial poetry’ that he found in Italian opera and deliberately sought to avoid them. Perrin wrote the libretto to Robert Cambert’s Pomone (1671), credited as being the first French opera. After Perrin’s imprisonment for debt in 1672, his position was accorded to Jean-Baptiste Lully (1632-1687).

Lully (ironically Italian born but later a naturalised French citizen) was a favourite dancer and composer at the court of Louis XIV. By 1661, he had come to occupy the highest position at the Royal Court: Surintendant de la musique de la chambre du roi and subsequently became almost solely responsible for the further cultivation of a distinctive French musical style both during and after his lifetime.

Lully’s position was further elevated by a royal decree issued by Louis XIV in 1673. This forbade the use of dancers and more than two voices and six violins in any stage performance throughout France, blocking the possibility of musical progress outside of Paris and the royal court, as Louis XIV wished the French to ‘assert themselves against the Italians’ in all cultural matters. This also allowed Lully to gain control of the Académie Royale de Musique where he staged many of his tragédie lyriques after the expulsion of the residing Italian troupe. This genre, which included such works as Proserpine (1680), Persée (1682), Roland (1685) and Armide (1686), came to dominate the French operatic stage and to exemplify a style that was distinctly French.

Jean-Baptiste Lully Lully disliked Italian recitative, and his own style was much closer to the spoken word through his use of monosyllables, active bass and minimal embellishments. Unlike Italian recitative, it did not serve to advance the plot to the same extent. Arias in Italian opera were often embellished and written to show a specific singer’s ability (such as Farinelli’s) to the best possible advantage and, unlike French opera, made extensive use of castrati.

In contrast to the typical three-act Italian operas, tragédies lyriques consisted of five acts, beginning with a French-style overture followed by a prologue that was intended to represent allegorically the triumphs (real or imagined) of Louis XIV. They also featured mythological plots, which nevertheless represented actual contemporary events and figures.

After Lully’s death in 1687 and Louis XIV’s in 1715, the French musical climate became increasingly receptive to the adoption of Italian musical styles and Jean-Philippe Rameau (1683-1764) came to replace Lully as the pre-eminent composer of French opera. He continued many of Lully’s innovations including the use of choruses, the focus on comprehensiveness of text and the continuity of music (as opposed to the rigid separation of aria and recitative in Italian opera seria).

Despite these changes in style, Rameau’s

debut work, Hippolyte et Aricie (1733), was divisive, with many seeing Rameau’s harmonic innovations as an attack on the French musical tradition. He did, however, go on to produce several more tragédies en musique and several works in the lighter genre of opéra-ballet, eventually becoming Compositeur du cabinet du roi in 1745.

Rameau was later embroiled in the querelle des bouffons (quarrel of the comic actors) of 1752-54, a furious war of words where defenders of French and Italian musical and operatic traditions defended the relative merits of each. It was sparked by a performance of Giovanni Battista Pergolesi’s La serva padrona at the Académie Royale de Musique performed by a troupe of Italian comic actors.

Rameau’s music was accused of being too complicated when compared with the simplicity of the Italian works and it eventually went out of fashion. The influence of Italian opera became more pervasive throughout French musical genres, coming to dominate European musical life during the latter half of the 18th century.

Nonetheless, the importance of Perrin, Lully and Rameau in developing a distinctly French style of opera cannot be underestimated.

Excerpts from some of these operas can be heard in The Rise of French Opera at 1pm on Tuesday 28 August.

August 2018

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Classical CD Reviews ALFRED BRENDEL LIVE IN VIENNA honorary member of the Vienna Philharmonic, Schumann: Piano concerto in A minor, op 54 Brahms: Variations on a theme of Handel, op 24 Alfred Brendel, piano Vienna PO/Simon Rattle Decca 483 3288

::::: Pianist Imogen Cooper tells that when she began lessons with Alfred Brendel, he made her play the same chord over and over again for an hour until she had the balance and weight in each finger absolutely correct. It’s that sort of attention to detail which has made Brendel one of the greatest pianists of the 20th and 21st centuries. Not for nothing is he known as the thinking pianist, and also as one of only three pianists ever to be made an

HOME

Greta Bradman, soprano Adelaide Chamber Singers Adelaide SO/Luke Dollman Decca 481 6564

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with which he performs on this CD. His version of the Schumann Piano Concerto carries all the grace and balance one would expect from Brendel. The work’s technical demands are considerable and Brendel handles them with aplomb. Given that in 1841, when this concerto was completed, Schumann was only just coming to terms with writing for full orchestra it’s easy for a lesser pianist to go somewhat astray, but here Brendel keeps the show firmly on the rails.

