Fine Music Magazine November 2018

NOVEMBER 2018

MAGAZINE

FOR WHOM THE BELL TOLLS ROSSINI OUTSIDE THE OPERA HOUSE HORROR, COMPASSION AND HEALING A TRAGIC TALE OFTEN TOLD

A Captivating Percussionist Delving into his Non-Operatic Music Britten’s War Requiem The Ancient Myth of Pyramus and Thisbe

SYDNEY SYMPHONY ORCHESTRA

BEETHOVEN SEVEN

PROKOFIEV FIVE

Of all the Beethoven symphonies the Seventh is the most thrilling.

Revel in the obsessive, hypnotic rhythms and inexorable power of this awesome symphony.

If you love Prokofiev’s Romeo and Juliet ballet music, you’ll recognise the spirit, the sparkle and emotion of his terrific fifth symphony, a modern Russian classic!

Claire Edwardes percussion Wednesday 7 November, 6.30pm Thursday 8 November, 1.30pm Friday 9 November, 11am* Sydney Opera House

David Robertson Conducts

Claire Edwardes percussion

Monday 12 November, 7pm Sydney Opera House

*Complimentary morning tea from 10am

SPECIAL EVENT

VIENNESE ROMANTICS

“…one of today’s outstanding violinists…”

KORNGOLD & MAHLER Enjoy wonderful music from the luscious Romantic sound world of Vienna when Renaud Capuçon performs Korngold’s exhilarating Violin Concerto.

Then it’s Mahler’s fifth symphony and its famous Adagietto for strings and harp, music straight from the heart!

David Robertson conductor Renaud Capuçon violin

Friday 16 November, 8pm Saturday 17 November, 8pm Sydney Opera House

sydneysymphony.com (02) 8215 4600 Tickets also at: sydneyoperahouse.com 9250 7777

The Guardian

Contents

VOL 45 No 11 2 ‘For Whom the Bell Tolls’ 4 Alla Zingarese 5 Rossini Outside the Opera House 6 Celebrated in His Lifetime

Babi Yar: Breaking the Silence 7 The Great Reconciler 9 Horror, Compassion and Healing 11 Program Guide and Composer List 42 What’s On in Music 43 A Tragic Tale Often Told 44 Music King of the Silver Screen

The Grim Old Master 45 Musical Families 46 Classical CD Reviews 47 Young Composer Daniel Dean

Young Jazz Musicians on Show 48 Jazz CD Reviews 49 Rockin’ in Rhythm 50 Adieu to a Fine Music Writer 51 Curious, Inspired and Talented: Krystal Li

FROM THE CHAIR Little more than a decade ago, if you wanted to listen to 2MBS, you had to be in Sydney and tune your radio to FM 102.5. Then, with internet streaming it was suddenly possible to listen from anywhere in the world where there was an internet connection.

About seven years ago, we started DAB+, a second channel on digital radio.

Driven in part by the arrival of digital, we became Fine Music and began simultaneously broadcasting different streams: for example, classical on 102.5, jazz on DAB+. Digital receivers were slow to take off in Australia, but are now much more affordable and popular. Research indicates around 20% of our audience listens to Fine Music on DAB+.

Both channels are streamed on the internet and we have created apps for smartphones for those who cannot be parted from Fine Music when they don’t have access to a radio or computer.

Now, our latest development is Radio on Demand. Like iView on the ABC and similar services offered by commercial TV channels, this allows you to listen at any time to any of our 102.5 programs broadcast in the previous seven days: catch a favourite program you may have missed or listen again to one that you really enjoyed. It will even allow you to time-shift your listening, which is useful if you are travelling in different time zones.

The service is not currently available for DAB+ broadcasts. I emphasise it is not an archive and covers only the previous seven days. I urge you to give it a try. Go to www.finemusicfm.com and click on the Radio on Demand button on the right of the home page, then follow the prompts.

Just one more way to listen to great music whenever you want!

David Brett Chair, Music Broadcasting Society

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 Editors: Paul Cooke, Elizabeth Hill Sub-editors and Proof readers: Chris Blower, Paul Cooke, Di Cox, Elizabeth Hill, Pamela Newling Contributors: Chris Blower, David Brett, Lloyd Capps, Paul Cooke, Jennifer Foong, Tom Forrester-Paton, David Garrett, Nicky Gluch, Elizabeth Hill, Paolo Hooke, Krystal Li, Jeannie McInnes, Maureen Meers, Pamela Newling, James Nightingale, Barry O’Sullivan, Frank Presley, Paul Roper, Frank Shostakovich, Elaine Siversen 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 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: Claire Edwardes; photo: Jordan Taylor Adams

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 Apologies for the omission of details of September cover image: Nicholas Milton; photo credit Canberra Symphony Orchestra.

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‘FOR WHOM THE BELL TOLLS’ NICKY GLUCH DESCRIBES THE CAPTIVATING PERCUSSIONIST

Claire Edwardes The sound of bells heralds the opening of James MacMillan’s Percussion concerto no 2.

The three-note motif, recurring throughout the work, has a sacred redolence, transcending time and place, and yet the concerto is distinctly of this era. In front of a large orchestra stands a whole gamut of percussion instruments. The soloist darts between them, rests written into the music so that she has time to pick up new mallets, or alternate between the tuned and untuned worlds. As with more traditional concertos, the solo instrument/s can also be found within the orchestral texture. Just as Elgar’s cellist speaks to the cello section, MacMillan’s percussion soloist is in conversation with other percussion.

To Claire Edwardes, who will perform the Australian premiere this month, this is testament to the way MacMillan conceives sound. Even when working within a rhythmic framework, the composer thinks melodically.

The orchestra has long lines, a vocal texture reminiscent of his Catholic upbringing, and thus the rhythmic element which the percussion brings has ‘something to play off’. To Edwardes, as for so many musicians, this is why the gap between chamber and orchestral music may not be as wide as some might perceive. Although the forces are, of course, larger and there is a conductor, the core principles are very much the same. For symphonic audiences, however, the concerto promises to be a unique experience. Although 2

NOVEMBER 2018

Photo: Jordan Taylor Adams

those who sit in the choir stalls may have witnessed the fascinating world of percussion (and indeed the Sydney Symphony is blessed with a particularly friendly section whose members readily engage with those nearby), for many concertgoers percussion is an almost secret entity. It is time it was brought to the fore!

Given the premiere status, it is fitting that MacMillan’s Concerto will be played not once, but in three distinct concerts. In the first two, it will be followed by Beethoven’s Symphony no 7 in A and in the third by Prokofiev’s Symphony no 5 in B flat, also the subject of this article. Opening the first program will be Brett Dean’s Engelsflügel (Wings of angels) and the second and third concerts will open with an Overture by Polish composer (and for a short time, Prime Minister of his country) Ignacy Jan (Ignaz) Paderewski. What links the Paderewski, Beethoven and Prokofiev works, in some form or other, is war and so it is most fitting that the Sydney concerts will take place either side of 11 November, the 100th anniversary of the World War I Armistice.

Written between 1811 and 1812, Beethoven’s Seventh Symphony pertains to the Napoleonic Wars. The premiere took place at a charity concert for wounded soldiers (along with the programmatic Wellington’s victory) with Beethoven not only conducting but giving a patriotic address that included the lines ‘All of us are filled with nothing but the pure feeling of patriotism and the joyful sacrifice

of our powers for those who have sacrificed so much for us’. Imagine how the opening chords would have resounded after such words! True, as MacMillan has said, classical music ‘doesn’t need words or images but … goes right into our souls in a very spiritual way’ (Daily Record, 26 February 2017). However, the way in which music penetrates our very psyche means that it is also much influenced by personal, or global, context and emotion.

For Poland, 11 November marks not only the Armistice but the day of the restoration of its independence. As a member of the Polish National Committee, Paderewski had a direct hand in this feat. Through negotiations with United States President Woodrow Wilson, Paderewski ensured that Poland’s independence was included in the principles of peace agreed in order to end the war.

During the year 1919, Paderewski served as Poland’s Prime Minister and Foreign Minister, ratifying the Treaty of Versailles and securing democratic elections before resigning and returning to his pre-political vocation, music.

The Overture in E flat harks back to simpler times. Written in 1884, when Paderewski was a student of Heinrich Urban, it is sweet and warm in tone. The web portal culture.pl describes the young musician as confident yet romantic, a sentiment that fits this work well; woodwinds are prominent and the piece, unfolding simply over 10 minutes, builds to a calmly triumphant conclusion.

It is a clever amuse bouche (or preview) for a concert which is to become far more dynamic.

Leaving the MacMillan aside, the Prokofiev Symphony is a force in its own right. The composer does not waste an instrument; from the trombones, to the piano and tamtam, each has a decided role in the complex, emotive work. Prokofiev composed the piece in one month in 1944. Not a war work, in its own right, it instead seeks to praise ‘free and happy Man’ symbolising, perhaps, the composer’s hope that humanity would emerge from the atrocities of war. Fate certainly smiled on Prokofiev for the work was premiered on 13 January 1945, the day the Red Army began the East Prussian Offensive and the beginning of the end of the Second World War. The Symphony is in four movements. The first, an Andante, starts with a lyric woodwind melody, a glimmer of light. The second theme, also for woodwind, sits atop a string accompaniment reminiscent of Prokofiev’s ballet world.

It is a true feat that these melodic lines build to such a tremendous climax of unexpected majesty that would have spoken right to the hearts of those at the premiere.

The second movement picks up the pace and energy. It whirrs, from a clarinet melody to a piano motif, each instrument developing the momentum.

Percussion is prominent, far from mere textural accompaniment. It is no wonder that Claire Edwardes admires the piece.

Indeed, she sees David Claire Edwardes Robertson’s decision to program it with the MacMillan as the bringing together of two complementary works. From start to finish the music should thrill, and Edwardes is hoping that audiences come away with ‘a strong impression’.

After the freneticism of the second, the third movement is dreamy and slow. The clarinet, so beloved by Russian composers, captures a sense of nostalgia and the dissonances are those that speak of bigger questions. There is a yearning that transforms into an intense climax, before receding to await resolution in the finale.

As if working out ideas, the final movement begins tentatively, before a more energised motif wins out. Temporarily, a lightness-of-being

is restored but this is Prokofiev and he saves his verdict for the final bar. What audiences then, and now, take from it may differ and it is to this point that MacMillan’s Concerto speaks.

There are 70 years between the time when Prokofiev wrote his Symphony and MacMillan his Concerto. In some ways, the world has changed unrecognisably. In others, there remains lasting echoes of those wars.

Poor Paderewski lived to see his country lose its independence once more but not, perhaps fortunately, to see it taken over by the Soviets. Prokofiev witnessed the latter but died on the same day as Stalin so never experienced the aftermath. MacMillan was born on the threshold of the ‘60s, as the world began a new age, and yet it is his music that was commissioned by London Symphony

to define. There is not ‘one sound’ but rather the unifying feature of the repertoire that, ‘more often than not, has not been heard before’. It is this that makes working in the genre ‘exciting’; the music can be ‘new, different, even shocking sometimes’ for, as Edwardes explains, there is ‘no frame of reference’. Thus Edwardes sees her role as facilitating that framework, passionately performing and promoting new compositions so that they will not merely be premiered, but will be heard again.

Edwardes is therefore the perfect soloist to introduce Australia to MacMillan’s piece.

She is known for her stage presence, aware of, but not focused on, the visual aspect of her work. “People often listen with their eyes,” Edwardes explains. Thus ‘through an awareness of how physical, or visual ... we can draw an audience in’.

This is an idea Edwardes takes through her various modes of expression; be it as a soloist, performing on maracas or drumkit with electronic media (such as on her album, Clairaudient) or directing her group, Ensemble Offspring, in chamber works, Edwardes hones every performance.

On the Sydney Opera House stage, she is sure to captivate, conjuring sounds out of 12 distinct instruments, eyes forward though always in contact with conductor David Robertson and the orchestra. For 25 minutes, Edwardes will navigate the stage but, fascinated as she is by the deeper meaning of a work, the whole is sure to mean more to her than the sum of its many parts. Let your eyes wander, or close them and just listen; it is for you that the bell does toll.

Photo: Jordan Taylor Adams

Orchestra for its Armistice commemoration.

Why? Because MacMillan has always been a political and spiritual composer. His works have been concerned with liberation and ritual practice, questioning and probing humanity in our contemporary age. What is so wonderful about music, however, is that as forward looking as it may be, it may also borrow and augment, building on traditions old and new. That it speaks to us, now, and that it will speak to us in the future is what matters.

Perhaps that is why Claire Edwardes describes the music she champions not as ‘new’ but as ‘the music of our time’. What that encapsulates, she says, is almost impossible

EVENTS DAVID ROBERTSON CONDUCTS Claire Edwardes, percussion Sydney SO/David Robertson DATES AND PROGRAMS Wednesday 7 November, 6.30pm Dean: Wings of angels MacMillan: Percussion concerto no 2 Beethoven: Symphony no 7 in A, op 92 Thursday 8 November, 1.30pm Paderewski: Overture in E flat MacMillan: Percussion concerto no 2 Beethoven: Symphony no 7 in A, op 92 Friday 9 November, 11am Paderewski: Overture in E flat Beethoven: Symphony no 7 in A, op 92 Monday 12 November, 7pm Paderewski: Overture in E flat MacMillan: Percussion concerto no 2 Prokofiev: Symphony no 5 in B flat, op 100 VENUE Sydney Opera House BOOKINGS Sydney Symphony website or Sydney Opera House NOVEMBER 2018

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ALLA ZINGARESE PAUL COOKE REVISITS BRAHMS’ HUNGARIAN DANCES The very first record I ever bought was a 7” [inch] extended play of some Hungarian dances played by Andrés Segovia on the guitar.

As a 15-year-old, it sounded authentic to me. I didn’t know at the time that these pieces were not written for the guitar, nor that the music wasn’t quite original Hungarian folk music.

In the 1850s Brahms started arranging a selection of dance tunes for solo piano, but in 1858 he tried out some as duets with Clara Schumann and by 1868 they were performing them in the more elaborate versions that are familiar to us today. The following year, the first set of ten dances was published for piano duet: Hungarian Dancers their appeal to the domestic market meant that they sold very well and helped Brahms The genesis of Brahms’ dances probably achieve financial security without having to lies in his meeting with the violinist Ede resort to patronage. Solo piano versions were Reményi, who was one of many Hungarian published in 1872, and in 1880 a second set of exiles fleeing their homeland after Austrian 11 dances was published for piano duet. There and Russian forces suppressed an uprising were also contemporary arrangements for there in 1848. They brought music with them: orchestra (some by Brahms, some by Dvorák csárdás and verbunko dance tunes from and others) and for violin and piano, and since the gypsy tradition, and a way of playing then for a wide range of instrumentation. them that emphasised passion, tension

and flamboyance in improvisation and decoration. A recital tour in 1853 had Brahms accompanying Reményi and playing by ear.

Apparently, however, Brahms did not realise that this was not genuine peasant folk music but rather a middle-class commercialisation.

When he had published the first set, he was accused (including by Reményi) of plagiarism; Brahms had seen himself as an arranger rather than originator, but discovered that the themes he had used had already appeared in works by contemporary Hungarian composers.

The second set employed original themes written in a gypsy style, as did movements of a number of his major works such as the Piano quartet, op 25, the Violin concerto, op 77 and the Clarinet quintet, op 115.

To mark the 150th anniversary of the first public performance of the Hungarian dances alla zingarese (in gypsy style), we’re broadcasting a program featuring the dances, with some original and some arrangements, at 1pm on Thursday 1 November.

ANDREY GUGNIN & ARSENY TARASEVICH-NIKOLAEV PROGRAM ARSENY TARASEVICH-NIKOLAEV: MOZART: Fantasia in D minor K.397 LISZT: Transcendental Études Nos.11 and 12 RACHMANINOFF: 6 Moments musicaux Op.16

ANDREY GUGNIN: BACH / BUSONI: Prelude & Fugue in D Major BWV532 SCHUMANN: Arabesque in C Major Op.18 CHOPIN: Piano Sonata No.3 Op.58

Like the perfect pairing of fine wine with a sumptuous degustation menu so is this very special concert combining two extraordinarily talented young Russian pianists – the 2016 Sydney International Piano Competition first and second prize winners Andrey Gugnin and Arseny Tarasevich-Nikolaev.

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DATE & TIME: SATURDAY 10 NOVEMBER 7.30PM VENUE: VERBRUGGHEN HALL, SYDNEY CONSERVATORIUM OF MUSIC TICKETS: $70 Premium, $60 Adult, $54 Conc., $52 Friends $25 Students BOOK NOW: SYDNEYPIANOCOMPETITION.COM.AU (Booking Fee of 30 cents)

ROSSINI OUTSIDE THE OPERA HOUSE DAVID GARRETT DELVES INTO HIS ‘OTHER’ WORKS Do you think you could tell whether a concerto was by Rossini or not? Test yourself by listening on 25 November to a bassoon concerto recently rediscovered, and claimed to be by Rossini. Many scholars doubt the attribution, and one of the strongest arguments against Rossini being the composer is that if he had composed a concerto in 1845 the fact could hardly have been kept quiet. Rossini had been nearly silent for many years, as far as new composition was concerned, yet he was still the most famous of living composers.

After the 1829 premiere of his serious opera Guillaume Tell [broadcast on 14 November] Rossini baffled everybody by retiring from composing for over 20 years. This ‘great renunciation’ was only partly due to ill health. Rossini recovered Gioachino Rossini and enjoyed a new fame for his wit, his love of good food, and the galaxy of talent age’. [The Final Masterpiece, 29 November]. attending his Saturday evening receptions.

His composing silence was broken only once, Rossini’s ‘great renunciation’ is in large part and against his wishes. The Stabat Mater a myth. He only stopped was commissioned in 1831 by a Spanish composing when his health clergyman. A reluctant Rossini agreed on made it too difficult. Admittedly condition that the music should never be medical problems plagued him published or performed in public. In 1837 until at least the mid 1840s but the clergyman’s heirs sold the Stabat Mater the Soirées musicales [13, to a French publisher. Rossini brought a 22 November] dates from the lawsuit and won his case, but the publicity early years of ‘silence’ (1830made it impossible to avoid performance 35). The title refers to Rossini’s and publication. There was intense interest weekly gatherings, musical that Rossini was breaking his silence and the and gastronomic ‘at homes’.

Stabat Mater’s first performance, in Paris on 7 In these solos and duets January 1842, was a triumph. One newspaper Rossini posed as the defender declared that, since Haydn’s Creation, no of the great Italian traditions of musical event had so impressed or moved the vocal writing, threatened by Paris public. [Stabat Mater on 22 November.] new-fangled styles of singing.

Stabat Mater is Rossini’s most famous In 1832 Rossini met the non-operatic vocal work. Discover where woman who was to be his he was coming from as a composer of lifelong companion, and sacred music, and where he was going, by eventually his wife, Olympe listening first [on 4 November] to a Missa Pélissier. Rossini was still brevis by the teenage Rossini (aged about married to the great singer 16). This is called Messa di Milano because Isabella Colbran, but their separation became final when Olympe the music, about which little else is known, Pélissier moved to Bologna to join Rossini was found in a library in Milan. It shows there in 1837. During the years of physical Rossini absorbing (and Italianising) lessons pain, Olympe nursed Rossini like a mother from the music of Haydn (his mates were as much as a lover. Early in the relationship teasingly calling Rossini ‘the little German’).

Rossini dedicated to his French girlfriend a As great as the Stabat Mater, but in a very cantata celebrating the great French heroine different way, is the work to which Rossini Joan of Arc. Rossini’s most ambitious work gave the ironic title Petite messe solennelle: a for voice and piano, Giovanna d’Arco [22 Mass, almost an hour and a half long, dating November] is only the tip of an iceberg of similar from 1863. This, Rossini declared, was his pieces for friends, demanding publishers, and vocal testament and ‘alas, the last sin of my old occasions to be celebrated [8, 25 November].

But this sporadic creativity hardly compares with the stream of production after Rossini and Olympe returned to Paris in 1856. The soirées resumed, with the young SaintSaëns among the pianists sight-reading Rossini’s latest creations, grouped under the title Sins of old age [13, 25, 29 November].

The quasi-domestic context explains some of the quirky instrumentation: Petite messe solennelle is scored for 12 singers (Rossini: ‘three sexes – men, women and castrati’) with accompaniment for piano (two players) and harmonium. The pieces in Sins of old age have only recently (1960s on) become appreciated in their original forms. Earlier Respighi had quarried them and the Matinées and Soirées musicales for the brilliantly orchestrated Diaghilev ballet La boutique fantasque (1919).

The late Rossini manner, deliberately simple and anti-pretentious, sometimes anticipates neo-classicism, and the French composers of Les Six (right down to some Erik Satie-like titles, such as Hygienic prelude for morning use).

The 150th anniversary of Rossini’s death on 13 November is a good pretext for celebration.

He was l o o k i n g forward to meeting his idol Mozart in Heaven! It is his creativity we celebrate.

Rossini kept to life’s end a freshness of musical invention evident very early, in the string sonatas written, as he recalled, when he was ‘very young’ (12) ‘and had not yet had any instruction’. We can enjoy these tuneful and airy pieces, not because they reveal Rossini as a child prodigy (they don’t) but because they give as much pleasure in an instrumental genre as Rossini does so often when writing for voices [4, 8, 13 November].

Look for the Rossini 150 logo on the celebratory programs throughout November.

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CELEBRATED IN HIS LIFETIME ELAINE SIVERSEN IN SEARCH OF A BELGIAN MASTER He was celebrated in the 18th century as a virtuoso violinist and composer whose works circulated throughout Europe and England. He embraced the new aesthetics of the early Mannheim School and was at the forefront of symphonic development. His sonatas achieved a balance between the brilliance of the Italian style, as epitomised by Corelli, and the strict clarity of the French style. He was known to Haydn, Mozart and Dittersdorf, yet Pieter Van Maldere is virtually unknown today to the wider audience. Grand Theatre, La Monnaie, Brussels Born in Brussels in 1729, the son of a schoolmaster, Pieter was an infant prodigy.

He and three of his numerous siblings became musicians in the Court chapel. His teachers in violin and composition were the Chapel Master Jean-Joseph Fiocco and Henri-Jacques de Croes, First Violin of the Chapel orchestra.

When Croes succeeded Fiocco as Chapel Master, the 21-year old Van Maldere moved into Croes’ position. He became the favourite musician of Prince Charles of Lorraine with whom he travelled extensively. During these

travels Van Maldere directed and participated in the Philharmonic Concerts in Dublin, took part in the Concerts Spirituels in Paris as well as performing in Prague and Vienna where he played for the Empress Maria Theresa.

His first two comic operas, Le Déguisement pastoral (1756) and Les amours champêtres (1758), were performed in Schönbrunn.

Later in Brussels he was heard regularly as a violinist, conductor and composer and was appointed for a period of seven years

as the Director and conductor of the Grand Theatre for which he composed operas. A heavy workload and continual financial problems resulted in his resignation from the theatre; he died shortly after on 1 November 1768 at the age of 39.

Van Maldere’s music is characterised by refreshing melodies and graceful themes that are elaborate but full of charm and vivacity. He composed seven operas, eight violin sonatas, 27 trios and 37 symphonies which were notable for his imaginative use of horn and oboe. Some of his compositions circulated in manuscript but many were published, mainly in Paris and London. However, one set of sonatas was published in Dublin during his two-year visit there in 1751-53.

They were titled Six Trios for Two Fiddles and thorough Bass composed by Sieur Van Maldere. The bass was also described as being ‘for Harpsichord or Violoncello’.

We’ll hear some of these sonatas in Baroque and Before at 10pm on Friday 16 November.

BABI YAR: BREAKING THE SILENCE PAOLO HOOKE DISCUSSES A PROFOUND SYMPHONY “We must never forget about the dangers of anti-Semitism and keep reminding others of it, because the infection is alive and who knows if it will ever disappear,” says Dmitri Shostakovich in his memoirs Testimony.

“That’s why I was overjoyed when I read Yevtushenko’s Babi Yar, a poem which astounded me. It astounded thousands of people. Many had heard about Babi Yar, but it took Yevtushenko’s poem to make them aware of it. They tried to destroy the memory of Babi Yar: first the Germans, and then the Ukrainian government. But after Yevtushenko’s poem, it became clear that it would never be forgotten. That is the power of art. People knew about Babi Yar before Yevtushenko’s poem, but they were silent. And when they read the poem, the silence was broken.”

Babi Yar is a ravine near Kiev where, in September 1941, occupying Nazi forces committed one of the worst atrocities of the Holocaust: they murdered over 33,000 Jews in an attempt to exterminate the city’s Jewish population.

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Shostakovich decided to set to music the poem by the (then non-conformist) poet Yevgeny Yevtushenko.

The circumstances surrounding the December 1962 premiere in Moscow of the Symphony no 13 subtitled Babi Yar were dramatic. The authorities didn’t want it to go ahead; Yevgeny Mravinsky, the conductor who had premiered many of Shostakovich’s previous symphonies, had declined Babi Yar ravine to be involved, which led to a falling out between the two; Kirill Kondrashin conducted but ensured that he had two bass singers prepared for the solo role and, as it turned out, the first-choice bass soloist dropped out. The premiere went ahead but the planned live TV broadcast was cancelled.

Shostakovich, in setting the poetry of

Yevtushenko, denounces in five movements some of the scourges of the Soviet era: anti-Semitism (Babi Yar); the exhaustion felt by Russian women because of a lack of essential goods (In the store); the secret police and the curse of spying (Fears); self-advancement in all its forms and careerism which corrupts (A career); the power of the buffoon to make tyrants tremble (Humour).

The symphony ends with a powerful and haunting fragility, its ethereal closing bars conveying not suffering, but rather a sense of eternity.

In Simply Shostakovich we’ll feature a classic recording with Kondrashin conducting the Moscow Philharmonic. Listen to Sunday Special on 18 November at 3pm.

THE GREAT RECONCILER PAUL ROPER CELEBRATES COUPERIN LE GRAND Among the ‘big names’ of the Baroque era, most composed in genres requiring forces of all kinds. Consider Bach and Telemann in Germany; Vivaldi, Porpora and Bononcini in Italy; Purcell and Handel in England; and Charpentier and Rameau in France. All produced, with equal fluency, large- and small-scale compositions for the stage, the court, the home, and the church. Something of an exception is a composer regarded as emblematic of the French Baroque, and who was born 350 years ago this month: François Couperin.

For, despite this status, Couperin composed no opera, no ballet, no grands motets and no music for orchestra. His employment, for 40 years until his death in 1733, as a musician to two French kings seems to have provided sufficient income and creative impetus. He’s principally known these days for his harpsichord music, which totals about 230 pieces, but the common conception of Couperin as a miniaturist misses the point. Not only are these Pièces de clavecin arranged into units (suites, or Ordres as he called them) that can take as much as 50 minutes to play, but they also display an impressive range of moods, subjects, styles, and forms. He also wrote seriously about harpsichord playing (l’Art de toucher le clavecin, 1714), composed solo motets of great intensity and devotion, and set out consciously to reconcile the French and Italian styles in instrumental music.

Not bad for someone whom Hubert Parry (think Jerusalem) dismissed in 1893 as ‘having sacrificed more dignified lines of art in concession to French popular taste for ballet tunes’. We might prefer the opinions of Brahms, Ravel, Debussy and Richard Strauss, as well as Bach, all of whom paid Couperin homage. Bach’s admiration went further. He apparently corresponded with Couperin but the letters have been lost; the story goes that they were reused as labels for jam jars.

Couperin was a member of a musical dynasty that has in fact been compared to the Bachs.

Starting with François’ uncle, Louis (16261661) and father, Charles, and descending through to his nephew Armand-Louis (1727-1789) and Armand-Louis’ son GervaisFrançois (1759-1826), the family maintained an extraordinary connection with the Parisian church of Saint-Gervais-et-Saint-Protais: no fewer than six Couperins served as its organist.

Sometimes designated Couperin le grand to uniquely identify him, François assumed the role at Saint-Gervais by 1690 and added a court position as organist in 1693. Although

François Couperin thereby a member of Louis XIV’s musical retinue, he had to wait until 1717 (during the regency, before Louis XV could rule in his own right) to be appointed royal harpsichordist.

Other court positions had become vacant during that time; perhaps Couperin was too busy (he was highly in demand as a teacher), or not ambitious, or out of favour?

Regardless, his association with the court is proclaimed in his first published instrumental collection: the four Concerts royaux (1722), chamber works composed about eight years earlier for the late king’s domestic entertainments. Concert then meant a concerted (i.e. ensemble) piece, not a concerto. Couperin followed these two years later with ten more pieces, in a volume significantly titled Les goûts réunis (‘the styles reconciled’). This was nothing less than the realisation of a project that had occupied Couperin for the previous 30 or so years: the unification of the musical languages of France and Italy. Christopher Hogwood writes that France’s status as a centralised monarchy, both politically and culturally (and especially as compared to the multitude of principalities and city-states that made up present day Germany and Italy), meant that it could largely resist the attractions of Italian music for much of the 17th century. However, the trio sonatas of Corelli arrived as a revelation in the 1690s; not least to Couperin, who proceeded to compose what are probably the first French works in this very Italian genre.

In 1726, Couperin took the reunification project a step further. Reworking most of

these early sonatas, he appended to them suites of dance movements to create Les nations, dedicated to (rather than depicting) the French, the Italian, the Spanish, and a supra-national style that he called grandly l’Impériale. The same decade also produced the two overt tributes to his musical idols, the Apotheoses of Corelli and of Jean-Baptiste Lully, which supplement movingly crafted illustrative music with spoken narration of their respective elevations to the divine.

We shouldn’t overlook the descriptive element in Couperin’s harpsichord music either. His range is encyclopaedic: from the natural world (birds, insects) to the virtues and phases of human life; from the day-today (knitting, the alarm clock) to evocations of a mood or character (mystery, jealousy, triumph). Others of his titled pieces bear the names of colleagues or patrons, whether as dedications or portraits (or both). In this, Couperin exemplifies and perfects a tradition originating in French lute music of a century earlier; as the Australian specialist in the French baroque David Tunley has observed, ‘the fanciful element in music traditionally [had] a strong appeal for the Gallic mind’.

Ornamentation and decoration are part of that tradition, too; helpfully, Couperin provides a table of ornaments in his first harpsichord book (1713). And the dance is rarely far away.

We honour the 350th anniversary of Couperin’s birth in Baroque and Before one day early, at 10pm on Friday 9 November, where his music is complemented by that of his colleagues and a German admirer of a later generation.

NOVEMBER 2018

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MORNING TEA & BISCUITS NOV 12 BOY ERASED NOV 26 WIDOWS DEC 10 THE CHILDREN ACT

NOV 9 THE 'BURBS NOV 11 THAT THING YOU DO NOV 14 A STAR IS BORN NOV 16 DIRTY HARRY NOV 25 THE LORD OF THE RINGS TRILOGY NOV 30 ROCKY HORROR PICTURE SHOW

BRADLEY COOPER LADY GAGA

A STAR IS BORN NOW SHOWING

A CHRONICLE OF THE YEARS TO QUEEN'S LEGENDARY APPEARANCE AT THE LIVE AID (1985) CONCERT.

BOHEMIAN RHAPSODY

$12

NICOLE KIDMAN RUSSELL CROWE JOEL EDGERTON

BOY ERASED NOW SHOWING

NOW SHOWING

ROBERT REDFORD CASEY AFFLECK SISSY SPACEK

THE OLD MAN AND THE GUN NOVEMBER 15

VIOLA DAVIS LIAM NEESON COLIN FARRELL

ALL TIX

NOV 14 A STAR IS BORN DEC 5 THE CHILDREN ACT

EMMA THOMPSON & STANLEY TUCCI. FROM IAN MCKEWAN’S NOVEL

WIDOWS

THE CHILDREN ACT

NOVEMBER 22

NOVEMBER 22

EDDIE REDMAYNE JUDE LAW JOHNNY DEPP

FANTASTIC BEASTS: THE CRIMES OF GRINDLEWALD NOVEMBER 15

HORROR, COMPASSION AND HEALING PAUL COOKE DESCRIBES THE POWER OF A REQUIEM Benjamin Britten’s War Requiem was first performed on 30 May 1962 at Coventry Cathedral and broadcast live on the BBC’s Third Programme. The playwright Peter Shaffer hailed it as ‘the most impressive and moving piece of sacred music ever to be composed in this country, and one of the greatest musical compositions of the twentieth century’.

