Fine Music September

SEPTEMBER 2017

MAGAZINE

MUSIC AND LITERATURE GEORGE LI’S SEARCH FOR HUMAN EMOTION COMPOSERS’ANNIVERSARIES PEPUSCH (350), BEACH (150), ISAAC (500) IMPRESSIONISM AN OVERVIEW A FAIRYTALE BALLET THE ORIGINS OF MARTINU’S SPALICEK

COMING UP THIS MAY

with your SSO CLASSICAL

The ‘Rach 2’ Chief Conductor David Robertson conducts a program of 20th-century favourites, including Rachmaninoff’s irresistible Second Piano Concerto to be played by stunning Chinese-American pianist George Li. ADAMS The Chairman Dances RACHMANINOFF Piano Concerto No.2 PROKOFIEV Symphony No.5 George Li piano

PRESENTING PARTNER ONE CIRCLUAR QUAY BY WANDA

Thu 31 Aug 1.30pm EMIRATES METRO SERIES

Fri 1 Sep 8pm SPECIAL EVENT

Sat 2 Sep 2pm

BEST SEATS

F A M I LY

ALL TICKETS $39*

Saint-Saëns in the Morning

Carnival of the (Australian) Animals

A-Musing Animals

An SSO Family Concert

Saint-Saëns is the featured composer for the morning.

Start with a rarely heard gem, then well-loved TV personality Richard Morecroft narrates Carnival of the Animals with words

by Tasmanian conservationist Bradley Trevor Greive (The Blue Day Book). With SSO soloists Kirsty Hilton and Catherine Hewgill, and guest pianists Peter de Jager and Laurence Mathesen.

Big and hairy, small and scary Australia’s animals will be brought to life by Richard Morecroft, in this exciting retelling of the Saint-Saens’ original classic. Suitable for ages 3+ and their families. With guest pianists Peter de Jager and Laurence Mathesen.

SAINT-SAËNS The Muse and the Poet, for violin, cello and orchestra SAINT-SAËNS Carnival of the Animals with words byBradley Trevor Greive

HINDSON Dangerous Creatures SAINT-SAËNS Carnival of the Animals with words by Bradley Trevor Greive

TEA & SYMPHONY

Fri 22 Sep 11am Complimentary morning tea from 10am

ARRIVE EARLY OR STAY AFTERWARDS FOR OUR KIDS ACTIVITY ZONE

Toby Thatcher conductor

Toby Thatcher conductor

TICKETS FROM $39*

sydneysymphony.com

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Mon–Sat 9am–8.30pm Sun 10am–6pm

* Selected performances. Prices correct at time of publication and subject to change.

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

MON–FRI 9AM–5PM

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Sun 24 Sep 2pm

CONTENTS VOL 44 No 9 2 5 6

7 8

9 10 41 42 43 44 45 46

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Human Emotion through Music and Literature The Beggars Opera: Johann Pepusch 350 The First American Woman Symphonist: Amy Beach 150 A Flemsh Master Remembered: Heinrich Isaac 500 Impressionism: An Overview Fine Music Live What’s On: Sydney and surrounds Adolphe Sax and the Saxophone Program Guide and Composer List A Fairytale Ballet Classical CD Reviews The Greatest Violinist of his Time Jazz CD Reviews The Nullabor, Goannas and Bullants Vampires and Virgin Brides A Passionate, Imaginative Pianist The Man behind the Music: Robert Tregea

from the chair It’s Spring and you are invited to join us on Tuesday 26 September for our Celebration of Fine Music at the Mosman Art Gallery. This has become our annual fundraiser in support of some of our emerging artist programs. This year the event is open to all listeners.

At $50 per ticket, $100 if you’re in a position to be generous, you will be entertained by 45 minutes of wonderful music. The 2017 Kruger Scholar will welcome in the 2018 Scholar, to be announced on the night.

Attendees will be treated to performances by our Artists-in-Residence, the Streeton Trio, and Elena Kats-Chernin, one of our Artistic Patrons.

There will be an opportunity to enjoy a glass or two of wine with canapés while choosing the most tempting silent auction item. Your entry ticket includes a raffle ticket so you’ll also go into the draw to win one of many prizes including tickets to concerts as well as other more unusual events.

This is a great evening in which to introduce a friend to Fine Music and have fun supporting your radio station. Book through our website, Finemusicfm.com, or phone reception on 9439 4777.

40 YEARS

The Willoughby Symphony Orchestra Fine Music Young Composer Award will be announced Sunday 17 September at a concert in which the winner’s composition will be performed. Head to the Willoughby Symphony Orchestra website for tickets.

1974 - 2014

Finally, here’s a reminder that we now have an SMS number through which you can reach the on-air presenter in Fine Music Breakast and Drive programs to share your comments or insights. The number to Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 have at hand is 0468 33 1025 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Wishing you enjoyment in music wherever you may be.

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Janine Burrus ABN 64 379 540 010 Chair Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Sub-editors and Proof readers: Di Cox, Chris Blower, Sue Jowell, MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES Laura Mathison, Maureen Meers, Helen Milthorpe CO-OPERATIVE LTD Images: Allen Ford Contributors: Chris Blower, John Buchanan, Janine Burrus, Angela Our Mission is to be Sydney’s preferred fine music broadcaster, Cockburn, Emyr Evans, Nicky Gluch, Kevin Jones, Sue Jowell, Michael broadcasting classical, jazz and other fine music genres for the Morton-Evans, Michael Muir, James Nightingale, Barry O’Sullivan, enjoyment and encouragement of music. We currently broadcast Elaine Siversen on FM and DAB+, streaming both from www.finemusicfm.com.

The views expressed by contributors to this magazine do not Another aim is to be part of Sydney’s cultural landscape networking necessarily reflect or represent the views of the publisher, with musical and arts communities to support and encourage Fine Music 102.5. local musicians and music education and to use our technical and Distribution Coordinator: Sissy Stewart broadcast resources to further this aim.

Art Direction: Design Campaign liza@designcampaign.com.au Honorary Patron: Prof. Dame Marie Bashir AD CVO Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Subscribe to Fine Music Magazine: visit www.finemusicfm.com or Tognetti AO email friends@finemusicfm.com Cover image: George Li (credit Christian Steiner) Emerging Artists Patron: Toby Thatcher September 2017

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HUMAN EMOTION THROUGH MUSIC AND LITERATURE NICKY GLUCH TELLS OF GEORGE LI’S SEARCH it requires an even more subtle balancing of emotion, a greater nuance of communication than anything we can take literally.

Let us delve. In Sydney Li will perform Rachmaninov’s Second Piano Concerto.

The piece is famous outside of the classical music world for the ways in which its melodies have been woven into songs by Frank Sinatra and Eric Carmen. Although the tone is often one of unsettlement, for Rachmaninov it was a triumph. Plagued by self-doubt and depression after the premiere of his First Symphony, Rachmaninov had fallen into writer’s block. The Piano Concerto marked his emergence and it is dedicated to the doctor who aided his recovery. After the bell-like tollings of the opening, the piano settles into an accompanying role while the orchestra plays the melody. When they switch roles, the piano develops the theme to its capacity and then delights in an expressive solo.

George Li. Image credit Christian Steiner

The pianist George Li was born in America to Chinese parents in 1995. At a young age, he was introduced to Russian music and fell in love with its ‘unbridled passion, and the entire gamut of feelings one experiences by listening to [that kind of] music’. Although he was a child, music exposed him to the world of 2

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adult emotions. Winning prizes in competitions before he was even 15, Li demonstrated a flair for musical technique and understanding. He performed for the likes of Barack Obama and Angela Merkel and his star continued to rise.

Then Li decided to set himself a challenge.

”

How powerful is the mind that it can conjure up such things as novels and concertos? How is it that the hand can set thoughts on the page, be they in words or notes, which speak with such emotion? How cruel is the mind that it can bring such turmoil to the individual?

How awful is the hand that it can bring such destruction to the masses? These are the questions which will be probed by the Sydney Symphony in September. Under the baton of David Robertson, the orchestra will cross from China to Russia, from personal struggles to world despair. Together, they will explore 20th Century notions with the assistance of a 21st Century interpreter demonstrating once more how literature, in its private form, and music, in its public one, are the threads which link people across time and space.

literature … and music … are the threads which link people across time and space.

”

Literature, he decided, would open his mind to a greater understanding of human emotion.

Through the words of great authors, Li believed he would learn to understand control, the restraint needed to convey great feeling without indulgence. The great wisdom in his decision is found in the fact that literature has one dimension less than music. In writing, there are the author and the reader. In music, the composer and the performer need a third party, the audience. The great thrill in the live realisation of art is why we see so many books turned into films or scripts turned into plays.

Music demands theatre but, because of that,

The tempo slows in the second movement and in its expanse the wind instruments are allowed to shine. First the flute plays the melody followed by the clarinet. As the orchestra dies down, the piano emerges to play a solo in the major key: in its architecture, it is music which should move. In the third movement, the orchestra restores the minor tonality. The pace is fast, the feeling agitated but in a way which enhances the succeeding lyrical tune played by the viola and oboe. After all the turmoil, the ending is triumphant. It is perhaps in this way that music allows itself to diverge from great Russian literature. Unlike Pasternak or Chekhov, Rachmaninov permits a happy ending.

Li, in his study of Dostoyevsky and Eliot, has enjoyed exploring the parallels. He tells Fine Music that he sees similarities between literature and music in the way that ‘they both embody and articulate the human experience, depth of feeling and emotion’ but do so ‘through different languages’. That idea is simple enough but the idea of language probes the deeper concept of translation. Most of us will only have access to Russian literature through its English translation. Is music, thus, in some ways purer, retaining a greater sense of identity in the hands of a knowledgeable interpreter? From this idea spins another: how a musician gains this insight and on this topic, Li has much to say.

Throughout his training, Li has found importance in retaining a connection to the Chinese piano tradition. He has had several Chinese teachers and currently learns from

Wha Kyung Byun and Russel Sherman.

Equally, Li is a proud American. Of being termed a Chinese-American pianist, he says: “Music often goes beyond the world of labels, so I’m not sure how important that title really is, but personally, I do feel the mixture of two different cultures strongly in my life, specifically the Chinese traditions and culture in which I was raised, combined with the American setting and values in which I live”. The area in which Li wishes to take this further is in educating the next generation. Li noticed that audiences in China had a far larger proportion of young people than those in the USA. Although he puts the difference down to culture (seeing many distractions in American life away from classical music), Li believes that he and his colleagues can make a difference. Young (successful) musicians visiting schools could, in Li’s opinion, be one way to ‘reignite the interest for classical music’ in youth. Professionally, Li hopes one day to teach so as to have a more active role in continuing the tradition.