The other work is Brahms’ Variations on a theme of Handel and it’s here, where the solo piano is completely exposed, that Brendel really displays his artistry. Based on a very simple theme Brahms weaves 25 ever-more complicated variations and Did you know that instead of wasting his time trying to strike a ping-pong ball against a water tank, Donald Bradman could have been a songwriter? Well almost, because although his solitary effort on this album, sung by his granddaughter Greta, shows promise, alas, it isn’t going to shake the musical world. His opus Every day is a rainbow day for me was written with his wife in mind. It’s very much a lyrical song and fits nicely with the rest of the album.

The arrangements, mostly by Richard Mills, are nostalgic and very pleasant. Also included are the hymn Let us break bread together, Mendelssohn’s O for the wings of a dove, Franck’s Panis angelicus, Dvorák’s Songs my mother taught me, Foster’s Beautiful dreamer, Bach/Gounod’s Ave Maria and many others.

THE VOICE OF LOVE

Music by Phillip Wilcher Jeanell Carrigan, piano with Minah Choe, cello; Hugh Ouyang, piano Wirripang Wirr 088 :::½ Sydney composer Phillip Wilcher, whose compositions have been variously described as beautiful and atmospheric, was championed by Miriam Hyde, who wrote that she ‘found great satisfaction in the fact that we – Australia – have one composer who can succeed in a medium of sensitivity’.

The compositions are mostly miniatures played by pianist Jeanell Carrigan. The most substantial work is The maiden voyage where the cello charts the stately progress of a tall ship while two pianos (the second played by Hugh Ouyang) illustrate 46

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ends with a marvellous contrapuntal fugue.

It’s piano playing at its very best. These are retrospective recordings: the Schumann from a March 2001 concert and the Brahms from June 1979. Twenty-two years divide the two, but Brendel’s playing remains constant. There have been few better.

Michael Morton-Evans

I reviewed Ms Bradman’s previous album of operatic arias and this recording is an improvement. However, she still has a voice that is a bit too broad and not entirely focused which makes her words slightly indistinguishable. She has sung Mimi in La bohème at the Sydney Opera House in 2017 and toured Australia with various other singers. Anyway, this is a most entertaining CD and Ms Bradman carries it off with a certain aplomb. Perhaps it could be a birthday gift for grandma? I’m sure she’d love it.

Randolph Magri-Overend

the rippling effects of waves and breezes.

A similar effect is discernible in Barcarolle.

Wilcher’s music has been described as ranging ‘from Romantic to Impressionistic to Contemporary’. Works bearing the hallmarks of Romanticism are Five nocturnes for piano left hand which are spare, structured and lyrical, and Vocalise, which draws on the cello’s affinity with the human voice.

The notable impressionistic works here are I would like to paint as the bird sings, a set of seven piano pieces based on paintings by Monet, and Talatat, a suite for solo piano with Egyptian influences. The first movement of Talatat is reminiscent of Satie’s Gymnopédies before becoming more stately; the second movement is meditative and the third invokes the scuttling nature of the scarab beetle. The most contemporary

sounding work is The sorrow of angels with an anguished Overture preceding a restrained second movement that features sustained notes descending towards silence.

The voice of love is by no means adventurous, but it is unfailingly charming and beguiling.