Harold Owen, the poet’s brother, found it ‘magnificent’, ‘superb’, and ‘most disturbing’, and regarded it as wonderful ‘that Wilfred’s poetry will for ever be a part of this great work’.

Britten had been approached in 1958 to compose a work for chorus and orchestra to be played at the consecration of the new Coventry Cathedral, rebuilt after its near destruction during World War II in a Luftwaffe bombing operation codenamed Moonlight Sonata. The commission gave Britten complete freedom and he produced a largescale work which juxtaposed the glories of the Latin Requiem Mass text with the horror of human destruction in wartime as expressed in Wilfred Owen’s poetry. The War Requiem is dedicated to four of Britten’s friends, three of whom died during the course of World War II. The fourth, Piers Dunkerley, was a Captain of the Royal Marines until the mid-1950s but thereafter struggled to survive in civilian life and committed suicide in 1959. Britten regarded him as a casualty of war and militarism and as deserving of an act of remembrance and

reparation as those who had died fighting.

Wilfred Owen, born in 1893 and tutoring English and French in France when World War I broke out, enlisted in October 1915 and was commissioned as second lieutenant (on probation) in June 1916. He had a rough time of it, suffering concussion and shell shock and other privations, and was sent to Craiglockhart War Hospital in Edinburgh for treatment. During his time there a supportive environment encouraged him to work on his poetry, and he was further assisted in this by the coincidental arrival of another poet, Siegfried Sassoon, six years his senior and already something of a hero of his. Owen ultimately returned to the front, explaining to his mother: “I came out to help these boys, directly by leading them as well as an officer can; indirectly, by watching their sufferings that I may speak of them as well as a pleader can.” He was killed in action on 4 November 1918, one week before the Armistice.

The War Requiem is scored for soprano, tenor and baritone soloists, chorus, boys’ choir, organ, full orchestra and chamber orchestra.

The male soloists represent soldiers and sing the settings of Owen’s poetry, reflecting on the realities of wartime conflict, and are accompanied by the chamber orchestra; the soprano soloist, chorus and symphony orchestra are heard in the various portions of the Latin Requiem Mass and represent formal grief; the boys’ choir, supported by the chamber organ, and located apart from the other performers, represent innocence. All come together at the end.

Britten had specific singers in mind as soloists, chosen essentially for musical reasons but aware that their nationalities would symbolise the themes of reconciliation and peace: the English tenor Peter Pears who, like Britten, was a pacifist and conscientious objector; the German baritone Dietrich Fischer-Dieskau, who had been a soldier and then a prisoner of war in World War II; and the Russian soprano Galina Vishnevskaya, who had been a civilian who had suffered through the Siege of Leningrad. Vishnevskaya was not permitted by the Soviet authorities to take part in the first performance, where her place was taken at short notice by Heather Harper, but she sang in the first recording which took place in January 1963 with the London Symphony Orchestra.

Wilfred Owen

One of the unifying devices in the War Requiem, offsetting the disparate texts and instrumental and vocal forces, is the use of the tritone, the interval between C and F#. It occurs throughout the work but most tellingly

Cobbers 1, by Peter Corlett, 1988, Two Bronze figures 1.25 times lifesize, Concrete rubble base, Australian Department of Veteran’s Affairs, Fromelles, France. Photo by Frank Neilsen at the conclusion: where one would expect resolution, one hears a traditional musical image of unrest. Peter Pears noted that ‘it isn’t the end, we haven’t escaped, we must still think about it, we are not allowed to end in a peaceful dream’. Britten was at pains to ensure that his audience, then and now, would not meekly accept senseless violence and slaughter.

Others involved in early performances of the War Requiem were similarly thoughtful about its impact. Dietrich Fischer-Dieskau wrote in his autobiography: “The first performance created an atmosphere of such intensity that by the end I was completely undone.

I did not know where to hide my face. Dead friends and past suffering arose in my mind.”

A musician and former soldier who took part in a tour of Italy by the London Symphony Orchestra conducted by Britten said: “...World War II was still in the minds of so many of us. Certainly, the War Requiem would have played a big part in reminding people, but it would have had a huge healing effect as well.” Just as the soldier Wilfred Owen bore witness to his fellow combatants in writing about their suffering, so too did the pacifist and conscientious objector Britten assist in the healing process for those scarred by war.

To mark the centenary of the World War I Armistice and to remember those who’ve suffered and died in all wars, Britten’s War Requiem will be heard in Sunday Special on Remembrance Day 11 November at 3pm.

NOVEMBER 2018

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ARTISTIC DIRECTOR CARL VINE. PRESENTED IN ASSOCIATION WITH MUSICA VIVA AUSTRALIA

THE 29 HUNTINGTON ESTATE MUSIC FESTIVAL TH

OPENING WEEKEND 17TH & 18TH NOVEMBER 2018

MAIN FESTIVAL

21ST – 25TH NOVEMBER 2018

Experience a Taste of the internationally renowned Huntington Estate Music Festival featuring 2 world-class chamber music concerts, gourmet canapes and meals, and award-winning wines.

The 2018 Opening Weekend features:

Tickets are available for one or both of the Saturday night and Sunday lunchtime concerts.

Sebastian Manz, clarinet, ‘unparalleled’ FONO FORUM Goldner String Quartet, ‘Sublimely lovely’ THE AUSTRALIAN

Jayson Gillham, piano, ‘The next big thing’ ABC CLASSICS Cristina Gómez Godoy, oboe, ‘Miraculously effortless’ SÜDDEUTSCHE NEWSPAPER

“… one of the best chamber music festivals in the world … (and) it just keeps getting better.” EMMA AYRES

TICKETS AVAILABLE FOR 1, 2, 4 & 8 CONCERT PACKAGES TO BOOK CALL 1800 995 931 OR VISIT WWW.HUNTINGTONESTATE.COM.AU

Thursday 1 November 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 Sor, F. Study, op 6 no 11 (pub. 1815-17).

Goran Krivokapic, gui.

Naxos 8.570502 3 Brahms, J. Hungarian dances, WoO1: nos 21, 13, 12, 1 (1852-69). Silke-Thora Matthies, Christian Köhn, pf.

Naxos 8.553140 8 Debussy, C. Songs of Bilitis (1914; arr.

Lenski). Emmanuel Pahud, fl; Stephen Kovacevich, pf.

EMI 5 56982 2 16

American Songbook making regular appearances

Welsh NO/Richard Hickox.

Chandos CHAN 10246 21

13:00 BRAHMS’ HUNGARIAN DANCES Prepared by Paul Cooke

Schoenberg, A. Transfigured night, op 4 (1899). Paul Neubauer, va; Colin Carr, vc; Emerson Quartet.

Sony 88725470602 27

1868

A Sesquicentenary Event Brahms, J. Hungarian dances, nos 1 and 2 (1852-69). Jonathan Aasgaard, vc; Martin Roscoe, pf.

Avie AV 2300 7 Hungarian dances, nos 3, 4, 5, 8 and 10 (1869). Duo Crommelynck, pf.

Claves 50-8710 13 Excerpts from Hungarian dance suite (1852, 1869; arr. Webster). Geoffrey Collins, fl; Catherine McCorkill, cl; Catherine Davis, pf.

Fine Music concert recording 13

Marsh, J. String quartet in B flat. Salomon Quartet.

Hyperion CDA66780 17

Hungarian dances, nos 11, 17 and 20, op 103 (1880). Jascha Heifetz, vn; Brooks Smith, pf.

RCA GD87965 8

Mahler, G. Five Rückert songs (1902). Lauris Elms, cont; Gwen Halstead, pf.

Fine Music concert recording 17

Hungarian dances, nos 12, 15, 18 and 19 (1852-69). Vienna PO/Claudio Abbado.

DG 477 5424 8

Mayer, E. Violin sonata in E flat. Aleksandra Maslovaric, vn; Anne-Lise Longuemare, pf. www.feminaerecords.com 18

Liszt, F. Hungarian rhapsody no 17 in D minor (1846-1885). Grigory Ginsburg, pf.

Philips 456 802-2 3

10:30 CONCERT HALL Prepared by Marilyn Schock

14:00 MAINLY STRINGS Prepared by Rex Burgess

Respighi, O. Brazilian impressions (1927).

Cincinnati SO/Jésus López-Cobos.

Telarc 80356 19 Korngold, E. Violin concerto in D, op 35 (1945). Gil Shaham, vn; London SO/André Previn.

DG 439 886-2 25 Brahms, J. Serenade no 2 in A, op 16 (185859/75). Berlin PO/Claudio Abbado.

DG 477 5424 34 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great

Monn, M. Concerto in G minor for cello, harpsichord and strings. Jean-Guihen Queyras, vc; Freiburg Baroque O/Petra Müllejans.

Harmonia Mundi HMX 2908601.30 18 Bach, C.P.E. String symphony no 2 in B flat, Wq182. Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 472 424-2 10 Paganini, N. Guitar trio in D (1833). JeanJacques Kantorow, vn; Mari Fujiwara, vc; Anthea Gifford, gui.

Denon CO 77069 21 Bridge, F. Suite for strings (1909-10). BBC

CONTINUING PROGRAM SERIES The Symphonies of Anton Bruckner prepared by Ron Walledge: Fridays 2, 16 at 2.30pm Musical Families prepared by Jennifer Foong: Tuesdays 6, 20 at 2pm Rossini 150, At the Opera, William Tell prepared by Elaine Siversen: Wednesday 14 at 8pm Sunday Special, Simply Shostakovich prepared by Paolo Hooke: Sunday 18 at 3pm Evenings with the Orchestra, The Symphonies of Vaughan Williams prepared by David Brett: Friday 16 at 8pm Died for Love, At the Opera, Lucia di Lammermoor (Donizetti) prepared by Camille Mercep: Wednesday 28 at 8pm

Barber, S. Adagio for strings, op 11 (1936; arr. 1938). I Musici de Montréal/Yuli Turovsky.

Chandos CHAN 8515 10 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 Maids and maidens Prepared by Rex Burgess Rimsky-Korsakov, N. Overture and entr’acts, from The maid of Pskov (1873-77).

Moscow SO/Igor Golovchin.

Naxos 8.553513 22 Grieg, E. Song cycle: Haugtussa, the mountain maid, op 67 (1895). Anne Sofie von Otter, mezz; Bengt Forsberg, pf.

DG 437 521-2 26 Kats-Chernin, E. The spirit and the maiden (2004). Muses Trio. musestrio.com 903494 44380 16 Granados, E. The maiden and the nightingale, from Goyescas (1911). Marilyn Richardson, sop; Queensland SO/Vladimir Kamirski.

ABC 480 8207 6 Schubert, F. String quartet no 14 in D minor, D810, Death and the maiden (1824). Wilfred Lehmann, vn; Fiona Ziegler, vn; Alexandru Todicescu, va; Georg Pedersen, vc.

Fine Music concert recording 38 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by James Nightingale Mozart, W. Piano sonata in A minor, K310 (1778). Tamara-Anna Cislowska, pf.

Fine Music concert recording 20 Hyde, M. Viola sonata (1937). Anne-Louise Comerford, va; James Muir, pf.

Walsingham 2WAL8036-2 16 Debussy, C. Suite bergamasque (1905).

Roger Woodward, pf.

ABC 472 170-2 18 Westlake, N. Jovian moons (2001/02). Slava Grigoryan, gui; Michael Kieran Harvey, pf.

ABC 476 574-4 16 Beethoven, L. Violin concerto in D, op 61 (1806). Richard Tognetti, vn; Australian CO/ Anthony Halstead.

ABC 465 425-2 42 NOVEMBER 2018

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Friday 2 November 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 Purcell, H. Suite of musicks and dances, from The fairy queen (1692; arr. Balsom). Alison Balsom, tpt; English Concert/Trevor Pinnock.

EMI 4 40329 2 14 Bach, J.S. Lute suite in E minor, BWV996 (1727-31; arr. for harp). Alice Giles, hp. 12 Mozart, W. Clarinet quartet in B flat (1779; arr. from Violin sonata, K378; pub. 1799).

Deborah de Graaff, cl; Carl Pini, vn; Jane Hazelwood, va; Georg Pedersen, vc. 17 Fine Music concert recordings (2 above) Tchaikovsky, P. The nutcracker, op 71a (1892; transcr. Esipoff). Julia Severus, Alina Luschtschizkaja, pf.

Naxos 8.570418 21 Debussy, C. Songs of Bilitis (1914; arr.

Lenski). Emmanuel Pahud, fl; Stephen Kovacevich, pf.

EMI 5 56982 2 16 10:30 CONCERT HALL Prepared by Denis Patterson Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1880). London PO/Mstislav Rostropovich.

EMI 5 65709 2 23 Wranitzky, P. Cello concerto in C, op 27 (pub. 1794). Chiara Enderle, vc; Munich CO/ Howard Griffiths.

Sony 88875127122 22 Spohr, L. Symphony no 8 in G, op 137 (1847). Swiss Italian O/Howard Shelley.

Hyperion CDA67802 35

Rodrigo, J. Concierto de Aranjuez (1939).

Karin Schaupp, gui; Benjamin Northey, cond.

ABC 476 3627 23

Schumann, R. Träumerei, from Scenes from childhood, op 15 (1883). 3

Tasmanian SO (2 above)

Chopin, F. Fantasie-impromptu in C sharp minor, op 66 (1835). 5 LP Axis 7012 (3 above) Janácek, L. Violin sonata (1914/21). David Saffir, vn.

Fine Music Tape Archive 18 Massenet, J. Meditation, from Thaïs (1894).

Carl Pini, vn. 4 Debussy, C. Clair de lune (1905). 5 LP Axis 7017 (2 above) Albert Landa, pf (all above) 14:30 THE SYMPHONIES OF ANTON BRUCKNER Prepared by Ron Walledge Bruckner, A. Locus iste (1869). St Mary’s Cathedral Choir; Jubilee Choir; Sydney Conservatorium Choir & Chorale/David Russell.

Walsingham WAL 8011-2 3 Virga Jesse floruit (1885). John Alldis Choir/ John Alldis.

Decca 425 075-2 5 Os justi (1879). Choir of St Bride’s Church/ Robert Jones.

Naxos 8.550956 5 Symphony no 7 in E (1881-83). Staatskapelle Dresden/Eugen Jochum.

Brilliant Classics 92084 1:09 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

12:00 A JAZZ HOUR with Barry O’Sullivan

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

13:00 AUSTRALIAN VIRTUOSO Albert Landa, piano Prepared by Albert Gormley

20:00 EVENINGS WITH THE ORCHESTRA The Tasmanian Symphony Orchestra Prepared by Robert Small

Bach, J.S. Prelude and fugue no 24 in B minor, BWV869.

ABC 476 4556 12 Kreisler, F. Viennese caprice, op 2. Carl Pini, vn.

LP Axis 7017 4 Mozart, W. Violin sonata no 21 in E minor, K304 (1778). David Saffir, vn.

Fine Music Tape Archive 12 Bach, J.S. Prelude and fugue no 21 in B flat, BWV890.

ABC 476 4556 8 12

Handel, G. Air and variations, from Suite no 5 in E, The harmonious blacksmith (pub. 1720). 4

Mozart, W. Piano concerto no 23 in A, K488 (1786). Simon Tedeschi, pf; Tasmanian SO/ Alexander Briger.

ABC 481 0189 27 Vivaldi, A. Violin concerto no 3 in F, RV293, Autumn (pub. 1725). Barbara Jane Gilby, vn; Tasmanian Symphony Chamber Players/ Geoffrey Lancaster.

ABC 472 424-2 11 Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-07). Patrick Thomas, cond.

ABC 476 4664 47

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

22:00 BAROQUE AND BEFORE Handel’s nightingales and other birdsong Prepared by Susan Foulcher Giraut de Bornelh. Reis glorios. Ros Bandt, rec; Trio Avium.

Hearing Places HP002 3 Janequin, C. Le chant des oiseaux. Hilliard Ensemble.

Hyperion CDA66370 6 Schmelzer, J. Cucu sonata. Elizabeth Wallfisch, vn; Rosanne Hunt, vc; Linda Kent, hpd.

ABC 465 269-2 6 Handel, G. Excerpts from L’allegro, il penseroso ed il moderato, HWV55 (1740).

Linda Perillo, sop; Barbara Hannigan, sop; Knut Schoch, ten; Stephan MacLeod, bass; Junge Kantorei; Frankfurt Baroque O/ Joachim Carlos Martini.

Naxos 8.557057 18 Biber, H. Sonata representativa (c1669).

Cynthia O’Brien, baroque vn; Ruth Wilkinson, va da gamba.

Hearing Places HP002 10 Lampe, J. Pretty warblers, from Dione (1732). Emma Kirkby, sop; Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 478 7863 8 Handel, G. Organ concerto in F, HWV295, The cuckoo and the nightingale (1739).

Akademie fur Alte Musik Berlin/Richard Egarr, org & dir.

Harmonia Mundi HMX2908417.24 16 Anon. Rossignolet du bois; Le Sodard (c1525). Martin Best Consort.

Nimbus NI 5445 10 Finch, E. Cucu. Elizabeth Wallfisch, vn; Rosanne Hunt, vc; Linda Kent, hpd.

ABC 465 269-2 4 Handel, G. Excerpts from Solomon, HWV67 (1749). Sarah Connolly, sop; Susan Gritton, sop; Carolyn Sampson, sop; Mark Podmore, ten; David Wilson-Johnson, bass; RIAS Chamber Choir; Akademie für Alte Musik Berlin/Daniel Russ.

Harmonia Mundi HMC 901049/50 19 Anon. The nightingale; The linnet; The parrot. Ruth Wilkinson, rec; Cynthia O’Brien, baroque vn; Trio Atrium.

Hearing Places HP002 3

T

he song of the nightingale, one of the most beautiful sounds in nature, has inspired music, literature and fairytales.

Saturday 3 November 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 Late and Post-Romantic 1875-1915 Prepared by Brian Drummond Massenet, J. Overture to The king of Lahore (1875-76). West Australian SO/Werner Andreas Albert.

ABC 434 713-2 8 Dvorák, A. Scherzo capriccioso, op 66 (1883). Baltimore SO/Marin Alsop.

Naxos 8.570995 15 Glazunov, A. Waltz, op 52 (1894). USSR Academic SO/Yevgeny Svetlanov.

Melodiya MA 19303 6 Bridge, F. Suite for strings (1909-10). BBC Welsh NO/Richard Hickox.

Chandos CHAN 10729(6) X 21 Dohnányi, E. Variations on a nursery theme, op 25 (1915). Howard Shelley, pf; BBC PO/ Matthias Bamert.

Chandos CHAN 9733 25 10:30 SMALL FORCES Prepared by Stephen Wilson Weber, C.M. Flute trio in G minor, op 63 (1819). Geoffrey Collins, fl; David Pereira, vc; David Bollard, pf.

Fine Music concert recording 19 Mozart, W. Divertimento in D, K205 (1773).

John Cran, bn; Robert Johnson, hn; Casey Rippon, hn; Marina Marsden, vn; Jennifer Curl, va; Andrew Raciti, db.

Fine Music concert recording 18 Hill, A. String quartet no 6 in G, The kids (1927). Australian String Quartet.

Marco Polo 8.223746 16 11:30 ON PARADE Prepared by Owen Fisher Newton, R. Village wedding, from Echoes of the East. Tredegar Town Band.

Doyen DOY 195 3 Wagner, R. Ride of the Valkyries.

Grimethorpe Colliery Band; GUS (Footwear) Band; Morris Concert Band; Yorkshire Imperial Metals Band/Harry Mortimer.

LP EMI DUO 130 4 Sousa, J.P. Washington Post. University of Michigan Symphony Band/H. Robert Reynolds.

Quintessence CDQ 2016 3 MacDowell, E. To a wild rose. Grimethorpe Colliery Band; GUS (Footwear) Band; Morris Concert Band; Yorkshire Imperial Metals

Band/Harry Mortimer.

LP EMI DUO 130 2 Tchaikovsky, P. Overture: 1812. Allentown Band/Ronald Demkee.

AMP 94141 12 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 SONATA, SUITE AND FANTASY OF THE BAROQUE Prepared by James Nightingale

Anni Frind, sop; Marcel Wittrisch, ten; Wilhelm Strienz, bass; Ch & O/Bruno SeidlerWinkler.

BBC BBS 716 9 Strauss, J. II Graduation Ball (1840; arr.

Dorati). Vienna PO/Willi Boskovsky.

Decca 436 781-2 34 17:30 STAGING MUSIC Prepared by Angela Cockburn Coriolanus

Tartini, G. Sonata in G minor, Devil’s trill (pub. 1734). Nicola Benedetti, vn; Catherine Rimer, vc; Thomas Dunford, theorbo; Christian Curnyn, hpd.

Decca 476 4342 14

18:00 SOCIETY SPOT Folk Federation of NSW

Couperin, L. Suite in E minor, from Pièces de clavecin. Richard Eggar, hpd.

Harmonia Mundi HMU 907511.14 8

20:00 THE WORD TRANSFORMED Prepared by Paul Cooke

Telemann, G. Fantasia 10, TWV40:23 (arr.

Crossley). Alicia Crossley, rec.

Move MCD 508 5 13:30 CELLO SHOWCASE Recorded for FINE MUSIC by Greg Ghavalas Tchaikovsky, P. Pezzo capriccioso, op 62 (1887). 7 Greenbaum, S. The lake and the hinterland (1999). 5 Prokofiev, S. Cello sonata in C, op 119 (1949). 23 Dvorák, A. Cello concerto in B minor, op 104, mvt 2 (1895; arr.). 11 Saint-Saëns, C. Romance, op 37 (1871). 3 Elgar, E. Cello concerto in E minor, op 85 (1818-19; arr.). 26 Bennet Tsai, vc; Joshua Tsai, pf (all above) 15:00 SATURDAY MATINEE Operetta: Gasparone Prepared by Elaine Siversen Millöcker, K. Gasparone. Operetta in three acts. Libretto by Friedrich Zell and Richard Genée. First performed Vienna, 1884.

BABOLENO NASONI: Günter Wewel, bass SINDULFO: Willi Brokmeier, ten COUNTESS CARLOTTA: Anneliese Rothenberger, sop BENOZZO: Martin Finke, ten COUNT ERMINIO: Hermann Prey, bar Bavarian State Opera Ch; Munich RO/ Heinz Wallberg.

EMI 615067 2 1:22 Synopsis at finemusicfm.com/Opera Die sieben Schwalen-Marsch (1887; arr.

Drescher); Jonathan-Marsch (1890; arr.

Schlögel). Johann Strauss O/Jack Rothstein.

Chandos CHAN 10684(3) X 7 Pot-pourri, from The beggar student (1882).

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm

Barber, S. Overture: The school for scandal, op 5 (1933). Royal Scottish NO/Marin Alsop.

Naxos 8.559024 9 Ibert, J. Le jardinier de Samos (1924).

Eleonore Pameijer, fl; Hans Colbers, cl; Peter Masseurs, tpt; Kees Hülsmann, vn; Marien van Staalen, vc; Arnold Marinissen, perc.

Olympia OCD 468 11 Rubinstein, A. Don Quixote, humoresque for orchestra, op 87 (1870). Slovak PO/Michael Halász.

Marco Polo 8.220359 21 Joubert, J. Six poems by Emily Bronte, op 63. Lesley-Jane Rogers, sop; John McCabe, pf.

Toccata TOCC 0045 24 Wolf-Ferrari, E. Suite from The jewels of the Madonna (1911). Royal PO/José Serebrier.

ASV DCA 861 17 Adams, J. The Dharma at Big Sur (2003).

Tracy Silverman, electric vn; BBC SO/John Adams.

Nonesuch 7559-79857-2 27 22:00 SATURDAY NIGHT AT HOME Prepared by Randolph Magri-Overend Verdi, G. Four sacred pieces (pub. 1898).

Barbara Frittoli, sop; Turin Royal Theatre Ch & O/Gianandrea Noseda.

Chandos CHAN 10659 41 Rossini, G. Ballet music from Moses and Pharoah (1827). Monte-Carlo Opera NO/ Antonio de Almeida.

Philips 422 843-2 21 Donizetti, G. String quartet no 12 in C (1821). Revolutionary Drawing Room. cpo 999 279-2 21 Mozart, W. Piano concerto no 21 in C, K467 (1785). Christian Zacharias, pf; Bavarian RSO/David Zinman.

EMI CDC 7 49899 2 26 NOVEMBER 2018

13

Sunday 4 November 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Robert Small Jenkins, K. Introit; The snow of yesterday; Rex tremendae; In paradisum, from Requiem.

Nicole Tibbels, sop; Sam Landman, treb; Gavin Horsley, bass; Serendipity; Côr Caerdydd and Cytgan; West Kazakhstan PO/ Karl Jenkins.

EMI 5 57966 2 19 Graupner, C. Frohlocke, werte Christenheit (1727-28). Veronika Winter, sop; Franz Vitzthum, alto; Jan Kobow, ten; Markus Flaig, bass; Das Kleine Konzert/Hermann Max. cpo 777 572-2 14 Scarlatti, D. Salve Regina. James Bowman, ct; King’s Consort/Robert King.

Helios CDH55354 13 Lassus, O. de Quam pulchra es à 6, from Missa ad imitationem Vinum bonum; Bicinium III. Ex Cathedra/Jeffrey Skidmore; His Majestys Sagbutts and Cornetts/Jeremy West.

Alto ALC 1177 8 10:00 THE CLASSICAL ERA Prepared by Brian Drummond Schobert, J. Sonata no 3 in B flat for violin, cello and harpsichord, op 6 no 3 (1766). Four Nations Ensemble.

ASV GAU 172 16 Mozart, W. Symphony no 29 in A, K201 (1774). Australian CO/Richard Tognetti.

Sony SK 53356 26 Haydn, J. String quartet in G, Hob.III:41 (1782). Salomon Quartet.

Hyperion CDA66682 21 Dussek, J. Duet in F for harp and piano, op 26 (1794). Masumi Nagasawa, hp; Richard Egarr, pf.

Etcetera KTC1436 17 Beethoven, L. Piano concerto no 2 in B flat, op 19 (1795). Martha Argerich, pf; Royal Concertgebouw O/ Neeme Järvi.

Radio Nederland RCO 08005 30 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

14:00 CONSIDERING CZERNY Prepared by Georgina Sierra

17:00 HOSANNA

Czerny, C. Capriccio à la fuga, op 89 (1826).

Martin Jones, pf.

Nimbus NI 5872/3 5

Hymns: As with gladness men of old; My song is love unknown; O God our help in ages past. Choir of King’s College, Cambridge; Tom Etheridge, org; Stephen Cleobury, cond.

KGS 0014 10

Andante and polacca, op 339 (1848). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH55074 11 Rondoletto concertant, op 149 (1828).

Peter-Lukas Graf, fl; Zsuzsanna Sirokay, pf.

Jecklin 577-2 10 Grand nocturne brilliant, op 95 (c1826).

Rosemary Tuck, pf; European CO/Richard Bonynge.

Naxos 8.573417 19 Variations brillantes, op 14. Stephen Hough, pf.

Virgin 7 59304 2 7 15:00 SUNDAY SPECIAL The youthful years Prepared by Paul Cooke 1792-1868

0:00 CLASSIC-ALL THROUGH THE NIGHT

GIOACHINO ROSSINI

Rossini, G. Se per te lieta ritorno, from L’equivoco stravagante (1811). Ann Hallenberg, mezz; Stavanger Chamber Ch & SO/Fabio Biondi. naïve V 5309 7 Overture to Sinfonia di Bologna (1808).

Academy of St Martin in the Fields/Neville Marriner.

Philips 473 967-2 6 Cantata: Il pianto d’Armonia sulla morte di Orfeo (1808). Paul Austin Kelly, ten; La Scala Philharmonic Ch & O/Riccardo Chailly.

Decca 466 328-2 18 Sonata à quattro no 2 in A (1804). Haydn Philharmonia Soloists/Ezio Rojatti.

Nuova Era 7100/01 15 Eppur io; Porterò così il cappello, from La cambiale di matrimonio (1810). Vito Priante, bass; Giulio Mastrototaro, bass; Massimiliano Tanzini, hpd; Württemberg PO/Christopher Franklin.

Naxos 8.660302 8 Variations in C (1810). Frank van den Brink, cl; European CO Per Musica/Julian Reynolds.

Globe GLO 6014 13 Messa di Milano (1808). Susanne Mentzer, mezz; Raul Gimenez, ten; Ian Bostridge, ten; Simone Alaimo, bass; Kenneth Sillito, vn; John Birch, org; Academy of St Martin in the Fields Ch & O/Neville Marriner.

Philips 475 230-2 40

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

Prepared by Stephen Matthews

Ireland, J. Te Deum in F; Jubilate in F. Choir of Rochester Cathedral; Roger Sayer, org; Barry Ferguson, cond.

Priory PRCD934 10 Vaughan Williams, R. Psalm 90: Lord thou hast been our refuge. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA68020 8 Mathias, W. Ave verum corpus; I will celebrate. National Youth Choir of Wales; Janice Ball, org; Ralph Allwood, cond.

Herald HAVPCD 227 13 Wesley, S.S. Blessed be the God and Father.

Alasdair Austin, treb; Choir of Jesus College, Cambridge; Robert Dixon, org; Mark Williams, cond.

Signum SIGSD730 7 Mendelssohn, F. Peace I leave with you. Handel and Haydn Society Ch/Harry Christophers.

Coro COR16143 3 18:00 EMERGING ARTISTS Recordings of aspiring musicians who attended a Fine Music workshop earlier in the year 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Copland, A. Four dance episodes, from Rodeo (1942). Detroit SO/Antal Dorati.

Decca 414 273-2 20 Dreyschock, A. Piano concerto in D minor, op 137 (c1850). Piers Lane, pf; BBC Scottish SO/Niklas Willén.

Hyperion CDA67086 24 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). Gewandhaus O/Kurt Masur.

Teldec 243 463-2 38 20:30 NEW HORIZONS Prepared by Calogero Panvino Adams, J. Violin concerto (1993). Chloë Hanslip, vn; Royal PO/Leonard Slatkin.

Naxos 8.559302 34 Phrygian gates (1977-78). Peter Waters, pf.

Tall Poppies TP108 23 Shaker loops (1978/1983). Bournemouth SO/ Marin Alsop.

Naxos 8.559031 25 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 5 November

0:00 CONTEMPORARY COLLECTIVE

0:00 CLASSIC-ALL THROUGH THE NIGHT

3:00 CLASSICAL TILL DAWN

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1894 Prepared by Di Cox

9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess

Reznicek, E. Overture to Donna Diana (1894). Vienna PO/Willi Boskovsky.

Decca 436 785-2 6 Arensky, A. Variations on a theme by Tchaikovsky, op 35a (1894). St Petersburg Camerata/Saulius Sondeckis.

Sony SMK 58 976 14 Brahms, J. Clarinet sonata in E flat, op 120 no 2 (1894). Murray Khouri, cl; John McCabe, pf.

Continuum CCD 1027 20 Strauss, R. Tomorrow, op 27 no 4 (1894).

Birgit Nilsson, sop; Geoffrey Parsons, pf.

Bluebell ABCD 009 4 Sibelius, J. Spring song, La tristesse du printemps, op 16 (1894). Gothenburg SO/ Neeme Järvi.

BIS CD-384 8 Massenet, J. Méditation, from Thaïs (1894).

Céline Moinet, ob; Sarah Christ, hp.

Harmonia Mundi HMC 902175 5 Dvorák, A. Suite in A, op 98b, American (1894-95). West Australian SO/Vernon Handley.

ABC 456 359-2 21 10:30 CONCERT HALL Prepared by Denis Patterson Liszt, F. Symphonic poem no 2: Tasso (1849/50-51). London PO/Bernard Haitink.

Philips 438 751-2 21 Medtner, N. Piano concerto no 1, op 33 (1914-1918). Jayson Gillham, pf; Melbourne SO/Benjamin Northey.