”

… those brief but sublime moments where music becomes life-changing

”

In the meantime, Li is driven to keep performing, to keep ‘playing and sharing the way I feel about music with people all over the world. It’s that connection with the public, as well as those brief but sublime moments where music becomes life-changing that I value so much’.

Music can be life changing in its performance but it can also be life changing in its inception.

The two composers who will share the program with Rachmaninov aimed to write music which would alter the world or at least depict events which did just that. Through David Robertson’s initiative, the concert will open with The Chairman dances written for, though eventually not included in, John Adams’ opera Nixon in China. Composed in 1985, Nixon in China tells the story of President Nixon’s momentous visit with Chairman Mao and the resulting shift in relations between the USA, China and, by extension, the Soviet Union. The Chairman dances concocts a surrealist world where Madame Mao gate-crashes a presidential dance and performs a seductive dance.

Chairman Mao descends from his portrait and the two dance a foxtrot back in time.

Whilst Adams’ piece might be described as reflective journalism, Prokofiev’s Fifth Symphony was true reportage. Written in 1944, in the depths of the Second World War,

George Li. Image credit Christian Steiner Prokofiev wished to write ‘a hymn to free and happy Man, to his mighty powers, his pure and noble spirit’. As Rachmaninov had to write music about coming though depression, Prokofiev had to write about the state of the world. “I cannot say that I deliberately chose this theme”, he said. “It was born in me and clamoured for expression. The music matured within me. It filled my soul.” Musically, the piece pits nostalgia against hope, turmoil against calm. Prokofiev uses the facility of each instrument to great effect: tremolos (fast repetitions of a note) in the strings evoke unease in the first movement and in the last, victory is interrupted by frenzy. The strings are called upon to play ‘wrong’ notes and the trumpets interject with even more inappropriate sounds.

music. Finally, for the Rachmaninov there will be a young man of prodigious talent. George Li will bring to the concerto all which he has learned on the world stage and from great literature. With his youth, Li will bring freshness to the music.

Truly powerful is the mind in its ability to conjure up novels and concertos. Truly great is the hand in its ability to set expressive thoughts down on the page. In choosing to explore music of the 20th Century, the Sydney Symphony is entering a world of charged emotion. To balance the nuances, it requires great interpreters. Fortunate is the Sydney Symphony to be comprised of excellent musicians. The wind and brass will weave between and emerge from the strings making sure that all the colours are brought out. For the Adams’ work, conductor David Robertson is a most noble interpreter. He is a champion of the composer and has done much to expose Sydney audiences to this composer’s

Adams: The Chairman dances Rachmaninov: Piano concerto no 2 in E minor, op 27 Prokofiev: Symphony no 5 in B flat, op 100 George Li, piano Sydney O/David Robertson

This is the 20th Century as seen through the eyes of the modern world. This is Russia as performed by the hands of a ChineseAmerican pianist. However, these emotions are universal. Blessed are we to have music as a way to express emotion.

Listen to news of upcoming Sydney Symphony concerts on 12 September at 6pm.

EVENT

VENUE Concert Hall, Sydney Opera House DATES Thu 31 August 1.30pm Fri 1 September 8pm Sat 2 September 2pm September 2017

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SALLY HAWKINS ETHAN HAWKE

MAUDIE NOW SHOWING

“SPECTACULAR, THRILLING AND SUBLIME” MARGARET POMERANZ

MOUNTAIN NOW SHOWING

RICHARD GERE LAURA LINNEY STEVE COOGAN

JUDI DENCH AS QUEEN VICTORIA

THE DINNER

VICTORIA & ABDUHL

NOW SHOWING

NOW SHOWING

EMMA STONE & STEVE CARELL. 1973 . A TENNIS MATCH BETWEEN BILLIE JEAN KING & BOBBY RIGGS.

KATE BECKINSALE, PIERCE BROSNAN, JEFF BRIDGES

BATTLE OF THE SEXES

ONLY LIVING BOY IN NEW YORK

BLADE RUNNER 2049

NOW SHOWING

SEPTEMBER 7

OCTOBER 5

GEOFFREY RUSH AS SWISS PAINTER/SCULPTOR GIACOMETTI

FINAL PORTRAIT OCTOBER 5

CATHERINE DENEUVE CATHERINE FROT

RYAN GOSLING HARRISON FORD

THE MIDWIFE

STAR WARS THE LAST JEDI

OCTOBER 26

DECEMBER 14

THE BEGGAR’S OPERA ANGELA COCKBURN CHARTS ITS GENESIS Pepusch and English Music

For many years the music of The beggar’s opera was attributed to John Gay who wrote the libretto. Then there was an about-face and the music was attributed to Johann Christoph Pepusch who had anglicised his name to John Christopher. He was a good jobbing composer about London but he didn’t actually compose the music for The beggar’s opera. All the songs and tunes chosen by Gay were traditional folk melodies or other familiar tunes, many from The gentle shepherd, a collection published by the poet Allan Ramsay, as well as ten songs from a popular anthology based on the burlesques of Thomas d’Urfey who came up with new words to existing songs.

Gay’s original plan was to have the ballads sung without accompaniment which added gritty realism to the story. However something went wrong in rehearsals. Maybe Macheath had trouble pitching, or the ensemble leader never started on the same note twice, who knows? Regardless, at the last minute Pepusch was called in to provide continuo parts for the songs as well as a hastily-composed overture.

So really Pepusch was the first arranger of the music. When Benjamin Britten created his setting from Pepusch’s unfigured bass lines he was, if you like, arranging an arrangement.

Part of the push for an accompaniment came from John Rich, owner of the Lincoln’s Inn Fields’ Theatre, where Pepusch was employed as harpsichordist. He’d already written a couple of masques for the venue (Venus and Adonis, Apollo and Daphne, The death of Dido) using recitatives and arias from popular Italian operas of the day.

Pepusch also wrote the arrangements for Gay’s sequel Polly. That story takes Polly off to the exotic West Indies, where Macheath has become a pirate, but the more pointed satire about Prime Minister Robert Walpole (marginally less obvious in The beggar’s opera) resulted in it being banned by the Lord Chamberlain. Playwrights, poets and

political commentators rapidly discovered that you could get away with much more if you were satirical and funny and writers such as Alexander Pope and Jonathon Swift built their reputations on it. In fact it was Swift who had the original idea for The beggar’s opera, writing to Pope: ‘ ...what think you, of a Newgate pastoral among the thieves and whores there?’ Their mutual friend, Gay, liked the idea, but opted for a satire.

Just in case anyone in the audience missed the digs at Walpole and his arguably corrupt government, the leading opposition newspaper, The Craftsman, published a tongue-in-cheek article condemning Gay’s work as libellous. “It will, I know, be said, by these libertine Stage-Players, that the Satire is general; and that it discovers a Consciousness of Guilt for any particular Man to apply it to Himself. But they seem to forget that there are such things as Innuendos …”

The exact date of Johann Christoph Pepusch’s birth in 1667 is not known so we have chosen September to celebrate 350 years since that event. German-born, he spent most of his working life in England from 1700 until his death in 1752. Although he was mainly self-taught, he became an authority on musical theory and history and was an organist, conductor and a composer of stage and church music as well as of concertos and continuo sonatas. One of his greatest achievements was the founding in 1726, with other musicians, of The Academy of Vocal Music, which around 1730-31, was renamed The Academy of Ancient Music. He remained its Director until his death.

The working life of Pepusch and Handel was interwined for a number of years beginning when both were employed by the first Duke of Chandos. Later they were rivals in providing entertainment for London theatres. When Pepusch and John Gay staged The beggar’s opera in 1728, it had a huge success because audiences had wearied of Italian opera and here was a comic, satirical opera in their own language. At first, Handel carried on with some new Italian operas and a new company of singers but, finally, he decided to turn his skills to the composition of Englishlanguage dramatic oratorios. The rest is history! - Editor

While the satirical comment on Robert Walpole is only marginally interesting today, the wonderful characters of The beggar’s opera remain immensely entertaining and the social commentary is still valid, so much so that Britten is far from being the only composer to arrange the songs. Thomas Arne had a go, Frederic Austen adapted it to great success in 1920 and Duke Ellington created a Broadway version full of mobsters. However, the most famous re-interpretation is Kurt Weill’s The threepenny opera which also features in our 2017 opera series on 11 October.

At the Opera celebrates the 350th anniversary of the birth of Johann Christoph Pepusch with The beggar’s opera on Wednesday 27 September at 8pm.

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THE FIRST AMERICAN WOMAN SYMPHONIST 150 YEARS ON CHRIS BLOWER ASKS, WHAT IF? at the age of five. When she was six, she began formal piano lessons with her mother.

In the social milieu of the time, middle and upper class women gifted in music were steered away from a career in music because of the stigma attached to those who appeared as performers on the public stage. However, Amy, aged seven, gave some public recitals, playing works by Handel, Beethoven and Chopin as well as some of her own pieces.

She made her concert debut in 1883, when she was 16. Her performance was critically acclaimed and led to further concerts, including starring in the last performance of the Boston Symphony’s 1884–85 season.

What if Mozart had lived another 20 years?

What if Beethoven hadn’t gone deaf? What if Henry Beach had not asked his new wife to discontinue her career as a concert pianist?

Amy Cheney was born 150 years ago on 5 September 1867. A child prodigy, she was able to sing 40 songs accurately by her first birthday and began composing simple waltzes

When, in 1885, she married the much older surgeon Henry Harris Aubrey Beach, she agreed to limit performances to two public recitals a year with profits donated to charity.

Following her husband’s wishes, she devoted herself more to composition, although she wrote: “I thought I was a pianist first and foremost”. Henry also did not approve of his wife studying composition with a teacher so, that in her further development as a composer, she was self-taught.

Amy’s Gaelic Symphony was premiered in 1896 by the Boston Symphony ‘with exceptional success’. It was another important milestone in women’s music, as it made her the first American woman to compose and publish a symphony.

Her husband died in 1910 and her mother seven months later. Amy felt unable to work for a while and went to Europe in the hope of recovering there. Two years later, she gradually resumed giving concerts and soon a demand arose for sheet music of her songs and solo piano pieces. On her return to America, she used her status as the top female American composer to further the careers of young musicians and was in high demand as a speaker and performer for various educational institutions and clubs.

So what if? Well, Boston audiences at the turn of the century might have heard some great concerts played by an accomplished pianist, but we today may have been deprived of some beautiful and enduring music.