Paul Cooke

Classical CD Reviews ORAVA QUARTET

Greta Bradman, soprano Tchaikovsky - Rachmaninov - Shostakovich DG 481 6876

:::: This debut disc of all-Russian composers heralds the arrival of the Orava Quartet on the international scene. The Quartet was founded in 2007 by the Kowalik brothers, Daniel (violin) and Karol (cello), and violist Thomas Chawner, who were joined in 2011 by second violin, Daniel Dalseno. These young Australians were mentored by the Takács Quartet at Colorado University in 2012-14. Their youthful exuberance belies the degree of musical maturity evident, with distinct individual lines combining to form a finely balanced unity.

Tchaikovsky’s String quartet no 1 in D, op 11 comprises four movements, of which

GEORG PHILIPP TELEMANN Six Concerti Hans-Dieter Michatz, recorder Monika Kornel, harpsichord Move MCD 576

:::: Genial Telemann. Tasteful Telemann.

Prolific Telemann. Adjectives all true but not capturing the esteem in which this composer was held in his own time. He was the most famous composer in Germany, feted in Paris at the Concert Spirituel and admired (and copied) by Handel in London. This new recording is a most welcome addition to the growing body of works restoring his fame and prestige to modern listeners.

The concerti are so named because they are a ‘concerted effort between instruments of

VIVALDI GLORIA

Julia Lezhneva; Franco Fagioli Swiss RTV Ch; I Barocchisti/Diego Fasolis Decca 483 3874

:::: The Swiss organist-conductor, Diego Fasolis, directs the frequently paired I Barrochisti ensemble and the Swiss Radio and TV Chorus with the verve and ‘cut’ to be expected from someone steeped in historically informed performance of the baroque. Has he succeeded in getting more from this popular Gloria than his countless predecessors?

The choir and orchestra are a tried and tested team. In Julia Lezhneva he has chosen for the motet Nulla in mundo pax sincera, RV630 a soprano of miraculous agility and a rare ability to restrain her vibrato, both very desirable

the famous second movement Andante cantabile is more lyrical than the Borodin String Quartet’s rather melancholic version.

The first movement highlights the group’s rich warm tone while the brilliant passages in the third movement Scherzo and sonata-rondo final movement enable the Quartet to display its boundless energy and rhythmic verve.

Rachmaninov’s First String Quartet is unfinished and comprises only two movements.

It was composed when he was a Moscow Conservatory student and was influenced

by Tchaikovsky. The melodic first movement Romance and second movement Scherzo remind one of the second and third movements of the aforementioned Tchaikovsky Quartet.

Shostakovich’s String quartet no 8 in C minor, op 110 is the most well-known of his 15 quartets.

Orava sensitively portrays the torment, isolation and despair of an autobiographical

work dedicated to ‘Victims of Fascism and War’.

Rachmaninov’s Vocalise, arranged for soprano (sung by Greta Bradman) and double string quartet by Richard Mills, is listed as a bonus but seems more of an afterthought.

equal standing’ rather than the more usual definition of solo instrument with orchestra.

Hans-Dieter Michatz and Monika Kornel have such a natural affinity for Telemann’s music (and each other) that on listening to this CD it’s easy to imagine Telemann himself playing the recorder with his favourite harpsichordist.

Concerto no 2 is especially beguiling, played as it is on a tenor recorder (after an original

by Hotteterre of Paris) that is commandingly voiced with a rich and strong tone and very fast and clear articulation. Hans-Dieter uses these qualities in the beautiful and searching opening largo where there is ample opportunity for tasteful ornamentation that enhances rather than obscures the tune.

I recommend listening to these concerti one at a time. This will give a better appreciation of Telemann’s conception of each concerto, and

the performers’ interpretations of each. The booklet has Hans-Dieter’s description of the music, a complete list of the instrumentarium and great colour photos of the recorders with the Hotteterre tenor taking pride of place.

assets for this highly operatic composer’s sacred music. The Argentinian counter-tenor Franco Fagioli is an inspired choice for the Nisi Dominus, RV608 (a setting of Psalm 126), the equal of Lezhneva in the coloratura department, and blessed with a sweetness of tone which makes his voice almost feminine.

Almost. Because the problem arises with the headline work, Gloria, RV589. Written originally for performance by the girls of the orphanage where Vivaldi worked, modern performances use the SATB arrangement of Alfredo Casella who, in 1926, found the manuscript and revived Vivaldi’s reputation.