ABC 481 5564 32 Schumann, R. Symphony no 3 in E flat, op 97, Rhenish (1850). Swedish CO/Thomas Dausgaard.

BIS SACD-1619 29 12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 ISN’T IT ROMANTIC? Prepared by Paul Hopwood Dvorák, A. Overture: Carnival, op 92 (1893).

Royal PO/John Farrer.

ASV QS 6124 10

Tuesday 6 November

Onslow, G. Piano duo in E minor (c 1829).

Philippe Curre, Edouard Exerjean, pf.

Pierre Verany CA 803 25 Elisso Wirssaladze Brahms, J. Piano sonata no 1 in C, op 1 (1852). Elisso Wirssaladze, pf.

Live Classics LCL 341-2 28 Berlioz, H. Harold in Italy, op 16 (1834).

Nobuko Imai, va; London SO/Colin Davis.

Philips 442 290-2 42 14:30 VARIOUS VARIATIONS Prepared by Derek Parker Brahms, J. Variations on a theme by J. Haydn, op 56a (1873). Gewandhaus O/ Riccardo Chailly.

Decca 478 5344 17 Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Steven Osborne, pf.

Hyperion CDA67936 18 Hummel, J. Introduction, theme and variations in F, op 102 (1824). Eduard Brunner, cl; Bamberg SO/Hans Stadlmair.

Tudor 782 13 Bizet, G. Variations chromatiques de concert (1868). David McGrory, pf.

David McGrory 2012 14 Mendelssohn, F. Theme and variations, op 81 no 1 (1847). New Zealand String Quartet.

Naxos 8.570003 6 Tchaikovsky, P. Thème et variations, from Six morceaux, op 19 (1873). Duncan Gifford, pf.

ABC 438 827-2 13 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh

Schumann, R. Morning songs, op 133 (1853). Piotr Anderszewski, pf.

Virgin 6 42022 0 13 Bax, A. Sonata for two pianos (1929). Jeremy Brown, pf; Seta Tanyel, pf.

Chandos CHAN 8603 22 Saint-Saëns, C. Danse macabre in G minor, op 40 (1874; arr. Lemare). David Drury, org.

ABC 432 527-2 9 Shostakovich, D. Prelude and fugue in D minor, op 87 no 24 (1950-51). Vladimir Ashkenazy, pf.

Decca 466 066-2 11 10:30 CONCERT HALL Prepared by Elaine Siversen Offenbach, J. Excerpts from Gaîté parisienne (1866; arr. Rosenthal 1938). Berlin RSO/Paul Strauss.

DG 477 5349 25 Spohr, L. Clarinet concerto no 4 in E minor (1828). Michael Collins, cl; Swedish CO/ Robin O’Neill.

Hyperion CDA67561 25 Sibelius, J. Symphony no 5 in E flat, op 82 (1915/19). London PO/Jukka-Pekka Saraste.

LPO Live LPO - 0057 31 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

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 “Such sweet compulsion doth in music lie.” — John Milton

Louis Spohr NOVEMBER 2018

15

Tuesday 6 November

Gustavo Dudamel 13:00 THE SPANISH DOMAIN Prepared by Brian Drummond Márquez, A. Danzón no 2 (1993). Simón Bolivar Youth O/Gustavo Dudamel.

DG 477 7457 10 Holguin, G. Tres danzas (1926/40).

Württemberg PO/Gabriel Castagna.

Chandos CHAN 10675 8 Castellanos, E. Suite: Santa Cruz de Pacairigua. Simón Bolivar Youth O/Gustavo Dudamel.

DG 477 7457 16 Serra, J. Variations for piano and orchestra (bef. 1931). Emili Brugalla, pf; El Vallès SO/ Salvador Brotons.

Naxos 8.555871 18

Peter-Lukas Graf

Tommy Smith

Couperin, F. Concert royal no 3 in A, from Troisième livre de pièces de clavecin (171415). Heinz Holliger, ob; Manfred Sax, bn; Thomas Brandis, vn; Josef Ulsamer, va da gamba; Christiane Jaccottet, hpd.

Archiv 427 119-2 17

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic

Britten, B. Two insect pieces (1935). Heinz Holliger, ob; András Schiff, pf.

Decca 478 5364 6 Takemitsu, T. Stanza II (1971). Ursula Holliger, hp.

DG POCG-3359 6 Berio, L. Sequenza VII (1969). Heinz Holliger, ob.

Philips 426 662-2 8

14:00 MUSICAL FAMILIES Heinz and Ursula Holliger Prepared by Jennifer Foong

Pasculli, A. Omaggio a Bellini. Heinz Holliger, cora; Ursula Holliger, hp.

Philips 426 288-2 8

Ravel, M. Introduction and allegro (1906).

Peter-Lukas Graf, fl; Hans Rudolf Stalder, cl; Ursula Holliger, hp; Die Kammermusiker Zürich.

Claves 50-280 11

Spohr, L. Concertante no 1 in G (1806).

Hansheinz Schneeberger, vn; Ursula Holliger, hp; English CO/Peter-Lukas Graf.

Claves 50-208 23

Rossini, G. Andante and variations on Di tanti palpiti, from Tancredi (1813). Heinz Holliger, ob; Ursula Holliger, hp.

Philips 426 288-2 4

Krebs, J.L. Concerto in B minor. Heinz Holliger, ob; Christiane Jaccottet, hpd; Camerata Bern/Alexander van Wijnkoop.

Archiv 00289 477 5002 21

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 Satie, E. Gymnopédie; Gnossiennes nos 1 and 3; Je te veux (arr. Smith). Tommy Smith, sax; Murray McLachlan, pf.

Linn AKD 103 18 Hummel, J. Piano sonata in F sharp minor, op 81 (1819). Hae-won Chang, pf.

Naxos 8.553296 28 Debussy, C. Piano trio in G (1880). Academy Trio.

Fine Music concert recording 22 Beethoven, L. String quartet no 15 in A minor, op 132 (1825). Lindsay String Quartet.

ASV DCS 403 45

M

asumi Per Rostad writes: “At the end of his life, Ludwig van Beethoven composed a haunting treasure.” As a violinist of the Pacifica Quartet, Per Rostad has played Beethoven’s String quartet no 15 in A minor in hundreds of performances and he says that it ‘remains fresh and hauntingly beautiful’. When Beethoven wrote it, he hadn’t heard a sound for years, and Per Rostad says that in this and other late quartets the ‘conversations are streamlined, and he is able to simply speak from the heart without fear of public offence or failure’.

In the latter years of his life Beethoven, in composing his string quartets, abandoned the classical unity of his early days and the symphonic scope of the middle years and was exploring, seemingly free to let his musical ideas take him wherever they led. At this time, one of his inspirations was J.S. Bach and this is evident in the fugue-like beginning of this Quartet.

Per Rostad finds the third movement very emotional, timeless and prayerful. Beethoven had just recovered from a severe illness when he composed the movement and he titled it Song of Thanksgiving to the Deity from a convalescent in the Lydian mode. In this music he expresses thanks for the gift of life. Per Rostad says that it is ‘one of the highlights of all music’. His final word about the Quartet is that it ‘ends with a joyfully wild and driven coda that reveals Beethoven’s heart of hearts. After so much struggle, after so much difficulty, the human spirit can overcome’.

16

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

Wednesday 7 November

Pinchas Zukerman

János Starker

Peter Maxwell Davies

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale

The Voyevoda, op 78, symphonic ballad after Mickiewicz (1890-91). Royal Liverpool PO/ Vasily Petrenko.

Naxos 8.570568 11

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 Glazunov, A. Overture: Carnaval, op 45.

USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00163 9 Elégie in D flat, in memory of Franz Liszt, op 17 (1887). Zoe Knighton, vc; Amir Farid, pf.

Move MD 3390 10 Three études, op 31 (1891). Stephen Coombs, pf.

Hyperion CDA66844 12 Slavonic festival in G, op 26a (1888). USSR RSO/Odisseiy Dimitriedi.

Melodiya MA 15746 13 Albumblatt (1899). Ole Edvard Antonsen, tpt; Wolfgang Sawallisch, pf.

EMI 5 56367 2 4 Concert waltz no 2 in F, op 51 (1894). Suisse Romande O/Ernest Ansermet.

Decca 480 0038 8 String quartet no 1 in D, op 1 (1881-82).

Shostakovich Quartet.

Olympia OCD 157 21 10:30 CONCERT HALL Prepared by Gerald Holder Glass, P. Prelude, from Akhnaten (1984).

Ulster O/Takuo Yuasa.

Naxos 8.554568 12 Elgar, E. Violin concerto in B minor, op 61 (1909-10). Pinchas Zukerman, vn; London PO/Daniel Barenboim.

Sony SB2K 63247 51 Borodin, A. Symphony no 3 in A minor (1882-87). Royal Stockholm PO/Gennady Rozhdestvensky.

Chandos CHAN 9199 20

World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 A CLASSICAL INTERLUDE Prepared by Paul Hopwood Schubert, F. Hungarian divertimento in G minor, D818, for piano duo (1824). Duo Crommelynck, pf.

Claves 50-8802 27 Schumann, R. Cello concerto in A minor, op 129 (1850). János Starker, vc; London SO/ Stanislaw Skrowaczewski.

Mercury 432 010-2 24 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.

15:00 TCHAIKOVSKY EXPLORED Part 1 Prepared by Michael Morton-Evans Tchaikovsky, P. Sonata no 1 in F minor (1863-64; compl. Howard). Leslie Howard, pf.

Hyperion CDA66939 11 Scherzo in F minor, op 2 no 2 (1865); Song without words in F, op 2 no 3 (1865). Michael Ponti, pf.

LP Vox/Record Society S/6529-30-31 6 Overture: The storm, op 76 (1864).

Concertgebouw O/Bernard Haitink.

Decca 478 5867 12 Danse caractéristique in D, op 72 no 4 (1893). Mikhail Pletnev, pf.

DG 477 5378 3 Symphony no 1 in G minor, op 13, Winter daydreams, mvt 3 (1866/74). Seattle SO/ Gerard Schwarz.

Naxos 8.571225 7

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 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 Romeo and Juliet ... in Babylon!

Hasse, J. Piramo e Tisbe. Intermezzo tragico in two acts. Libretto by Marco Coltellini, after Ovid. First performed Vienna, 1768.

PYRAMUS: Barbara Schlick, sop THISBE: Ann Monoyas, sop THISBE’S FATHER: Wilfred Jochens, ten La Stagione/Michael Schneider.

Capriccio 60 043-2 2:04 Synopsis at finemusicfm.com/Opera Eccomi alfine ... Pallido il sole, torbido il cielo, from Artaserse. Sonia Prina, cont; Aronia Atenea/George Petrou.

Decca 4788099 12 22:30 FROM THE 20TH CENTURY Prepared by Rex Burgess Kats-Chernin, E. Re-collecting ASTORoids (2010). Willoughby SO/Warwick Potter.

Fine Music concert recording 20 Prokofiev, S. Piano concerto no 5 in G, op 55 (1931-32). Vladimir Ashkenazy, pf; London SO/André Previn.

Decca 425 570-2 25 Davies, P. Maxwell The Beltane fire (1995).

BBC PO/Peter Maxwell Davies.

Collins 14642 38 “Often brittle and dramatic, Prokofiev could be a real Romantic.”

– Neville Garden NOVEMBER 2018

17

Thursday 8 November 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 Brian Drummond Rossini, G. String sonata no 5 in E flat (1804). Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chi-chi Nwanoku, db.

Hyperion CDA66595 14 Saint-Saëns, C. Piano quartet in E (1853).

Quatuor Élyséen.

Arion ARN 68242 21 Fauré, G. Rêve d’amour, op 5 no 2; Après un rêve, op 7 no 1; Hymne, op 7 no 2; Aubade, op 6 no 1 (1865). Janet Baker, mezz; Geoffrey Parsons, pf.

Hyperion CDA66320 8 Liszt, F. Die Zelle in Nonnenwerth (1860).

Barnabás Kelemen, vn; Péter Nagy, pf.

Naxos 8.557541 6 Offenbach, J. Cello duet in D, op 49 no 6 (c1847). Andrea Noferini, vc; Giovanni Sollima, vc.

Brilliant Classics 94475 8 Schubert, F. Gebet, D815 (1824). Sibylla Rubens, sop; Regina Jakobi, cont; Marcus Ullmann, ten; Markus Flaig, bass; Ulrich Eisenlohr, pf.

Naxos 8.570961 10 Rossini, G. Prelude, theme and variations, from Sins of old age (1857-68). Hermann Baumann, hn; Leonard Hokanson, pf.

Philips 416 816-2 10 10:30 CONCERT HALL Prepared by Paul Hopwood Rimsky-Korsakov, N. Suite from Le coq d’or (1907). Russian NO/Mikhail Pletnev.

DG 447 084-2 27 Biscogli, F. Triple concerto in D. Maurice Bourge, ob; Maurice Allard, bn; Maurice André, tpt; Württemberg CO/Jörg Faerber.

EMI CMS 7 69880 2 23 Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Queensland PO/Chitaru Asahina.

Walsingham WAL 8038-2 31 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 LISZT AND WAGNER Prepared by Yvonne Laki Liszt, F. Piano sonata in B minor (1852-53).

Leslie Howard, pf.

Hyperion CDS44517 24 18

Wagner, R. Prelude to Act I of Parsifal (1882).

Seattle SO/Gerard Schwarz.

Naxos 8.572768 15

Goodwin, R. Suite from Drake 400 (1970).

West Australian SO/David Measham.

ABC 446 279-2 8

Liszt, F. Totentanz (1849). Leslie Howard, pf.

Hyperion CDS44517 14

Keats, H. Drake’s call (1943). John Pringle, bar; David Miller, pf.

ABC 472 225-2 3

14:00 THE YOUTHFUL YEARS Prepared by Paul Cooke 1792-1868

0:00 CONTEMPORARY COLLECTIVE

GIOACHINO ROSSINI

Rossini, G. Overture to La donna del lago (1819). Tasmanian SO/Ola Rudner.

ABC 476 259-9 5 Tanti affetti in tal momento, from La donna del lago. Cecilia Bartoli, mezz; Venice Opera House Ch & O/Ion Marin.

Decca 436 075-2 8 Introduction, theme and variations in B flat (1810). Joy Farrell, cl; Britten Sinfonia/ Nicholas Daniel.

ASV QS 6242 13 String sonata no 6 in D (1804). Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chi-chi Nwanoku, db.

Hyperion CDA66595 16 Concert aria: Alle voci della gloria (1813).

Samuel Ramey, bass; Welsh National Opera Ch & O/Gabriele Ferro.

Teldec 9031-73242-2 11 Wind quartet no 3 in F (1804; arr. Berr).

Michael Thompson Wind Quartet.

Naxos 8.554098 13 Ballet music from Othello (1816). Monte-Carlo Opera NO/Antonio de Almeida.

Philips 422 843-2 19 Cantata: La morte di Didone. Mariella Devia, sop; La Scala Philharmonic Ch & O/Riccardo Chailly.

Decca 458843-2 21 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 Prepared by Elaine Siversen Delany, J. Overture to Captain Cook (1888).

Adelaide SO/Carl Pini.

LP ABC AC 1036 9 Vintner, G. James Cook, circumnavigator.

John Foster Black Dyke Mills Band/Roy Newsome.

Chandos CHAN 4508 11 Hansken. Eighty-eight, or Sir ffrancis Drake.

York Waits.

Saydisc CD-SDL 373 3

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

Stanford, C. Villiers Drake’s drum, from Songs of the fleet. John Shirley-Quirk, bassbar; Viola Tunnard, pf.

Heritage HTGCD 283/4 3 Wagner, R. Overture: Columbus (1835).

Royal Scottish NO/Neeme Järvi.

Chandos CHSA 5092 8 Shostakovich, D. Overture (entre acte), from Dressel’s Der arme Columbus, op 23 (1929).

Russian State SO/Valery Polyansky.

Chandos CHAN 9792 4 Walton, W. Suite from Christopher Columbus (1942; arr. Palmer). Linda Finnie, mezz; Arthur Davies, ten; Westminster Singers; City of London Sinfonia/Richard Hickox.

Chandos CHAN 8824 11 Bliss, A. Suite from Christopher Columbus (1949; arr. Adriano). Czecho-Slovak RSO/ Adriano.

Marco Polo 8.223315 25 Farnon, R. Suite from Captain Horatio Hornblower (1951). Royal PO/Robert Farnon.

Reference RR-47 21 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Paul Cooke Brahms, J. Violin sonata no 1 in G, op 78 (1878-79). Ben Breen, vn; Milton Kaye, pf.

Tall Poppies TP172 28 Hindemith, P. Horn sonata (1943). Lin Jiang, hn; Benjamin Martin, pf.

Melba MR 301116 10 Hill, A. String quartet no 11 in D minor (1935).

Australian String Quartet.

Marco Polo 8.223746 18 Beethoven, L. Quintet in E flat for winds and piano, op 16 (1796). Alexander Oguey, ob; Francesco Celata, cl; Andrew Barnes, bn; Robert Johnson, hn; Tamara-Anna Cislowska, pf.

Fine Music concert recording 26 Grieg, E. Piano concerto in A minor, op 16 (1868). Percy Grainger, reproducing pf; Sydney SO/John Hopkins.

LP RCA VRL1 0168 29

T

he piano rolls on which Percy Grainger recorded, and the reproducing piano on which the rolls were played, were designed to faithfully reproduce the sound as if the pianist was actually in the room.

Friday 9 November 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 Tausig, C. Valse-caprice no 3, after J. Strauss II (1862). Dennis Hennig, pf.

Etcetera KTC 1086 8 Saint-Saëns, C. Fantasy after Weber’s Oberon (1850). Philippe Graffin, vn; Pascal Devoyon, pf.

Helios CDH55353 16 Godowsky, L. Symphonic metamorphosis after J. Strauss II’s Artist’s life (1907). Earl Wild, pf.

Vanguard OVC 4033 13 Mozart, W. Mass no 19 in D minor, K626, Requiem (1791; arr. Lichtenthal for string quartet). Australian String Quartet.

Fine Music concert recording 25 Czerny, C. Brilliant fantasy no 3, after Schubert, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH 55074 18 10:30 CONCERT HALL Prepared by Frank Morrison Verdi, G. Overture to Aroldo (1857). Andrew Balio, tpt; State of Mexico SO/Enrique Bátiz.

ASV DCA 856 11

Sixten Ehrling

Michael Borgstede

15:00 BRITANNIA Prepared by Randolph Magri-Overend

22:00 BAROQUE AND BEFORE François Couperin, born 10 November 1668 Couperin, F. La Couperin (1730). Davitt Moroney, hpd.

Harmonia Mundi HMA 1901275 5

Britten, B. Variations and fugue on a theme of Purcell, op 34, The young person’s guide to the orchestra (1946). BBC SO/Malcolm Sargent.

EMI 1 66442 2 17 Walton, W. Crown Imperial (1937).

Trumpeters of the Royal Military School of Music; BBC Concert O/Henry Krips.

BBC RD 9103 8 Elgar, E. Cello concerto in E minor, op 85 (191819). Yo-Yo Ma, vc; London SO/Andre Previn.

CBS M2K 44562 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps

Prokofiev, S. Violin concerto no 2 in G minor, op 63 (1935). Gil Shaham, vn; London SO/ André Previn.

DG 447 758-2 26

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Brahms, J. Symphony no 2 in D, op 73 (1877). Vienna PO/István Kertész.

Decca 448 197-2 45

Nielsen, C. Little suite, op 1 (1888/89).

Danish National RSO/Ulf Schirmer.

Decca 452 486-2 16

12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 A LYRICAL OFFERING Prepared by Ron Walledge Puccini, G. Capriccio sinfonico (1883). Berlin RSO. Decca 410 007-2 12 Franck, C. Symphonic variations (1885).

Jorge Bolet, pf; Concertgebouw O. Decca 421 714-2 17 Riccardo Chailly, cond (2 above) Stravinsky, I. Ballet: The rite of Spring.

London SO/Colin Davis.

Decca 478 3729 30 Zemlinsky, A. Lyric symphony, op 18.

Alessandra Marc, sop; Håkon Hagegård, bar; Royal Concertgebow O/Riccardo Chailly.

Decca 443 569-2 47

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Katy Rogers-Davies

Kokkonen, J. Sinfonisia luonnoksia, symphonic sketches (1968). Lahti SO/Osmo Vänskå.

BIS CD-468 14 Svendsen, J. Romeo and Juliet fantasia, op 18 (1876). Bergen PO/Neeme Järvi.

Chandos CHAN 10693 10 Runólfsson, K. Suite: On the crossroads (1938). Icelandic SO/Petri Sakari.

Chandos CHAN 9180 18 Grieg, E. Solveig’s song, from Peer Gynt (1875). Oslo PO/Esa-Pekka Salonen.

CBS MK 44528D 6 Sibelius, J. Karelia suite, op 11 (1893).

Helsinki PO/Leif Segerstam.

Ondine ODE 878-2 17 Berwald, F. Symphony no 3 in C, Singulière (1845). Malmö SO/Sixten Ehrling.

BIS CD-796 29

Harpsichord suite no 4 in F (1713). Michael Borgstede, hpd.

Brilliant Classics 93082 16 Concert no 6 in B flat, from Les goûts réünis (1724). Barthold Kuijken, fl; Bruce Haynes, ob; Sigiswald Kuijken, vn; Wieland Kuijken, bass viol; Robert Kohnen, hpd.

RCA/Sony SB2K 60714 13 Les Bergeries de M Couperin. José Miguel Moreno, theorbo.

Glossa GCD 2K0104 5 Le Parnasse, ou l’Apothéose de Corelli (1724). Bernerd Hervé, narr; Monica Hugget, vn; Chiara Banchini, vn; Jordi Savall, bass viol; Hopkinson Smith, theorbo; Ton Koopman, hpd.

Astrée E7709 13 Forqueray, A. La Couperin. Paolo Pandolfo, bass viol; Guido Balestracci, bass viol; Rolf Lislevand, theorbo; Eduardo Egüez, gui; Guido Morini, hpd.

Glossa GDC 920412 5 Couperin, F. Magnificat anima mea (c1710).

Robin Blaze, ct; Daniel Taylor, ct; Jonathan Manson, bass viol; Laurence Cummings, org.

BIS CD-1346 12 Les Silvains (1713). Michael Borgstede, hpd.

Brilliant Classics 93082 4 Marpurg, F. Les dryades (1748). Yves-G. Préfontaine, hpd.

ATMA ACD2 2119 4 Couperin, F. La Françoise, from Les nations (1726). Marion Moonen, fl; Stefano Rossi, vn; Ayako Matsunaga, vn; Job ter Haar, vc; Cassandra L. Luckhardt, bass viol; Michiel Niessen, archlute; Michael Borgstede, hpd; Jed Wentz, fl & dir.

Brilliant Classics 92178 20 NOVEMBER 2018

19

Saturday 10 November 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 Late and post-romantic 1875-1915 Prepared by Robert Small Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). János Starker, vc; Australian CO/Carl Pini.

Fine Music Tape Archive 16 Respighi, O. Ancient airs and dances, suite no 1 (1917). Christopher Lyndon-Gee, cond.

Omega OCD 1007 17 Vaughan Williams, R. Fantasia on a theme

by Thomas Tallis (1910/19). Richard Tognetti, cond. aco.com.au 16 Australian CO (3 above) Ravel, M. Le tombeau de Couperin (191317). Jean-Philippe Collard, pf.

EMI 5 72376 2 26

Obrecht, J. Haec Deum caeli. Early Music Consort of London/David Munrow.

Virgin 5 61334 2 1 Motet: Salve crux, arbor vitae. Pro Cantione Antiqua, London/Bruno Turner.

Archiv 479 1045 12 Isaac, H. Motet: Virgo prudentissima (c1507).

Song Company/Roland Peelman. song.company 13 Josquin Desprez. Missa Hercules dux Ferrariae. 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 15:00 SATURDAY MATINEE My country Prepared by Chris Blower Smetana, B. My country (1872-79). Vienna PO/Nikolaus Harnoncourt.

Teldec 0927-44890-2 1:23

10:30 SMALL FORCES Prepared by Frank Morrison

Delius, F. North Country sketches (1913-14).

Ulster O/Vernon Handley.

Chandos CHAN 8413 29

Hummel, J. Piano trio no 3 in G, op 35 (1811). Micaela Comberti, vn; Pal Banda, vc; Susan Alexander-Max, fp.

Naxos 8.557694 15

Sibelius, J. Oma maa, homeland, op 92 (1918). Finnish National Opera Ch & O/Eri Klas.

Ondine ODE 754-2 12

Beethoven, L. Wind sextet in E flat, op 71 (1796). European CO Wind Soloists.

ASV COE 807 20 Janácek, L. String quartet no 1, Kreuzer sonata (1923). Talich Quartet.

Calliope CAL 3333 17 11:30 ON PARADE Prepared by Robert Small Sousa, J.P. While navy ships are coaling (1923). 5 Paroles d’amour waltz (1880). 9 Naxos 8.559729 (2 above) Addison, J. Reach for the sky (1956). 4 Elgar, E. Pomp and circumstance march in C, op 39 no 4 (1907). 5 Decca 274 7512 (2 above) Central Band of the RAF/Keith Brion (all above) 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 20

14:00 FRANCO-FLEMISH RENAISSANCE Prepared by Albert Gormley

Somers, H. North country (1948). National Arts Centre O/Victor Feldbrill.

Centrediscs CMCCD 11306 14 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Party girls: the mezzos 18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame 19:00 THE MAGIC OF STAGE AND SCREEN Orphans Prepared by Adam Bowen Portman, R. Oliver Twist (2005). City of Prague PO/David Swell.

Sony SK96506 10 Desplat, A. Harry Potter and the deathly hallows, part 1 (2010). O/Alexandre Desplat.

Sony 8869774712 10 Herrmann, B. Torn curtain (1966). Universal Studio O/Bernard Herrmann.

HIP-O HPD-64661 6 Weisman - Wise. Lonely blue boy, from King Creole (1959). Conway Twitty, voice.

MGM SE3818 2

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

Raye - dePaul - Carter. Cow-cow boogie, from Ride ‘em cowboy (1941). Ella Fitzgerald; Ink Spots.

Hallmark 304722 3 Ellis, W. Mustang (2015). Warren Ellis.

Private recording 10 Newman, T. Lemony Snicket’s a series of unfortunate events. O/Thomas Newman.

Sony SK93576 5 Sherman brothers. I wanna be like you, from The jungle book. Louis Prima, Phil Harris, Bruce Reiterman, voices.

Walt Disney 003 3 20:00 THE WORD TRANSFORMED Prepared by Chris Blower Wagenaar, J. Overture: Cyrano de Bergerac, op 23 (1905). Royal Concertgebouw O/ Riccardo Chailly.

Decca 425 833-2 14 Herrmann, B. Prologue to Wuthering Heights (1982). David Kelly, bar; Donald Bell, bar; Elizabethan Singers; Pro Art O/Bernard Herrmann.

Unicorn-Kanchana UKCD2050-52 19 Alwyn, W. Suite from The history of Mr Polly (1949; arr. Ellerby). Royal Northern College of Music Wind O/Clark Rundell.

Naxos 8.572747 11 Britten, B. Seven sonnets of Michelangelo, op 22 (1940). Philip Langridge, ten; Steuart Bedford, pf.

Naxos 8.557201 19 Joseph, D. Scheherezade (1999). Academy of Melbourne/Brett Kelly.

Move MD 3302 19 Offenbach, J. Conduisez-moi vers celui que j’adore, from Robinson Crusoé (1867).

Natalie Dessay, sop; Les Éléments; Toulouse Capitole O/Michel Plasson.

Virgin 3 63332 2 4 Strauss, R. Suite from Die Frau ohne Schatten (1919; arr. Leinsdorf 1946). Royal Concertgebouw O/Erich Leinsdorf.

Radio Nederland RCO 08005 21 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Brahms, J. Trio for horn, violin and piano in E flat, op 40 (1865). Barry Tuckwell, hn; Brenton Langbein, vn; Maureen Jones, pf. ex libris 6059 30 Dvorák, A. String sextet in A, op 48 (1878).

Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 8771 29 Mahler, G. Symphony no 4 in G (1892; arr.

Stein, 1921). Clare Gormley, sop; Sydney Soloists/John Harding.

ABC 461 827-2 53

Sunday 11 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Richard Verco Charpentier, M-A. Psalm 83: Quam dilecta (1675). Barbara Schlick, sop; Nancy Zijlstra, sop; Kai Wessel, ct; Dominique Visse, ct; Christoph Prégardien, ten; Harry van Berne, ten; Peter Kooy, bass; Klaus Mertens, bass; Amsterdam Baroque O/Ton Koopman.

Musifrance 2292-45822-2 20 Handel, G. Psalm 110: Dixit Dominus, HWV232 (1707). Choir & O of Westminster Abbey/Simon Preston.

DG 478 5183 32 10:00 THE CLASSICAL ERA Prepared by Richard Verco Rossini, G. Overture to Semiramide (1823).

New York PO/Leonard Bernstein.

CBS MYK 44719 12 Hoffmeister, F. Double bass quartet no 2 in D. Ernö Sebestyén, vn; Helmut Nicolai, va; Martin Ostertag, vc; Norbert Duka, db.

Naxos 8.572187 19 Cambini, G. Piano concerto in B flat, op 15 no 1 (c1780). Franco Redondi, pf; Milan CO/ Paolo Vaglieri.

Nuova Era 7059 15 Krumpholtz, J-B. Harp concerto no 6 (c1777). Lily Laskine, hp; Jean-François Paillard CO/Jean-François Paillard.

Erato 0630-13705-2 21 Stamitz, C. Clarinet concerto no 3 in B flat.

Sabine Meyer, cl; Academy of St Martin in the Fields/Iona Brown.

EMI CDC 7 54842 2 14 Reichardt, J. Violin concerto in E flat. RIAS Sinfonietta/Ernö Sebestyen, vn & dir.

LP Schwann VMS 2004 F 13 Mercadante, S. Clarinet concerto in E flat.

Joy Farrell, cl; Britten Sinfonia/Nicholas Daniel.

ASV QS 6242 17 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 MUSIC AND WAR Prepared by Gerald Holder Adams, J. The wound-dresser (1988).

Sanford Sylvan, bar; Chris Gekker, tpt; Naoko Tanaka, vn; O of St Luke’s/John Adams.

Elektra Nonesuch 979218-2 19 Coles, C. Behind the lines (1917). BBC

Scottish SO/Martyn Brabbins.

Hyperion CDA67293 9 Finzi, G. Farewell to arms, op 9 (aft. 1940).

Martyn Hill, ten; City of London Sinfonia/ Richard Hickox.

Virgin VC 7 90718-2 9 Einhorn, R. Voices of light: Victory at Orleans; Interrogation; Torture. Susan Narucki, sop; Corrie Pronk, cont; Frank Hasmeleers, ten; Henk van Heijnsbergen, bass-bar; Anonymous 4; Netherlands Radio Choir & PO/Steven Mercurio.

Sony SK 62006 17 15:00 SUNDAY SPECIAL War Requiem Prepared by Ron Walledge Vaughan Williams, R. Fantasia on a theme

by Thomas Tallis (1910/19). Australian CO; ACO2/Richard Tognetti. aco.com.au 16 Butterworth, G. A Shropshire lad (1912).

Hallé O/Mark Elder.

BBC Music MM289 12 Britten, B. War Requiem, op 66 (1961).

Galina Vishnevskaya, sop; Peter Pears, ten; Dietrich Fischer-Dieskau, bar; Bach Choir; Highgate School Choir; Melos Ensemble; London Symphony Ch & O/Benjamin Britten.

Decca 478 3640 1:21 17:00 HOSANNA Prepared by Meg Matthews Hymns: Be still my soul; I vow to thee my country. David Drury, org; Brett Weymark, cond. 10 Fauré, G. Agnus Dei, from Requiem, op 48.

Sinfonia Australis/Antony Walker. 5 Cantillation (2 above) ABC 980 103-3 Handel, G. O lovely peace, from Judas Maccabaeus, HWV63. Lisa Saffer, sop; Patricia Spence, mezz; Philharmonia Baroque O/Nicholas McGegan.