Amy Beach’s music will be heard on 5 September at 1pm.

A FLEMISH MASTER REMEMBERED A 500TH ANNIVERSARY TRIBUTE BY ELAINE SIVERSEN

After 500 years, why should we remember a Flemish composer who was born around 1450 and died in 1517? The answer is that he was, along with his contemporary Josquin Desprez, a significant influence on the development of music in Germany and other countries. Heinrich Isaac’s career spanned well over 30 years and allowed him to travel far from his homeland of Flanders into Germany, Italy, and Austria as well as to other parts of central Europe.

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There is very little knowledge of Isaac’s life except for the evidence found by charting the various places where his works were published. The quantity of publications gives us some idea of how popular Isaac’s music was. He wrote Masses, motets, songs (in French, German and Italian) and instrumental music. The first document mentioning his name dates back to 15 September 1484 and places him in Innsbruck as a singer for Duke Sigismund of Austria, of the House of Habsburg. The following year Isaac migrated to Florence, since documents show that by July 1485 Isaac had become employed as a singer at the church of Santa Maria del Fiore.

By the middle of 1491, he was designated as a singer at Santissima Annunziata. After two years he moved on to Pisa and then to Vienna and Innsbruck where he held the post of court composer to Emperor Maximilian I. He stayed there until his death but, in the meantime, travelled extensively around Europe.

Isaac was one of the most prolific composers of the time, producing an extraordinarily diverse output with only Orlande (or Roland) de Lassus having a wider overall range. It

was his many compositions of Masses which brought him his greatest fame. Isaac is held in high regard for his Choralis Constantinus.

It is a huge anthology of over 450 chantbased polyphonic motets for the Proper of the Mass commissioned by the Cathedral in Konstanz, Germany in 1508. The motets remain some of the finest examples of chantbased Renaissance polyphony in existence.

The influence of Isaac was especially pronounced in Germany, due to the connection he maintained with the Habsburg court. He was the first significant master of the Franco-Flemish polyphonic style who both lived in German-speaking areas and whose music was widely distributed there.

It was through him that the polyphonic style of the Netherlands became widely accepted in Germany, making possible the further development of contrapuntal music there.

Enjoy the music of 500 years ago in Baroque and Before on Friday 1 September at 10pm.

IMPRESSIONISM MICHAEL MUIR GIVES AN OVERVIEW addition the work sounds discomfortingly like a score for a 50s Hollywood biblical epic, with none of the subtlety (or impressionism) of Debussy and Ravel. To suggest these two most imaginative minds would ever deliberately steal ideas seems absurd.

Claude Debussy Impressionism is a creative approach where accurate depiction and form give way to allusive suggestion of perception and feeling.

Monet’s Impression, sunrise (1863) gave name and impetus to the painting movement which aimed to capture the fleeting notion of light on landscapes, seascapes and objects.

Although he resented the title, Debussy is the prototype composer-impressionist. Using whole-tone scales and modality, he produced an allusive vagueness which has more in common with his much-loved symbolist poets than with the painting school.

Chabrier was seen by both Debussy and Ravel as a model for an essentially French school, something encouraged by Satie, who felt the need to escape ‘sauerkraut’, and whose harmony provided the impetus for that of Debussy.

Quirkier even than Satie is the reinvigorated idea that Debussy and Ravel plagiarised the compositions of the relatively obscure composer, Ernest Fanelli, who claimed to be the originator of the style. This is unlikely, given that his work Tableaux symphoniques d’après le roman de la Momie was not performed before 1912 and then in a style which had already existed for over two decades. In

Indeed, the music’s turning-point was Prélude à l’après-midi d’un faune (1894) which has a sensuality verging on the erotic. SaintSaëns claimed it had ‘not the slightest musical idea … as much like a piece of music as the palette … is like a painting’. The dear old conservative was perturbed by its seeming formlessness, an illusion in Debussy’s writing: his pieces are highly organised, but resemble no traditional plan.

His work challenges the tyranny of tonic/ dominant relationships; dissonances have no need of resolution; antecedent and consequent phrases are dispensed with; a scale without semitones lacks direction and leaves you in a ‘floating world’ where time is suspended. The key to understanding him is to believe that journeying is more important than a destination (cadence): being ‘in the moment’ is more important than ‘arriving’. In his ballet Jeux, the constant transformations are not just thematic but textural. Pierre Boulez claimed Jeux was a major sign-post for 20th century composition, as important as anything from the Second Viennese School.

By contrast, Ravel’s harmony and orchestration are characteristically impressionist, but very little else. Illusory, vague, the essentials of the style, hardly apply to this fastidious man. Described by Stravinsky as ‘a Swiss watchmaker’, he had an adherence to form worthy of any classicist (Sonatine), and a liking for long-line melody, making the fragmentary nature of Debussy’s Jeux (or the orchestral accompaniment to Pélleas et Mélisande) unthinkable. The ballet Daphnis et Chloé is his masterpiece: initially seeming rhapsodic, in fact it is very carefully constructed (Leit-motifs

for each of the ballet’s characters). Concert hall popularity is ensured by two orchestral suites but the work should properly be heard complete, with Lever du jour being the most sumptuous sunrise in music.

However, not all impressionism’s exponents were French. Has there ever been a composer who better captured the poignancy of transient beauty than Frederick Delius?

On hearing the first cuckoo in Spring, A song of Summer, In a Summer garden, evoke the transience of life itself. In addition, the style raises its head in seemingly incongruous places: Bax’s tone poems and the distinctly Delian feel to the Lento of his Sixth Symphony; and the hazy string sounds in Vaughan Williams’ On Bredon Hill.

In spite of Stravinsky, Bartók, Webern, Messiaen and Boulez acknowledging a debt to him, there is no ‘school of Debussy’. Given his eastern influences (dating from 1889’s exposure to Javanese gamelan) and his use of Hokusai’s The wave for the cover of La mer, an appropriate ‘spiritual son’ is Japanese, Toru Takemitsu. Multiple Debussy influences are present in Takemitsu’s output, but Vers, l’arc-en-ciel, palma (1984) blends sensuous orchestration with tone colours of guitar and oboe d’amore. Why this exquisite score is rarely heard in concert is a mystery to me.

Impressionism not only spans nationalities, it spans genres: it even has links with the harmony and the sometimes languid nature of jazz. Considering his absorption of AfricanAmerican influences, it’s not surprising that Delius was apparently Duke Ellington’s favourite composer (Koanga predates Porgy and Bess by over three decades). The Duke’s vast repertoire has many impressionist tinges, but listen for Passion flower (solo piano, or with Johnny Hodges); or The single petal of a rose and African flower (Fleurette africaine).

The ‘Ravel of jazz’ is the refined Bill Evans (hear My foolish heart).

Impressionism is eternal and whenever musicians evoke the dreamy and insubstantial, it is reborn.

A fortnightly six-program series, French Impressionism, begins on Fridays 15 and 29 September at 2.30pm

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A PERFORMANCE STUDIO AND A GRAND PIANO FINE MUSIC LIVE FROM THE FOUNDERS STUDIO August of that year when the first Saturday afternoon Fine Music Live concerts began.

Now, three years later, these Saturday afternoon live-toair concerts in the Founders Studio are a highlight in the annual program schedule.

Roger Benedict How to make good use of a new fully-operational performance studio and a brand new grand piano at Fine Music was the question posed in the Programming Committee in early 2014.

Ideas and subsequent plans came to fruition in

Fine Music Live is held most months when there is a fifth Saturday, so that there are usually three to four concerts each year. The program begins with a jazz ensemble as it starts at 12 noon when our regular Jazz programs are broadcast.

This is followed by a series of genres or styles, ranging from Piazzolla or tangoinfluenced music through to classical chamber ensembles. All the artists who perform during Fine Music Live do so, on an ‘in kind basis’ and, in turn, their performances are broadcast to the Fine Music 102.5 listening audience at large. In addition the artists are given the chance to be interviewed and discuss their latest recordings or upcoming concerts.

Over these three years, many fine artists have taken part and a number of them have returned to perform again because they have enjoyed the experience and opportunity. The next Fine Music Live program will be on 30 September.

At the time of publication, we know that jazz pianist Kevin Hunt and some of his friends will be performing at midday and that the program will close with the Sydney Symphony Orchestra Fellows, an ensemble consisting of a select number of the orchestra’s younger players. The ‘Fellows’ are expertly directed by the Sydney Symphony Orchestra’s Principal Viola, Roger Benedict. The ensemble on the day may consist of between seven to nine players who will perform chamber music in different combinations. By now, other fine musicians will have been secured by the Producer, Steve-Marc McCulloch, so that there will be full afternoon of excellent performances.

Fine Music Live will be held this month on Saturday 30 September from 12 noon. So check the website finemusicfm.com or call us on 9439 4777 for details of the afternoon’s performances.

Programming Committee assisted by Steve-Marc McCulloch

What’s On THE SOUND OF PICTURES

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Australia Ensemble @UNSW Sir John Clancy Auditorium Tickets: $30-$50 Bookings: Phone (02) 9385 4874 or email Australia. ensemble@unsw.edu.au Information: www.ae.unsw.edu.au Presented by Radio National’s The Music Show host, Andrew Ford, this program represents a new offering from the Australia Ensemble: an exploration of music written by composers for film as well as concert music which makes use of the moving image as part of its presentation. We explore music by some of the famous names from the screen as well as music by Andrew Ford himself and a new work by Felicity Wilcox, which explore the sound of pictures in novel and exciting ways. Highlights will include Ford’s own Scherzo perpetuo and the world premiere of Felicity Wilcox’s Vivre sa vie - Composer’s Cut.

ADOLPHE SAX AND THE SAXOPHONE

JAMES NIGHTINGALE WRITES ABOUT HIS INSTRUMENT Then, amidst an unsettled socio-economic period in France, Sax’ successes were overturned and his career was blighted by bankruptcy and litigation.

Sax had developed prototypes of his saxophone between 1838 and 1841, when he exhibited a saxophone at the Brussels Industrial Exhibition. He developed the instrument through the 1840s until he put forward a patent application in 1845. This application was disputed by his Parisian rivals and many years of litigation followed. By 1856 the family of saxophones had been formalised and Sax had been employed to teach the instrument to military students at the Paris Conservatoire. This was the time from which the creation of music for saxophone began.

It was a competitive, creative and, indeed, cutthroat world in Paris in the middle of the 19th Century. In the musical instrument business, amongst a flood of new inventions and improvements, makers competed for contracts with the military to provide band instruments.