Modern performances invariably use female soloists. Whether Vivaldi would have objected to the use of castrati in place of female singers is open to conjecture, but he would surely not have used one of each. Fasolis’ decision

to do so introduces a discontinuity of texture into the duets which will unsettle some.

This CD is notable for the revelatory accounts of the ‘minor’ works but be prepared to ‘keep an open mind’ about the famous Gloria.

Jennifer Foong

Robert Small

Tom Forrester-Paton

August 2018

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Jazz CD Reviews DON’T STOP HERE

Harry Mitchell Group www.harrymitchellpianist.bandcamp.com

:::: Harry Mitchell has progressively been evolving as a pianist, composer and band leader since he was 13. As a follow-up to his self-titled debut album, on his second release he has again assembled his dream team of musicians from Perth: saxophonist Jamie Oehlers, drummer Daniel Susnjar, guitarist Jeremy Thompson and the bassist Karl Florisson, all of whom have their own strong musical voices.

HARLEY CARD

The Greatest Invention DYM 003

:::½ Those of us who have enjoyed the hybrid blend of guitarist James Muller with Will Vinson’s alto will know just how effective the guitar and saxophone are as lead instruments in front of the traditional piano, bass, drums trio. In this recording Toronto guitarist Harley Card and fellow Torontonian David French (here playing tenor saxophone) form textures just as intricate in front of the trio made up of Matt Newton piano, Jon Maharaj bass and Ethan Ardelli drums.

Lyrical improvisations are woven through thoughtful arrangements of quite minimalistic compositions in terms of melody. Elsewhere,

Mitchell has a definite vision for his music, one that is tightly arranged but also leaves enough room for inspired soloing. The result is a very clean post–hard ‘bop’ sound that utilises tenor saxophonist Oehlers and drummer Susnjar to solid effect coupled with Mitchell’s ability to prepare and maintain a soft ground upon which the group can build its harmonic architecture.

Mitchell’s deft piano. Harry Mitchell is finding his voice on this outing and that voice has something worth saying and worth hearing.

Barry O’Sullivan

The stylish and subtle guitar underplaying of Jeremy Thompson is augmented with his impressive solos on Transit, Neurosis and Don’t stop here and throughout Jamie Oehler’s saxophone playing is always impressive either blowing hard or just cruising alongside

periods of elegance and understated swing poignantly punctuate what is an overall tasteful contemporary jazz guitar release worthy of repeat listening. Alternatively if you happen to be in Toronto, in an unbridled live setting, I’d imagine the repetition in some of these pieces would allow them to be ideal vehicles in a ‘pressure cooker’ jam session.

before the invention takes shape in the form of Card’s oblique yet appealing improvisation, devoid of unnecessary razzle dazzle. Here is a talent worthy of wider recognition.

Frank Presley

The title track’s inspiration comes from a book written by Ben Irvin called Einstein and the Art of Mindful Cycling. For me this is the highlight track, especially in terms of intense interactions bridged by chamber-like passages of Jon Maharaj’s arco bass. This arrangement seems to inhale and exhale generating forward momentum between piano, saxophone and guitar with the propulsion provided by the broad bass buttresses. Then Ethan Ardelli’s thunderous drum solo emerges

ECHOES OF HARLEM Mat Jodrell Nicholas Records 999466

::::: Australian trumpeter and composer Mat Jodrell’s latest recording echoes the music of one of New York City’s most vibrant and culturally diverse areas, Harlem. Jodrell draws on the rich heritage of Harlem’s music with the title tune composed by one of the area’s most famous inhabitants, Duke Ellington, as well as performing his own original compositions.

In the stellar company of three of New York’s finest jazz exponents: pianist Frank Kimbrough, bassist Jay Anderson and drummer Lewis Nash, the recording delivers an eclectic mix of the old and the new, all centred around the glorious sounds that emanate from Jodrell’s

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trumpet and flugelhorn. Old favourites I gotta right to sing the blues and East of the sun are joyously recreated with flair alongside an Ennio Morricone soundtrack, the Jimmy Rowles masterpiece The peacocks and tunes from Mulgrew Miller and Harold Mabern that allow the band to fully extend and shine.