Harmonia Mundi 907702 7 Stanford, C. Villiers Pray that Jerusalem may have peace, Choir of Christ Church Cathedral, Oxford/Stephen Darlington.

Nimbus NI5440 3 Mendelssohn, F. Grant us thy peace (1831).

Stuttgart Chamber Ch & O/Frieder Bernius.

Carus 83.204 4 Wesley, S.S. Thou wilt keep him in perfect peace (c1850).

Argo 483 1252 5

Luciano Berio Zelenka, J. Agnus Dei I and II, from Loreto Litany (1741-44). Chamber Choir of Stuttgart; Tafelmusik Baroque O/Frieder Bernius.

Harmonia Mundi RD 77922 5 18:00 PIANO AND FRIENDS Prepared by Paul Hopwood Chopin, F. Cello sonata in G minor, op 65 (1846). Pavel Gomziakov, vc; Maria João Pires, pf.

DHM 479 5964 34 Haydn, J. Piano trio in A flat, Hob. XV:14 (1789). Yuuko Shiokawa, vn; Boris Pergamentchikov, vc; András Schiff, pf.

Decca 444 862-2 21 19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello Verdi, G. Overture to Luisa Miller (1849).

Vienna PO/Giuseppe Sinopoli.

Philips 468 183-2 6 Dvorák, A. Violin concerto in A minor, op 53 (1879). Anne-Sophie Mutter, vn; Berlin PO/ Manfred Honeck.

DG 479 1060 34 Copland, A. Symphony no 3 (1946). New Zealand SO/James Judd.

Naxos 8.559106 43 20:30 NEW HORIZONS Prepared by James Nightingale Westlake, N. Mosstrooper Peak. Leonard Grigoryan, gui; Slava Grigoryan, gui.

ABC 481 7031 25 Harvey, M.K. Psychosonata, piano sonata no 2 (2012). Michael Kieran Harvey, pf.

Move MD 3368 28 Saariaho, K. Nuits, adieux (1991/96).

Norwegian Soloists’ Choir; Oslo Sinfonietta/ Grete Pedersen.

BIS BIS-2139 10

Ireland, J. Greater love hath no man (1912).

Argo 483 1258 6

Berio, L. Chemins V. Pablo Marquez, gui; Swiss-Italian O/Dennis Russell Davies.

ECM 4815034 21

Choir of St John’s College, Cambridge/ George Guest (2 above)

22:00 AFTER HOURS JAZZ with Kevin Jones NOVEMBER 2018

21

Monday 12 November

Oscar Shumsky

Wilhelm Kempff

Mstislav Rostropovich

0:00 CLASSIC-ALL THROUGH THE NIGHT

10:30 CONCERT HALL Prepared by Derek Parker

Mahler, G. As I walked through the field this morning, from Songs of a wayfarer. Thomas Hampson, bar; London PO/Klaus Tennstedt.

BBC Music Vol 16 no 2 5

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1735 Prepared by Francis Frank Pergolesi, G. Sinfonia to L’Olimpiade (1735).

St Cecilia Academy O/Myung-Whun Chung.

DG 471 566-2 6 Rameau, J-P. Danse du grande calumet de la paix, from Les Indes galantes (1735). Patricia Petibon, sop; Kevin Greenlaw, bar; La Cetra Vocal Ensemble & Baroque O/Andrea Marcon.

DG 479 0079 4 Rameau, J-P. Excerpts from Les Indes galantes (1735-61). Le Concert des Nations/ Jordi Savall.

Alia Vox AVSA 9877 10 Handel, G. Harp concerto in F, op 4 no 5 (1735-36; arr. Zabaleta). Nicanor Zabaleta, hp; English CO/Garcia Navarro.

DG 469 544-2 9 Geminiani, F. Concerto grosso no 4 in B minor (1735). Barbara Jane Gilby, vn; Peter Edwards, vn; Sue-Ellen Paulsen, vc; Tasmanian Symphony Chamber Players/ Geoffrey Lancaster.

ABC 472 424-2 7 Porpora, N. Cantata no 8: Or che una nube ingrata (pub. 1735). Iestyn Davies, ct; Arcangelo/Jonathan Cohen.

Hyperion CDA 67894 14 Bach, C.P.E. Oboe sonata in G minor, Wq135 (1735). Klaus Gerbeth, ob; Horst Krause, bass viol; Matthias Wilke, hpd.

Berlin 0012852BC 11 Bach, J.S. Concerto in C minor for violin, oboe and orchestra, BWV1060 (1735-40).

Oscar Shumsky, vn; Robin Miller, ob; Scottish CO. Nimbus NI 7031 14 22

Wagner, R. Overture and Venusberg music, from Tannhäuser (1845). Royal Scottish NO/ Neeme Järvi.

Chandos CHSA 5077 20 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 Rachmaninov, S. Symphony no 3 in A minor, op 44 (1935-36/38). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 39 12:00 SWING SESSIONS with John Buchanan 13:00 VIVE LA FRANCE Prepared by Randolph Magri-Overend Lully, J-B. Ouverture; Pastorale; Menuet pour les faunes et dryades; Entrée d’Apollon, from Les amants magnifiques (1670). Isabelle Poulenard, sop; Agnès Mellon, sop; Gilles Ragon, ten; Michel Laplénie, ten; Michel Verschaeve, bar; Les Musiciens du Louvre/ Marc Minkowski.

Erato 245 286-2 20 Massenet, J. Ballet music from Le Cid (1885). City of Birmingham SO/Louis Frémaux.

EMI 5 65150 2 20 Saint-Saëns, C. Piano concerto no 4 in C minor, op 44 (1875). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 25 Bizet, G. Suite no 2, from L’arlésienne (1872). Detroit SO/Paul Paray.

Mercury 475 6268 16 14:30 MUSICAL ODYSSEYS Prepared by Miranda Luo

Schumann, R. Kreisleriana, op 16 (1838).

Wilhelm Kempff, pf.

DG 435 045-2 32 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Schubert, F. Wayfarer’s night song II, D768 (1815). Bryn Terfel, bass-bar; Malcolm Martineau, pf.

DG 445 294-2 2 Strauss, R. Tone poem: Don Quixote, op 35 (1897). Ulrich Koch, va; Mstislav Rostropovich, vc; Berlin PO/Herbert von Karajan.

EMI 5 65701 2 44 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

T

he Prince of Valencia, Rodrigo Diaz de Vivar (c1043-1099), was buried in Burgos Cathedral. He was a military leader in wars against the Moors and, after his death, he became a celebrated Castilian hero. The title El Cid was given to him by the Moors (probably from the Arabic Al-Sayyid meaning The Lord); the Christians called him El Campeador (Outstanding warrior). As the subject of much literature, Rodrigo became a legendary figure, his first appearance being in the medieval epic poem El Cantar de Mio Cid. Massenet’s opera Le Cid (based on a play by Pierre Corneille) premiered in November 1885 and was produced 150 times up to 1919. After this it faded from the repertoire until its revival in recent times. The ballet suite with its dances from different regions of Spain always remained popular.

Tuesday 13 November Cuius animam, from Stabat Mater (1832).

Donald Smith, ten; Queensland SO/Vanco Cavdarski.

EMI 1 66283 2 6 Pro peccatis, from Stabat Mater. Samuel Ramey, bass; Welsh National Opera Ch & O/ Gabriele Ferro.

Teldec 9031-73242-2 5 La danza; La gita, from Soirées musicales (1830-35). Renata Scotto, sop; Antonio Beltrami, pf.

LP EMI 1C 065 99868 9 Nikolai Rimsky-Korsakov

Elizabeth Wallfisch

0:00 CONTEMPORARY COLLECTIVE

13:00 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore

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 Schumann, R. Songs of dawn, op 133 (1853). Mitsuko Uchida, pf.

Decca 478 5393 15 Lalo, E. Chants russes (1879). Maria Kliegel, vc; Bernd Glemser, pf.

Naxos 8.554469 6 Giazotto, R. Adagio in G minor (arr. Boak, Siketa). Bruno Siketa, tpt; Rhys Boak, org.

Move MD 3379 7 Kozeluch, L. Piano sonata in D minor, op 20 no 3 (1786). Christine Faron, fp.

Schwann 3-1059-2 16 Bax, A. Clarinet sonata (1934). Michael Collins, cl; Ian Brown, pf.

Hyperion CDA66807 14 Alkan, C-V. Piano trio in G minor, op 30 (c1840). Trio Alkan.

Brilliant Classics 95568 21 10:30 CONCERT HALL Prepared by Paul Hopwood Rimsky-Korsakov, N. Overture: Russian Easter Festival, op 36 (1888). Bolshoi SO/ Alexander Lazarev.

Erato 4509-94808-2 16 Besozzi, C. Oboe concerto no 1 in C. Anthony Camden, ob; City of London Sinfonia/Nicholas Ward.

Naxos 8.554772 21 Balakirev, M. Symphony no 1 in C (1897).

Philharmonia O/Yevgeny Svetlanov.

Hyperion CDA66691-2 44 12:00 JAZZ RHYTHM with Jeannie McInnes

Highlights and previews of the month’s concerts including interviews with the key players 14:00 AN ANNIVERSARY CELEBRATION Prepared by Elaine Siversen 1792-1868

3:00 CLASSICAL TILL DAWN

GIOACHINO ROSSINI

Rossini, G. String sonata no 4 in B flat (1804). Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chi-chi Nwanoku, db.

Hyperion CDA66595 14 Di tanti palpiti, from Tancredi (1813). Marilyn Horne, mezz; Suisse Romande O/Henry Lewis.

ABC 480 5629 3 Largo al factotum, from The barber of Seville (1816). Teddy Tahu Rhodes, bass-bar; Tasmanian SO/Andrew Greene.

ABC 482 3700 5 Una voce poco fà, from The barber of Seville.

Lauris Elms; cont; West Australian SO/ Geoffrey Arnold.

ABC 476 4431 6 Duetto buffo di due gatti (1816). Victoria de Los Angeles, sop; Elisabeth Schwarzkopf, sop; Gerald Moore, pf.

EMI CDM 1 66417 2 3 Overture to The thieving magpie (1817).

Montreal SO/Charles Dutoit.

Decca 460 590-2 10 Bel raggio lusinghier, from Semiramide (1823). Cheryl Studer, sop; Ambrosian Opera Ch; London SO/Ion Marin.

DG 437 813-2 4 Overture to William Tell (1829) Israel PO/ Zubin Mehta.

Decca 475 7470 12

Bolero tartare; Un rêve, from Péchés de vieillesse, vol VIII (1857-68). Alessandro Marangoni, pf.

Naxos 8.572608-09 20 Hymn to peace (1850). Michele Pertusi, bar; Nelson Calzi, pf; Milan Giuseppe Verdi Symphony Ch & O/Riccardo Chailly.

Decca 470 298-2 6 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 SYDNEY SYMPHONY 2018 Produced by Andrew Bukenya 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 Weigl, J. Concertino for winds, double bass and harp. Hans Wolfgang Dünschede, fl; Günter Zorn, ob; Dieter Klöcker, cl; Karl Hartmann, bn; Wolfgang Güttler, db; Edward Witsenburg, hp.

Schwann 310 001 H1 20 Schumann, R. Piano trio no 3 in G minor, op 110 (1851). Florestan Trio.

Hyperion CDA67175 27 Schmidt, Heather. Moon Cove (2012).

Heather Schmidt, pf.

Centrediscs CMCCD 19613 5 Shostakovich, D. String quartet no 3 in F, op 73 (1946). St Petersburg String Quartet.

Sony SMK 66 592 32 Gardel, C. El dia que me quieras. José Carbó, bar; Slava Grigoryan; gui; Leonard Grigoryan, gui.

ABC 476 4833 4 d’Indy, V. Sextet in B flat (1927). François Mereaux, va; Michel Poulet, vc; Quatuor Joachim.

Calliope CAL 3891.2 22 NOVEMBER 2018

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Wednesday 14 November

June Bronhill

Nicholas Milton

Gabriel Bacquier

0:00 CONTEMPORARY COLLECTIVE

Arriaga, J. Symphony in D minor (1824). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 29

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter

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 Offenbach, J. Overture for large orchestra.

Les Musiciens du Louvre/Marc Minkowski.

DG 471 501-2 13

13:00 MASTERS OF THE BAROQUE Prepared by Yvonne Laki Vivaldi, A. Violin concerto in E minor, RV281.

Europa Galante/Fabio Biondi, vn & dir. naïve OP 3086 11

Invocation to death; Fly duet, from Orpheus in the Underworld (1858/74). June Bronhill, sop; Eric Shilling, bar; Sadler’s Wells Opera O/ Alexander Faris.

EMI 3 89163 2 9

Telemann, G. Triple concerto in A, from Tafelmusik I (pub. 1733). Wilbert Hazelzet, fl; Rémy Baudet, vn; Richte van der Meer, vc; Musica Amphion/Pieter-Jan Belder.

Brilliant Classics 94104 26

Cello duet in E, op 54 no 2 (1847). Giovanni Sollima, vc; Andrea Noferini, vc.

Brilliant Classics 94475 21 Amours divins, from La belle Hélène (1864); Rondeau et valse, from La vie parisienne (1866). Frederica von Stade, mezz; Scottish CO/Antonio de Almeida.

RCA 09026 68116 2 8 Ballet: Orphée aux enfers (1858).

Philharmonia O/Antonio de Almeida.

Philips 422 057-2 18 Doll song; Barcarolle, from The tales of Hoffmann (1881). Patricia Petibon, sop; Karine Deshayes, mezz; Lyon Opera Ch & O/ Yves Abel.

Decca 475 090-2 10 10:30 CONCERT HALL Prepared by Denis Patterson Rossini, G. Overture to William Tell (1829).

Tasmanian SO/Ola Rudner.

ABC 481 0616 12 Brahms, J. Violin concerto in D, op 77 (1878). Joshua Bell, vn; Cleveland O/ Christoph von Dohnányi.

Decca 444 811-2 40 24

12:00 JAZZ SKETCHES with Robert Vale

Mozart, W. Piano sonata no 8 in A minor, K310 (1778). Andreas Staier, pf.

MBF 1108 17 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 TCHAIKOVSKY EXPLORED Part 2 Prepared by Michael Morton-Evans Tchaikovsky, P. Symphonic poem: Fatum, op 77 (1868). SO of Russia/Veronika Dudarova.

Olympia OCD 512 A&B 18 Fantasy overture: Romeo and Juliet (1869/70/80). Willoughby SO/Nicholas Milton.

Fine Music concert recording 18 Dances, from Oprichnik (1874). Ukraine NSO/ Theodore Kuchar.

Naxos 8.554845 6 String quartet no 1 in D, op 11, mvt 2 (1871).

New Haydn Quartet, Budapest.

Naxos 8.550847 7

Not a word, oh my love (1872). Nicolai Ghiaurov, bass; Zlatina Ghiaurov, pf.

Decca 443 024-2 3 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Rossini, G. William Tell. Opera in four acts.

Libretto by Étienne de Jouy and L.F. Bis. First performed Paris, 1829.

WILLIAM TELL: Gabriel Bacquier, bar ARNOLD: Nicolai Gedda, ten MATHILDE: Montserrat Caballé, sop LEUTHOLD: Nicolas Christou, bar WALTER: Kolos Kováts, bass MELCHTHAL: Gwynne Howell, bass GESSLER: Louis Hendrikx, bass JEMMY: Mady Mesplé, sop Ambrosian Opera Ch; Royal PO/Lamberto Gardelli.

EMI 7 69951 2 3:58 Synopsis at finemusicfm.com/Opera

A

lthough Jacques Offenbach satirised Emperor Napoleon III and his court in his operettas, the Emperor personally granted him French citizenship and the Légion d’Honneur. Offenbach was born in Cologne but had been sent to the Paris Conservatoire at the age of 14. He left after a year and began performing as a cellist. Subsequently he gained an international reputation as a cellist and conductor but his ambition was to compose for the musical theatre. The Opéra Comique was uninterested in his work so he leased a small theatre and produced them himself. The rest is history! From the production of his first full-length operetta Orpheus in the Underworld, he went on to compose almost 100 operettas and the opera The tales of Hoffmann.

Thursday 15 November 0:15 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 Stamitz, C. Wind quartet in E flat, op 8 no 2 (1773). Guy Henderson, ob; Gabor Reeves, cl; Gordon Skinner, bn; Anthony Buddle, hn.

Fine Music concert recording 10 Beethoven, L. Piano sonata no 8 in C minor, op 13, Pathétique (1798). Gerard Willems, pf.

ABC 465 695-2 19 Wolf, H. Excerpts from Italian songbook (1891; transcr. Heyse). Christa Ludwig, cont; Erik Werba, pf.

DG 459 335-2 2 Franck, C. Prélude, fugue et variation, op 18 (1862) Amadeus Guitar Duo. Naxos 8.573440 9 Czerny, C. Andante and polacca, op 339 (1848). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH55074 11 Haydn, J. String quartet in D, Hob.III:63, Lark (1790). Kodály Quartet.

Naxos 8.550674 19 10:30 CONCERT HALL Prepared by Marilyn Schock Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). Tasmanian SO/ Sebastian Lang-Lessing.

ABC 476 773-6 12 Edwards, R. Piano concerto (1982). Dennis Hennig, pf; Queensland SO/Myer Fredman.

ABC 426 483-2 18 Mahler, G. Symphony no 1 in D, Titan (1888/93/96-98). Bavarian RSO/Rafael Kubelik.

DG 477 8825 50 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 BALTIC ROUNDABOUT Prepared by Francis Frank Crusell, B. Divertimento in C, op 9 (1822).

Sarah Francis, ob; Allegri String Quartet.

Hyperion CDA66143 10 Egge, K. String quartet no 1, op 5 (1933).

Oslo String Quartet.

Naxos 8.554384 20 Fernström, J. String quartet no 6 in G, op 81b (1946). Lysell Quartet.

Daphne 1009 17 Buxtehude, D. Suite in G minor (1901).

Jacqueline Ogeil, hpd.

Move MD 3191 7

Neville Marriner

Peggy Glanville-Hicks

14:00 COMPOSER, THEORIST AND TEACHER Prepared by Elaine Siversen

Brahms, J. Five Ophelia songs, from Hamlet, op 22 (1873). Jessye Norman, sop; Daniel Barenboim, pf.

DG 459 469-2 4

Albrechtsberger, J. Fugue for quartet in C (c1770). Camerata Bern/Thomas Füri.

Archiv 410 599-2 6 Harp concerto in C (1773). Elizabeth Hainen, hp; Bulgarian National RO/Rossen Milanov.

Avie AV 2221 20 Fugue in B on BACH. Ad van Sleuwen, org.

LBCD 75/76 4 Beethoven, L. Sonata in F minor, op 2 no 1 (1793-95). Paul Lewis, pf.

Harmonia Mundi HMX 2908601.30 20 Albrechtsberger, J. String quartet in D minor, op 21 no 2 (pub. aft. 1798). Australian Haydn Ensemble.

Fine Music concert recording 6 Haydn, J. Divertimento in G, Hob.X:5 (1775).

Haydn Sinfonietta.

Schwann 3-1250-2 14 Mozart, W. Violin sonata no 18 in G, K301 (1778). Takako Nishizaki, vn; Jenö Jandó, pf.

Naxos 8.553111 14 Albrechtsberger, J. Double concerto in E (1770). Fritz Mayr, jew’s harp; Dieter Kirsch, mandora; Munich CO/Hans Stadlmair.

Orfeo C 035 821 A 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Hamlet and Ophelia Prepared by Raj Gopalakrishnan Walton, W. Hamlet (1947; arr. Palmer). John Gielgud, narr; Academy of St Martin in the Fields/Neville Marriner.

Chandos CHAN 7041 18 MacDowell, E. Hamlet and Ophelia, op 22 (1884). Ulster O/Takuo Yuasa.

Naxos 8.559075 13

Tchaikovsky, P. Excerpts from Hamlet, op 67bis (1891). Janis Kelly, sop; London SO/ Geoffrey Simon.

Chandos CHAN 9191 30 Thomas, A. À vos jeux, mes amis, permettez-moi, from Hamlet (1869). Joan Sutherland, sop; Welsh National Opera Ch & O/Richard Bonynge.

Decca 475 6302 13 Shostakovich, D. Suite from Hamlet, op 116a (1963-64). Belgian RSO/José Serebrier.

RCA Victor RD 87763 30 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Elaine Siversen Bach, C.P.E. Cello concerto in A minor, Wq170 (1750). Daniel Yeadon, vc; Australian Haydn Ensemble/Erin Helyard. 27 Kats-Chernin, E. Interludes and rag (2012).

Australia Ensemble. 20 Fine Music concert recordings (2 above) Glanville-Hicks, P. Sonata for piano and percussion (1952). Susanne Powell, pf; CSM Percussion Ensemble/Michael Askill.

Canberra School of Music CSM 24 11 Tchaikovsky, P. String sextet in D minor, op 70, Souvenir of Florence (1891). Members of Omega Ensemble. 36 Spiers, C. Arc of infinity (2006). Bourbaki Ensemble/David Angell. 17 Fine Music concert recordings (2 above)

‘Q

uirky, raucously exhilarating and at times almost nostalgically lyrical’ is a phrase used to describe Ross Edwards’ Piano concerto. It has always been popular with the public but not with earlier critics unused to the exuberant dance rhythms and colourful instrumentation which expresses the joy of living.

NOVEMBER 2018

25

Friday 16 November minor (1944). Roger Winfield, ob; Northern Sinfonia of England/Richard Hickox.

EMI CDC 7 49745 2 19 Korngold, E. Suite from The Sea Hawk (1940). London SO/André Previn.

DG 471 347-2 17 Walton, W. Suite from film, Henry V (1944; arr. Mathieson). Philharmonia O/William Walton.

EMI 5 65003 2 15 Vaughan Williams, R. Concerto grosso (1950). Bournemouth SO/Norman Del Mar. EMI CDM 5 65130 2 16 Carl Maria von Weber

Johann Stamitz

0:00 CONTEMPORARY COLLECTIVE

SO/Richard Hickox.

Chandos CHAN 9784 41

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 Glazunov, A. Ballet: Chopiniana, op 46 (1893). German SO/Vladimir Ashkenazy.

Decca 460 019-2 21 Mendelssohn, F. Hexenlied; Suleika; Auf Flügeln des Gesanges (arr. Hope). Daniel Hope, vn; Sebastian Knauer, pf.

DG 477 6634 7 Pheloung, B. Symphonic variations in (Morse) code. Carlos Bonell, gui; London Metropolitan O/Barrington Pheloung.

Camp Fabulous CME0023 6 Mendelssohn, F. Organ sonata in C minor, op 65 no 2 (arr. Cox). Septura.

Naxos 8.573314 9 Ives, C. Thoreau; Down East; Cradle song; At the river; Serenity (arr. Adams). Dawn Upshaw, sop; O of St Luke’s/John Adams.

Elektra Nonesuch 7559-79249-2 9 Ravel, M. Suite from Mother Goose (1908-10; arr. McIntyre). Canberra Wind Soloists.

Fine Music Tape Archive 14 Weber, C.M. Variations sur A peine au sortir de l’enfance, from Méhul’s Joseph, op 28 (1812). Stephanie McCallum, pf.

ABC 462 763-2 12 10:30 CONCERT HALL Prepared by Elaine Siversen Bizet, G. Overture: Patrie, op 19 (1873).

Detroit SO/Paul Paray.

Mercury 475 6268 11 Bruch, M. Violin concerto no 3 in D minor, op 58 (1891). Lydia Mordkovitch, vn; London 26

Ravel, M. Ballet: Mother Goose (1908-11).

Montreal SO/Charles Dutoit.

Decca 478 2826 28 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 20TH CENTURY FRENCH MUSIC Prepared by Miranda Luo Debussy, C. String quartet in G minor, op 10 (1893). Australian String Quartet.

ABC 476 690-4 27 Gaubert, P. Flute sonata (1917). Paula Robison, fl; Samuel Sanders, pf.

Vanguard OVC 4058 16 Ravel, M. La valse (1921). London SO/ Claudio Abbado.

DG 427 314-2 12 Poulenc, F. Cello sonata (1948). Georg Pedersen, vc; Stephanie McCallum, pf.

Fine Music concert recording 22 14:30 THE SYMPHONIES OF ANTON BRUCKNER Prepared by Ron Walledge Bruckner, A. Vexilla regis (1892). Choir of St Bride’s Church/Robert Jones.

Naxos 8.550956 5 Symphony no 8 in C minor (1884-87/89-90).

Los Angeles PO/Zubin Mehta.

Decca 475 7470 1:19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Symphonies of Vaughan Williams Prepared by David Brett Vaughan Williams, R. Oboe concerto in A

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

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 Pieter Van Maldere and contemporaries Prepared by Elaine Siversen Maldere, P. Trio sonata I. André Siwy, vn; Yaga Siwy, vn; Simone Verset, hpd.

LP Alpha Brussels BRB 9 9 Corelli, A. Sonata in C, op 5 no 10 (pub.

1700). Frans Brüggen, rec; Anner Bijlsma, vc; Gustav Leonhardt, hpd.

Pro Arte CDD 291 9 Maldere, P. Trio sonata IV. André Siwy, vn; Yaga Siwy, vn; Simone Verset, hpd.

LP Alpha Brussels BRB 9 9 Stamitz, J. Sinfonia à quattro in F (c1750).

New Dutch Academy/Simon Murphy.

PentaTone PTC 5186 029 17 Fiocco, J-H. Recordare Domine quid acciderit nobis, incipit oratio Ieremiae Prophetae (1733). Sergio Foresti, bass; Roberto Gini, vc; Claudio Frigerio, vc; Diana Petech, org.

Giulia GS 201021 12 Maldere, P. Trio sonata V. André Siwy, vn; Yaga Siwy, vin; Simone Verset, hpd.

LP Alpha Brussels BRB 9 6 Fesch, W. de Concerto grosso in D, op 10 no 4 (1741). Musici Academici/Dejan Mijajev.

LP Alpha BNB5-6 13 Croes, H. de Concerto no 6 in B flat for flute, violin and orchestra. Pol Vanwolleghem, fl; Georges Octors, vn; Belgian RT CO/Edgard Doneux.

LP EMI 4C 161-96986/989 16 Heinsius, M. Sinfonia in G, op 2 no 2. O Van Wassenaer/Makoto Akatsu.

BIS CD-984 5 Wassenaer, U. Concerto no 1 in G, from Concerti armonici (pub. 1740). Brandenburg Consort/Roy Goodman.

Hyperion CDA66670 11

Saturday 17 November 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 Late and post-romantic 1875-1915 Prepared by Frank Morrison Novák, V. Piano trio quasi una ballata in D minor, op 27 (1902). Smetana Trio.

Supraphon SU 3810-2 16 Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). London SO/Ataulfo Argenta.

Decca 443 580-2 15 Ravel, M. Introduction and allegro (1906).

Peter-Lukas Graf, fl; Hans Rudolf Stalder, cl; Ursula Holliger, hp; Die Kammermusiker Zürich.

Claves 50-280 11 Charpentier, G. Impressions of Italy (188789). Opéra Comique NTO/Pierre Dervaux.

EMI 5 65150 2 35 10:30 MUSIC FOR SMALL FORCES Prepared by Paul Hopwood Beach, A. Piano quintet in F sharp, op 67 (1907). Martin Roscoe, pf; Endellion Quartet, ASV DCA 932 27 Ireland, J. Sextet for winds and strings (1898). Robert Plane, cl; David Pyatt, hn; Maggini Quartet.

Naxos 8.570550 27 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Fletcher, A. The boys in blue. Williams-Fairey Engineering Band.

Delta 60357 2 Rossini, G. Overture to The barber of Seville (1816). Grimethorpe Colliery Band; GUS (Footwear) Band; Morris Concert Band, Yorkshire Imperial Metals Band/Harry Mortimer.

LP EMI DUO 130 7 Isfryn, C. Branwen. Bert van Thienen, cornet; Cory Band/Robert Childs.

Doyen DOY 239 2 Grieg, E. Elegiac melody no 2, Spring.

Brighouse and Rastrick Band; Carlton Main Frickley Colliery Band; Cory Band; Fairey Band; Hanwell Band; Yorkshire Imperial Metals Band/Harry Mortimer.

LP EMI DUO 130 2 Offenbach, J. Overture to Orpheus in the Underworld. Allentown Band/Ronald Demkee.

AMP 93149 10 12:00 URBAN JAZZ LOUNGE with Leita Hutchings

13:00 MAINLY STRINGS Prepared by Rex Burgess Bach, J.S. Concerto in A minor for four harpsichords and strings, BWV1065. Kenneth Gilbert, hpd; Lars Ulrik Mortensen, hpd; Nicholas Kraemer, hpd; English Concert/ Trevor Pinnock, hpd & dir.

Archiv 471 754-2 10 Dragonetti, D. Andante and rondo for double bass and strings. Ludwig Streicher, db; Munich CO/Hans Stadlmair.

Teldec 2292-42452-2 10 Beethoven, L. String quintet in C minor, op 104 (1819). Members of Nash Ensemble.

Hyperion CDA67745 30 Debussy, C. Two dances for harp and strings (1904). Emmanuel Ceysson, hp; Lyon NO/ Jun Märkl.

Naxos 8.572675 9 Respighi, O. Pastorale for violin and strings, after Tartini (1908). Ingolf Turban, vn; English CO/Marcello Viotti.

Claves CD 50-9017 12 Arnold, M. Symphony for strings, op 13 (1946). Northern CO/Nicholas Ward.

Naxos 8.57264 22 Norgård, P. Strings for violin, viola and cello (1992). Trio Aristos.

BIS BIS-2269 15 15:00 SATURDAY MATINEE Operetta: Princess Ida Prepared by Elaine Siversen Sullivan, A. Princess Ida. Operetta in three acts. Libretto by W.S. Gilbert. First performed London, 1884.

PRINCESS IDA: Elizabeth Harwood, sop PRINCE HILARION: Philip Potter, ten KING HILDEBRAND: Kenneth Sandford,bar CYRIL: David Palmer, ten FLORIAN: Jeffrey Skitch, bar KING GAMA: John Reed, bar D’Oyly Carte Opera Company Ch; Royal PO/ Malcolm Sargent.

Decca 436 810-2 1:24 Synopsis at finemusicfm.com/Opera Excerpts from The Yeomen of the Guard (1879).

Muriel Harding, sop; Ann Drummond-Grant, cont; Leonard Osborn, ten; Martyn Green, bar; D’Oyly Carte Ch & O/Isidore Godfrey.

Naxos 8.111311/12 10 Excerpts from The pirates of Penzance (1879). Debra Hays, sop; Meredyth Rawlins, mezz; Carroll Freeman, ten; Eric Schilling, bar; Eric Johnson, bass; Members of Eastman Chorale; Rochester PO/Mark Elder.

Pro Arte CDD 480 33 17:30 STAGING MUSIC Prepared by Angela Cockburn Comedy of errors

18:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Rogers and Hammerstein’s lesser known musicals 20:00 THE WORD TRANSFORMED Prepared by James Nightingale Ravel, M. Shéhérazade, fairy overture (1898). Minnesota O/Eiji Oue. Reference RR-79 12 Stanhope, P. Sea chronicles. Alana Scott, sop; Benjamin Greaves, vn; Brendan Joyce, vn; Anna Colville, va; Shannon Tobin, vc; Patrick Burns, cond.

Move MD3310 19 Liszt, F. Three sonnets of Petrarch (1839): XLVII, Benedetto sia il giorno; CIV, Pace non trovo; CXXIII, I’ vidi in terra. Leslie Howard, pf.

Hyperion CDS44561 19 Wagner, R. Wesendonck Lieder (1858).

Lisa Gasteen, sop; John Harding, vn; West Australian SO/Simone Young.

ABC 476 6811 25 Boyd, A. As I crossed a bridge of dreams (1975). Ars Nova, Copenhagen/Paul Hillier.

Ars Nova 6.220597 11 Stravinsky, I. Song of the nightingale (1917).

Royal Concertgebouw O/Pierre Boulez.