In 1843 a young Belgian instrument maker, something of a clarinet player, fresh from exhibition prizes won in Brussels, opened a business in Paris. His name was Adolphe Sax (1814-1894). His father had also been an instrument repairer and maker and the young Sax had surpassed his father’s skills and was expert in the latest manufacturing techniques.

Sax’ first successes were with the bass clarinet, an instrument which, up to that point, no one had overcome the practical issues arising from doubling the size of a regular clarinet. At the same time, the most important innovations were happening in instruments made from brass. Sax invented whole families of saxotrombas, saxhorns and saxophones with the aim of ousting problematic instruments, such as serpents and ophecleides from the French military bands. Eventually Sax won significant military contracts, making him wealthy but also envied.

Most saxophone music in the 19th Century was created for Sax’ students at the Paris Conservatoire during the years 1856 to 1870. The composers of these works were all friends of Sax and the pieces were published by the Adolphe Sax publishing company. The most prolific was the violinist and conductor Jean-Baptiste Singélée (1812-1875). Singélée is credited with writing the first saxophone quartet, Premier Quatuor (1853). Another notable friend of Sax was Hyacinthe Klosé (1808-1880), who adapted his Clarinet Method for the saxophone and wrote a dramatic fantasy for alto saxophone and piano, Daniel (1869).

In the world of orchestral music, Sax hoped that the welcoming reception for his instrument by composers such as Berlioz and Rossini would lead to its inclusion in orchestras. Sadly this was not to be the case. Orchestral musicians often objected to the inclusion of the instrument, either on artistic or personal grounds, leading many composers to abandon plans to write for the instrument although there are notable cases in which the saxophone has a significant presence.

An early example of saxophone in the orchestra is in the opera Hamlet (1868) by Ambroise Thomas. A few years later the principal bass clarinettist in the Paris Opera, Louis Mayeur (1837-1894) was listed as saxophone soloist with this orchestra and it is probably due to his enthusiasm that we owe the prominent saxophone solo in the Barcarole from the ballet Sylvia (1876) by Leo Delibes.

Georges Bizet wrote for a saxophone in his incidental music to the play l’Arlésienne (1872) but perhaps the most enthusiastic composer for the saxophone in the opera orchestra was Jules Massenet who used saxophones in Hérodïade (1881), Henry VIII (1883) and Werther (1892).

An early saxophone On Sunday 3 September at 2pm listen to a program dedicated to 19th Century saxophone repertoire including Paul Dukas’ orchestral song, L’ondine et le pêcheur, the only work by Dukas to include the saxophone.

This is a condensed version of James’ presentation in July at Enjoy, Learn, Discuss, a series of lectures given monthly at Fine Music.

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Friday 1 SEPTEMBER 0:00 CONTEMPORARY COLLECTIVE

Glinka, M. Overture and suite from A life for the Tsar (1836). Armenian PO/Loris Tjeknavorian.

ASV DCA 1075 34

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

Dances in Naina’s castle, from Ruslan and Ludmila (1842). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00166 15

9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen

22:00 BAROQUE AND BEFORE Issac and the Flemish school 500 years on Prepared by Susan Bell

Poulenc, F. Suite française after Claude Gervaise (1935). Jean-Guihen Queyras, vc; Alexandre Tharaud, pf.

Harmonia Mundi HMC 902012 11 Avison, C. Concerto grosso no 2 in G, after Domenico Scarlatti (1744). Tafelmusik Baroque O/Jean Lamon.

SM5000 SMCD5061 13 Strauss, R. Dance suite for small orchestra, after Couperin, op 107 (1923). Academy of St Martin in the Fields/Neville Marriner.

Philips 446 696-2 28

13:30 18TH CENTURY CHORAL Prepared by Yvonne Laki Pergolesi, G. Stabat Mater (1736). Anna Netrebko, sop; Marianne Pizzolato, cont; Santa Cecilia Academy O/Antonio Pappano.

DG 477 9337 37

Stravinsky, I. Suite after Pergolesi (1925).

Ray Chen, vn; Timothy Young, pf.

Melba MR 301128 18

Mozart, W. Mass no 19 in D minor, K626, Requiem (1791; ed. Süssmayr). Elin Manahan Thomas, sop; Christine Rice, mezz; James Gilchrist, ten; Christopher Purves, bass-bar; Choir of King’s College, Cambridge; Academy of Ancient Music/Stephen Cleobury.

King’s College recording KGS0002 46

10:30 CONCERT HALL Prepared by Sophie Looi

15:00 INTIMATE BRAHMS Prepared by Frank Morrison

Beethoven, L. Overture to Egmont, op 84 (1810). Czech PO/George Szell.

Sony SMK 68 447 9

Prokofiev, S. Russian overture, op 72 (1936).

USSR Ministry of Culture SO/Gennady Rozhdestvensky.

Melodiya 10-00205 14

Busoni, F. Fantasia after J.S. Bach (1909).

Wolf Harden, pf.

Naxos 8.570543 10

Rachmaninov, S. Piano concerto no 2 in C minor, op 18 (1901). Roger Woodward, pf; Sydney SO/Charles Dutoit.

ABC 481 1322 33 Dvorák, A. Symphony no 4 in D minor, op 13 (1874). Czech PO/Jirí Belohlávek.

Decca 478 6757 40

Brahms, J. Quintet in F minor, op 34 (186164). András Schiff, pf; Takács String Quartet.

Decca 430 529-2 41 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh

13:00 PATRICK THOMAS PRESENTS Light music of Britain

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse Focus on the current Sydney jazz scene mixed with a range of international jazz stars and a weekly a cappella item

Coates, E. Knightsbridge march (1933). West Australian SO/David Measham, 4

20:00 THE ROMANTIC CENTURY Prepared by Robert Small

Alford, K. Colonel Bogey march (1914). 3

Rossini, G. Overture to Semiramide (1823).

Tasmanian SO/Ola Rudner.

ABC 476 259-9 12

12:00 A JAZZ HOUR with Barry O’Sullivan

Goodwin, R. 633 Squadron (1963). 3 Australian Army Band/Craig Johnson (2 above)

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Giovanni Battista Pergolesi

Stuart, L. Soldiers of the Queen (1894). ABC PO/William Motzing. 3 ABC 472509-2 (4 above)

Field, J. Piano concerto no 7 in C (1822).

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

Chandos CHAN 9534 29

Holloway, R. Men marching, op 50 no 1 (1981/82). Cory Band of South Wales/Phillip Harper.

NMC D 226 11

Mayer, C. Grand overture in E; Mazurka caprice in E flat; Galop militaire. Alexander Bakhchiyev, Yelena Sorokina, pf.

Chandos CHAN 9418 17

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Josquin Desprez. Ave Maria ... Virgo serena à 4. Cantillation/Brett Weymark.

ABC 476 5055 5 La Rue, P. de Ave Regina caelorum source; Pourquoy non. Piffaro; Renaissance Band.

Archiv 479 1045 5 Obrecht, J. Ave Maris stella. Grupo de Música Alfonso X el Sabio/Luis Lonzano Virumbrales.

Decca 436 116-2 8 Isaac, H. Missa de Apostolis (1500). Tallis Scholars/Peter Phillips.

Gimell GIM 023 29 Benedictus à 3; Christ ist erstanden à 6. Jordi Savall, va da gamba; Sergi Casademunt, va da gamba; Fahmi Alqhai, va da gamba; La Capella Reial de Catalunya; Hesperion XXI. Alia Vox AVSA 9895 A/F 6 Fortuna desperata; La Morra; Si dormiero.

Sour Cream.

Glossa GCD P31102 10 Tota pulchra es. Hilliard Ensemble.

Hyperion CDA66370 8 Güretzch; La my. Attaignant Consort/Kate Clark.

Ramée RAM 0706 4 Virgo prudentissima; In Gottes Namen; O weiblich Art; Mein Müterlein; Greiner Zancker; Wannich des Morgens frü auffstehe; Isbruck, ich muss dich lassen. Song Company; Tommie Andersson, lute; Roland Peelman, cond.

ABC 481 1091 24 Senfl, L. Mit lust; Im Maíen; Quodlibet: Ach, Elslein. Joculatores Upsalienses.

BIS CD-3 6 The charm of Pergolesi’s melodies makes Stravinsky’s Suite italienne or Suite after Pergolesi (9am) one of his most popular works. It is an arrangement of several movements from his ballet, Pulcinella, in which he transformed works by Pergolesi into his own style. However, the most loved of Pergolesi’s music is his Stabat Mater (1.30pm).

Saturday 2 SEPTEMBER 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 ORCHESTRAS AROUND THE WORLD Royal Liverpool Philharmonic Orchestra Prepared by Frank Morrison Ries, F. Piano concerto no 7 in A minor, op 132, Farewell to England (1823). Christopher Hinterhuber, pf; Uwe Grodd, cond.

Naxos 8.570440 35 Coates, E. Phantasy: Cinderella (1929).

Charles Groves, cond.

EMI 3523562 15 Shostakovich, D. Symphony no 9 in E flat, op 70 (1945). Vasily Petrenko, cond.

Naxos 8.572167 27 Royal Liverpool PO (all above) 10:30 SMALL FORCES Paganini, N. Centone di sonate in A, op 64 no 6. Gianfranco Iannetta, vn; Gianni Landroni, gui.

Tactus TC 781601 10 Handel, G. Trio sonata in C minor (pub.

1733). Carl Dolmetsch, rec; Frank Preuss, vn; Marguerite Dolmetsch, va de gamba; Nigel Foster, hpd.

Allegro PCD 990 13 Pachelbel, J. Canon in D (c1690). Brazilian Guitar Quartet.

Delos DE 1609 4 Walton, W. Allegramente, from Piano quartet in D minor (1921/74). Peter Donohoe, pf; Maggini Quartet.

Naxos 8.555303 7 Boccherini, L. String quintet in D, op 10 no 6 (1771). La Magnifica Comunità.

Brilliant Classics 92503 18 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Smetana, B. Dance of the comedians, from The bartered bride. Allentown Band/Ronald Demkee.

AMP WWFM1 5 Sousa, J.P. King cotton march. Fairey Aviation Band; Foden’s Motor Vehicle Works Band; City of Coventry Band/Harry Mortimer.

Columbia TWO 385 3 Bruch, M. Theme from Violin concerto no 1, mvt 2 (arr. Parkes). Phillip McCann, cornet; John Foster Black Dyke Mills Band/Peter Parkes.

Chandos CHAN 4502 4 Wilson, M. Seventy-six trombones. G.U.S (Footwear) Band/Stanley Boddington.