There’s some astounding drumming from Lewis Nash, and Frank Kimbrough deftly displays why he’s jazz orchestra leader Maria Schneider’s preferred ‘go to’ man for piano, while throughout Jay Anderson’s bass is sensitive, warm and swinging.

It’s an all-star package, beautifully mixed and mastered, aptly showcasing Jodrell’s love of the music and his amazing talent.

Barry O’Sullivan

FOUR LADIES OF JAZZ

SUSAN GAI DOWLING PROFILES A NEW ENSEMBLE Four jazz vocalists with extensive individual careers are now joining together to perform as a vocal ensemble. Over decades of live performances and recordings, they’ve contributed more than many to the history and development of jazz singing in Australia.

Joy Yates, Sandie White, Marie Wilson and Susan Gai Dowling will be known as The Four in this new phase of their careers.

All four of these ‘Ladies of Jazz’ are still in demand at festivals and venues here and overseas, including in such prestige settings as the Sydney Opera House. Each has a fascinating story to tell of her journey through the triumphs and hardships of mastering her craft.

Born in New Zealand of Maori and European parents, Joy Yates came to Australia in the 1960s. Over the five decades of her career Joy has worked here, in Europe, in the United States and in the Middle East and has shared the stage and recorded with performers such as Neil Sedaka, Van Morrison, Cat Stevens, Cliff Richard, Chaka Khan, Andrew Lloyd Webber, Cleo Laine, Elvin Jones, Art Blakey and many more. Here in Australia she regularly performs with her husband, pianist Dave MacRae, and she directs the jazz/gospel vocal group Jubilation. During May 2018 Joy supported fellow Kiwi and Crowded House front man Neil Finn in his production with full orchestra of Out of silence for the Sydney Vivid Festival.

Sandie White is indeed a real pioneer, having started her career in Sydney in 1955.

She quickly became a feature artist on that new medium, television, in which she worked for many years culminating in her own show Cue for Music. She also travelled and worked extensively overseas living for some years in Spain and in England where she headlined at Ronnie Scott’s. Her many achievements include the inaugural Australian Jazz Singer of the Year Award. She has also worked with some of the jazz greats including Ray Ellington, Lionel Hampton, Zoot Sims and Oscar Pettiford, to name a few, and has performed at prestigious venues such as the Don Burrows Supper Club and Kinsella’s. [An article devoted to Sandie White appeared in April Fine Music magazine. Ed.]

Marie Wilson, Sandie White, Joy Yates, Susan Gai Dowling The daughter of an Indian army major, Marie Wilson was born in Calcutta of Anglo-Indian parentage. She also was a pioneer of her profession when she established herself as one of the very few jazz singers in India in the early 1960s. After moving to Australia she quickly gained a reputation as a class performer and has, over the years, been awarded three Mo Awards for jazz singing.

Marie’s first recording I thought about you was not only critically acclaimed locally but became the first Australian vocal jazz album to be released in the United States; it was also released in Japan and the United Kingdom.

As for me, Susan Gai Dowling, I was always going to end up on the stage. As a child growing up in the then tiny fishing village of Tuncurry I was nurtured musically by my English grandmother who led the local band, which even travelled to dances by rowboat. I was singing at local clubs and pubs before I left school and was quickly drawn to the mysteries of jazz. I soon joined a jazz band and since then I have worked and recorded constantly with some of Australia’s jazz legends including Bernie McGann, John Pochée, Bob Bertles and David Levy. I also spent years overseas where my husband and I restored an ancient sailing boat. It was a great experience as

we busked our way to the Mediterranean sailing along the inland waterways of France.

These four masters of jazz singing will be appearing for the first time on stage together in August in a show called Four. The ensemble will be joined by Dave MacRae on piano, Craig Scott on bass and Laurie Bennett on drums.