Radio Netherlands RCO 05001 21 22:00 SATURDAY NIGHT AT HOME Prepared by Stephen Wilson Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Vienna PO/Christoph von Dohnányi.

Decca 460 239-2 12 Borodin, A. String quartet no 2 in D (1881).

Australian String Quartet.

Fine Music concert recording 27 Bruch, M. Double concerto in E minor, op 88 (1911). Thea King, cl; Nobuko Imai, va; London SO/Alun Francis.

Hyperion CDD 22017 20 Brahms, J. Alto rhapsody, op 53 (1869).

Janet Baker, mezz; London Symphony Ch; City of London Sinfonia/Richard Hickox.

Virgin VC 7 91123-2 14 Debussy, C. Little suite (1886-89). Duo Crommelynck, pf.

Claves 50-8508 13 Stravinsky, I. Suite from Pulcinella (191920). Academy of St Martin in the Fields/ Neville Marriner.

Decca 443 577-2 23 NOVEMBER 2018

27

Sunday 18 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Vizzana, L. Protector Noster. Deborah Roberts, sop; Tessa Bonner, sop; Catherine King, mezz; Mary Nichols, cont. 3 O invietissima Christi martyr. Catherine King, mezz; Mary Nichols, cont. 3 Amo Christum, in euius thalamum introibo.

Tessa Bonner, sop; Deborah Roberts, sop. 3 David Miller, chitarrone; John Toll, org (3 above) Linn CKD 071 Janácek, L. Glagolitic Mass (1928).

Christiane Libor, sop; Ewa Marciniec, cont; Timothy Bentch, ten; Wojciech Gierlach, bass; Jaroslaw Malanowicz, org; Warsaw Philharmonic Ch & O/Antoni Wit. Naxos 8.572639 40 Bach, J.S. O Lamm Gottes, unschuldig, BWV618 (1708-15). Det Fynske Kammerkor; Kevin Bowyer, org; Alice Joensen, cond.

Nimbus NI 5457/8 4 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Rosetti, A. Symphony in D (1780). London Mozart Players/Matthias Bamert.

Chandos CHAN 9567 18

Schubert, F. Symphony no 5 in B flat, D485 (1816). Northern Sinfonia/Heinrich Schiff.

Chandos CHAN 9136 27 15:00 SUNDAY SPECIAL Simply Shostakovich Prepared by Paolo Hooke

Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Alfred Hornung, vc; Yuri Rozum, pf.

Oz Classique 23396RH 27

Shostakovich, D. Symphonic poem: October, op 131 (1967). Gothenburg SO/ Neeme Järvi.

DG 459 415-2 12

Brahms, J. Piano trio in C, op 87 (1880-82).

Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI 7 54725 2 28

Suite from Moscow-Cheryomushki (1958; ed.

Andrew Cornall). Philadelphia O/Riccardo Chailly.

Decca 452 597-2 20

19:00 SUNDAY NIGHT CONCERT Prepared by Gerald Holder

Piano concerto no 2 in F, op 102 (1957).

Dmitri Alexeev, pf; English CO/Jerzy Maksymiuk.

EMI CFP 4547 19 Symphony no 13 in B flat minor, op 113, Babi Yar (1962). Arthur Eisen, bass; members of Russian Choral Chapel; Moscow PO/Kirill Kondrashin.

Melodiya MEL 10 02431/7,8 54 17:00 HOSANNA Prepared by Richard Munge Hymns: Tell out, my soul; The day thou gavest, Lord, is ended; Praise, my soul, the King of Heaven. Choir of St Paul’s Cathedral; John Scott, org; Barry Rose, cond.

Guild GMCD 7106 9

Dussek, J. Piano quintet in F minor, op 41 (1799). Nepomuk Fortepiano Quintet.

Brilliant Classics 94377 24

Psalm: No 36: My heart showeth me the wickedness of the ungodly. Choir of Ely Cathedral/Paul Trepte.

Priory FCM 1 4

Haydn, J. Let the earth bring forth grass, from The Creation, Hob.XXI:2 (1796-98). Lois Marshall, sop; London SO/Anthony Bernard.

CBC Records PSCD 2001 6

Stopford, P. Magnificat; Nunc dimittis.

Choir of Truro Cathedral; Luke Bond, org; Christopher Gray, cond.

Regent REGCD 400 7

Kalkbrenner, F. Piano concerto no 3 in A minor, op 107 (1829). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67843 24

Parry, H. Anthem: I was glad. Choir of Bath Abbey; Marcus Sealy, org; Peter King, cond.

Priory PRCD 421 6

Potter, C. Symphony no 8 in E flat (1828).

Milton Keynes CO/Hilary Davan Wetton.

Unicorn-Kanchana DKP 9091 35 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson 13:00 WORLD MUSIC: Whirled Wide 14:00 ORCHESTRAL INTERLUDE Prepared by Giovanna Grech Handel, G. Overture to Silla, HWV10 (1713).

Katharina Arfken, ob; Brandenburg Consort/ Roy Goodman.

Hyperion CDA66860 7

18:00 PIANO AND FRIENDS Prepared by Paul Hopwood

Stewart, C. Anthem: If ye love me. Choir of Christ Church Cathedral, Dublin/M. Duley. 3 Vierne, L. Kyrie, from Messe solennelle.

Choir of Gloucester Cathedral/David Briggs. 6 Priory FCM 1 (2 above) Finzi, G. Anthem: God is gone up. 4 Parry, H. Anthem: My soul, there is a country. 3 Hymn: All people that on earth do dwell.

Geoff Lawrence, tpt; St Clement Danes Brass. 4 Choir of St Clement Danes, London; Paul Brough, org; Peter Long, cond (3 above) Classical Recording CRC 1223 - 2

Bach, J.S. Concerto in D minor for two violins and orchestra, BWV1043 (bef. 1730). Arthur Fjellestad, J. Toccata, op 1. Richard Lea, Grumiaux, vn; Herman Krebbers, vn; Les org.

Solistes Romands/Arpad Gerecz Priory PRCD 1042 6 Philips 420 700-2 15 28 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Bartók, B. Kossuth (1903). Budapest FO/ Iván Fischer.

Philips 456 575-2 20 Hummel, J. Concerto in G for violin, piano and orchestra, op 17 (c1805). Alexander Trostiansky, vn; Polina Osetinskaya, pf; Russian PO/Gregory Rose.

Naxos 8.557595 37 Mahler, G. Songs of a wayfarer (1884). Linda Finnie, mezz; Royal Scottish NO/Neeme Järvi.

Chandos CHAN 9545 19 Corelli, A. Concerto grosso in B flat, op 6 no 11 (1712). Philharmonia Baroque O/Nicholas McGegan.

Harmonia Mundi HMU 907015 8 20:30 NEW HORIZONS Prepared by Nev Dorrington Vangelis. Seize the moment, from The Stephen Hawking tribute (2018). Stephen Hawking, voice; Vangelis, elec.

EMI 41068 6 El Greco, mvt 4 (1995). Montserrat Caballe, sop; Vangelis, elec.

East-West 39842 51072 6 Rogerson, T. Finding shore (2017). Tom Rogerson, pf; Brian Eno, elec.

Dead Oceans B075ZPZRFD 40 Frahm, N. Encores 1 (2008). Nils Frahm, pf.

Erased tapes B07DFZ457X 13 Vangelis. The Tegos tapes, edits 16 and 32 (1998). Vangelis, elec.

Medical Publications 960-86077-2-8 20 22:00 AFTER HOURS JAZZ with Kevin Jones

T

he early Slavic Glagolitic alphabet was the predecessor of the modern Cyrillic alphabet and the text of Janácek’s Glagolitic Mass is in old Church Slavonic. The Mass begins and closes with triumphant fanfares and in between is vibrant and rhythmic writing for solo voices and choir. An unusual feature near the end is a dramatic perpetuo moto organ solo.

Monday 19 November

Paul Dukas

Muzio Clementi

Helmut Walcha

0:00 CLASSIC-ALL THROUGH THE NIGHT

13:00 A CLASSICAL SELECTION Prepared by Paul Hopwood Beethoven, L. Sextet in E flat for two horns and strings, op 81b (c1795). L’Archibudelli.

Sony SK 48076 17 Schubert, F. Violin sonata in A, D574 (1817).

Midori Seiler, vn; Jos van Immerseel, pf.

Harmonia Mundi ZZT060501 22 Mozart, W. Piano trio in E flat, K498, Kegelstatt (1786; arr.). Gidon Kremer, vn; Kim Kashkashian, va; Valery Afanassiev, pf.

DG 415 483-2 21 Clementi, M. Piano sonata in B flat, op 12 no 1 (1784). Howard Shelley, pf.

Hyperion CDA67717 22

Murcia, S. de La jota, from Saldivar codex (pub. c1700). William Carter, gui.

Linn CDK 015 3

14:30 GREETING THE NEW CENTURY Works from 1700 Prepared by Gael Golla Corelli, A. Violin sonata in D minor, op 5 no 12, La follia (pub.1700; arr. Kreisler). Thomas Jones, vn; Rachel Valler, pf.

Move MD 3173 12 Clarke, J. The Prince of Denmark’s march (1700; arr. Steele-Perkins). London Gabrieli Brass Ensemble.

ASV QS 6013 2 Blow, J. O turn not those fine eyes away; Of all the torments, all the cares (pub. 1700).

John Mark Ainsley, ten; Paula Chateauneuf, theorbo; Timothy Roberts, hpd, org.

Hyperion CDA66646 9

Bach, J.S. Partite diverse sopra Sei gegrüsset, Jesu gütig, BWV768 (1700).

Helmut Walcha, org.

Archiv 479 1045 22

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1899 Prepared by Rex Burgess Rabaud, H. Divertissment on Russian songs, op 2 (1899). Loire PO/Pierre Dervaux.

EMI CDM 7 63951 2 13 Dukas, P. Variations, interlude and finale on a theme of Rameau (1899-1902). Margaret Fingerhut, pf.

Chandos CHAN 8765 19 Koechlin, C. Three poems, op 18 (1899-01).

Iris Vermillion, mezz; Johan Botha, ten; Ralf Lukas, bar; RIAS Chamber Choir; Berlin RSO/David Zinman.

BMG 09026 61955 2 18 Enescu, G. Violin sonata no 2, op 6 (1899).

Adelina Oprean, vn; Justin Oprean, pf.

Hyperion CDA66484 22 Arensky, A. Fantasia on Russian folksongs, op 48 (1899). Stephen Coombs, pf; BBC Scottish SO/Jerzy Maksymiuk.

Hyperion CDA66624 9 10:30 CONCERT HALL Prepared by Gerald Holder Schubert, F. Incidental music to Rosamunde, D797 (1823). Vienna PO/Riccardo Muti.

EMI CDC 7 54873 2 16 Finzi, G. Clarinet concerto in C minor, op 31 (1948-49). Emma Johnson, cl; Royal PO/ Charles Groves.

ASV DCA 787 27 Rimsky-Korsakov, N. Scheherazade, symphonic suite after 1001 Nights, op 35 (1888). Daniel Majeske, vn; Cleveland O/ Lorin Maazel.

Decca 480 6627 42 12:00 SWING SESSIONS with John Buchanan

Torelli, G. Violin concerto (1700). Basle CO/ Julia Schröder, vn & dir.

DHM 88985315592 8 Kuhnau, J. Sonata II, Saul malinconico e trastullato per mezzo della musica (pub.

1700). John Butt, clvd.

Harmonia Mundi HMU 907133 11 Keller, G. Sonatas (pub. 1700): no 1 in D minor; no 4 in G minor. Sally Melhuish, rec; Hans-Dieter Michatz, rec; Tim Bloomfield, bass vn; Monika Kornell, hpd.

Salut SAL001 10

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 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

W

hat do Schubert’s overtures for Alfonso und Estrella and Die Zauberharfe have in common? Both are linked to his Incidental music to Rosamunde, music that Schubert composed for the play by Helmina von Chézy that premiered in Vienna in 1823.

The original play is lost although a modified version was found and published in 1996.

The memory of the play has survived over the intervening years due to Schubert’s lovely music.

The overture used for the original production was the one Schubert composed for Alfonso und Estrella which he had afterwards considered unsuitable for the opera. In 1855 a publication of the score parts linked the Overture to the magic harp (Die Zauberharfe) with the Rosamunde incidental music. This may have been a publisher’s decision because there is no proof that Schubert intended this overture to be used for Rosamunde.

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Tuesday 20 November 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 Graziani, C. Sonata in B flat for two cellos and harpsichord, op 3 no 3. Antonio Meneses, vc; Gustavo Tavares, vc; Rosana Lanzelotte, hpd.

Sanctus SCS 002/3 15 Mozart, W. Andante and five variations in G, K501 (1786). George Malcolm, András Schiff, fp.

Decca 440 474-2 8 Brahms, J. Four piano pieces, op 119 (1892).

Emanuel Ax, pf.

Sony SK 69284 16 Bach, C.P.E. Flute sonata no 4 in D, Wq129 (1740). Alain Marion, fl; Daniele Roi, hpd.

Fonè 89 F 02-26 9 Dupré, M. Prelude and fugue in B, op 7 no 1 (1912). John Scott, org.

Hyperion CDA66205 7 Bridge, F. Nine miniatures (1908). Jack Liebeck, vn; Alexander Chausian, vc; Ashley Wass, pf.

Naxos 8.570792 25 10:30 CONCERT HALL Prepared by Giovanna Grech Lucas, L. Dedication from Portrait of Clare, after Schumann’s Myrthen, op 25 (1950).

BBC NO of Wales/Rumon Gamba.

Chandos CHAN 10713 4 Beethoven, L. Violin concerto in D, op 61 (1806). Anne-Sophie Mutter, vn; New York PO/Kurt Masur.

DG 471 349-2 48 Bizet, G. Roma symphony (1860-68). Lille NO/Jean-Claude Casadesus.

Erato 2292-45016-2 30 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 A REVOLUTIONARY COMPOSER Jean-Philippe Rameau Prepared by Stephen Wilson Rameau, J-P. Concert no 3 in A major/ minor (pub. 1741). Ryo Terakado, vn; Kaori Uemura, va da gamba; Christophe Rousset, hpd.

Harmonia Mundi HMC 901418 17

Harry Christophers

Dietrich Fischer-Dieskau

Suite from Dardanus (1739). O of the 18th Century/Frans Brüggen.

Philips 420 240-2 25

Second suite, op 80 (1967). Mstislav Rostropovich, vc.

EMI 5 62827 2 20

14:00 MUSICAL FAMILIES Benjamin Britten and Peter Pears Prepared by Jennifer Foong

Requiem aeternam, from War Requiem, op 66 (1961). Galina Vishnevskaya, sop; Peter Pears, ten; Dietrich Fischer-Dieskau, bar; Bach Choir; Highgate School Choir; London Ch & SO; Melos Ensemble/Benjamin Britten.

Decca 478 3640 9

Britten, B. Introduction and rondo alla burlesca, op 23 no 1 (1940). Bracha Eden, pf; Alexander Tamir, pf.

Decca 478 5364 9 Purcell, H. I attempt from love’s sickness to fly. Peter Pears, ten; Benjamin Britten, pf.

BBC BBCB 8006-2 2 Britten, B. Movement for wind sextet (1930).

Members of Nash Ensemble.

Hyperion CDA66845 8 Canticle III: Still falls the rain, op 55 (1954).

Dennis Brain, hn.

BBC BBCB 8014-2 11 Grainger, P. The pretty maid milkin’ her cow (1920).

London 425 159-2 1 Peter Pears, ten; Benjamin Britten, pf (2 above) Britten, B. Hymn to St Cecilia, op 27 (1942). Nicola Jenkin, sop; Ruth Dean, sop; Caroline Trevor, cont; Philip Daggett, ten; Simon Birchall, bass; The Sixteen/Harry Christophers.

Collins 12862 11 In memoriam Dennis Brain (1958; arr Matthews). Michael Thompson, hn; Richard Watkins, hn; Peter Francomb, hn; Northern Sinfonia/Thomas Zehetmair.

Decca 478 5364 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 Francis Frank Avison, C. Concerto grosso in D minor after Scarlatti (pub. 1744). Berlin Ensemble.

Schwann CD 316 015 F1 8 Bruch, M. String quartet in C minor, op 9 (1856). Isos Quartet.

Schwann 3-6486-2 25 Schubert, F. Adagio and rondo concertante in F for piano quartet, D487 (1816). Melos Ensemble.

Philips 442 9375 13 Bach, J.S. Trio sonata in F, BWV529 (c 1730). Palladian Ensemble.

Linn CKD 036 13 Vivaldi, A. Recorder concerto in D, RV92.

László Kecskeméti, rec; chamber ensemble.

Naxos 8.557215 10

Phantasy, op 2 (1932). François Leleux, ob; Guillaume Sutre, vn; Miguel da Silva, va; Marc Coppey, vc.

Harmonia Mundi HMN 911556 13

Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (1720). Suk CO/Josef Suk, vn & dir.

Vanguard OVC 7002/03 21

Choral dances, from Gloriana (1967). Peter Excerpts from Hippolyte et Aricie (1733).

Pears, ten; Ambrosian Singers; Osian Ellis, Véronique Gens, sop; Les Talens Lyrique/ hp; English CO/Benjamin Britten.

Christophe Rousset.

MBF 1108 11 BBC Music BBCB 8009-2 12 30 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Hummel, J. Wind octet-partita in E flat (1803). Albion Ensemble.

Helios CDH55037 14

Wednesday 21 November

John Field

André Cluytens

Marie-Nicole Lemieux

0:00 CONTEMPORARY COLLECTIVE

13:00 HUNTERS IN TROUBLE Prepared by Dan Bickel

You have written to me, from Eugene Onegin (1879). Dmitri Hvorostovsky, bar; Rotterdam PO/Valery Gergiev.

Philips 454 395-2 5

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 Röntgen, J. Cello concerto no 2 (1909).

Quirine Viersen, vc; Netherlands RPO/Eri Klas. 18 Die helle Sonne leuchtet, op 15 no 7, from Mirza Schaffy Lieder (1896). Nienke Oostenrijk, sop; Bart van de Roer, pf. 2 Piano trio no 4 in C minor, op 50 (1904).

Storioni Trio. 20 Radio Nederland MCCP122 (3 above) Serenade (1928). Linos Ensemble. cpo 777 127-2 16 Motet: Frieden, Klage-, Anklage-, und Trostgesang (1920). Netherlands Chamber Choir/Uwe Gronostay.

NM Classics 92039 8 String trio no 15 in C sharp minor (1929).

Offenburg String Trio.

Naxos 8.573384 15 10:30 CONCERT HALL Prepared by Michael Field Sibelius, J. Tone poem: Finlandia, op 26 no 7 (1899/1900). Helsinki PO/Leif Segerstam.

Ondine ODE 1037-2 9 Field, J. Piano concerto no 2 in A flat (1811).

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

Chandos CHAN 9368 35 Elgar, E. The music makers, op 69 (1897-99).

Linda Finnie, cont; London Philharmonic Ch & O/Bryden Thomson.

Chandos CHAN 9022 39 12:00 JAZZ SKETCHES with Robert Vale

Franck, C. Le chasseur maudit (1883).

Belgian NO/André Cluytens.

EMI 5 65153 2 15 Dittersdorf, C. Symphony no 3 in G, Actaeon transformed into a stag (pub. 1767). Failoni O/Hanspeter Gmür.

Naxos 8.553368 23 Weber, C.M. Overture to Der Freischütz, op 77 (1817-21). Philharmonia O/Neeme Järvi.

Chandos CHAN 8766 9 Huntsmen’s chorus, from Der Freischütz.

Leipzig Radio Ch; Staatskapelle Dresden/ Silvio Varviso.

ABC 480 5629 3 The casting of the magic bullets, from Der Freischütz. Tasmanian SO/Andrew Greene.

ABC 476 5104 4 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 TCHAIKOVSKY EXPLORED Part 3 Prepared by Michael Morton-Evans Tchaikovsky, P. Symphony no 2 in C minor, op 17, Little Russian, mvt 3 (1872/79). Seattle SO/Gerard Schwarz.

Naxos 8.571225 5 Piano concerto no 1 in B flat minor, op 23, mvt 3 (1875/79/89). Shura Cherkassky, pf; Berlin PO/Leopold Ludwig.

Philips 456 746-2 6 Black Swan pas de deux, from Swan Lake (1877). Boston SO/Seiji Ozawa.

ABC 480 6403 8 Slavonic march, op 31 (1876). Israel PO/ Zubin Mehta.

Teldec 4509-90201-2 9 Variations on a rococo theme, op 33 (1876).

János Starker, vc; Australian CO/Carl Pini.

Fine Music Tape Archive 16

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Angela Cockburn Vivaldi, A. Orlando Furioso, RV728. Opera in three acts. Libretto by Grazio Braccioli. First performed Venice, 1727.

ORLANDO; Marie-Nicole Lemieux, cont ALCINA: Jennifer Larmore, mezz ANGELICA: Veronica Cangemi, sop RUGGIERO: Philippe Jaroussky, ct ASTOLFO: Lorenzo Regazzo, bass-bar BRADAMANTE: Ann Hallenberg, mezz Les Éléments Ch; Ensemble Matheus/JeanChristophe Spinosi. naive OP 30393 3:03 Synopsis at finemusicfm.com/Opera Steffani, A. Orlando generoso. I Barocchisti/ Diego Fasolis.

Decca 478 5741 7 23:30 CHAMBER MOZART Prepared by Paul Hopwood Mozart, W. Clarinet quintet in A, K581 (1789).

Members of Vienna Octet.

Decca 417 643-2 28

T

he German-Dutch composer Julius Röntgen was born in Leipzig in 1855 where his father Engelbert was first violin in the Gewandhaus Orchestra. Julius’ first piano teacher was Carl Reinecke, the director of the Gewandhaus Orchestra.

NOVEMBER 2018

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Thursday 22 November 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 Donizetti, G. String quartet no 12 in C (1821). Revolutionary Drawing Room. cpo 999 279-2 21

Dohnányi, E. Suite in the old style, op 24 (1913). Martin Roscoe, pf.

ASV DCA 915 17 Haydn, M. Divertimento in D for wind sextet (1786). Consortium Classicum.

Schwann 310 002 H1 10 Berwald, F. Piano trio no 1 in E flat (1849).

András Kiss, vn; Csaba Onczay, vc; Ilona Prunyi, pf.

Naxos 8.555001 19 10:30 CONCERT HALL Prepared by Di Cox Dukas, P. The sorcerer’s apprentice (1897).

Montreal SO/Charles Dutoit.

Decca 421 527-2 12 MacDowell, E. Piano concerto no 2 in D minor, op 23 (1884-86). Donna Amato, pf; London PO/Paul Freeman.

Archduke DARC 1 28 Shostakovich, D. Symphony no 5 in D minor, op 47 (1937). Leningrad PO/Yevgeny Mravinsky.

Audiophile Classics APL 101.503 41 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CONTRASTS Prepared by Ron Walledge Shostakovich, D. Festive overture, op 96 (1954). Royal PO/Vladimir Ashkenazy.

Decca 436 762-2 6 Prokofiev, S. Cello concertino in G minor, op 132 (1953). Steven Isserlis, vc; London PO/ Andrew Litton.

Virgin VC 7 90811-2 20 d’Indy, V. Symphony on a French mountain air, op 25 (1886). François-Joël Thiollier, pf; NSO of Ireland/Antonio de Almeida.

Naxos 8.550754 26 32

Janet Baker

Willi Boskovsky

14:00 THE MIDDLE YEARS Prepared by Katy Rogers-Davies

Handel, G. Overture to Il pastor fido, HWV8a (1712). English Concert/Trevor Pinnock.

Archiv 479 1932 24

1792-1868

Schubert, F. Vier canzonen, D688 (1820).

Lucia Popp, sop; Geoffrey Parsons, pf.

BBC Music BBCL 4025-2 12

GIOACHINO ROSSINI

Rossini, G. Cantata: Joan of Arc (1832).

Marilyn Horne, mezz; Martin Katz, pf.

CBS MK 44820 18 Ballet music from William Tell (1829). New Philharmonia O/Charles Mackerras.

EMI CDM 1 66417 2 9 La partenza; La promessa; La regata veneziana, from Soirées musicales (c1830).

Janet Baker, mezz; Benjamin Britten, pf.

BBC Music BBCB 8001-2 15 Overture to Il viaggio a Reims (1825).

Academy of St Martin in the Fields/Neville Marriner.

Philips 473 967-2 7 Stabat Mater (1842). Helen Field, sop; Della Jones, mezz; Arthur Davies, ten; Roderick Earl, bass; London Symphony Ch; City of London Sinfonia/Richard Hickox.

Chandos CHAN 8780 59 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 Terpsichore: muse of music and dance Prepared by Robert Small and Susan Foulcher Praetorius, M. Dances from Terpsichore (pub. 1612). Early Music Consort of London/ David Munrow.

Virgin 5 61289 2 22 Fischer, J. Caspar Suite no 7: Terpsichore, from Musicalischer Parnassus. Luc Beauséjour, hpd.

Naxos 8.554446 13

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

Mozart, W. Six German dances, K509 (1787).

Vienna Mozart Ensemble/Willi Boskovsky.

Philips 422 643-2 13 Thomas, Augusta. Terpsichore’s dream (2007). CO/Cliff Colnot.

Nimbus NI 6258 16 Turina, J. The muses of Andalucia (1942).

Maria Bayo, sop; Ricardo Requejo, pf; Quartet Sine Nomine.

Claves 50 9329 21 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Chris Blower Liszt, F. Fantasy on motifs from Beethoven’s The ruins of Athens (1837/52/55). Victor Sangiorgio, pf; Queensland SO/En Shao.

ABC 456 680-2 12 Mozart, W. Trio in E flat for clarinet, viola and piano, K498, Kegelstatt (1786). Paul Meyer, cl; Tobias Breider, va; Maria Raspopova, pf.

Fine Music concert recording 19 Elgar, E. Sea pictures, op 37 (1899).

Margreta Elkins, mezz; Queensland SO/ Werner Andreas Albert.

ABC 461 992-2 22 Bach, C.P.E. Concerto in E flat for fortepiano, harpsichord and strings, Wq47 (1788).

Neal Peres da Costa, fp; Australian Haydn Ensemble/Erin Helyard, hpd & dir.

Fine Music concert recording 19 Debussy, C. Suite bergamasque (1890/1905; arr. L. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui.

ABC 476 6088 17 Sutherland, M. Concerto grosso for violin, viola, harpsichord and orchestra. Sybil Copeland, vn; John Glickman, va; Max Cooke, hpd; Melbourne SO/John Hopkins.

ABC 446 285-2 21

Friday 23 November op 126 (1966). Mstislav Rostropovich, vc; Boston SO/Seiji Ozawa.

DG 439 481-2 33 Beethoven, L. Symphony no 5 in C minor, op 67 (1807-08). Philharmonia O/Otto Klemperer.

EMI CDC 7 47187 2 40 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 GREETING THE NEW CENTURY Works from 1800 Prepared by Gael Golla Anton Arensky 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 Di Cox Arensky, A. Variations on a theme by Tchaikovsky, op 35a (1894). St Petersburg Camerata/Saulius Sondeckis.

Sony SMK 58 976 14 Bruch, M. Adagio in E minor on Celtic themes, op 56 (1890-91). Julius Berger, vc; Polish National RSO/Antoni Wit. EBS 6060 8 Carulli, F. Introduction, theme and variations on the Italian aria, Sul margine di un rio, op 142. Alfonso Baschiera, gui.

Nuova Era 7102 9 Brahms, J. Variations on a theme by J. Haydn, op 56a, St Antoni chorale (1873).

Hallé O/James Loughran.

EMI CDM 1 66425 2 19 Bach, J.S. Fugue in G minor, BWV578 (bef.

1713; arr. Coggins). Fairer Sax Saxophone Quartet.

Saydisc SDL 365 6 Mozart, W. Piano sonata no 15 in C, K545, For beginners (1788; arr. Grieg). Julie Adam, pf; Daniel Herscovitch, pf.

ABC 481 0853 9 Beethoven, L. Variations on the theme, See the conqu’ring hero comes, from Judas Maccabaeus, WoO45 (1796). Jacqueline du Pré, vc; Daniel Barenboim, pf.

EMI CZS 5 68132 2 12 10:30 CONCERT HALL Prepared by Frank Morrison Rossini, G. Overture to The thieving magpie (1817). New York PO/Leonard Bernstein.

CBS MYK 44719 10 Shostakovich, D. Cello concerto no 2 in G,

Boïeldieu, A. Harp concerto in C (1800).

Jutta Zoff, hp; Staatskapelle Dresden/ Siegfried Kurz.

Berlin 0012902BC 22 Haydn, J. Clarinet duet no 3 (pub. 1800).

Michel Portal, cl; Paul Meyer, cl.

EMI 5 56732 2 10 Wesley, S. Dixit Dominus (1800). Choir of Gonville and Caius College, Cambridge/ Geoffrey Webber.

ASV GAU 157 7 Salieri, A. Overture to Angiolina (1800).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9877 4 Wölfl, J. Septet in D for winds and double bass (1800). Consortium Classicum.

Schwann 310 002 H1 9 Beethoven, L. Symphony no 1 in C, op 1 (1800). Sydney Youth SO/Stuart Challender.

Fine Music Tape Archive 28 14:30 20TH CENTURY ORCHESTRA Prepared by Rex Burgess Tubin, E. Prélude solennel (1940).

Gothenburg SO/Neeme Jarvi.

BIS CD-286 8 Nielsen, C. Clarinet concerto, op 57 (1928).

Niels Thomsen, cl; Danish National RSO/ Michael Schønwandt.

Chandos CHAN 8894 26 Sibelius, J. My own land, op 92 (1918).

Jubilate Choir.

BIS CD-1906/08 13 Rautavaara, E. Symphony no 7, Angel of light (1994-95).

BIS CD-1038 34 Lahti SO/Osmo Vänskä (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA The Dresden connection Prepared by Frank Morrison Schütz, H. Ich hebe meine Augen auf zu den Bergen (pub. 1619). Stuttgart Chamber Choir and

soloists; Musica Fiata of Cologne/Frieder Bernius.

Sony S2K 48042 7 Heinichen, J. Oboe concerto in A minor.

Martin Stadler, ob; Fiori Musicali; Bremen Baroque O/Thomas Albert. cpo 999 637-2 11 Zelenka, J. Simphonie à 8 concertanti in A minor (1723). Neu-Eröffnete O/Jürgen Sonnentheil. cpo 999 629-2 25 Bach, W.F. Symphony in F, Dissonance (175558). Akademie für Alte Musik/Stephan Mai. Harmonia Mundi HMX 2908601.30 15 Weber, C.M. Clarinet concerto no 2 in E flat, op 74 (1811). Janet Hilton, cl; City of Birmingham SO/Neeme Järvi.

Chandos CHAN 8305 22 Wagner, R. Wie duftet doch der Flieder, from Die Meistersinger von Nürnberg (1866-67).

Bryn Terfel, bass-bar; Berlin PO/Claudio Abbado.

DG 449 190-2 7 Wagner, R. Overture and Venusberg music, from Tannhäuser (1845). Royal Scottish NO/ Neeme Järvi.

Chandos CHSA 5077 20 22:00 BAROQUE AND BEFORE The French baroque Prepared by Paul Cooke Mouret, J-J. Suite no 2: Les trompes de France, from Suites de symphonies (c1729).

Les trompes de France; Academy of St Martin in the Fields/Iona Brown.

Philips 416 815-2 10 Lambert, M. Ma bergère est tendre et fidèle; Ombre de mon amant; Vos mépris chaque jour. Anne Sofie von Otter, mezz; Les Arts Florissants/William Christie.

Archiv 477 8610 10 Boismortier, J. de Cello sonata no 2 in G. Members of Sydney Consort.

Sydney Consort SC001 12 Mondonville, J-J. de Nisi Dominus.

Isabelle Poulenard, sop; Robert Getchell, ct; Romain Champion, ten; Marc Mauillon, bar; Christophe Grapperon, bar; Le Parnasse Français/Louis Castelain.