Columbia SCX 3502 2

Shostakovich, D. Festive overture.

Australian Brass.

Australian Brass AB 195 6 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 FROM THE 20TH CENTURY Prepared by Frank Morrison Busoni, F. Turandot suite, op 41 (1905/11).

La Scala PO/Riccardo Muti.

Sony SK 53 280 24 Bridge, F. Phantasy in F sharp minor (1911).

Patrick Ireland, va; Dartington Piano Trio.

Hyperion CDA66279 13 Medtner, N. Knight errant, op 58 no 2 (1940).

Dmitri Alexeev, pf; Nikolai Demidenko, pf.

Hyperion CDA66654 11 Stenhammar, W. Serenade in F, op 31 (1911-13). Gothenburg SO/Neeme Järvi.

DG 445 857-2 33 14:30 LUTES AND MANDOLINS Prepared by Elaine Siversen Caroso, F. Laura soave. John Holloway, vn; Christel Thielmann, va da gamba; Paul O’Dette, lute.

Hyperion CDA66228 5 Bach, J.S. Fugue in G minor, BWV1000 (aft.

1720). Jakob Lindberg, lute.

BIS CD-587/588 6 Albrechtsberger, J. Concertino in D. Michael Scott, picc; Sydney Mandolins/Adrian Hooper.

Jade JAD 1124 14 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Sullivan, A. Patience or Bunthorne’s bride.

Operetta in two acts. Libretto by W.S. Gilbert.

First performed London, 1881.

BUNTHORNE: Martyn Green, bar PATIENCE: Margaret Mitchell, sop GROSVENOR: Alan Styler, bar D’Oyly Carte Opera Ch & O/Isidore Godfrey.

Naxos 8.110233 1:11 For synopsis, go to finemusicfm.com Imperial march, from Utopia Limited (1893).

Royal PO/Royston Nash.

Decca 480 1285 7 Ruddigore or The witches’curse. Operetta in two acts. Libretto by W.S. Gilbert. First performed London, 1887.

DAME HANNAH: Monica Sinclair, cont ROBIN/SIR RUTHVEN MURGATROYD: George Baker, bar ROSE MAYBUD: Elsie Morison, sop RICHARD DAUNTLESS: Richard Lewis, ten MAD MARGARET: Pamela Bowden, cont SIR DESPARD MURGATROYD: Owen Brannigan, bass

SIR RODERIC MURGATROYD: Joseph Rouleau, bass OLD ADAM: Harold Blackburn, bass Glyndbourne Festival Ch; Pro Arte O/Malcolm Sargent.

LP EMI/WRC T/4078 49 For synopsis, go to finemusicfm.com 17:30 STAGING MUSIC Are we there yet? London with Angela Cockburn 18:00 SOCIETY SPOT Folk Federation of NSW with Paul Jackson 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm 20:00 INFLUENCES AND CONNECTIONS George Enescu Prepared by Paul Cooke Brahms, J. Violin concerto in D, op 77, mvt 1 (1878). Hilary Hahn, vn; Academy of St Martin in the Fields/Neville Marriner.

Sony SK 89649 23 Enescu, G. Rumanian rhapsody no 1 in A, op 11 no 1 (1911). Philharmonia Moldova/ Alexandru Lascae.

Ottavo OTR C49240 12 Massenet, J. Tout mon âme est là, from Werther (1892). David Hobson, ten; Tasmanian SO/Marco Guidarini.

ABC 461 677-2 3 Enescu, G. Suite no 3 in D, op 27, Villageoise (1937-38). Philharmonia Moldova/ Alexandru Lascae.

Ottavo OTR C49240 29 Ravel, M. Sonata (1923-27). Sarah Chang, vn; Lars Vogt, pf.

EMI 5 57679 2 17 Enescu, G. Chamber symphony for 12 solo instruments, op 33 (1954). Cluj-Napoca PO/ Ion Baciu.

Marco Polo 8.223143 17 Ysaÿe, E. Sonata in D minor, op 27 no 3 (1924). Oscar Shumsky, vn.

Nimbus NI 7715 7 22:00 SATURDAY NIGHT AT HOME Prepared by Paul Cooke Boccherini, L. Cello concerto no 2 in D (c1760). Mstislav Ristropovich, vc; Collegium Musicum Zürich/Paul Sacher.

DG 479 2561 17 Saint-Saëns, C. Piano trio no 2 in E minor, op 92 (1892). Joachim Trio.

Naxos 8.550935 35 Suk, J. Symphony in C minor, op 27, Asrael (1905-06). Royal Liverpool PO/Libor Pesek.

Virgin VC 7 91221-2 1:02 September 2017

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Sunday 3 SEPTEMBER 13:00 WORLD MUSIC: Whirled Wide with Anna Tranter Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 THE SAXOPHONE IN THE 19TH CENTURY Prepared by James Nightingale

Jean Gilles 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Di Cox Gilles, J. Messe des morts (pub. 1764).

Anne-Marie Rodde, sop; Jean Nirouët, cont; Martyn Hill, ten; Ulrich Studer, bass; Peter Kooy, bass; Collegium Vocale Gent; Musica Antiqua Cologne/Philippe Herreweghe.

Archiv 437 087-2 44 Du Mont, H. In nativitate Domini ad matinum.

Les Petits Chanteurs de Saint-François de Versailles/Yves Atthenont.

Jade JACD 004 9 10:00 THE CLASSICAL ERA Prepared by Richard Verco Grétry, A-E-M. String quartet in G, op 3 no 5 (1761-65). Haydn Quartet.

Koch 310 158 H1 10 Sirmen, M. Violin concerto no 5 in B flat. Terri Baune, vn; Bay Area Women’s PO/JoAnn Falletta.

Newport Classic NCD 60102 22 Beethoven, L. Sonata no 17 in D minor, op 31 no 2, Tempest (1802). Maurizio Pollini, pf.

DG 427 642-2 23 Boïeldieu, A. Overture to Le calife de Bagdad (1800). New Philharmonia O/Richard Bonynge.

Decca 440 844-2 8 Wesley, S. Symphony in D, Sinfonia obligato (1781). London Mozart Players/Matthias Bamert.

Chandos CHAN 9823 11 Schubert, F. Piano trio in B flat, D898 (1827).

Beaux Arts Trio.

Philips 438 700-2 35 12:00 SPEAK EASY, SWING HARD with Richard Hughes The Golden Era of jazz, as seen through the knowledge and experience of one of Australia’s leading exponents 12

Dukas, P. L’Ondine et le pecheur (c1884).

Chantal Santon-Jeffery, sop; Brussels PO/ Hervé Niquet.

Palazetto Bru Zane Collection Prix de Rome vol 5 6 Singelée, J-B. Concerto, op 57 (1858); Deuxième solo de concert, op 77 (1861).

Christian Peters, sax; Yoriko Ikeya, pf.

MDG 603 1229-2

8

Demersseman, J. Premier solo: Andante et boléro (1866). Claude Delangle, sax; Odile Delangle, pf.

BIS CD-1270 4 Thomas, A. Marche danois ... Belle, permettez-nous, from Hamlet (1868). Barbara Conrad, cont; Sherrill Milnes, bar; Welsh National Opera Ch & O/Richard Bonynge.

Eloquence 4826455 4 Klose, H. Daniel: Fantaisie dramatique d’après E. Depas (1869). Claude Delangle, sax; Odile Delangle, pf.

BIS CD-1270 5 Massenet, J. Ce breuvage ... Vision fugitive, from Hérodïade (1881). Thomas Hampson, bar; Toulouse Capitole National Ch & O/ Michel Plasson.

EMI 5 55378 2 4 Delibes, L. Barcarolle, from Sylvia (1870).

New Philharmonia O/Richard Bonynge.

Philips 475 6282 3 Massenet, J. Va! Laisse couler mes larmes, from Werther (1892). Frederica von Stade, sop; Isobel Buchanan, sop; Royal Opera House O/Colin Davis.

Philips 416 654-2 4 Singelée, J-B. Allegro; Vivace; Allegretto, from Premier quatuor pour saxophones (1857). Saxofon Concentus.

SIMAX PSC 1123 7 15:00 SUNDAY SPECIAL Master key: F sharp minor Prepared by Anne Irish

Castelnuovo-Tedesco, M. Prelude and fugue no 18 in F sharp minor, from The well-tempered guitars, op 199 (1962). Duo Tedesco, gui.

Schwann 3-1224-2 5 Fauré, G. Pavane, op 50 (1887). Amy Dickson, sax; London Session O/Chris Walden.

Sony 88725479572 7 Schubert, F. Sonata no 8 in F sharp minor, D571, 570, 604 (1817). Gottlieb Wallisch, pf.

Naxos 8.570118 18 Kalinnikov, Vasily. Intermezzo no 1 in F sharp minor. London SO/Neeme Järvi.

Chandos CHAN 8614 6 Ravel, M. Sonatine (1903-05). Jean-Yves Thibaudet, pf.

Decca 433515-2 11 Bruch, M. Concert piece in F sharp minor, op 84 (1911). Salvatore Accardo, vn; Gewandhaus O/Kurt Masur.

Philips 462 164-2 19 Sibelius, J. Lulu waltz in F sharp minor (1889). Torleif Thedéen, vc; Folke Gräsbeck, pf.

BIS CD-817 1 Rachmaninov, S. Piano concerto no 1 in F sharp minor, op 1. Leif Ove Andsnes, pf; Berlin PO/Antonio Pappano.

EMI 4 74813 2 26 17:00 HOSANNA Prepared by Jeremy Hall Hymns: Glorious things of Thee are spoken; Let all mortal flesh keep silence. Choir of King’s College, Cambridge; Richard Gowers, org; Tom Etheridge, org; Stephen Cleobury, cond.

King’s College KGS0014 7 Britten, B. Te Deum in C. Choir of St John’s College, Cambridge; Iain Farrington, org; Christopher Robinson, cond.

Naxos 8.554791 7 Harris, W. Strengthen ye the weak hands.

Choir of St George’s Chapel, Windsor; Roger Judd, org; Timothy Byram-Wigfield, cond.

Naxos 8.570148 8

Bach, J.S. Prelude and fugue in F sharp minor, BWV859 (1722). Angela Hewitt, pf.

Hyperion CDA67741/4 4

Mendelssohn, F. Laudate pueri. Choir of Trinity College, Cambridge; Mark Williams, org; Richard Marlow, cond.

Chandos CHAN 10363 7

Bridge, F. Phantasy in F sharp minor (1911).

Patrick Ireland, va; Dartington Piano Trio.