Every Monday night Peter Nelson and I present The Australian Jazz Scene on Fine Music 102.5. We’ve dedicated a combined 40 years to broadcasting on community radio and bring this experience and expertise to presenting this popular program. We give the low-down on the vibrant local jazz landscape via the latest releases and Peter’s archive of over 1,000 live concert recordings. The program showcases performers who have dedicated many years to creating what we now appreciate as the ‘Australian Jazz Scene’. During the month of August the four very special voices of the jazz singers, who now combine as The Four, will be featured.

Joy Yates, Sandie White, Marie Wilson and Susan Gai Dowling will be heard in individual performances on The Australian Jazz Scene on Mondays 6, 13, 20, 27 August at 10pm.

Would you like a distinctive ring tone for your phone?

The theme used on air as a station ID is in the minor key but the resolving chord in which the minor third interval is sharpened makes the transition from G minor to G major. This harmonic cadence, called a Tierce de Picardie (Picardy third), dates from

at least Renaissance times, and has the effect of brightening the phrase, leading to a feeling of happiness or satisfaction as the music ends. There are four variations of the station sting that can be downloaded from www.finemusicfm.com/news/stationsting August 2018

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FINE MUSIC SCHOOL JAZZ COMBO COMPETITION JEANNIE McINNES REPORTS ON THE INAUGURAL EVENT

May 2018 saw the first round of the inaugural Fine Music School Jazz Combo Competition, which provides an opportunity to showcase the talents of high school jazz performers. Fine Music invited schools to submit their jazz combos for audition before live-to-air performance from our Founders Studio.

In keeping with current technology, auditions were filmed on smart phones and sent electronically, which made the process easily accessible by schools anywhere. The requirement was for an instrumental combo of between three and eight musicians, with at least one rhythm section instrument and no vocalist. The combos had to include ensemble playing and solos, and play pieces of their own choosing within a 12-minute time frame.

r Caringbah High

Five schools applied and were accepted to participate in this initial event: Caringbah High School, Chatswood High School, Knox Grammar School, Northern Beaches Secondary College Manly Campus and St Andrew’s Cathedral School.

This was the first time the students, bar one, had been in a radio station. The one exception was a student who had completed work experience at Fine Music last year and has maintained a connection as a volunteer.

The excitement was clearly evident, and the adrenaline levels helped all to perform at their best. Our sound engineer, Jayson McBride, had the studio set up to create the clearest sound for these groups: they were arranged facing each other rather than facing an audience as they would on stage.

Our adjudication team was headed by George Golla, guitarist, educator and longtime musical partner of Don Burrows. In 1987 George won the first ARIA award for best jazz album with Lush Life, and we are most honoured to have had his participation in this event. We were delighted with the standard of playing by all the groups, and every musician contributed to the sound of their combo as a whole, while solos added to the performance in a positive way. You can hear these performances on our website under the Jazz tab Jazz on Demand.

All five schools have been invited to return for the final round.

Once again, the combos will have time to play several pieces and to ‘wow’ us with their group and solo playing. The winner will be decided by combining the results of the final round with those of the first round. The winning school will be awarded a perpetual trophy (kindly created and donated by jazz musician, composer and sculptor, Jiri Kripac) to display at the school until next year’s event, and will receive studio time for recording. All the schools will receive copies of their performances, photos taken in the studio and certificates to acknowledge their participation.

Please support our young performers by tuning in to 102.5 between 12 noon and 3pm on Saturday 1 September.

50

August 2018

s Chatswood High

r Knox Grammar

s NBSC Manly

r St Andrews

THE ONE WHO GETS THINGS DONE SUE JOWELL TALKS TO JEANNIE McINNES

The old adage that if you want to get something done, ask a busy person, definitely applies to Jeannie McInnes.

In 1977 while she was teaching in Bourke, Jeannie, energetic and innovative and with a sharp eye for an opportunity, began broadcasting in community radio.

“All the schools in the district were encouraged to pool their grant applications to set up a radio station,” she says. The school acquired an AM licence, the only one in the community sector, and used the PE store as a studio. “Presenters came from both the community and the schools, with one-teacher schools sending reports using cassette tape and one microphone,” Jeannie recalls.

When she moved to Sydney, Jeannie began broadcasting at 2SER and then at 2NSB. At the same time, she worked diligently behind the scenes organising popular events for the jazz-loving community. It was a lucky day for 2MBS when in 2010 2NSB changed its music policy and reduced its staff complement.