MBF 1108 18 Guillemain, L-G. Violin sonata in A, op 1 no 4 (pub. 1734). Simon Standage, vn; Lars Ulrik Mortensen, hpd.

Chandos CHAN 0531 13 Stuck, J-B. Héraclite et Démocrite. Jennifer Smith, sop; Thierry Félix, bar; Les Musiciens du Louvre/Marc Minkowski.

Archiv 449 144-2 26 Philidor, P. Suite V in D (1717). Ensemble Battistin.

ABC 476 618-1 19 NOVEMBER 2018

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Saturday 24 November 11:30 ON PARADE Prepared by Paul Hopwood

Italiano Soloists & O. Kind of Blue 10036 10

Yorke, P. The shipbuilders suite (arr.

Duthoit). 10

Suite from Once upon a time in America (1984). Yo-Yo Ma, vc; Rome Sinfonietta/Ennio Morricone.

Sony SK 93456 8

Ansell, J. Plymouth Hoe (arr. Godfrey). 7 Wood, Haydn. The seafarer. 9 Royal Australian Navy Band/Phillip Anderson (all above) Royal Australian Navy RAN 002 12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Felix Mendelssohn 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 Late and post-romantic 1875-1915 Prepared by Mariko Yata Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). Cleveland O/Lorin Maazel.

Decca 480 6627 16 Ravel, M. Gaspard de la nuit (1908). Martha Argerich, pf.

DG 479 5978 18 Chausson, E. Poem, op 25 (1896). Ulster O/ Yan Pascal Tortelier.

Chandos CHAN 8952 17 Satie, E. En habite de cheval (1911). JeanPhilippe Collard, Pascal Rogé, pf.

Decca 455 401-2 6 Schoenberg, A. Chamber symphony no 1, op 9 (1906). Twentieth Century Classics Ensemble/Robert Craft.

Naxos 8.557523 20 10:30 SMALL FORCES Prepared by Frank Morrison

For a few more dollars (1965). Cinema Italiano soloists & O. Recording Arts 5X056 17

Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes

Theme from The good, the bad and the ugly (1966). St Cecilia National Academy O/Ennio Morricone.

Sony 889 853 548 72 3

14:00 SONATINAS Prepared by Brian Drummond

20:00 THE WORD TRANSFORMED Prepared by Elaine Siversen

Kodály, Z. Cello sonatina (1921-22). David Pereira, vc; David Bollard, pf.

Tall Poppies TP010 8

Newman, A. Music from The hunchback of Notre Dame (1939; reconstr. Morgan).

Moscow Symphony Ch & O/William Stromberg.

Naxos 8.570187 39

Tórroba, F. Moreno Guitar sonatina. Alirio Diaz, gui.

Vanguard 08 9003 72 11 Busoni, F. Sonatina no 6, piano fantasy on Bizet’s Carmen (1920). Marc-André Hamelin, pf.

Hyperion CDA66765 8 Benjamin, A. Violin sonatina (1924). Jane Peters, vn; Rachel Valler, pf.

MBS 27 CD 17

Schönberg, C-M. Bring him home; I dreamed a dream, from Les misérables. Richard Clayderman, pf.

Decca 3724563 5 Stars; Empty chairs at empty tables, from Les misérables. Michael Falzon, ten; Tasmanian SO/Guy Noble.

ABC 481 0378 7

Martinu, B. Trumpet sonatina (1957). Edward Tarr, tpt; Elisabeth Westenholz, pf.

BIS CD-152 8

Honegger, A. Music from Les misérables (1934; arr. Adriano). Slovak RSO/Adriano.

Marco Polo 8.223181 59

15:00 SATURDAY MATINEE Elijah Mendelssohn, F. Elijah, op 70 (1846).

Rosalind Plowright, sop; Jeremy Budd, treb; Linda Finnie, cont; Arthur Davies, ten; Willard White, bass-bar; Roderick Elms, org; London Symphony Ch & O/Richard Hickox.

Chandos 8774/5 2:11

22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess

Berwald, F. String quartet in A minor (1849).

Frydén String Quartet.

Caprice CAP 21334 20

String symphony no 10 in B minor (1823).

Northern CO/Nicholas Ward.

Naxos 8.553163 10

Torelli, G. Trumpet sonata. Paul Plunkett, tpt; Julie Hewison, vn; Lucinda Moon, vn; Jenny Ingram, va; Miriam Morris, vc; Linda Kent, org.

Move MD 3127 7

17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn

Pandolfi, G. Violin sonata, op 4 no 1, La Bernabea (pub. 1660). Andrew Manze, vn; Richard Egarr, hpd.

Harmonia Mundi 907241 8

34

13:00 IN A SENTIMENTAL MOOD with Maureen Meers

Excerpts from Cinema Paradiso (1990).

Hayley Westenra, voice; Rome Sinfonietta/ Ennio Morricone.

Decca 4783087 7

Heavy fathers: the basses 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 19:00 THE MAGIC OF STAGE AND SCREEN Ennio Morricone at 90 Prepared by Maureen Meers

Khachaturian, A. Trio for clarinet, violin and piano (1932). Eimer Trio.

Morricone, E. Excerpts from Kill Bill. Cinema Dynamic CDS60 16 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Mozart, W. Symphony no 40 in G minor, K550 (1788). Danube SO/Gavin Fraser.

Gavin Fraser GFMOZ4041 35 Devienne, F. Flute concerto no 7 in E minor (1788). Marc Grauwels, fl; Walloon CO/ Bernard Labadie.

Naxos 8.555918 18 Turina, J. Souvenirs of old Spain, op 48 (1929). Jordi Masó, pf.

Naxos 8.570370 15 Canteloube, J. Songs of the Auvergne (1923-30). Isobel Buchanan, sop; Australian CO/Max McBride.

Fine Music Tape Archive 22 Poulenc, F. Aubade, concerto chorégraphique (1929). François-René Duchable, pf; Rotterdam PO/James Conlon.

Erato 2292-45232-2 20 “To sing is to pray twice.”

— St Augustine

Sunday 25 November 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Di Cox Saint-Saëns, C. Ave Maria in F; O salutaris in E, from Motets au Saint Sacrement (1857).

Glossa GCD 922210 7 Fauré, G. Requiem, op 48 (1893). Cecilia Bartoli, mezz; Bryn Terfel, bass-bar; National Academy of St Cecilia Ch & O/Myung-Whun Chung.

Decca 478 3640 39 Bach, J.S. Prelude and fugue in C, BWV545 (c1708). Christopher Herrick, org.

Hyperion CDA66791/2 6 10:00 THE CLASSICAL ERA Prepared by Denis Patterson Scarlatti, D. Sonata, Kk90. Ensemble Claudiana/Luca Pianca. naïve OP 30549 11 Stamitz, J. Orchestral trio in C, op 1 no 1.

Saarland Radio CO/Karl Ristenpart.

EMI CDZ 25 2240 2 14 Haydn, M. Symphony no 10 in F (c1765).

Slovak CO/Bohdan Warchal. cpo 999 153-2 18 Cimarosa, D. Concerto in G for two flutes and orchestra. Aurèle Nicolet, fl; Christiane Nicolet, fl; Stuttgart CO/Karl Münchinger.

Decca 460 302-2 18 Boyce, W. Trio sonata no 15 in D (1747).

Parley of Instruments Baroque O/Peter Holman.

Hyperion CDA67151/2 14 Trio sonata no 8 in E flat (pub. 1747).

Collegium Musicum 90.

Chandos CHAN 0648 11

Piazzolla, A. Tango: Adíos nonino (1961; arr.

Vídal). Pablo Mainetti, ban; Teatre Lliure CO/ Josep Pons.

Harmonia Mundi HMC 901595 8 Lecuona, E. Three waltzes. Thomas Tirino, pf.

BIS CD-1104 8 Turina, J. Sinfonia sevillana, op 23 (1920).

Cincinnati SO/Jésus López-Cobos.

Telarc 80574 22 15:00 SUNDAY SPECIAL The later years Prepared by Chris Blower 1792-1868

0:00 CLASSIC-ALL THROUGH THE NIGHT

GIOACHINO ROSSINI

Rossini, G. Hymne à Napoléon III et à son vaillant peuple (1867). Ildar Abrazakov, bar; Milan Giuseppe Verdi Symphony Ch & O/ Riccardo Chailly.

Decca 470 298-2 9 Barcarole, from Péchés de vieillesse, vol VI (1857-68). Marco Sollini, pf.

Chandos CHAN 10520 5 Bassoon concerto (1845). Patrick De Ritis, bn; Würzburg PO/Enrico Calesso.

Naxos 8.573382 18 Prélude soi-disant dramatique, from Péchés de vieillesse, vol VIII (c1860). Bruno Mezzena, pf.

Dynamic CDS 89 12 The last memento. Thomas Hampson, bar; Geoffrey Parsons, pf.

EMI CDC 7 54436 2 5 Prélude italien; Petit fanfare a quatre mains, from Péchés de vieillesse, vol IX (1857-68).

Alessandro Marangoni, pf.

Naxos 8.572608-09 11

Weber, C.M. Symphony no 1 in C, op 19 (1807). Academy of St Martin in the Fields/ Neville Marriner.

Brilliant Classics 99935 25

Cantata in honour of the Supreme Pontiff Pius IX. Mariella Devia, sop; Paul Austin Kelly, ten; Francesco Piccoli, ten; Michele Pertusi, bar; La Scala Philharmonic Ch & O/ Riccardo Chailly.

Decca 458843-2 46

12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

17:00 HOSANNA Prepared by Meg Matthews

13:00 WORLD MUSIC: Whirled Wide

Hymns: King of glory, King of peace; Praise my soul the King of heaven. Lincoln Minster School Chamber Choir; Charles Harrison, org; Aric Prentice, cond.

Priory PRCD 1104 5

14:00 THE SPANISH DOMAIN Prepared by Brian Drummond Falla, M. de Interlude and dance, from La vida breve (1913). Suisse Romande O/Ernest Ansermet.

Decca 478 2826 7 Ginastera, A. Impresiones de la Puna, for flute quintet (1934). Geoffrey Collins, fl; Dene Olding, vn; Dimity Hall, vn; Irina Morozova, va; Julian Smiles, vc Fine Music concert recording 7

Hymn: The King of love my Shepherd is.

Choir of St Peter’s Cathedral, Adelaide.

Sounds of St Peter’s 11 3 Britten, B. Birth of Nicolas, from Saint Nicolas, op 42 (1948). Harry Briggs, treb; Anthony Rolfe-Johnson, ten; various school choirs; English CO/Matthew Best.

Hyperion CDA 66333 4

Stanhope, P. Lament to St Cecilia (2012).

Sydney Chamber Choir/Paul Stanhope.

ABC 481 6296 6 Tallis, T. If ye love me. Tallis Scholars/Peter Phillips.

Gimell 454 993-2 2 Lully, J-B. Te Deum laudamus, from Te Deum (1677). Soloists and Ensemble Vocal À Coeur Joie de Valence; Jean-François Paillard CO/Jean-François Paillard.

Erato 5050466-5662-2-5 11 Purcell, H. O God, thou art my God; I was glad. Choir of Trinity College, Cambridge/ Richard Marlow.

Conifer FC 152 8 Psalms: no 48; no 24. Scottish Philharmonic Singers; John Langdon, org; Ian McRorie, cond.

SCS 2830 5 18:00 PIANO AND FRIENDS Prepared by Paul Hopwood Lalo, E. Piano trio no 2 in B minor (1852).

Barbican Piano Trio.

ASV DCA 899 27 Mendelssohn, F. Viola sonata in C minor (1824). Paul Coletti, va; Leslie Howard, pf.

Hyperion CDA66946 28 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Rabaud, H. La procession: nocturne, op 6 (1897). Rhineland-Pfalz PO/Leif Segerstam.

Marco Polo 8.223503 17 Milhaud, D. Violin concerto no 2, op 263 (1945). Dene Olding, vn; Melbourne SO/ Hiroyuki Iwaki.

ABC 476 7182 26 Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Danube SO/David Fraser.

David Fraser GFMOZ4041 39 20:30 NEW HORIZONS Prepared by Lyn Chong Aho, K. Flute concerto (2002). Sharon Bezaly, fl; Lahti SO/Osmo Vänskä.

BIS CD-1499 31 McEncroe, M. Symphonic poem: The passing (2014). Janácek PO/Anthony Armore.

Wirripang WIRR 063 9 Trifonov, D. Rachmaniana (2015). Daniil Trifonov, pf.

DG 479 4970 12 O’Boyle, S. Didgeridoo concerto (2003).

William Barton, did; Queensland SO/Sean O’Boyle.

ABC 476 628-8 19 Jackson, G. Ave Regina caelorum (2008).

Latvian State Choir; Kaspars Zemitis, gui; Maris Sirmais, cond.

Hyperion CDA67976 12 22:00 AFTER HOURS JAZZ with Kevin Jones NOVEMBER 2018

35

Monday 26 November

Joaquín Turina

Béla Bártok

Ton Koopman

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter

12:00 SWING SESSIONS with John Buchanan

0:00 CONTEMPORARY COLLECTIVE

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1907 Prepared by Derek Parker

Wagner, R. Siegfried idyll, WWV103 (1870).

San Francisco SO/Herbert Blomstedt.

Decca 436 129-2 20

Elgar, E. Pomp and circumstance march in G, op 39 no 4 (1907). West Australian SO/ David Measham.

ABC 481 2424 4 Debussy, C. Images II (1907.) Roger Woodward, pf.

ABC 481 1742 13 Ravel, M. Rapsodie espagnole (1907). Zurich Tonhalle O/Lionel Bringuier.

DG 479 5524 15 Turina, J. Piano quintet in G minor, op 1 (1907). Christine Busch, vn; Menuhin Festival Piano Quartet.

Claves 50-9403 28 Prokofiev, S. Piano sonata no 3 in A minor, op 28 (1907-17). Martha Argerich, pf.

DG 479 5978 6 German, E. Waltz from Tom Jones (1907; arr.

Tomlinson). Czecho-Slovak RSO/Adrian Leaper.

Naxos 8.554713 3 Delius, F. The walk to the Paradise Garden, from A village Romeo and Juliet (1907). BBC SO/Andrew Davis.

Teldec 4509-90845-2 11

13:00 CLASSICAL INTERLUDE Prepared by Giovanna Grech

Mendelssohn, F. Concerto no 1 in E for two pianos and orchestra (1823). Stephen Coombs, pf; Ian Munro, pf; BBC Scottish SO/ Jerzy Maksymiuk.

Hyperion CDA66567 30 14:00 A HUNGARIAN CAVALCADE Prepared by Rex Burgess Liszt, F. Symphonic poem no 2: Tasso, lamento e trionfo (1849). London SO/Leon Botstein.

Telarc 80613 21 Goldmark, K. String quartet in B flat, op 8 (1860). Lajtha Quartet.

Hungaroton HCD 31556 29 Joachim, J. Variations for violin and orchestra (1882). Hans Maile, vn; Berlin RSO/ Jésus López-Cobos.

Schwann 11622 14 Dohnányi, E. Piano quintet no 2 in E flat minor, op 26 (1914). Schubert Ensemble of London.

Hyperion CDA66786 25

10:30 CONCERT HALL Prepared by Derek Parker

Bartók, B. Suite, from The miraculous mandarin, op 19 (1927). Melbourne SO/ Edward Gardner.

Chandos CHSA 5130 19

Salieri, A. Overture to La fiera di Venezia (1778). English CO/Richard Bonynge.

Decca 440 844-2 4

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett

Bruckner, A. Symphony no 7 in E (1881-83).

Vienna PO/Herbert von Karajan.

DG 439 037-2 1:06 Benjamin, A. Oboe concerto in C minor, after Cimarosa (1942). Anthony Camden, ob; City of London Sinfonia/Nicholas Ward.

Naxos 8.553433 12 36

Tuesday 27 November

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

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

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 Jennifer Foong Reger, M. Introduction and passacaglia in D minor, op posth (1899). Piet Kee, org.

Chandos CHAN 9097 9 Bouman, H. Harpsichord concerto in D (1997). Hendrik Bouman, hpd; Baroque Muse/Simon Standage.

Arya H200911 12 Ibert, J. Two interludes (1946). Eleanore Pameijer, fl; Kees Hülsmann, vn; Menno van Delft, hpd.

Olympia OCD 469 7 Reincken, J. Toccata in G minor. Ewald Kooiman, org.

NCRV 9087 5 Monteverdi, C. Motet: O quam pulchra es (pub.1625). Montserrat Figueras, sop; Lorenz Duftschmid, vn; Paolo Pandolfo, va; Rolf Lislevand, theorbo; Andrew Lawrence-King, double hp; Ton Koopman, org; Jordi Savall, cond.

Alia Vox AVSA 9884 B 5 Marais, M. Suite I in A minor, from Troisième livre (pub. 1701). Jordi Savall, va da gamba; Hopkinson Smith, theorbo; Ton Koopman, hpd.

Alia Vox AVSA 9872 A/E 19 Haydn, J. Keyboard concerto in D, Hob. XVIII:11 (1781). Musica Antiqua Amsterdam/ Ton Koopman, hpd & dir.

Philips 446 542-2 20 10:30 CONCERT HALL Prepared by Michael Field Saint-Saëns, C. Algerian suite, op 60 (187980). Monte Carlo PO/David Robertson.

Auvidis V 4688 20

Tuesday 27 November

John Lanchbery

Peter Sculthorpe

Jack Liebeck

Poulenc, F. Concert champêtre (1927-28).

Elisabeth Chojnacka, hpd; Lille NO/JeanClaude Casadesus.

Naxos 8.554241 24

Figlia! Mio padre, from Rigoletto (1851).

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

ABC 465 699-2 8

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

Rachmaninov, S. The bells, choral symphony, op 35 (1913). Elena Ustinova, sop; Kurt Westi, ten; Jorma Hynninen, bar; Danish National Radio Ch & SO/Dmitri Kitaienko.

Chandos CHAN 8966 41 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 VERSATILE VERDI Prepared by Andrew Parker Verdi, G. Overture to Nabucco (1842). La Scala PO/Riccardo Muti.

Sony SBK 89738 7 Dio, che nell’alma infondere, from Don Carlos (1867). Carlo Bergonzi, ten; Dietrich FischerDieskau, bar; Royal Opera House Ch & O/ Georg Solti.

Decca 448 135-2 5 The lady and the fool (arr. Mackerras).

Melbourne SO/John Lanchbery.

ABC 442 377-2 10 Qui Radamès verrà … O patria mia, from Aïda (1871). Galina Gorchakova, sop; Kirov O/Valery Gergiev.

Philips 446 405-2 6 Fantasy for flute, violin, harp and orchestra on A masked ball (arr. Genin). Patrick Gallois, fl; Richard Friedman, vn; Fabrice Pierre, hp; London FO/Ross Pople.

DG 445 822-2 12 Ehi! Paggio! .. L’onore, from Falstaff (1893).

Bryn Terfel, bass-bar; Metropolitan Opera O/ James Levine.

Decca 460 805-2 4 Te Deum, from Four sacred pieces (pub.

1898). Elena Filipova, sop; Hungarian State Opera Choir & O/Pier Giorgio Morandi.

Naxos 8.550944-45 16

Ballet music from Macbeth (1847/64-65).

BBC PO/Edward Downes.

Chandos CHAN 9510 5 Niun mi tema, from Othello (1887). Giuseppe di Stefano, ten; Florence Arts FO/Bruno Bartoletti.

ABC 480 6177 5 String quartet in E minor (1873). Amadeus Quartet.

DG 479 1924 23 15:00 CRY Prepared by Randolph Magri-Overend Sculthorpe, P. Earth cry (1986). William Barton, did; Queensland SO/Michael Christie.

ABC 481 1909 11 Gòrecki, H. Mama, don’t cry (1963). Yvonne Kenny, sop; Adelaide SO/Takuo Yuasa.

ABC 476 5700 9 Massenet, J. De cet affreux combat. Pleurez!

Pleurez mes yeux!, from Le Cid (1885). Kiri Te Kanawa, sop; Royal Opera House O/ Jeffrey Tate.

EMI CDC 7 49863 2 5

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Brian Drummond Hummel, J. Wind Octet-partita in E flat (1803). Amadeus Wind Players/John Gray.

LP MBS 8 15 Schumann, R. Piano quintet in E flat, op 44 (1842). Marc-André Hamelin, pf; Takács Quartet.

Hyperion CDA67631 30 Britten, B. Miniature suite (1929). Emperor Quartet.

Decca 478 5364 10 Schubert, F. Piano sonata no 19 in C minor, D958 (1828). Luisa Guembes-Buchanan, pf.

Del Aguila DA 55312 32 Dvorák, A. Violin sonata in F, op 57 (1880).

Jack Liebeck, vn; Katya Apekisheva, pf.

Sony 88687499632 22

Puccini, G. Signore, ascolta! … non piangere, Liù … Ah! Per l’ultima volta, from Turandot (1920-24; compl. Alfano 1926).

Montserrat Caballé, sop; Luciano Pavarotti, ten; Francesco Poli, ten; Pier Piero de Palma, ten; Tom Krause, bar; Nicolai Ghiaurov, bass; John Alldis Choir; London PO/Zubin Mehta.

Decca 460 805-2 8 Bimba, bimba, non piangere, from Madama Butterfly (1904). Leontyne Price, sop; Elizabeth Bainbridge, mezz; Plácido Domingo, ten; New Philharmonia O/Nello Santi.

RCA RD 85999 16

Katya Apekisheva NOVEMBER 2018

37

Wednesday 28 November

Frederick Delius

Peter Tchaikovsky

Luciano Pavarotti

0:00 CONTEMPORARY COLLECTIVE

13:00 GREAT BATTLES Prepared by Dan Bickel

20:00 AT THE OPERA Died for love Prepared by Camille Mercep

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 Delius, F. Prelude, from Irmelin (1890-92).

London PO/Thomas Beecham.

Naxos 8.110906 4 Paris, the song of a great city (1899). Royal Liverpool PO/Charles Mackerras.

EMI 5 73113 2 22 Cello sonata (1916). Julian Lloyd Webber, vc; Bengt Forsberg, pf.

Philips 454 458-2 13 The song of the high hills (1911). Freda Hart, sop; Leslie Jones, ten; Luton Choral Society; Royal PO/Thomas Beecham.

Naxos 8.110982/83 25

Prokofiev, S. Cantata: Alexander Nevsky, op 78 (1939). Ludmilla Schemtchuk, mezz; Danish National Radio Ch & SO/Dmitri Kitaienko.

Chandos CHAN 9001 39 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 TCHAIKOVSKY EXPLORED Part 4 Prepared by Michael Morton-Evans Tchaikovsky, P. Overture: 1812. Oslo PO/ Mariss Jansons.

EMI 574113-2 15 None but the lonely heart, op 6 no 6 (1872). Elisabeth Söderström, sop; Vladimir Ashkenazy, pf.

Decca 436 204-2 3

In a summer garden (1908). BBC SO/Andrew Davis.

Teldec 4509-90845-2 15

Capriccio italien, op 45 (1880). Kirov O/Valery Gergiev.

Philips 442 775-2 15

10:30 CONCERT HALL Prepared by Marilyn Schock

Symphony no 5 in E minor, op 64, mvt 3 (1888). Concertgebouw O/Bernard Haitink.

Decca 478 5867 6

Ravel, M. Overture: Shéhérazade (1898).

London SO/Claudio Abbado.

DG 427 314-2 14 Walton, W. Cello concerto (1956). Li-Wei Qin, vc; Zhang Yi, cond.

ABC 481 1243 31 Vaughan Williams, R. Symphony no 5 in D (1938-43/51). Adrian Boult, cond.

EMI CDC 7 63098 2 38

38

Liszt, F. Battle of the Huns (1857). CzechoSlovak RSO/Ondrej Lenard.

Naxos 8.570154-55 16

March, from The Nutcracker (1892).

Queensland SO/Werner Andreas Albert.

ABC 476 6955 2 Symphony no 6 in B minor, op 74, Pathétique, mvt 4 (1893). Gothenburg SO/Neeme Järvi.

BIS SACD-1348 10

London PO (2 above)

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson

12:00 JAZZ SKETCHES with Robert Vale

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

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

Donizetti, G. Lucia di Lammermoor. Opera in three acts. Libretto by Salvatore Cannarano.

First performed Naples, 1835.

LUCIA: Joan Sutherland, sop EDGARDO: Luciano Pavarotti, ten ENRICO: Sherrill Milnes, bar RAIMONDO: Nicolai Ghiaurov, bass ARTURO: Ryland Davies, ten Royal Opera House Ch & O/Richard Bonynge.

Decca 478 1513 2:20 Synopsis at finemusicfm.com/Opera 22:30 MODERNISTS AFTER WORLD WAR II Prepared by Albert Gormley Stockhausen, K. Kontakte: part 2 (195960). Karlheinz Stockhausen, elec; Gottfried Michael Koenig, elec; Christopher Caskel, drums; David Tudor, pf, drums.

Wergo WER 6009 2 19 Boulez, P. Rituel in memoriam Maderna (1974-75). BBC SO/Pierre Boulez.

Sony SMK 45 839 25 Cage, J. String quartet in four parts (1950).

LaSalle Quartet.

DG 423 245-2 21 Glass, P. The canyon (1988). Atlanta SO/ Robert Shaw.

Sony SMK87978 17

D

elius wrote about The song of the high hills: “I have tried to express the joy and rapture felt in the High Mountains and to depict the lonely melancholy of the highest altitudes of the wide expanses. The vocal parts typify Man in Nature.” The chorus is a wordless background to a symphonicstyle work.

Thursday 29 November 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 Liszt, F. Rákóczi march (1846-53; arr.

Horowitz). Vladimir Horowitz, pf.

Sony 88697419402 5 Devienne, F. Trio III in D minor (c1790).

Sara Ligas, fl; Salavatore Rea, va; Vladimiro Atzeni, vc.

Brilliant Classics 95686 11 Abel, C. String quartet in A, op 8 no 5 (1769).

Salomon Quartet.

Hyperion CDA66780 12 Meyerbeer, G. She and I (1835). Thomas Hampson, bar; Geoffrey Parsons, pf.

EMI CDC 7 54436 2 3 Quantz, J. Sonata in G minor for flute and continuo. Mary Oleskiewicz, fl; Stephanie Vial, vc; David Schulenberg, hpd.

Naxos 8.555064 10 Pleyel, I. Wind sextet in E flat (1787).

Members of Strasbourg PO Wind Octet.

LP Erato STU 71278 24 Hummel, J. Piano trio no 2 in F, op 22 (1799). David Oistrakh, vn; Sviatoslav Knushevitzky, vc; Lev Oborin, pf.

Brilliant Classics 8402 14 10:30 CONCERT HALL Prepared by Denis Patterson Berlioz, H. Overture: Le corsaire, op 21 (1844). Scottish NO/Alexander Gibson.

Chandos CHAN 8316 8 Stamitz, C. Clarinet concerto no 7 in E flat, Darmstädter no 1 (1770s). Andreas Ottensamer, cl; Potsdam Chamber Academy.

Decca 481 4711 20

Chopin, F. Fantasie-impromptu in C sharp minor, op 66 (1835; arr. Safri). Safri Duo, perc.

Chandos CHAN 9482 5 Milhaud, D. Concerto for marimba and vibraphone (1947). Rainer Kuisma, mar, vibraphone; Norrköping SO/Jorma Panula.

BIS CD-149 19 Schnelzer, A. Thunderdance (2002). Rhythm Art Duo. Phono Suecia PSCD 177 11 14:00 THE FINAL MASTERPIECE Prepared by Chris Blower 1792-1868

0:00 CONTEMPORARY COLLECTIVE

GIOACHINO ROSSINI

Rossini, G. Prelude, theme and variations for the horn, from Péchées de vieillesse, vol IX (1857). Peter Damm, hn; Peter Rösel, pf.

Berlin Classics 0012882BC 9 Excerpts from Quelques riens pour album, from Péchés de vieillesse, vol XII (c1864).

Bruno Mezzena, pf.

Dynamic CDS 42/1-2 15 Petite Messe solenelle (1863). Nuccia Focile, sop; Susanne Mentzer, mezz; Raul Gimenez, ten; Simone Alaimo, bass; John Birch, org; Academy of St Martin in the Fields Ch & O/ Neville Marriner.

Philips 475 230-2 1:27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Prepared by Chris Blower Sullivan, A. Overture to Macbeth (1888).

Royal PO/Royston Nash.

Decca 468 810-2 8

Korngold, E. Symphony in F sharp, op 40 (1951-52). BBC PO/Edward Downes.

Chandos CHAN 9171 51

Strauss, R. Tone poem: Macbeth, op 23 (1888/91). Seattle SO/Gerard Schwarz.

Naxos 8.571219 19

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Arnold, S. Incidental music to Macbeth (1778). Toronto Camerata/Kevin Mallon.

Naxos 8.557484 18

13:00 THE MANY FACETS OF PERCUSSION Prepared by Elaine Siversen Askill, M. Lemurian dances (1990). Michael Askill, perc; Synergy.

Vox Australis VAST 001-2 11 Ramirez, A. Credo; Santo from Misa criolla (1964). Choir of Basilico del Socorro; Jaime Charango, perc; Los Fronterizos; Ariel Remirez, hpd & dir.

LP Philips PCC-619 6

Verdi, G. Ballet music from Macbeth (1865).

Scottish NO/Alexander Gibson.

Chandos CHAN 10412X 10 Vieni! T’affreta, from Macbeth (1847). Anna Netrebko, sop; Turin Regio TO/Gianandrea Noseda.

DG 479 1052 3 Bloch, E. Two symphonic interludes, from Macbeth (1910/39). Royal PO/Dalia Atlas.

Naxos 8.573290 14

Vladimir Verbitsky Spohr, L. Overture: Macbeth, op 75 (1825).

Berlin RSO/Christian Fröhlich. cpo 999 093-2 6 Ibert, J. Suite from Macbeth (1948). Slovak RSO/Adriano.

Marco Polo 8.223287 31 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Rebecca Zhong Ginastera, A. Dance of the beautiful maiden; Dance of the arrogant cowboy, from Danzas argentinas. Jeremy So, pf.

Master Performers MP 026 7 Spike, K. Wombat dance (2005). Leah Lock, fl; Deborah de Graaff, cl; Kristofer Spike, pf. spikekarpf@aol.com April 2005 8 Borodin, A. Polovtsian dances, from Prince Igor (1890). Sydney Philharmonia Motet Choir; Sydney Philharmonia Symphonic Choir & O/Antony Walker.

ABC 465 684-2 14 Grieg, E. Four Norwegian dances for piano duo, op 35 (1881). Elizabeth Powell, Ffrangcon Davies, pf.

Fine Music concert recording 16 Dean, B. The Siduri dances for flute and orchestra (2007). Sharon Bezaly, fl; Swedish CO/Brett Dean.

BIS CD-1799 12 Liszt, F. Wedding march and dance of the elves, from Mendelssohn’s A midsummer night’s dream (1849-50). Leslie Howard, pf.

Hyperion CDS44549 10 Mussorgsky, M. Songs and dances of death (1877). Bruce Martin, bass-bar; West Australian SO/Vladimir Verbitsky.

ABC 476 3439 20 Kats-Chernin, E. The three dancers for chamber ensemble (c2015). Amy Dickson, sax; Jack Liebeck, vn; Julian Smiles, vc; Rohan Dasika, db; James Crabb, accordion; Eugene Ughetti, perc; Tamara-Anna Cislowska, pf.

Fine Music concert recording 23 NOVEMBER 2018

39

Friday 30 November 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 Melissa Evans Schubert, F. Variation on a waltz by Anton Diabelli (pub. 1823). 2 Czerny, C. Variation on a waltz by Anton Diabelli (pub. 1823). 1 Liszt, F. Variation on a waltz by Anton Diabelli (pub. 1823). 1 Evelyne Duborg, pf (3 above) Capriccio 10 091 Rachmaninov, S. Rhapsody on a theme of Paganini, op 43, variations 18 to 24 (1934).

Jean-Yves Thibaudet, pf; Cleveland O/ Vladimir Ashkenazy.