Hyperion CDA66279 13

Haydn, J. Insanae et vanae curae. Tölz Boys’Choir; Tafelmusik/Bruno Weil.

Sony SK66260

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Sunday 3 SEPTEMBER

Monday 4 SEPTEMBER Rachmaninov, S. Piano concerto no 3 in D minor, op 30 (1909). Vladimir Horowitz, pf; London SO/Albert Coates.

Fidelio 8819 34

Willan, H. I beheld her, beautiful as a dove; Rise up, my love, my fair one; How they so softly rest. Choir of Trinity College, Cambridge/Stephen Layton.

Hyperion CDA67832 8 Tallis, T. Te lucis ante terminum. Cambridge Singers/John Rutter.

Collegium COLCD 131 2

Mahler, G. Adagietto, from Symphony no 5 in C sharp minor (1901-02). Royal PO/Daniele Gatti.

Sony 88697290382 10

Howells, H. Master Tallis’ testament. Colin Walsh, org.

Priory PRCD 379 7

Beethoven, L. Symphony no 8 in F, op 93 (1812). Philharmonia O/Otto Klemperer.

EMI CDC 7 47187 2 28

18:00 THE OTHER DIABELLI VARIATIONS Prepared by Chris Blower

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

Various. Theme, variations and coda on a waltz

by Diabelli (pub. 1823). Evelyn Duborg, pf Capriccio 10 091 31 Diabelli, A. Serenade, op 99. Konrad Hünteler, fl; Reinbert Evers, gui.

Pantheon D 14 112 16 Processional fanfares: nos 12, 3, 2 and 7.

Australian Baroque Brass.

Tubicium Records TR761901 5 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Bach, J.S. Cantata, BWV51: Jauchzet Gott in allen Landen (1730). Martina Jankova, sop; Collegium 1704/Vaclav Luks.

Supraphon SU4134-2 15 Dittersdorf, C. Sinfonia in G minor. Failoni O/ Uwe Grodd.

Naxos 8.553974 29 Linek, J. Sinfonia pastoralis in C. Czech Chamber PO/Vojtech Spurny.

Alto ALC 1003 15 Mozart, W. Horn concerto in D. Herman Jeurissen, hn; Netherlands CO/Roy Goodman.

Brilliant 94100/10 9 Symphony no 42 in F, K75 (1771). Prague CO/Charles Mackerras.

Telarc 80729 12 20:30 NEW HORIZONS Prepared by Calogero Panvino Adès, T. Tevot (2007). Berlin PO/Simon Rattle.

EMI 4 57813 2 22 Dean, B. Violin concerto, The lost art of letter writing. Frank Peter Zimmerman, vn, Sydney SO/Jonathan Nott.

BIS BIS-2016 34 Demons (2004). Laura Chislett, fl. onepoint.fm/Laurachislettjones 9 Adès, T. Violin concerto (2005). Anthony Marwood, vn; CO of Europe/Thomas Adès.

EMI 4 57813 2 20 22:00 AFTER HOURS JAZZ with Kevin Jones

Talich Quartet 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1874 Prepared by Di Cox Offenbach, J. Overture to Orpheus in the Underworld (1858/74). City of Birmingham SO/Louis Frémaux.

EMI CDM 1 66418 2 10 Saint-Saëns, C. Danse macabre, op 40 (1874). Detroit SO/Paul Paray.

Mercury 478 5092 7 Dvorák, A. Rhapsody in A minor, op 14 (1874). Slovak PO/Libor Pesek.

Marco Polo HK 8.220420 17 Sarasate, P. de Concert fantasy on Gounod’s Faust (1874). Gil Shaham, vn; Jonathan Feldman, pf.

DG 463 483-2 11 Strauss, J. II Klänger der Heimat, from Die Fledermaus (1874). Renée Fleming, sop; English CO/Jeffrey Tate.

Decca 458 858-2 5 Fibich, Z. String quartet no 1 in A (1874).

Talich Quartet.

Calliope CAL 3332 23 Smetana, B. La fête des paysans bohémien, from Rêves (1874). Peter Schmalfuss, pf.

Thorofon CTH 2005 5 10:30 CONCERT HALL Prepared by Randolph Magri-Overend Strauss, R. First waltz sequence, from Der Rosenkavalier, op 59 (1911). Scottish NO/ Neeme Järvi.

Chandos CHAN 8834 12

13:00 AN HOUR WITH HAYDN Prepared by Barrie Brockwell Haydn, J. Overture to Die Feuersbrunst, Hob.XXIXa:4 (c1773-79). Haydn Sinfonietta, Vienna/Manfred Huss.

Schwann 3-1723-2 8 Al tuo seno fortunato, from L’anima del filosofo, Hob.XXVIII:13 (1791). Sara Macliver, sop; Tasmanian SO/Ola Rudner.

ABC 480 5514 6 Double concerto in E flat. Hermann Baumann, hn; Timothy Brown, hn; Academy of St Martin in the Fields/Iona Brown.

Philips 422 346-2 18 Symphony in A, Hob.I:59, Fire (1769). O of the Age of Enlightenment/Frans Brüggen.

Decca 478 9616 18 14:00 AN UNFAMILIAR VIRTUOSO Prepared by Barrie Brockwell Liszt, F. Hungarian rhapsody no 13 in A minor (arr. Horowitz, Volodos).

Sony 8697065002 8 Schubert, F. Litanei; Liebesbotschaft (arr. Liszt).

Sony SK 82691 6 Skryabin, A. Caresse; Enigme.

Sony SK 60893 4 Rimsky-Korsakov, N. Flight of the bumblebee (arr. Cziffra).

Sony SK 62691 2 Liszt, F. Funerailles.

Sony 8697065002 11 Mompou, F. El lago, from Paisajes (1947).

Sony 88765433262 5 September 2017

fineMusic 102.5

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Monday 4 SEPTEMBER

Tuesday 5 SEPTEMBER 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Quintet in F sharp, op 67 (1907). Martin Roscoe, pf; Endellion Quartet.

ASV DCA 932 27

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

Theme and variations in A minor for flute and string quartet, op 80 (1920). Ambache.

Chandos CHAN 9752 21

9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Emyr Evans

Pastorale (1942). Reykjavik Wind Quintet.

Chandos CHAN 9174 3

Chopin, F. Sonata no 2 in B flat minor, op 35 (1837-39). Andrei Gavrilov, pf.

EMI CDC 7 47344-2 23 James Levine Horowitz, V. Variations on a theme, from Bizet’s Carmen (arr. Volodos).

Sony SK 62591 4 Liszt, F. Bagatelle ohne tonart.

Sony 8697065002 3

Schubert, F. Sonata no 1 in D, D384 (1816).

Isaac Stern, vn; Daniel Barenboim, pf.

Sony SM2K 64528 13

Volodos, A. Turkish march after Mozart’s Rondo alla turca.

Sony SK 62691 3

Ravel, M. Piano trio in A minor (1914).

Rotraud Schneider, vn; Anthea Scott-Mitchell, vc; Daniel Herscovitch, pf.

Fine Music concert recording 25

Schumann, R. Abendmusik, from Bunte Blätter, op 99.

Sony SK 60893 3

10:30 CONCERT HALL Prepared by James Nightingale

Prokofiev, S. Gavotte; Waltz, from Cinderella, op 95.

Sony SK 62691 6 Rachmaninov, S. Piano concerto no 3 in D minor, op 30. Berlin PO/James Levine.

Sony SK 64384 41 Arcadi Volodos, pf (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson “Historians hesitatingly trace the roots of Jazz to the American colonial days, the ultimate source, via the Caribbean islands, being the native music of the African Negro slaves, blended with the simpler kind of mission hymns and the spontaneous work songs of the field hands and convict chain-gangs. The usual starting point for the modern history of Jazz is in … New Orleans.”

– Percy A. Scholes 14

Mozart, W. Sonata no 2 in F, K280 (1775).

Claudio Arrau, pf.

Philips 422 056-2 22

14:30 CLASSICAL CELLO Prepared by Gael Golla Stamitz, C. Cello concerto in C (c1786).

Claude Starck, vc; South-West German CO, Pforzheim/Paul Angerer.

Claves 50 8105 18 Beethoven, L. Duet in E flat, WoO32, Duet with two obbligato eyeglasses (1796-97).

Tabea Zimmermann, va; Maria Kliegel, vc.

Naxos 8.555787 13 Hummel, J. Trio in A, op 78 (pub. c1818).

András Adorján, fl; Boris Pergamenschikow, vc; Pavel Gililov, pf.

Orfeo C 252 931 A 17 Boccherini, L. Sonata no 2 in C minor.

Steven Isserlis, vc; Maggie Cole, hpd.

Virgin VC 7 90805-2 8

Brophy, G. Forbidden colours (1988).

Tasmanian SO/Kenneth Young.

ABC 476 3218 9

Haydn, J. Cello concerto no 2 in D, Hob. VIIb:2 (1783). Heinrich Schiff, vc; Academy of St Martin in the Fields/Neville Marriner.

Philips 420 923-2 24

Prokofiev, S. Piano concerto no 2 in G minor, op 16. Yuki Takao, pf; Sydney SO/Edvard Tchivzhel.

ABC 454 975-2 32

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

Brahms, J. Symphony no 1 in C minor, op 68 (1876). Western Australian SO/Asher Fisch.

ABC 481 4413 42 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 13:00 AMY BEACH 150 Prepared by Chris Blower Beach, A. The rainy day (1880); When far from her, op 2 no 2 (1889); Ecstasy, op 19 no 2 (1892). Katherine Kelton, mezz; Catherine Bringerud, pf.

Naxos 8.559191 6 Four sketches, op 15 (1892). Virginia Eskin, pf.

Koch 3-7254-2 11 Symphony in E minor, op 32, Gaelic (1896).

Detroit SO/Neeme Järvi.

Chandos CHAN 8958 41

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

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 Gluck, C. Excerpts from Iphigénie en Tauride (1779; arr. Triebensee). Albion Ensemble.

Helios CDH55037 20 Schubert, F. Sonata in A minor, D845 (1825).

Imogen Cooper, pf.

BBC Radio 3 AV 2156 37 Thomas, A. Quartet in E minor (1832). Daniel String Quartet.

Discover International DICD 920159 27 Kelly, F. Sonata in G, Gallipoli (1915).

Christopher Latham, vn; Caroline Almonte, pf.

Ian Potter Foundation recording 29 Iphigenie is the main character in a play by the ancient Greek, Euripides.