Together

with

Deb

Evans

and

John

Jeannie McInnes Buchanan, Jeannie joined 2MBS. For many years she had listened to Bruce Johnson, Bill Haesler, Dick Hughes and Derek Davey and had always regarded 2MBS as the pinnacle of jazz music broadcasting.

When it comes to deciding what she likes

best about her work at Fine Music, Jeannie is spoiled for choice. She loves the research required to compile her programs as well as choosing the songs that go well together, but above all she loves the ‘ buzz’: the ‘buzz’ of playing the music and talking about it, and the ‘buzz’ of enthusiasm, friendliness, and commitment of her colleagues. “Fine Music is team run,” she says. “At other stations, one encountered only presenters but at Fine Music there are always others around, going about their many station duties.”

Jeannie’s other keen interest is photography which she exhibits at The Everglades in the Blue Mountains and at the Royal Botanic Gardens.

She has wide musical tastes, but her first love is jazz, which prompts her to challenge those who claim to hate jazz to change their minds by listening to jazz on Fine Music.

“We have converted quite a few to the toetapping enjoyment of the jazz beat!” she says.

Never too old to learn, Jeannie’s work at the station has allowed her to hone her editing and production skills. Above all, with her bright smile, she is never too busy to assist others with the all-important business of getting things done.

PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD, registered under the Co-operatives Act 1992 (NSW); owner and operator of Australia’s first community-operated stereo FM station, 2MBS-FM now known as Fine Music 102.5; annual membership fee is $33 and members are entitled to vote at Society general meetings. Enquiries: admin@finemusicfm.com VOLUNTEERS Fine Music 102.5 is run by volunteers supported by a small team of staff. To find out how to join our volunteers, visit finemusicfm.com or call 9439 4777.

DIRECTORS Chair: David Brett; Deputy Chair: David James; Secretary: Christopher Waterhouse; Lloyd Capps, Andrew Dziedzic; Jeannie McInnes, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; Jazz: Barry O’Sullivan; Technical: Stephen Wilson; Library: Susan Ping Kee; Volunteers: Sue Nicholas; Finance: Norm Chosid; Work Health and Safety: Dennis Oppenheim; Emerging Artists: Rebecca Beare

PROGRAMMERS AND PRESENTERS FOR AUGUST Charles Barton, Angela Bell, Peter Bell, Dan Bickel, Chris Blower, Adam Bowen, David Brett, Barrie Brockwell, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Yola Center, Colleen Chesterman, Lyn Chong, Andrew Clark, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Francis Frank, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Gabi Goddard, Gael Golla, Raj Gopalakrishnan, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Bruce Johnson, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Peter Kurti, Frank Langley, Ray Levis, Krystal Li, Christina MacGuinness, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, Sue McCreadie, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Heather Middleton, John Milce, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Paul Roper, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Rob Thomas, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Simone Vitiello, Ron Walledge, Brendan Walsh, Christopher Waterhouse, Ken Weatherley, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka, Rebecca Zhong.

PROGRAM SUB-EDITORS Jan Akers, Chris Blower, Paul Cooke, Di Cox, Colleen Chesterman, Amal Fahd, Noelene Guillemot, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, John Clayton, Helen Dignan, Lynden Dziedzic, Peter Goldner, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Jonathan Wood, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Marketing Manager: Mona Omar; Program Coordinator: Sophie McCulloch; Office Manager: Sharon Sullivan; Administration Assistants: Krystal Li, Joe Goddard August 2018

51

Fine Music Patrons Titanium Patrons $50,000 and above

Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 2

Platinum Patrons $25,000 - $49,999

Family Frank Foundation, Mr Michael Ahrens, Prof Clive Kessler, Mr Ron Walledge, Mr Cameron Williams, Anonymous 1

Diamond Patrons $10,000 - $24,999 Mr Robert O Albert AO, Mr J D O Burns, Anonymous 5