Decca 478 5644 8 Stravinsky, I. Suite from Pulcinella (191920; arr. Dorough). Judy Dines, fl; Scott Holshouser, pf. araleedorough.com 18 Hindemith, P. Symphonic metamorphosis on themes by Carl Maria von Weber (1943).

Royal Concertgebouw O/Riccardo Chailly.

Radio Nederland RCO11004 22 Saint-Saëns, C. Danse macabre in G minor, op 40 (1874; arr. Lemare). David Drury, org.

ABC 432 527-2 9 Beethoven, L. Piano trio no 11 in G, op 121a, Kakadu variations (1792-95). Beaux Arts Trio.

Philips 438 948-2 17 10:30 CONCERT HALL Prepared by Frank Morrison Bartók, B. Dance suite (1923). New York PO/ Pierre Boulez.

Sony SM2K 64 100 18 Crusell, B. Clarinet concerto no 2 in F minor, op 5 (1808). Thea King, cl; London SO/Alun Francis.

Hyperion CDA66088 25 Dvorák, A. Symphony no 4 in D minor, op 13 (1874). London SO/István Kertész.

Decca 417 596-2 40 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 BRASSED ON Prepared by Emyr Evans Blake, H. Sinfonietta for ten brass instruments (1981). English Northern Philharmonia/Paul Daniel.

ASV DCA 905 16

Gabrieli Brass Ensemble/Christopher Larkin.

Hyperion CDA66517 7 Vaughan Williams, R. Overture for brass band: Henry the fifth. Grimethorpe Colliery RJB Band.

Chandos CHAN 4553 9 Ball, E. Sinfonietta for brass band, The Wayfarer. John Foster Black Dyke Mills Band.

Chandos CHAN 4508 12 Peter Parkes, cond (2 above) Beeferman, G. Brass quintet. American Brass Quintet.

Summit DCD 553 15 Terracini, P. Concerto for brass (2003/10).

Sydney Brass/Paul Terracini.

Tall Poppies TP224 14 Britten, B. Russian funeral for brass and percussion (1936). Philip Jones Brass Ensemble.

Decca 478 5364 7 14:30 THE SYMPHONIES OF ANTON BRUCKNER Prepared by Ron Walledge Bruckner, A. Te Deum (1881-84). Maria Stader, sop; Sieglinde Wagner, cont; Ernst Haefliger, ten; Peter Lagger, bass; German Opera Choir, Berlin; Berlin PO/Eugen Jochum.

Decca 478 3640 22 Symphony no 9 in D minor (1891-96).

Columbia SO/Bruno Walter.

Sony SMK 64 483 59 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Camille Mercep 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Calogero Panvino Britten, B. Four sea interludes, from Peter Grimes, op 33a (1945). London SO/André Previn.

EMI CDC 7 47667 2 16 Berg, A. Violin concerto, In memory of an angel (1935). Pinchas Zukerman, vn; London SO/Pierre Boulez.

Sony SMK 68331 27 Mahler, G. Symphony no 9 in D (1909).

Vienna PO/Bruno Walter.

Naxos 8.110852 1:11 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Weelkes, T. Magnificat anima mea Dominum; Nunc dimittis. Peter Nagy, treb; John Brandon, treb; Michael Liley, alto; Andrew Bushell, alto; Choir of Winchester Cathedral;

Glass, P. Brass sextet (1932-34). London 40 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

James Lancelot, org; Consort of Musicke/ Martin Neary.

ASV GAU 119 10 Förster, C. Horn concerto in E flat. Barry Tuckwell, hn; Academy of St Martin in the Fields/Neville Marriner.

EMI 5 69395 2 12 Handel, G. Overture to Radamisto, HWV12 (1720). English CO/Richard Bonynge.

Decca 466 434-2 5 Cavatina: Ombra cara, from Radamisto.

Lorraine Hunt, mezz; Philharmonia Baroque O/Nicholas McGegan.

Harmonia Mundi HMU 907056 8 Cavatina: Quando mai spietata, from Radamisto. Kirsten Barry, ob; Jamie Hay, vc; Australian Brandenburg O/Paul Dyer.

ABC 476 284-0 3 Vive in te, from Radamisto. Sandrine Piau, sop; Sara Mingardo, cont; Concerto Italiano/ Rinaldo Alessandrini. naïve V 5294 8 Instrumental suite, from Radamisto.

Akademie Für Alte Musik.

Harmonia Mundi HMC 901685 7 Bononcini, G. Sinfonia quarta (1687).

Concerto Italiano/Rinaldo Alessandrini, hpd, org & dir. naïve OP 30531 6 Lasciami un sol momento (pub. 1721).

Gérard Lesne, ct; Il Seminario Musicale.

Virgin VC 5 45000 2 8 Roman, J. From Drottningholm music (arr. Lind). Stockholm Philharmonic Brass Ensemble.

BIS CD-223 6 Handel, G. Vieni, o figlio, from Ottone, HWV15 (1723). Lorraine Hunt, mezz; Philharmonia Baroque O/Nicholas McGegan.

Harmonia Mundi HMU 907056 8 Overture to Admeto, re di Tessaglia, HWV22 (1727). Akademie Für Alte Musik.

Harmonia Mundi HMC 901685 6 Overture; Che tirannia d’amor? from Alessandro (1726). Catherine Bott, sop; Brandenburg Consor/Roy Goodman.

Hyperion CDS44271/3 12 Solitudini amate, from Alessandro. Ann Hallenberg, mezz; Il Complesso Barocco/Alan Curtis. naïve V5326 6 Bononcini, G. Spera che questo cor, from Astianatte (1727). Mary-Ellen Nesi, mezz; Armonia Atenea/George Petrou.

Decca 478 8099 3 “The power of classical music turns my words into fire.” ― A.D. Posey

The following composers have works of at least five minutes on the November dates listed Abel, C. 1723-1787 29 Adams, J. b1947 3,4,11 Aho, K. b1949 25 Albrechtsberger, J. 1736-1809 15 Alkan, C-V. 1813-1888 13 Alwyn, W. 1905-1985 10 Ansell, J. 1874-1948 24 Arensky, A. 1861-1906 5,19,23 Arnold, M. 1921-2006 17 Arnold, S. 1740-1802 29 Arriaga, J. 1806-1826 14 Askill, M. b1952 29 Avison, C. 1709-1770 20 Bach, C.P.E. 1714-1788 1,12,15,20,22 Bach, J.S. 1685-1750 2,12,17,18,19,20,23,25 Bach, W.F. 1710-1784 23 Balakirev, M. 1837-1910 13 Ball, E. 1903-1989 30 Barber, S. 1910-1981 1,3 Bartók, B. 1881-1945 18,26,30 Bax, A. 1883-1953 6,13 Beach, A. 1867-1944 17 Beeferman, G. b1976 30 Beethoven, L. 1770-1827 1,4,6,8,10,15,17,19,20,23,30 Benjamin, A. 1893-1960 24,26 Berg, A. 1885-1935 30 Berio, L. 1925-2003 6,11 Berlioz, H. 1803-1869 5,29 Berwald, F. 1796-1868 9,22,24 Besozzi, C. 1738-1791 13 Biber, H. 1644-1704 2 Biscogli, F. fl..c1740 8 Bizet, G. 1838-1875 5,12,16,20 Blake, H. b1938 30 Bliss, A. 1891-1975 8 Bloch, E. 1880-1959 29 Blow, J. 1649-1708 19 Boïeldieu, A. 1775-1834 23 Boismortier, J. de 1689-1755 23 Bononcini, G. 1670-1747 30 Borodin, A. 1833-1887 7,17,29 Boulez, P. 1925-2016 28 Bouman, H. b1951 27 Boyce, W. 1711-1779 25 Boyd, A. b1946 17 Brahms, J. 1833-1897 1,5,8,9,10,14,17,18,20,23 Bridge, F. 1879-1941 1,3,20 Britten, B. 1913-1976 6,9,10,11,20,27,30 Bruch, M. 1838-1920 16,17,20,23 Bruckner, A. 1824-1896 26,30 Busoni, F. 1866-1924 24 Butterworth, G. 1885-1916 11 Buxtehude, D. 1637-1707 15

Cage, J. 1912-1992 28 Cambini, G. 1746-1825 11 Canteloube, J. 1879-1957 24 Carulli, F. 1770-1841 23 Castellanos, E. 1915-1984 6 Charpentier, G. 1860-1956 17 Charpentier, M-A. 1635-1704 11 Chausson, E. 1855-1899 24 Chopin, F. 1810-1849 11,29 Cimarosa, D. 1749-1801 25 Clementi, M. 1752-1832 19 Coles, C. 1888-1918 11 Copland, A. 1900-1990 4,11 Corelli, A. 1653-1713 16,18,19 Couperin, F. 1668-1733 6,9 Couperin, L. c1626-1661 3 Croes, H. de 1705-1786 16 Crusell, B. 1775-1838 15,30 Czerny, C. 1791-1857 9,15 d’Indy, V. 1851-1931 13,22 Davies, P. Maxwell 1934-2016 7 Dean, B. b1961 29 Debussy, C. 1862-1918 1,2,6,16,17,22,26 Delany, J. 1852-1907 8 Delius, F. 1862-1934 10,12,26 Desplat, A. b1961 10 Devienne, F. 1759-1803 24,29 Dittersdorf, C. 1739-1799 21 Dohnányi, E. 1877-1960 3,22,26 Donizetti, G. 1797-1848 3,22,28 Dragonetti, D. 1763-1846 17 Dreyschock, A. 1818-1869 4 Dukas, P. 1865-1935 19,22 Dupré, M. 1886-1971 20 Dussek, J. 1760-1812 4,18 Dvorák, A. 1841-1904 3,5,10,11,27,30

Franck, C. 1822-1890 9,15,21 Gaubert, P. 1879-1941 16 Geminiani, F. 1687-1762 12 Giazotto, R. 1910-1998 13 Ginastera, A. 1916-1983 25,29 Glanville-Hicks, P. 1912-1990 15 Glass, P. b1937 7,28,30 Glazunov, A. 1865-1936 3,7,16 Godowsky, L. 1870-1938 9 Goldmark, K. 1830-1915 26 Goodwin, R. 1925-2003 8 Gòrecki, H. 1933-2010 27 Granados, E. 1867-1916 1 Graupner, C. 1683-1760 4 Graziani, C. d 1787 20 Greenbaum, S. b1966 3 Grieg, E. 1843-1907 1,8,9,29 Guillemain, L-G. 1705-1770 23 Handel, G. 1685-1759 2,11,12,18,22,30 Harvey, M.K. b1961 11 Hasse, J. 1699-1783 7 Haydn, J. 1732-1809 4,11,15,18,23,27 Haydn, M. 1737-1806 22,25 Heinichen, J. 1683-1729 23 Heinsius, M. 1710-1764 16 Herrmann, B. 1911-1975 10 Hill, A. 1869-1960 3,8 Hindemith, P. 1895-1963 8,30 Hoffmeister, F. 1754-1812 11 Holguin, G. 1880-1971 6 Honegger, A. 1892-1955 24 Hummel, J. 1778-1837 5,6,10,18,20,27,29 Hyde, M. 1913-2005 1 Ibert, J. 1890-1962 3,27,29 Ireland, J. 1879-1962 4,11,17 Isaac, H. c1450-1517 10 Ives, C. 1874-1954 16 Edwards, R. b1943 15 Egge, K. 1906-1979 15 Jackson, G. b1962 25 Einhorn, R. b1952 11 Janácek, L. 1854-1928 Elgar, E. 1857-1934 2,10,18 3,7,9,10,21,22 Janequin, C. c1485-1558 2 Ellis, W. b1965 10 Jenkins, K. b1944 4 Enescu, G. 1881-1955 19 Joachim, J. 1831-1907 26 Falla, M. de 1876-1946 25 Joseph, D. b1954 10 Josquin Desprez.

Farnon, R. 1917-2005 8 Fauré, G. 1845-1924 8,11,25 c1440-1521 10 Fernström, J. 1897-1961 15 Joubert, J. b1927 3 Fesch, W. de 1687-1757 16 Kalkbrenner, F. 1785-1849 Field, J. 1782-1837 21 18 Finzi, G. 1901-1956 11,19 Kats-Chernin, E. b1957 Fiocco, J-H. 1703-1741 16 1,7,15,29 Fischer, J. Caspar Keller, G. c1650-1704 19 c1670-1746 22 Khachaturian, A. 1903-1978 Fjellestad, J. b1984 18 24 Forqueray, A. c1672-1745 9 Kodály, Z. 1882-1967 24 Koechlin, C. 1867-1950 19 Förster, C. 1693-1745 30 Kokkonen, J. 1921-1996 9 Frahm, N. b1982 18

Korngold, E. 1897-1957 1,16,29 Kozeluch, L. 1747-1818 13 Krebs, J.L. 1713-1780 6 Krumpholtz, J-B. 1742-1790 11 Kuhnau, J. 1660-1722 19 Lalo, E. 1823-1892 13,25 Lambert, M. 1610-1696 23 Lampe, J. c1703-1751 2 Lassus, O. de c1530-1594 4 Lecuona, E. 1896-1963 25 Liszt, F. 1811-1886 5,8,17,22,26,28,29 Lully, J-B. 1632-1687 12,25 MacDowell, E. 1860-1908 15,22 Mahler, G. 1860-1911 1,10,15,18,30 Maldere, P. 1729-1768 16 Marais, M. 1656-1728 27 Márquez, A. b1950 6 Marsh, J. 1752-1828 1 Martinu, B. 1890-1959 24 Massenet, J. 1842-1912 3,12,27 Mathias, W. 1934-1992 4 Mayer, E. 1812-1883 1 McEncroe, M. 21st c 25 Medtner, N. 1880-1951 5 Mendelssohn, F. 1809-1847 4,5,15,16,17,24,25,26 Mercadante, S. 1795-1870 11 Milhaud, D. 1892-1974 25,29 Millöcker, K 1842-1899 3 Mondonville, J-J. de 1711-1772 23 Monn, M. 1717-1750 1 Morricone, E. b1928 24 Mouret, J-J. 1682-1738 23 Mozart, W. 1756-1791 1,2, 3,4,8,9,14,15,19,20,21,22,2 3,24,25 Mussorgsky, M. 1839-1881 29 Newman, A. 1900-1970 24 Newman, T. 20th c 10 Nielsen, C. 1865-1931 9,23 Norgård, P. b1932 17 Novák, V. 1870-1949 17 O’Boyle, S. b1963 25 Obrecht, J. c1450-1505 10 Offenbach, J. 1819-1880 6,8,14,17 Onslow, G. 1784-1853 6 Paganini, N. 1782-1840 1 Pandolfi, G. fl1660-1669 24 Parry, H. 1848-1918 18 Pasculli, A. 1842-1924 6 Pergolesi, G. 1710-1736 12 Pheloung, B. b1954 16 Philidor, P. 1681-1731 23 Piazzolla, A. 1922-1992 25 Pleyel, I. 1757-1831 29 Porpora, N. 1686-1768 12 Portman, R. 20th c 10

Potter, C. 1792-1871 18 Poulenc, F. 1899-1963 16,24,27 Praetorius, M. c1571-1621 22 Prokofiev, S. 1891-1953 3,7,9,22,26,28 Puccini, G. 1858-1924 9,27 Purcell, H. 1659-1695 2,25 Quantz, J. 1697-1773 29 Rabaud, H. 1873-1949 19,25 Rachmaninov, S. 1873-1943 2,5,12,27,30 Rameau, J-P. 1683-1764 12,20 Ramirez, A. 1921-2010 29 Rautavaara, E. 1928-2016 23 Ravel, M. 1875-1937 6,10,16,17,24,26,28 Reger, M. 1873-1916 27 Reichardt, J. 1752-1814 11 Reincken, J. 1623-1722 27 Respighi, O. 1879-1936 1,10,17 Reznicek, E. 1860-1945 5 Rimsky-Korsakov, N. 1844-1908 1,8,13,17,19,24 Rodrigo, J. 1901-1999 2 Rogerson, T. b1959 18 Roman, J. 1694-1758 30 Röntgen, J. 1855-1932 21 Rosetti, A. c1750-1792 18 Rossini, G. 1792-1868 3,4,8,11,13,14,17,22,23, 25,29 Rubinstein, A. 1829-1894 3 Runólfsson, K. 1900-1970 9 Saariaho, K. b1952 11 Saint-Saëns, C. 1835-1921 6,8,9,12,25,27,30 Satie, E. 1866-1925 6,24 Scarlatti, D. 1685-1757 4,25 Schmelzer, J. c1620-1680 2 Schmidt, Heather. b1974 13 Schnelzer, A. b1972 29 Schobert, J. 1740-1767 4 Schoenberg, A. 1874-1951 1,24 Schönberg, C-M. b1944 24 Schubert, F. 1797-1828 1,7,8,18,19,20,22,27 Schumann, R. 1810-1856 5,6,7,12,13,27 Schütz, H. 1585-1672 23 Sculthorpe, P. 1929-2014 27 Serra, J. 1907-1957 6 Shostakovich, D. 1906-1975 6,13,15,18,22,23 Sibelius, J. 1865-1957 5,6,9,10,21,23 Smetana, B. 1824-1884 10 Somers, H. 1925-1999 10 Sousa, J.P. 1854-1932 10 Spiers, C. b1957 15 Spike, K. 20th c 29 Spohr, L. 1784-1859 2,6,29

Stamitz, C. 1745-1801 11,15,29 Stamitz, J. 1717-1757 16,25 Stanhope, P. b 1969 17,25 Steffani, A. 1654-1728 21 Stockhausen, K. 1928-2007 28 Stopford, P. b1977 18 Strauss, J. II 1825-1899 3 Strauss, R. 1864-1949 10,12,29 Stravinsky, I. 1882-1971 9,17,30 Stuck, J-B. 1680-1755 23 Sullivan, A. 1842-1900 17,29 Sutherland, M. 1897-1984 22 Svendsen, J. 1840-1911 9 Takemitsu, T. 1930-1996 6 Tartini, G. 1692-1770 3 Tausig, C. 1841-1871 9 Tchaikovsky, P. 1840-1893 2,3,5,7,10,14,15,21,28 Telemann, G. 1681-1767 14 Terracini, P. b1957 30 Thomas, A. 1811-1896 15 Thomas, Augusta. b1964 22 Torelli, G. 1658-1709 19,24 Tórroba, F. Moreno 1891-1982 24 Trifonov, D. b1991 25 Tubin, E. 1905-1982 23 Turina, J. 1882-1949 22,24,25,26 Vangelis. b1943 18 Vaughan Williams, R. 1872-1958 4,10,11,16,28,30 Verdi, G. 1813-1901 3,9,11,27,29 Vierne, L. 1870-1937 18 Vintner, G. 1909-1969 8 Vivaldi, A. 1678-1741 2,14,20,21 Wagenaar, J. 1894-1971 10 Wagner, R. 1813-1883 8,12,17,23,26 Walton, W. 1902-1983 8,9,15,16,28 Wassenaer, U. 1692-1766 16 Weber, C.M. 1786-1826 3,16,21,23,25 Weelkes, T. 1576-1623 30 Weigl, J. 1776-1846 13 Wesley, S. 1766-1837 4,23 Westlake, N. b1958 1,11 Wolf-Ferrari, E. 1876-1948 3 Wölfl, J. 1773-1812 23 Wood, Haydn. 1882-1959 24 Wranitzky, P. 1756-1808 2 Yorke, P. 1902-1996 24 Zelenka, J. 1679-1745 11,23 Zemlinsky, A. 1871-1942 9

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

NOVEMBER 2018

41

WHAT’S ON CAROLS AT THE HOUSE Kerrie Anne Greenland, soprano Teddy Tahu Rhodes, baritone Sydney Philharmonia Christmas Choir & O/Brett Weymark Sydney Opera House Friday 7 December, 8pm; Saturday 8 December, 1pm; Sunday 9 December, 1pm Pre-concert talk: 45 minutes prior to the performance, Northern Foyer, presented in association with Fine Music 102.5 and Sydney Opera House Bookings: sydneyoperahouse.com

It’s impossible to resist the magic of Christmas as the 500 voices of the combined Sydney Philharmonia Choirs, orchestra and special guests light up the stage with your favourite Christmas carols, seasonal treats and much more.

Carols at the House decks the Concert Hall with the brilliance of baroque trumpets and sublime choruses by Handel and Bach along

AN AUSTRALIAN WAR REQUIEM Performed on the centenary of the Armistice of World War I

Sydney University Graduate Choir and Orchestra/Christopher Bowen OAM Taryn Fiebig, soprano; Ashlyn Tymms, mezzo-soprano; Andrew Goodwin, tenor; Adrian Tamburini, bass; Wade Kernot, bass

On the centenary of the Armistice of World War I, the Sydney University Graduate Choir and Orchestra presents An Australian War Requiem for five soloists, a chorus of 200 voices, children’s chorus and orchestra conducted by the composer, Christopher Bowen OAM. Large in scale and musically demanding, the

with opulent versions of familiar carols inspired in the fabulous arrangements by Robert Shaw that have provided the soundtrack to Christmas for generations. Conductor Brett Weymark has added a few surprises in the form of delightful music from stage and screen, story-telling, some sublime silliness and, of course, audience participation. Acclaimed Opera Australia star Teddy Tahu Rhodes lends his rich baritone to the proceedings alongside soprano Kerrie Anne Greenland.

Have yourself a merry little Christmas at the Sydney Opera House this year.

work is a rich and dramatically charged tribute.

Set to a libretto by award-winning author Pamela Traynor, the moving text is created from the letters of soldiers on the front, letters of mothers in Australia writing to their sons at war, and the Latin text of the Stabat Mater.

Sunday 11 November, 3pm-5pm Sydney Town Hall Adults $55/$40, pensioners $45/$30, students $25 Bookings: sydunigradchoir.eventbrite.com, or at the door from 2.15pm Website: https://www.facebook.com/ SydneyUniversityGraduateChoir/

ENJOY, LEARN, DISCUSS LECTURE SERIES J​ e suis un tornado! Louise Hanson Dyer and Paris in the roaring twenties Presenter: Robert Small Sunday 18 November, 2.30pm Fine Music Centre, 72-76 Chandos St, St Leonards Bookings and information: 9439 4777 or finemusicfm.com/ELD 42

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Louise Hanson Dyer was ‘La Tornade’, the Melbourne society girl who took the Paris musical world by storm in the 1920s. In this talk Robert will explore the life and times of the woman who founded the L’Oiseau-Lyre publishing and recording house, sponsored composers such as Holst and Poulenc and contributed so much to the musical life of the era. Robert will be joined by an ensemble premiering works from L’OiseauLyre’s 1934 edition Pipeux featuring lively compositions by Poulenc, Ibert, Milhaud, Roussel, Auric, Feroud and Martellic.

A TRAGIC TALE OFTEN TOLD ELAINE SIVERSEN DISCOVERS ITS DISTANT PAST by a lion. He then kills himself. On finding Pyramus’ body, Thisbe also kills herself.

Shakespeare was not the only one to be inspired by Ovid’s tragic tale. It has been retold in many different versions by numerous authors. They include Giovanni Boccaccio who used a version of the story in his Of Famous Women and also in the Decameron. Its first appearance in England was in Geoffrey Chaucer’s The Legend of Good Women.

This month we’ll be broadcasting Johann Adolf Hasse’s opera Piramo e Tisbe which premiered in 1768. It wasn’t the first opera based on this story but it is probably the most famous of all. Hasse wrote to a friend that he rated it ‘amongst the best works I have written’ and indeed it is widely recognised as Hasse’s best opera.

Thisbe, by John William Waterhouse, 1909 To most people familiar with the writings of Shakespeare, the story of Pyramus and Thisbe is a comical interlude in the play A Midsummer Night’s Dream (Act V, scene 1).

On this enchanted night in the forest, the ‘mechanicals’ enact the tragedy of these ‘starcrossed’ lovers, with Bottom playing Pyramus, and Flute as Thisbe. Pyramus and Thisbe is a tale of thwarted love, and is relevant to the main action of Shakespeare’s play in that two of the mortals, Hermia and Lysander, are forbidden to marry by her parents.

This story however, has ancient antecedents being a myth from the long distant past. A second century mosaic in Cyprus depicts the final scene of the myth: the metamorphosis of Pyramus into a river and Thisbe into a nearby spring. The first surviving version from 8AD is found in Ovid’s Metamorphoses where it is set in Babylon. This became the basis for Shakespeare’s Romeo and Juliet where the young lovers are unable to declare their love for each other because of the bitter feud between their families. Ovid tells that the young lovers, Pyramus and Thisbe from feuding families, communicate through a wall between their adjoining houses. They arrange to meet, but when Pyramus arrives at their meeting place he finds Thisbe’s bloodied veil torn to pieces and imagines that she has been killed

The first opera in 1718, presented at the Württemberg court, was La Tisbe

by Giuseppe Brescianello. This was followed in 1726 at the Académie Royale de Musique in Paris by the five-act lyric tragedy, Pirame et Thisbé, composed jointly by François Francoeur and François Rebel. In 1745 John Lampe adapted the story as a ‘mock opera’ containing a singing ‘Wall’ which was described as ‘the most musical partition that was ever heard’.

Hasse’s Piramo e Tisbe is an opera in two acts described by the composer as an intermezzo tragico. It is more elaborate in construction than his previous operas and contains through-composed arias, fine duets, melodic strength, lyricism and power. The orchestration is also notable for the vigour of the melodic invention, the richness of the harmony and the very prominent role allotted to the orchestral winds including, besides horns and bassoons, flutes and oboes which, unlike the usual custom, don’t merely alternate but play independent melodies.The work is in the form of opera seria but is enriched by fine characterisation and an advanced technique of continuity. While Hasse had formed a strong collaboration with the famous librettist Pietro Metastasio, for Piramo e Tisbe he turned to Marco Coltellini for the libretto which is a straightforward sentimental telling of the tragedy. The two lovers kill themselves, as does Tisbe’s father, who blames himself for having previously forbidden their love.

The opera premiered in November 1768.

Johann Hasse had been a pupil of the renowned opera composers Niccolò Porpora and Alessandro Scarlatti. Hasse went on to achieve a formidable reputation as an opera

composer in a number of prominent cities such as Venice, Bologna, Florence, Rome, Naples, Dresden, London and Vienna. While many of his earlier operas were composed for the castrato Farinelli, after Hasse married the acclaimed soprano Faustina Bordoni he wrote a number of operas in which she sang the leading role. By the time Hasse wrote Piramo e Tisbe, he had already composed over 70 operas and was known as the most famous opera composer in Europe.

One of Hasse’s earlier operas was Artaserse of 1730. The name is the Italian form of Artaxerxes I of Persia. Hasse’s setting was one of around 90 based on a libretto by Metastasio. Apart from Hasse’s opera, the most recognised settings are by Arne (broadcast last January), Gluck, Graun, Galuppi, Johann Christian Bach and Porpora. The first opera using this libretto was by Leonardo Vinci and it premiered six days before Hasse’s production.

Hasse was just 31 when he composed this opera and it would be interesting to compare this with Piramo e Tisbe written 38 years later.

Libretto cover for Hasse’s 1730 Artaserse

If you wish to compare these operas, Artaserse will be produced by Pinchgut Opera at the end of November and you can hear our 250th anniversary broadcast of Piramo e Tisbe in At the Opera on Wednesday 7 November at 8pm.

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MUSIC KING OF THE SILVER SCREEN MAUREEN MEERS CELEBRATES ENNIO MORRICONE With more than 500 film scores and a sizable body of concert music to his name, everyone considers Ennio Morricone startlingly prolific. “The notion that I am a composer who writes a lot of things is true on one hand and not true on the other hand. But compared to classical composers like Bach, Frescobaldi, Palestrina or Mozart, I would define myself as unemployed.” Yet, after learning to write simple, memorable themes when writing scores for Italian light comedy and costume Ennio Morricone films, Morricone has, in the last six decades, created music that is as recognised as ‘king of silver screen music’. memorable as the films it accompanies.

Morricone’s career in original film music Born in Rome on 10 November 1928, Ennio started in 1961 with Il Federale. He went on to was taught music by his father, a trumpeter achieve worldwide fame with music for Sergio in jazz bands and opera orchestras. Entering Leone westerns such as A Fistful of Dollars, the conservatorium at 12 he studied trumpet, The Good, The Bad and The Ugly and Once composition, harmony and choral music. In Upon a Time in The West. He continued with 1954 he started arranging music as a ghost music for every imaginable film genre, his most writer for films credited to other composers. famous scores being for Cinema Paradiso, With this he was well on his way to being The Untouchables, Once Upon a Time in

America and The Mission. He has lived in Italy for his entire life, has never desired to live in Hollywood and has composed all of these scores without even visiting the United States.

The director Barry Levinson said of Morricone: “He doesn’t have a piano in his studio.

I always thought that with composers, you sit at the piano, and you try to find the melody.

There’s no such thing with Morricone. He hears a melody, and he writes it down. He hears the orchestration completely done.” His wife of more than 50 years, Maria Travia, has written lyrics to complement her husband’s pieces, one of her works being the Latin texts for The Mission. Of their four children, Andrea is a conductor and film composer and Giovanni is a film maker, who lives in New York.

To mark Ennio Morricone’s 90th birthday, we’ll broadcast some of his music in The Magic of Stage and Screen on Saturday 24 November at 7pm.

THE GRIM OLD MASTER ELAINE SIVERSEN TELLS OF BEETHOVEN’S ADMIRATION three times a week, to study with him. It was here that that the young composer learned discipline in his composition.

Johann Albrechtsberger Beethoven’s genius as a young composer brought him so much adulation that it led him to follow his own musical whims. After leaving Bonn, he studied with Haydn, Salieri and others in Vienna, but he was an inattentive pupil. The turning point came when he became a pupil of Johann Georg Albrechtsberger.

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Albrechtsberger was born in Vienna in 1736 and died there in 1809. He had been a choirboy at the famous Austrian monastery of Melk and a choirmaster and organist in Hungary before he returned to Vienna in 1772 as court organist. Later he was appointed Director of Music at the Cathedral of St Stephen. It was here that his fame as a teacher of counterpoint (based on his study of the great Johann Sebastian Bach) influenced Haydn to send his pupil, Beethoven, to Albrechtsberger.

Much influenced by Bach, Albrechtsberger blended a fugal style of writing with the current classical mode. This is evident in his string quartets at a time when Haydn, Mozart and Beethoven were pioneering major developments in the genre. Although now overshadowed by these three composers, Albrechtsberger was highly regarded by them and gave concerts with Haydn and Mozart. When Mozart was dying, he

asked that his death not be made public until Albrechtsberger had been informed.

Albrechtsberger’s pupils included many illustrious composers and performers of the following generation such as Hummel, Moscheles, Reicha, Weigl and Seyfried. He was an esteemed musical theorist and it was Ignaz von Seyfried who edited his many treatises, with one on composition being translated into English.

Albrechtsberger was usually a very serious man but he had an amiable nature and, on occasions, a tendency to be jovial.

Some of his compositions, such as his Harp concerto, are quite lighthearted and intended solely for enjoyment. Very few of his compositions have been published or recorded. He is best remembered as being a major influence on one of the greatest of all composers, Beethoven, who always acknowledged his debt to his teacher although he studied with him for less than a year.

Albrechtsberger’s music can be heard at 2pm on Thursday 15 November.

MUSICAL FAMILIES ELIZABETH HILL LOOKS AT PARTNERS IN MUSIC “My entire relationship with music is such that I always try to reach its limits.” — Heinz Holliger

Ursula and Heinz Holliger Heinz Holliger is not only considered the greatest oboist of the last 50 years but is also one of the most significant European composers of his generation and a distinguished scholar in music history and theory. He has played the oboe since the age of ten, but his musical studies began five years earlier with the piano.

At the Bern Conservatory he studied piano, oboe and composition and later studied under the famed oboe pedagogue, Pierre Pierlot, in Paris. Major international competition wins followed, propelling Holliger to world-wide recognition and an incomparable international career as a soloist and chamber musician.

When it comes to Baroque music, Holliger considers himself to be faithful to the requirements of authentic performance, paying attention to ornamentation and the correct choice of reeds, each of which is designed to produce a certain sound.