Wednesday 6 SEPTEMBER 0:00 CONTEMPORARY COLLECTIVE

Couperin, F. La superbe, sonade en trio (c1692-95). Sigiswald Kuijken, vn; Lucy van Dael, vn; Wieland Kuijken, bass viol; Robert Kohnen, hpd.

RCA RD 71054 8

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil

Rameau, J-P. Suite from Les Indes galantes.

Chapelle Royale O/Philippe Herreweghe.

Harmonia Mundi HMP390808 15

9:00 DIVERSIONS IN FINE MUSIC Composer focus: Arthur Honegger Prepared by Rex Burgess

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

Honegger, A. Pacific 231 (1924); Rugby (1928); Symphonic movement no 3 (193233). Bavarian RSO/Charles Dutoit.

Erato 2292-45242-2 24 Six Apollinaire poems (1917). Brigitte Balleys, mezz; Billy Eidl, pf.

Timpani IC 1015 10 Cello concerto (1929). Mstislav Rostropovitch, vc; London SO/Kent Nagano.

Erato 2292-45489-2 15 Sonatina (1932). Christian Tetzlaff, vn; Christian Poltéra, vc.

BIS CD-1617 14 Concerto da camera (1949). Aurèle Nicolet, fl; Heinz Holliger, cora; Academy of St. Martin in the Fields/Neville Marriner.

Philips 434 105 2 17 10:30 CONCERT HALL Prepared by Sheila Catzel Massenet, J. Ballet music from Le Cid (1885).

City of Birmingham SO/Louis Frémaux.

EMI 5 65150 2 20 Kalkbrenner, F. Piano concerto no 1 in D minor, op 61 (pub. 1823). Hans Kann, pf; Hamburg SO/Heribert Beissel.

Vox 1157162 30

Claudio Abbado Schumann, R. The lion’s betrothed, op 31 no 1 (1840). Simon Keenlyside, bar; Graham Johnson, pf.

Hyperion CDJ33102 8 Brahms, J. Song of destiny, op 54 (1868-71).

Ernst Senff Ch; Berlin PO/Claudio Abbado.

DG 429 765-2 17 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 CLASSICAL MUSIC EXPLORED France: Part 1 Prepared by Michael Morton-Evans Anon. Alleluia nativitatis (c1050). Mora Vocis.

Pierre Verany PV793101 10

Sibelius, J. Symphony no 5 in E flat, op 82 (1915). Adelaide SO/Arvo Volmer.

ABC 476 3946 32

Raimbaut de Vaqueiras. Kalenda maya.

Renaissance Players/Winsome Evans.

Walsingham WAL 8004-2 6

12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses

Anon. Introit: Ecce advenit dominator Dominus ... Descendens ab ætherei stellato, from Messe pour un martyr. Ensemble Gilles Binchois/Dominique Vellar.

Virgin 5 45135-2 7

13:00 19TH CENTURY GERMAN VOCAL Prepared by Gael Golla Reger, M. Silence; Evening song; A glimpse of spring, op 39 (1899). Danish National Radio Choir/Stefan Parkman.

Chandos CHAN 9298 14 Strauss, R. Das Rosenband, op 36 no 1 (1897-98). Barbara Bonney, sop; Malcolm Martineau, pf.

Decca 476 2649 3 Mendelssohn, F. Infelice, op 94 (1834).

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

Virgin VC 7 91123-2 10

Adam de la Halle. Kume, kum geselle min!

Bettina Pahn, sop; Joachim Held, lute.

Hänssler 98.284 2 Champion, J. Noch weet ick een schoen ioffrau fyn. Collegium Vocale Cologne/ Wolfgang Fromme.

CBS M2YK 45622 3

19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by Phil Vendy Marschner, H. The vampire. Opera in two acts. Libretto by Wilhelm August Wohlbruck.

First performed Leipzig, 1828.

LORD RUTHVEN: Franz Hawlata, bar SIR BERKLEY: Yoo-Chang Nah, bass EDGAR AUBRY: Jonas Kaufmann, ten MALWINA DAVENPORT: Regina Klepper, sop Cologne WDR Radio Ch & O/Helmut Froschauer.

Capriccio C 5184 2:09 For synopsis, go to finemusicfm.com Wagner, R. Amfortas! Die Wunde! from Parsifal (1882). Margarete Joswig, mezz; Jonas Kaufmann, ten; Mahler CO/Claudio Abbado.

Decca 478 1463 9 22:30 CARNIVAL Prepared by Stephen Wilson Berlioz, H. Roman carnival, op 9 (1844).

Cleveland O/Lorin Maazel.

Decca 480 6621 9 Paganini, N. Variations on The carnival of Venice (1829). Franco Mezzena, vn; Adriano Sebastiani, gui.

Dynamic CDS 03 13 Liszt, F. Hungarian rhapsody no 6 in D, Carnival in Pest (1846-85). London SO/Antal Dorati.

Mercury 432 015-2 12 Schumann, R. Carnaval, op 9 (1833-35).

Nelson Freire, pf.

Decca 478 2826 23 Villa-Lobos, H. Fantasy on Children’s carnival (1920). Marco Antonio de Almeida, pf; Jena PO/David Montgomery.

Arte Nova 74321 54465 2 23

CONTINUING PROGRAM SERIES Intimate Brahms prepared by Frank Morrison: 1, 15 at 3pm Classical Music Explored: France prepared by Michael Morton-Evans 6, 13, 20, 27 at 3pm Sunday Special, Shostakovich: The Lighter Side prepared by Paolo Hooke: 17 at 3pm Sunday Special, Master Key prepared by Anne Irish and James Nightingale: 23 at 3pm September 2017

fineMusic 102.5

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Thursday 7 SEPTEMBER 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 MEMORIES Prepared by Denis Patterson Haydn, J. Trio in C, Hob.XV:27 (bef. 1797).

Yuuko Shiokawa, vn; Boris Pergamenshikov, vc; András Schiff, pf.

Decca 444 862-2 18 Franz Benda 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 Great string players Prepared by Michael Morton-Evans Mahler, G. Quartet in A minor (1876).

Veronika Hagen, va; Clemens Hagen, vc; Oleg Maisenberg, pf.

DG 477 8825 11 Mozart, W. Duo no 2 in B flat, K424 (1783).

Kim Kashkashian, va.

DG 415 483-2 24 Gidon Kremer, vn (2 above) Benda, F. Sonata no 23 in C minor.

Hans-Joachim Berg, baroque vn; Naoko Akutagawa, hpd.

Naxos 8.572307 13 Brahms, J. String sextet no 2 in G, op 36 (1866). Yehudi Menuhin, vn; Robert Masters, vn; Cecil Aronowitz, va; Ernst Wallfisch, va; Maurice Gendron, vc; Derek Simpson, vc.

EMI 5 74956 2 37 10:30 CONCERT HALL Prepared by Michael Morton-Evans d’Indy, V. Pictures of travel, op 36 (1889).

Württemberg PO/Gilles Nopre.

Marco Polo 8.223659 17 Bruch, M. Double concerto, op 88a (1915).

Martin Berkofsky, pf; David Hagan, pf; Berlin SO/Lutz Herbig.

LP Turnabout TV 34732 23 Künneke, E. Dance suite (1929). Berlin PO/ Eduard Künneke.

Dutton BP 9787 30 Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ, mvt 3 (1886). Sydney SO/Louis Frémaux.

ABC 434 895-2 14 16

Mozart, W. Trio in G, K564 (1788). Australian Trio.

Fine Music concert recording 20 Mendelssohn, F. Trio in D minor, op 49 (1839). Natsuoko Yoshimoto, vn; Timo-Veikko Valve, vc; Kathryhn Selby, pf.

Fine Music concert recording 29

Hummel, J. Piano quintet in E flat, op 87 (pub.1874). Kees Boersman, db; members of Hazelwood Quartet. 21 Thuille, L. Sextet for piano and wind quintet, op 6 (1886-88). Michael Scott, fl; Guy Henderson, ob; Gabor Reeves, cl; Gordon Skinner, bn; Anthony Buddle, hn. 28 Rachel Valler, pf (all above) Fine Music concert recordings 21:30 GREETINGS FROM ARGENTINA Prepared by Frank Morrison Ginastera, A. Puneña no 2, op 45, Homage to Paul Sacher (1976). Mark Kosower, vc; Jee Won Oh, pf.

Naxos 8.570569 10 Carrillo, M. Fiesta criolla (1941).

Württemberg PO/Gabriel Castagna.

Chandos CHAN 10675 7

Mozart, W. Overture to The abduction from the seraglio, K384 (1782). Norwegian National Opera O/Rinaldo Alessandrini. naïve OP 30479 5

Piazzolla, A. Milonga del angel (1980s; arr.

Müller-Pering). Friedemann Eichhorn, vn; Thomas Müller-Pering, gui.

Hänssler 98.508 7

Mozart, W. Martern aller Arten, from The abduction from the seraglio. Joan Sutherland, sop; Royal Opera House O/Francesco Molinari-Pradelli.

Decca 475 6302 9

22:00 MUSICAL PORTRAITS Venus Prepared by Rex Burgess

14:30 LATE ROMANTIC PIANO Prepared by Frank Morrison Albéniz, I. Sonata no 3, op 68 (pub. 1886).

Alberto Guinovart, pf.

Harmonia Mundi HMI 987007 16 Tchaikovsky, P. Concert fantasy, op 56 (1885). Peter Donohoe, pf; Bournemouth SO/ Rudolf Barshai.

EMI CDC 7499392 28 Nielsen, C. Five piano pieces, op 3 (1890).

Leif Ove Andsnes, pf.

Virgin 5 45129 2 7 Foerster, J. Piano trio no 1 in F minor, op 8 (1883). Janácek Trio.

Supraphon SU4079-2 30 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 SHOWCASING AUSTRALIAN ARTISTS Rachel Valler Prepared by Stephen Wilson Chopin, F. Polonaise in F flat minor, op 26 no 2 (1834-35). 10 Mozart, W. Sonata no 35 in A, K526 (1787).

Donald Hazelwood, vn. 21

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

Fauré, G. The birth of Venus, op 29 (1895 version). Sara Macliver, sop; Jenny DuckChong, mezz; Paul McMahon, ten; Teddy Tahu Rhodes, bar; Cantillation; Sinfonia Australis/Antony Walker.

ABC 481 2646 24 Desmarets, H. Excerpts from Venus and Adonis (c1697). Les Talens Lyriques/ Christophe Rousset.

Ambroisie AM 167 11 Handel, G. Venus and Adonis, HWV85 (c1700). Philippa Hyde, sop; Parley of Instruments/Peter Holman.