Ruby Patrons $5,000 - $9,999

Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Bernard Coles QC, Hon Mr Justice David Davies SC, Mr Francis Frank, Ms Jill Hickson Wran, Dr Janice Hirshorn, Mrs Patricia McAlary, Mr Ian & Mrs Pam McGaw, Ms Nola Nettheim, Mr Anthony C Strachan, Anonymous 3

Emerald Patrons $2,500 - $4,999

Mrs Halina Brett, Mr Lloyd & Mrs Mary Jo Capps, Mrs Lorna Alison Carr, Prof Michael Field AM, Mrs Freda Hugenberger, Dr Peter Ingle, Mr Ian Juniper, Mr D & Mrs R Keech, Mr Peter & Dr Linda Kurti, Ms Jeannie McInnes, Mrs Judith McKernan, Dr Andrew Mitterdorfer, Mr Jude Rushbrooke, Mr John Selby, Mrs Joyce Sproat, Ms Wendy Trevor-Jones, Ms Ann Whyte, Mr Stephen and Mrs Therese Wilson, Yim Family Foundation, Anonymous 5

Gold Patrons $1000 - $2,499

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52

August 2018

Silver Patrons $500 - $999

Mr David Branscomb, Mrs Ann Carr-Boyd, Ms Mary Choate, Mr Dom Cottam & Ms Kanako Imamura, Ms Prudence Davenport, Mrs Margaret Epps, Mr Paul Evans, Mr John Fairfax AO, Mr Heinz Gager, Mr Michael and Mrs Rochelle Goot, Mr Paul Hopwood, Ms Sue Jowell, Ms Cynthia Kaye, Mr Gerhard Koller, Mr R J Lamble AO, Mrs Beatrice Lang, Dr Peter Lindberg, Mr Ian K Lloyd, Mrs Meryll Macarthur, Mr M F Madigan, Mrs M A Marsh, Mrs Shirley Ann McEwin, Ms Alison Meldrum, Mr Michael Morton-Evans OAM, Mr Pieter Oomens, Dr Robert Osborn, Ms Susan Ping Kee, Ms Catherine Ruff, Mr Gregory L Sachs, Mrs Ruth A Staples, Mr J Stevenson and Ms J McInnes, Mrs Valerie Stoney, Mrs Marie Thompson, Mr Richard Thompson, Ms Kathryn Tiffen, Mr Larry Turner, Mr Edward John Wailes, Mr Richard Wilkins, Mr Alastair Wilson, Anonymous 11

Bronze Patrons $250 - $499

Ms Jacqui Axford, Mr John Bell, Mr Harold John Benyon OAM, Mrs Patricia and Mr Geoffrey Biggers, Mrs Marion Blin, Mr Christopher Blower, Mr Claus Blunck, Mr Colin Boston, Mr Geoffery Brennan, Mrs A Buchner, Mr Ron Burgess, Ms Deanne Castronini, Mr Norman and Mrs Elizabeth Chosid, Mr David Clark, Mr Phillip Cooney, Ms Elizabeth Corbett, Mrs T Cox, Prof S J Dain, Prof C E Deer AM, Mrs Marie Digby, Hon J R Dunford QC, Mr William G Fleming, Mr Douglas J Fraser, Dr David Gorman, Ms Marilyn Gosling, Ms Diana Ruth Hanaor, Mr Geoffrey Hogbin, Dr David Jeremy, Ms Ruth Jeremy, Mr Bill and Mrs Eva Johnstone, Dr Peter Krinks, Ms M Laurie, Mr Geoffery Magney, Dr Jim Masselos, Dr D S Maynard, Ms Maureen Meers, Ms Ursula Mooser, Mr Donald Nairn, Mr Julius Opit, Dr Gordon H Packham, Mr Denis Patterson, Mr Peter Poole, Dr Brian Quinn, Dr Neil A Radford, Mrs Angela M Raymond, Mr Gwynn Roberts, Dr Michael Shellshear, Ms Wei Mah So, Dr Robin Torrence, Mrs Lynette Windsor, Mrs Robin Yabsley, Mr Thomas Zelinka, Mr Peter Zipkis, Radio Cairo Restaurant & Johnny’s Liquor, Anonymous 25

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