He constantly searches through museum catalogues and libraries for forgotten works, with one of his outstanding achievements being his rediscovery of works by the 18th century composer Jan Dismas Zelenka, whose music he describes as ‘baroque-experimental, very complex in harmony and counterpoint’.

Described as ‘a real polymath, who loves music with extreme passion and enthusiasm’, his own compositions cover all genres and bear testimony to his tireless search for the limits of sound and language. He has addressed the oboe’s limited repertoire through an extensive commissioning program, with a glittering pantheon of more than 60 composers dedicating new works to him, including Messiaen, Berio, Lutoslawski, Stockhausen and Penderecki.

He is credited with having extended the technical range of the instrument more than any

other oboist, garnering praise for his mastery of many extended techniques including multiphonics, new fingering techniques and sound emission.

He often accompanied his late wife, the harpist Ursula Holliger, playing works specifically written for them. As a soloist and chamber musician, Ursula made appearances with the Holliger Ensemble, a chamber group founded by her husband, and her interpretations of the standard works have been referenced by the critics. Recognising her virtuosity and interpretative talent, numerous composers have written works for her, including Birtwistle, Carter, Henze, Krenek, Lutoslawski, Martin, Takemitsu, Isang Yun, and her husband. She and her husband had commissioned Benjamin Britten to write a piece for them but it was delayed by his last opera, Death in Venice and, sadly, prevented by his death three years later.

Benjamin Britten first tried his hand at music at the age of five. On composing his first work he was astonished to find that his mother couldn’t play it on the piano. Years later he recalled that it was the pattern on the paper that interested him, and that his next efforts were much more conscious of sound. By the age of 14 he had written over 100 works, including ten piano sonatas, six string quartets, three piano suites, an oratorio and dozens of songs.

who would become his muse, collaborator and lover for nearly 40 years.

Together, Britten and Pears created a remarkable musical legacy. Britten began by accompanying Pears in recitals in the late 1930s, and started writing song cycles for him, then operas. Britten’s first stage triumph, Peter Grimes (1945), vaulted him into the front ranks of British composers and signalled a new beginning in English opera. In 1947 he formed his own company, the English Opera Group and, together with Pears, launched the Aldeburgh Festival. By the end of World War II Britten had emerged as a world-class musical genius, eclipsing his predecessors such as Elgar, Delius and Vaughan Williams, and was England’s great hope for serious modern music. Of Britten’s music, Pears said: “I think the key to his music lies in his moral point of view combined with his craving for lost innocence brought on by his increasing disillusionment with man.”

It was not until he met Britten in 1937 that Pears threw himself wholeheartedly into singing. In the concert hall, Pears and Britten were celebrated recitalists, known in particular for their performances of Schubert and Schumann, and together they recorded most of the works written by Britten for Pears. Working with other musicians, Pears sang an extensive repertoire of music from four centuries, from the Tudor period to the most modern times.

These couples will be featured in Musical Families on Tuesdays 6 and 20 November at 2pm.

In 1927 he took composition lessons with Frank Bridge, who instilled in him a lifelong attention to compositional form and technique. In 1935 he was hired at the General Post Office Film Unit in London under the pioneering filmmaker John Grierson, who put him charge of writing music for new documentaries. It was here that Britten met the poet W.H. Auden and he soon became a member of Auden’s circle of young luminaries in the arts, one of whom was Peter Pears, Benjamin Britten and Peter Pears NOVEMBER 2018

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CLASSICAL CD REVIEWS FOUR WORLDS Moye Chen, piano DG 481 7037 HHH½

This debut album from Chinese pianist Moye Chen, a prizewinner at the 2016 Sydney International Piano Competition, is aptly named as it features pianists who migrated to the United States. Rachmaninov, Grainger and Horowitz were all pianists, composers and arrangers. Horowitz and Grainger, like Chen, ‘adored the music of Rachmaninov’.

In a somewhat curious mix of styles and moods, the first 13 of the 14 works are relatively short pieces, while the final work, Rachmaninov’s Sonata no 2 in B flat minor, op 36 is the most significant. Chen’s performance is polished but somewhat rushed, being about two minutes faster than Ashkenazy’s interpretation, which has greater clarity and more discerning phrasing.

Other Rachmaninov works include the eloquent Mélodie in E and gloomy Serenade in B flat minor, from Morceaux de fantasie,

NEW MUSIC FOR MULTIPLE KEYBOARDS Various composers and musicians Wirripang Wirr 089

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SHINING KNIGHT

Stuart Skelton, tenor West Australian SO/Asher Fisch ABC 481 7219

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Grainger’s Colonial song is the highlight, with its heartfelt longing for Australia and characteristic sentimentality. The virtuosic In Dahomey (Cakewalk smasher) contrasts gentle lilting rhythms with showy glissandi.

His two concert paraphrases of Gershwin’s Love walked in and Ramble on love (after the Love duet from Richard Strauss’ Der Rosenkavalier) are warm and elegant.

Various dances are engaging: Rachmaninov’s transcription of the Menuet from Bizet’s Suite no 1 from L’arlésienne; his playful Polka de V.R.; and Horowitz’ Valse in F minor and jaunty Danse excentrique (Moment exotique). Horowitz’ signature transcription of Sousa’s march The Stars and Stripes forever is played with splendid bravura, much like Horowitz himself.

Jennifer Foong

Occasionally a recording presents the listener with more than just recorded music. New music for multiple keyboards brings us not only a set of well-recorded compositions but opens a window into a community of musicians, all of whom share a passion for music for multiple keyboards. The disc brings together wellknown performers, such as the Viney-Grinberg Piano Duo, alongside composer-performers such as Diana Blom, Michael Hannan and Paul Smith. The double CD is in turns, beautiful, evocative and at times experimental, featuring pianos, toy pianos, harpsichords and, in the final track, the ruined pianos of the Piano Mill, a new building in the bush near Stanthorpe in Queensland where a set of old pianos are installed for improvisation and performance.

The composer Michael Hannan has six pieces on the disc, including his Landscape/ Soundscape II composed for the Piano Mill, and it is the work of Hannan and Diana Blom that has brought together this unique collection of pieces, composers and performers.

Other highlights include Andrián Pertout’s Musica battuta, a double toy piano étude for one soloist; River circles for multitrack harpsichords by Blom; and Cloudcatcher for two pianos by Hannan, a work inspired by Mount Warning in northern NSW, a landmark close to Hannan’s home. This is a beautiful recording that captures a community of practice in action, composing, experimenting and enjoying a shared fascination.

Stuart Skelton is well-established as one of the world’s leading Heldentenors, a voice type all but synonymous with the work of Richard Wagner. The first half of this CD charts in sound how that link was forged, with masterful performances of arias from Wagner’s first ‘hit’, Rienzi, from his last opera, Parsifal, and including numbers from Lohengrin and Die Walküre. It’s a thoroughly satisfying sketch by Skelton and the West Australian Symphony Orchestra, of the fate enjoyed by the tenor voice in Wagner’s hands, and a fine exposition of the astonishing power of this truly Wagnerian tenor.

patrons. Originally written for female voice with piano, these five songs were orchestrated by a Wagner conductor. Asher Fisch and the West Australian Symphony Orchestra demonstrate the restraint and suppleness needed by a full-scale orchestra to retain a sense of intimacy that allows Skelton to produce a compelling account of this challenging opus.

The transition to what might reasonably be called the ‘American Lieder’ of Charles Griffes and Samuel Barber is deftly accomplished via an authoritative recital of the Wesendonck Lieder, settings Wagner made of the poems of Mathilde Wesendonck, the wife of one of his 46

op 3, and the cheeky Humoresque in G, from Morceaux de salon, op 10.

James Nightingale

Charles Griffes’ Three poems of Fiona Macleod brings us abruptly into post-WWI America. Fiona Macleod was the nom de plume of the writer William Sharp, whose muse was a woman with whom he had an intense, but unconsummated affair. This, and the Barber standard Sure on this shining night that concludes the collection, are complex songs requiring considerable interpretative powers that Skelton supplies effortlessly.

Tom Forrester-Paton

YOUNG COMPOSER DANIEL DEAN KRYSTAL LI PROFILES THE 2018 AWARD WINNER

Despite latecomer Composer has more

the cut last year, however his second attempt (and only his second composition!) Quadrivial concertino impressed the judges immensely.

being somewhat of a to music, the 2018 Young Award winner Daniel Dean than made up for lost time.

One of Daniel’s biggest influences is Brian Buggy who was the music director at Daniel’s school and a conductor at the SYO. Buggy often wrote original pieces for the SYO concerts, which Daniel immediately enjoyed.

In turn, Daniel made sure he composed music that didn’t require a music degree to appreciate; he wanted his listeners to like his work. It’s safe to say that he has achieved this aim with Quadrivial concertino.

During his primary school years Daniel briefly learned the piano and cello, but he had virtually left music behind when, in Year 8, he discovered that his friends would be going on an overseas tour with the school’s wind program. Not wanting to miss out, he decided to sign up for the wind band without knowing which instrument he would play. It happened that there was one double bass part unfilled so, being a string player, he put up his hand to play that.

This tour set off his passion for music. He became quite obsessed, joining all of the youth orchestras around Sydney, including the SBS Youth Orchestra and the Sydney Youth Orchestra. After completing his Bachelor of Performance at the Sydney Conservatorium, Daniel says he now treats double bass as a hobby. He didn’t quite enjoy the pressures of preparing for exams or recitals, but improving his skills on his instrument in his own ‘workshop’ is what he likes best.

Daniel Dean Aside from this hobby, Daniel also enjoys plugging numerous orchestral scores into computer software to ‘see how they work’.

This side passion led him to set his own notes to paper for the first time in 2017. His entry into the Young Composer Award didn’t make

Daniel likens the trajectory of the concertino to a journey around a four-leaf clover. The opening (first leaf) features a tuneful and catchy oboe melody with a thrilling string accompaniment. The piece unfurls into a more reflective middle section, before gathering momentum, reprising its opening tune. As the tempo and energy builds this culminates in a whirling jig as the work completes its trip around the clover’s fourth leaf.

We’ll be learning more about Daniel’s music projects in the future.

YOUNG JAZZ MUSICIANS ON SHOW JEANNIE McINNES REPORTS ON THE JAZZ COMBO FINALS The inaugural Fine Music Jazz Combo Competition has been an exciting event, with the Final going to air live from our Founders’ Studio on Saturday 1 September. Five schools performed, showcasing the talents of these fine young musicians. Bands came from Caringbah High, Chatswood High, Knox Grammar, Northern Beaches Secondary College Manly Campus and St Andrew’s Cathedral Schools, with 35 musicians as well as teachers and parents descending on our studios.

Adding interest were interviews with student and teacher representatives from each school, and revisiting earlier performances from May this year. It was delightful to hear students being so articulate about their music, their approaches to it and what it means to them. While quite a few of the performers are looking to further their musical education post-school, for me the quote of the interviews came from student Peter Koch, who said that no matter what his future holds, ‘I will always have my music with me’.

There were interesting experiences shared: Chatswood High’s trip to the USA which

included a workshop with Bob Mintzer and a performance at Carnegie Hall, including a solo by Bernice Tesara; Caringbah High’s Katie Bombardieri’s participation in the Sandie Evans saxophone workshop; Manly Campus’ upcoming performances at the Manly Jazz Festival and the wonderful opportunity Ben Devries had attending an international saxophone workshop; and the approach to improvisation at St Andrew’s Cathedral School. Knox combo with trophy Another delightful aspect was hearing several original tunes. In the May performance, Manly performed Jesse’s tune, composed by bassist Jesse Dransfield. Then in the final, we heard Caringbah play Lizard by trumpeter Eamon Roche, while Knox performed two pieces from the Harry Potter suite by teacher Andrew Chessher.

All the students involved were winners, performing with time and space constraints as well as being live-to-air. With everyone performing so well, our adjudication panel of George Golla, Frances Madden and Barry

O’Sullivan had quite a task to provide valuable feedback and to choose the winning group.

Special mentions were made of contributions from each school: drummers, Jayden Watt from Caringbah, Tyler Richards-McCabe from Chatswood and Will Harpur from Knox, bassist Jesse Dransfield from Manly and pianist Simon Jeon from St Andrew’s, before the winning combo was announced and presented with the trophy made especially by musician and sculptor Jiri Kripac … (drum roll) …

Knox Grammar. CONGRATULATIONS to all.

If you missed this musical event, it is available to hear at finemusicfm.com/schooljazz.

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JAZZ CD REVIEWS AFTERMATH

Alex Stuart Jazz Family JF037

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Virtuoso guitarist Alex Stuart’s music is influenced by modern jazz, indie music from the Dirty Projectors, the avant-garde of Björk and rock music from Grizzly Bear.

After relocating to Paris in 2005 Stuart recorded three albums, won the jury prize at the Jazz à Juan International Jazz Festival and later was nominated for the Freedman Jazz Fellowship in Australia.

His latest recording enlists the talent of a stellar band featuring Irving Acao on saxophone and keyboards, the voice of Arno de Casanove who also plays trumpet and keyboards, Ouriel Ellert on bass, Antoine Banville on drums, Nicolas Dri on organ and Fender Rhodes and Guitaret.

Their splendid musicianship complements Stuart’s guitar to perfection resulting in a masterclass in how to build drama, tension and harmonic heaven with six musicians.

KINSHIP

John Pittman Slammin Media SMO001

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If I was to point to an Australian trumpeter whom I could compare to John Pittman, it would be Todd Hardy. John Pittman is a Toronto-based trumpeter, composer and educator and this is his first album as a leader. However he has recorded with the New Orleans—influenced The Heavyweights Brass Band. All but two of these eight pieces were penned by Pittman at various stages of his relatively short career since being named the 2007 Schirmer Prize Winner at the prestigious Eastman School of Music. Pittman is one of those rare talents who have command of various styles both from the perspective of his playing and composing and Kinship clearly is reflective of that.

The opener Ties that bind is reminiscent of early 1960s Miles when Tony Williams drove the dynamic forces. For Siobhan has a heavy backbeat courtesy of drummer Curtis

THE SONG IS YOU

Andrew Dickeson Quartet www.andrewdickeson.com

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Following on last year’s successful CD release of Andrew Dickeson’s Is that so?, the Sydney drummer and bandleader comes up with another gem, this time with the visiting expat New York-based saxophonist Nick Hempton, guitarist Carl Dewhurst and bassist Ashley Turner joining in.

The Song is You presents the listener with a delightful mix of standards and some jazz rarities, recorded with a minimalist approach by the Electric Avenue Studios’ sound engineer achieved by recording direct to 1” tape, with analogue technology from the 60s; no overdubbing or postproduction and the band all in the same studio playing without headsets; everyone enjoying themselves.

Amongst the assembly of pleasing performances on the album’s tracks Bernie McGann’s Spirit song gives each member of the quartet an opportunity to excel in

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Favourite tracks The invisible force and An afternoon with Kiefer are haunting semirock ballads with de Casanove’s voice and trumpet adding atmosphere and depth to the composition. There’s not a ‘dud’ moment during the entire 52-minute playing time resulting in some really great tunes with infectious beats and rhythms from Ellert and Banville and concise solos especially from de Casanove on trumpet and Acao on saxophone. There’s lots of call and response plus counterpoint in the arrangements and an atmosphere of passion and joie de vivre, but with respect for tradition throughout.

Combined with a future-facing vibe, one couldn’t ask for more. This is a superb recording from which fans of contemporary improvisation will derive much audio pleasure.

Barry O’Sullivan Nowosad but its contemporary credentials are cleverly counter-balanced by a fiery solo from Pittman and a Mike Downes bass solo that tells a compelling story of his high end articulation and imagination. Homiostasis has that Chet Baker/Gerry Mulligan flavour courtesy of Shirantha Beddage’s baritone and an egalitarian arrangement.

Stevie Wonder’s As has a sweaty New Orleans second line funky aura, overlayed

by Pittman’s fat tone and white hot solo.

The most innovative piece is the Black Eyed Peas hit Where is the love. Once again Pittman’s arrangement masterfully counter-balances free flowing improvisation with the sweet popcorn of Justin Timberlake’s irresistible melody and a swinging passage from pianist Jeff McLeod.

Frank Presley extended solos. Special mention goes to Carl Dewhurst’s delightful licks and Nick Hempton’s extremely attractive alto and tenor reed work.

Andrew Dickeson certainly knows how to assemble and lead a solid group.

The laid-back tempo of Blues for Riyo, presents the listener many enjoyable moments as the quartet improvises its way through literally uncharted territory. I liked the Afro-Cuban treatment given to Moonlight in Vermont as I did Andrew’s presentation of Thelonious Monk’s Ugly beauty. Opening the album with what Dickerson calls a ‘Monk meets Ornette’ feeling in Trinkle tinkle, the album wraps up with an up-tempo treatment of the standard It’s you or no-one. All in all, this is a very satisfying new album.

Lloyd Capps

ROCKIN’ IN RHYTHM AND OTHER TUNES JEANNIE McINNES EXPLAINS HER THEME TUNE played and recorded it in small groups as well as large, and it travelled the world with him.

Ellington Orchestra 1965 In 1931, the year in which Rockin’ in rhythm was written, Duke Ellington and his Orchestra recorded it four times: once each for Brunswick and Okeh and two for Victor.

Listeners argued for years as to which was the best version, a discussion that could continue ad infinitum if allowed, but does the discussion assist the enjoyment of the music? Probably not, but the back story can add to the interest.

Ellington was credited with writing over 3000 songs and is considered one of the very best composers the United States has ever produced across any genre. As a band leader, he encouraged his musicians to show their talents in solos, writing tunes with specific band members in mind, and also integrating works from members of his orchestra into compositions, using his skills in arranging ensemble pieces, elaborating a tune’s essence and moulding it into a piece that showcased both ensemble and solo playing. In the case of Rockin’ in rhythm, his collaborator was Harry Carney. Carney had left home at the age of 17 to join the Ellington orchestra in 1927, staying for the rest of the band’s life. He and Ellington were particularly close, often driving together to gigs in Carney’s car, the Duke working on ideas as Carney drove. So close were they, that at Ellington’s death in 1974, Carney declared it “… the worst day of my life. Without Duke I have nothing to live for”. Four months later he also died.

Rockin’ in rhythm was written to accompany a dance act at New York’s Cotton Club, where

the band had a residency, and one of the early recordings was made in that venue. The tune itself lasted much longer than that, however, being a ‘work-horse’ of the band repertoire for many decades … and with good reason. Its upbeat and lively tempo made it part of the early wave of big band swing music that took over the 1930s and beyond.

Early recordings Harry Carney begin with Ellington’s piano introduction, the melody from the saxophones with responses from the brass, solos from reedmen Cootie Williams and Barney Bigard, the bridge from the brass playing with plunger mutes, the driving rhythm section and wonderful harmonies from the whole orchestra. The Duke himself once said that this is ‘as close as an arrangement gets to sounding spontaneous’. In later recordings, composer Carney took the clarinet solo originally played

by Bigard, a solo that featured a contrasting minor-keyed theme, while other changes kept the song fresh over the decades. Ellington

Such a buoyant and versatile tune allows musicians to shine, so it is no wonder that it has been adopted by many groups. It is one of the most recorded songs that has no actual lyrics attached to it. Ella Fitzgerald recorded a vocal version as part of her ‘Songbook’ series, where she sang an improvised wordless scat with the Ellington orchestra, and Miriam Makeba also sang scat with a Jimmy Pratt small group, while Cleo Laine added lyrics written by Lorraine Feather. Almost entirely though, it has been an instrumental feature. Big bands such as the orchestras of Charlie Barnet, Terry Gibbs, Buddy Rich, Jay McShann, Harry James and our own New Wolverine Jazz Orchestra have recorded versions. Small groups such as Weather Report have also tackled it in their own way by changing the original voicings to match the change of instrumentation: Milt Herth gave it a trio setting, the Modern Jazz Quartet a sound far from the swing big bands where the vibes take the part of the screaming sax, and Bob Dorough and Dave Frishberg recorded a duo piano version.

Why the interest in this particular song? Well, this is the theme tune of Tuesday’s midday jazz program, Jazz Rhythm. With such an array of recordings, there is no reason to stay with just one. In fact, if you listen to Jazz Rhythm for over a year, you will hear Rockin’ in rhythm open each program, but not hear the same recording of it repeated!

This whole concept of how musicians interpret a song in their own voice has led to the more recent continuing theme of a ‘feature song’ segment. Each week in Jazz Rhythm, a song is examined, some of its background story shared and several interesting and varied versions played. Some come from the early days in New Orleans, some from the wonderful writings of the Great American Songbooks, while others are more recent compositions.

Rockin’ in rhythm will be the featured song at 12 noon on Tuesday 6 November, so tune in then to hear which versions have been chosen.

NOVEMBER 2018

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ADIEU TO A FINE MUSIC WRITER NICKY GLUCH HEADS TOWARDS A CONDUCTING CAREER

“I have had a wonderful three years and achieved so much more than I ever thought possible, but now it’s time to explore yonder.”

they did offer me the job which commences in September 2018 and runs for a year.”

Nicky Gluch With these words, Nicky Gluch left for further study and training as a conductor in England and Europe. For most of her three years as a volunteer at Fine Music she has been a programmer/presenter and has written the cover stories and other sponsored and inhouse articles for Fine Music magazine.

Nicky left for London in September but will continue to write the cover stories from there until the December edition. She says that it is a job that she has cherished. We say that we have been fortunate. We’re sure that you have enjoyed the way in which her imagination has made these articles so interesting; she will be missed very much from our writing team. However, Nicky is not saying goodbye. She has already sent a Concert Hall program from London and is planning a series in collaboration with Ross Hayes.

In 2015 Nicky decided not to pursue a medical career but to go to the Sydney Conservatorium of Music as a postgraduate student in baroque flute. Realising that she didn’t have enough background musical knowledge she volunteered at Fine Music with the intention of learning more. She says: “I trained as a presenter, realising that duty presenting would expose me to a broad range of music and that I’d have to find something nice to say about all of it.” She recognised that in the future she might have to conduct works that she may not personally like. At the time, the Editor of Fine Music magazine was looking for writers; Nicky applied and was accepted. She remembers that her first assignment was interviewing Edo de Waart.

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“I’ve loved being a part of the musicmaking world in Sydney,” says Nicky. “Fine Music provides professional experience. I always tell people how it doesn’t feel like ‘volunteering’. You’re not just lending a hand but rather you are an integral part of the machinery. When you’re young, and starting out, that’s a wonderful feeling!”

When Nicky’s Graduate Diploma came to an end in November 2015 it was time to make new plans. Her dream was to be a conductor as she loves the multifaceted nature of the profession and especially the pedagogical aspect. She furthered her ambition firstly by working with the Eastern Suburbs Chamber Orchestra and Choir (conducting the choir in concert) and she also studied the basics of conducting technique with Julia De Plater.

She then attended the Melbourne Youth Orchestra’s Summer School as a student in the conducting program. She says: “This was the beginning of a two-year adventure studying conducting at various workshops in the UK, USA, Germany and Poland.”

At the same time, Nicky completed a Masters in Musicology at the Sydney Conservatorium of Music. She also staged two of her own choral/orchestral concerts with the assistance of Fine Music. She had found a passion for choral/orchestral repertoire and a wonderful opportunity opened up for her when the position of Junior Conducting Fellow with the Zemel Choir (London) was advertised. She says: “My one night audition actually stretched out for a whole week as I toured with them to Berlin in December 2017. Fortunately,

Nicky explains that a fellowship for conductors is like an internship for other professions, a sort of gateway from the student to the professional world. In order to maximise her time in the UK, she applied to study at the London Conducting Academy so that she could develop skills needed for her career.

She will be very busy as she’s also starting a PhD. “I hope to come away inspired. Who knows what will spark some idea that I can bring back here or what will expose me to a path that I could never have imagined?”

Nicky gives Fine Music a lot of credit for her greater appreciation of music. “Working for Fine Music has broadened my musical exposure. When I used to present Saturday Morning Music, selecting the pieces led me to explore composers I knew, and liked, but not necessarily well. Realising how much I liked Rachmaninov, for example, led me to select a Rachmaninov a cappella work to perform with my choir. Perhaps more significantly, interviewing musicians for the articles has opened my eyes to how music ‘gets made’.

This is an exposure students rarely get. In some ways, it’s made everything seem more real. A profession in the arts often seems like some wayward dream but hearing from people who have made it work makes it seem far more attainable and realistic.”

As if she wasn’t going to be busy enough, Nicky plans to make the most of her time in London. “I am excited to have the opportunity to be exposed to a broad academic and musical world. The small size of the UK, and its proximity to Europe, means that I can attend so many more conferences, observe so many more workshops than I could in Australia.”

We are very thankful for the work that Nicky has done as a Fine Music writer. With her energy and desire to learn, we are sure that Nicky will achieve her ambitions and we wish her every success. – The Fine Music Magazine Team

CURIOUS, INSPIRED AND TALENTED PAMELA NEWLING TALKS TO KRYSTAL LI On the way to lunch in Crows Nest with her family in 2014, a chance parking spot opposite Fine Music 102.5 piqued Krystal’s curiosity.

Intrigued by the sign for Fine Music, she searched the website and found the station’s history and the availability of volunteer roles.

She decided that she wanted to be part of a community promoting classical music and the day after her final high school exams in 2016 she applied to become a volunteer.

Starting as a receptionist Krystal enjoyed the interaction with volunteers and listeners, and appreciated the opportunity to understand the behind-the-scenes efforts made by volunteers to ensure the station continues its quality broadcasting and programs such as Enjoy, Learn, Discuss talks.

In 2018 Krystal started presenting on air, which she enjoys enormously. She loves discovering new works, and cherishes the responsibility of promoting them. She finds the research involved in preparation is always rewarding.

She attributes her Fine Music experience with not only acquiring an immense amount

of knowledge about music, but also a growing confidence and recognition of the potential to learn. Each time she is presenting on air she finds something she needs to improve. She is inspired by being in an environment where, as she says, ‘everybody is incredibly passionate about music, and this drives me to become the best representative for the station that I can’.

Currently in second year at university studying education and mathematics, with a goal to become a high school maths teacher, Krystal says: “I can’t claim to love maths as much as music, but I am equally committed to sharing my passion for puzzles and problem solving with others.”

Krystal has recently returned to playing the piano as a hobby, and her dream is to play Chopin’s Ballade no 1. She is fond of music by Debussy, Respighi and Falla, describing them as very colourful. She loves to attend orchestral and chamber music concerts and, for now, enjoys the advantage of student discounts!

Notwithstanding her very busy life as a student and volunteer, she has found time, with this

Krystal Li edition, to become a Fine Music magazine writer, and earlier this year she visited Japan, further enhancing her curiosity and enjoyment.

Krystal’s cheerful disposition and willingness to lend a hand in any way she can has endeared her to her fellow volunteers.

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 NOVEMBER Charles Barton, Peter Bell, Nina Beretin, Dan Bickel, Chris Blower, Adam Bowen, David Brett, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Lyn Chong, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Emyr Evans, Melissa Evans, Michael Field, Richard Fielding, Troy Fil. Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Francis Frank, Roger Fyfe, Carole Garland, David Garrett, Robert Gilchrist, Gael Golla, Raj Gopalakrishnan, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Bruce Johnson, Kevin Jones, Sue Jowell, David Knapp, Peter Kurti, Yvonne Laki, Ray Levis, Krystal Li, Miranda Luo, Christina MacGuinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, 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, Barry O’Sullivan, Calogero Panvino, Andrew Parker, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Darryl Rule, Marilyn Schock, Debbie Scholem, Jon Shapiro, Georgina Sierra, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Rob Thomas, Anna Tranter, 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, Colleen Chesterman, Di Cox, Amal Fahd, Ana Ferreira, Noelene Guillemot, Elaine Siversen, Halyna Van Ewyk, 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; Office Manager: Sharon Sullivan; Community Access Manager: Sophie McCulloch; Community Engagement Manager: Mona Omar; Administration Assistants: Krystal Li, Joe Goddard NOVEMBER 2018

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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

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Ruby Patrons $5,000 - $9,999

Mrs Halina Brett, Mr Lloyd & Mrs Mary Jo Capps, Mrs Lorna Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Mrs Freda Hugenberger, Dr Peter Ingle, Mr Ian Juniper, Mr D & Mrs R Keech, Ms Jeannie McInnes, Dr Andrew Mitterdorfer, Dr W J Poate, Mr Jude Rushbrooke, Mr John Selby, Mrs Joyce Sproat, Ms Wendy TrevorJones, Ms Ann Whyte, Yim Family Foundation, Anonymous 4

Emerald Patrons $2,500 - $4,999

Mrs Halina Brett, Mr Lloyd & Mrs Mary Jo Capps, Mrs Lorna Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Mrs Freda Hugenberger, Dr Peter Ingle, Mr Ian Juniper, Mr D & Mrs R Keech, Ms Jeannie McInnes, Dr Andrew Mitterdorfer, Dr W J Poate, Mr Jude Rushbrooke, Mr John Selby, Mrs Joyce Sproat, Ms Wendy TrevorJones, Ms Ann Whyte, Yim Family Foundation, Anonymous 4

Gold Patrons $1000 - $2,499

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NOVEMBER 2018

Silver Patrons $500 - $999

Mr David Branscomb, Mrs Ann Carr-Boyd, Mr David Clark, Ms Prudence Davenport, Mr John Fairfax AO, Mr Richard Farago, Mr Heinz Gager, Mr Michael and Mrs Rochelle Goot, Mr Paul Hopwood, Ms Sue Jowell, Mr Gerhard Koller, Dr Peter Krinks, Mr R J Lamble AO, Mrs Beatrice Lang, Dr Peter Lindberg, Mr Ian K Lloyd, Mrs Meryll Macarthur, Mr M F Madigan, Mrs E M McKinnon, Mr Michael Morton-Evans OAM, Mr Ken Nielsen, Mrs Monica Olave, Dr Robert Osborn, Ms Susan Ping Kee, Mr J A Roberts, Ms Catherine Ruff, Mr Gregory L Sachs, Mrs Ruth A Staples, Mrs Valerie Stoney, Mrs Margaret Suthers, Mrs Marie Thompson, Mr Richard Thompson, Mr Larry Turner, Dr Pye Twaddell, Mr Edward John Wailes, Mr Richard Wilkins, Dr Paul Wormell, Mr Peter Zipkis, Anonymous 13

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Ms Lily Bao, 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, Mr Barrie Brockwell, The Hon John P Bryson QC, Mrs A Buchner, Ms Deanne Castronini, Ms Mary Choate, Mr Norman and Mrs Elizabeth Chosid, Mr Dom Cottam & Ms Kanako Imamura, Mrs T Cox, Prof S J Dain, Prof C E Deer AM, Mrs Marie Digby, Mr Andrew Dziedzic, In Memory of David W Allen, Mr Paul Evans, Ms Elizabeth Evatt, Mr William G Fleming, Mr Douglas J Fraser, Mrs Kathy Freedman, Dr David Gorman, Ms Marilyn Gosling, Ms Diana Ruth Hanaor, Mr Geoffrey Hogbin, Dr David Jeremy, Ms Ruth Jeremy, Mrs Barbara Johnson, Mr Bill and Mrs Eva Johnstone, Ms Cynthia Kaye, Hon Mr Justice D Kirby, Ms M Laurie, Mrs Sarah Lawrence, Mr Geoffery Magney, Mrs M A Marsh, Dr Jim Masselos, Mr Philip Maxwell, Dr D S Maynard, Mrs Shirley Ann McEwin, Ms Maureen Meers, Ms Alison Meldrum, Mr Simon Moore, Mr Donald Nairn, Mr Pieter Oomens, Mr Julius Opit, Dr Gordon H Packham, Mr Trevor Parkin, Mr Denis Patterson, Mr Peter Poole, Mr Mike Price, Dr Brian Quinn, Dr Neil A Radford, Mr Gwynn Roberts, Dr Michael Shellshear, Ms Wei Mah So, Mr J Stevenson and Ms J McInnes, Ms Kathryn Tiffen, Dr Robin Torrence, Mr Kevin James Vaughan, Mr Alastair Wilson, Mrs Lynette Windsor, Mrs Robin Yabsley, Mr Thomas Zelinka, Anonymous 24

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