Chandos CHAN 0776 10 Scarlatti, A. Venus, Adonis and Cupid (1696). Jane Edwards, sop; Tessa Miller, sop; James Sanderson, ct; Chacona/Rosalind Halton.

ABC 476 617-0 53 Wagner, R. Overture and Venusberg music, from Tannhäuser (1845). Royal Scottish NO/ Neeme Järvi.

Chandos CHSA 5077 11 PROGRAMS NOT TO BE MISSED The Creation, a new recording of a Sydney University Graduate Choir concert: 9 at 3pm Sunday Special, The Tarot (new series) prepared by Angela Cockburn: 24 at 3pm

Friday 8 SEPTEMBER 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 Schumann, R. Carnaval, op 9 (1833-35; orch. Ravel). Minnesota O/Eiji Oue. Reference RR-79 10 Albéniz, I. Jerez, from Iberia, bk IV (1905; orch. Breiner). Moscow SO/Igor Golovschin.

Naxos 8.553023 9 Rossini, G. Overture to William Tell (1829; arr. Liszt 1838). Frederic Chiu, pf.

Harmonia Mundi HMU 907102 13 Fauré, G. Dolly suite, op 56 (1893-96; orch.

Rabaud). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9416 17 Weber, C.M. Polacca brillante, l’hilarité, op 72 (orch. Liszt). Benjamin Frith, pf; RTE Sinfonietta/Prionnsias O’Duinn.

Naxos 8.550959 10 Tchaikovsky, P. Suite from The nutcracker, op 71a (1892; arr. Economou). Martha Argerich, pf; Nicholas Economou, pf.

DG 449 816-2 21 10:30 CONCERT HALL Prepared by Elaine Siversen Schubert, F. Incidental music to Rosamunde, D797 (1823). Tasmanian SO/Sebastian LangLessing.

ABC 476 4740 23 Smyth, E. Double concerto (1926). Richard Watkins, hn; Sophie Langton, vn; BBC PO/ Odaline de la Martinez.

Chandos CHAN 9449 28 German, E. Symphony no 2 in A minor, Norwich (1893). NSO of Ireland/Andrew Penny.

Marco Polo 8.223726 32 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FROM THE SECOND DECADE 1810-1819 Prepared by Rex Burgess Beethoven, L. Calm sea and prosperous voyage, op 112 (1815). Willoughby Symphony Choir & O/Stephen Mould.

Fine Music concert recording 7 Weber, C.M. Introduction, theme and variations, op posth (1811). Étienne Siebens, db; Ensemble Walter Boeykens.

Harmonia Mundi HMC 901481 12

Benjamin Godard

Ambroise Thomas

Spohr, L. Fantasy in B minor on themes of Danzi and Vogler, op 118 (1814). Sophie Langdon, vn; Hugh Webb, hp.

Naxos 8.555365 12

20:00 THE ROMANTIC CENTURY Prepared by Chris Blower

Schubert, F. Excerpts from Fernando, D220 (1815). Edith Mathis, sop; Heiner Hopfner, ten; Gabriele Sima, ten; Robert Holl, bassbar; ORF Choir & SO/Lothar Zagrosek.

LP Orfeo S 109 841 A 23 14:00 ORIENTALE Prepared by Stephen Wilson Cui, C. Orientale, from Kaleidoscope, op 50 no 9 (1893). Gregor Piatigorsky, vc; Ralph Berkowitz, pf.

Naxos 8.111069 3 Glazunov, A. Oriental rhapsody in G, op 29 (1889). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00156 24 Holst, G. Beni Mora: oriental suite, op 29 no1 (1909-10). London PO/Adrian Boult.

Lyrita SRCD.222 17 Anon. Soplo de oriente. Calchakis/Hector Miranda.

Arion ARN 64002 2 Balakirev, M. Islamey: oriental fantasy, op 19 no 6 (1869/1902). Julius Katchen, pf.

Philips 456 856-2 7 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 27 Godard, B. Oriental symphony, op 84 (1884).

Royal Scottish NO/Martin Yates.

RSNO CDLX 7274 28 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Rossini, G. Ballet music from Othello (1816).

Monte-Carlo National Opera O/Antonio de Almeida.

Philips 422 843-2 19 Schubert, F. Ballet music from Rosamunde, D797 (1823). Vienna SO/Nikolaus Harnoncourt.

Apex 0927 498132 16 Donizetti, G. Ballet music from La Favorite (pub. 1840). Philharmonia O. Philips 422 844-2 19 Verdi, G. Ballet music from Il trovatore (1853). Monte Carlo National Opera O. Philips 422 846-2 22 Antonio de Almeida, cond (2 above) Thomas, A. Ballet music from Hamlet (1868).

National PO/Richard Bonynge.

LP Decca SXDL 7583 22 Pierné, G. Fantaisie ballet, op 6 (1886).

Jean-Efflam Bavouzet, pf; BBC PO/Juanjo Mena.

Chandos CHAN 10871 11 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Locke, M. Suite from The tempest (1674).

Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 433 191-2 39 Gibbons - Locke. Cupid and death (c1682).

Members of London Oratory Junior Choir; Consort of Musicke/Anthony Rooley.

Harmonia Mundi GD77117 1:14 While Matthew Locke achieved his greatest fame as a theatrical composer, his main employment was in the Royal household of Charles II. In this capacity he wrote ‘provocatively modern’ church music.

September 2017

fineMusic 102.5

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Saturday 9 SEPTEMBER 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 ORCHESTRAS AROUND THE WORLD Royal Liverpool Philharmonic Orchestra Prepared by Denis Patterson Alwyn, W. Elizabethan dances (1956-57).

David Lloyd-Jones, cond.

Naxos 8.570144 18 Vaughan Williams, R. Aristophanic suite, The wasps (1909). James Judd, cond.

Naxos 8.572304 26 Ries, F. Piano concerto no 7 in A minor, op 132, Farewell to London (1823). Christopher Hinterhuber, pf; Uwe Grodd, cond.

Naxos 8.570440 35 Royal Liverpool PO (all above) 10:30 MUSIC FOR SMALL FORCES Prepared by Richard Verco Boismortier, J. de Sonata no 5 in A, op 91 (pub. 1742). American Baroque.

Naxos 8.553414 13 Handel, G. Viola d’amore sonata in C. Sydney Consort.

Sydney Consort SC005 14 Beethoven, L. Trio in B flat, op 11 (1797).

James Campbell, cl; Yuli Turovsky, vc; Luba Edlina, pf.

Chandos CHAN 8655 24 11:30 ON PARADE Prepared by Robert Small Meyerbeer, G. Coronation march (arr.

Jakeway). 4 Lloyd Webber, A. With one look. 4 Mozart, W. Overture to The magic flute, K620 (1791; arr. Kenyon). 7 Sedaka - Cody. Solitaire. 5

Various. Excerpts from Sea Hawk and For whom the bell tolls (1953). London FO/ Stanley Black.

Hallmark 710142 12

Trad. O Waly, Waly; Shenandoah (arr.

Gascoigne). John Williams, gui; Gascoigne Band.

CBS MK 37825 6

Porter, C. Excerpts from Kiss me Kate (1960). Kathryn Grayson, sop; Howard Keel, bar; Ann Miller, voice; MGM Studio O. Membran 221848-207 18

Albéniz, I. Córdoba, from Songs of Spain, op 232 (1896). Pro Arte Guitar Trio.

ASV WHL 2061 6

20:00 INFLUENCES AND CONNECTIONS Puccini Prepared by Katy Rogers-Davies

Castelnuovo-Tedesco, M. Guitar concerto no 1 in D, op 99 (1939). John Williams, gui; English CO/Charles Groves.

CBS M2YK 45610 21

Bazzini, A. Three pieces in sonata form, op 44 (1864). Chloe Hanslip, vn; Caspar Frantz, pf.

Naxos 8.570800 19

15:00 THE CREATION Prepared by Elaine Siversen

Puccini, G. Intermezzo, from Manon Lescaut, Act III (1893). Lahti SO/Markus Lehtinen.

BIS BIS-2066 6

Haydn, J. Oratorio: The creation, Hob.XXI:2 (1796-98). Penelope Mills, sop; Andrew Goodwin, ten; Adrian Tamburini, bass; Sydney University Graduate Choir & O/ Christopher Bowen.

SUGC recording 1:52 Haydn, J. Symphony in E flat, Hob.I:103, Drum roll (1795). Symphony Nova Scotia/ Georg Tintner.

Naxos 8.557236 30 17:30 THE VOICES, THE ROLES Kids: growing up with Angela Cockburn 18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame Farnam, W. Toccata on O fili et filiae. June Nixon, org.

Master Disk SPCD 393 3 Saint-Saëns, C. Prelude and fugue in C, op 9 no 3 (1898). David Drury, org.

ABC 454 173-2 9 Ross, C. Ostinato. June Nixon, org.

Master Disk 393 6

Curnow, J. Fanfare and flourishes. 2

Jongen, J. Chorale in E, op 37 no 4 (1911).

David Drury, org.

ABC 454 173-2 5

Rolls Royce Coventry Brass Band (all above) Soho SOHOCD051

Smart, H. Postlude in C. June Nixon, org.

Master Disk 393 5

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Drury, D. Improvisation. David Drury, org.

ABC 454 173-2 5

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

Jackson, F. Toccata, chorale and fugue, op 16 (1957). David Drury, org.

ABC 454 173-2 15

Nichols, R. We’ve only just begun. 4

14:00 SIX STRINGS AND A SOUNDHOLE Prepared by Gael Golla Giuliani, M. Grand potpourri, op 53 (pub.

1814). Mikael Helasvuo, fl; Jukka Savijoki, gui.

BIS CD-413 10 18

Paganini, N. Sonata no 4, from Medley of sonatas (1808). Gil Shaham, vn; Göran Söllscher, gui.

DG 437 837-2 8

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Rodgers, R. Excerpts from State Fair (1945/96). John Davidson, Kathryn Crosby, Andrea McArdle, Donna McKechie, voices; original Broadway cast. drg 94765 19

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

Ponchielli, A. Il padre! Tenda natal, from Il figliuol prodigo (1880). José Carreras, ten; Royal PO/Roberto Benzi.

Philips 426 643-2 4 Wagner, R. Dawn; Brünnhilde and Siegfried; Siegfried’s Rhine journey, from Götterdämmerung, Act I (1869-74). Lisa Gasteen, sop; Timothy Mussard, ten; Adelaide SO/Asher Fisch.

Melba MR 301133-34 21 Bizet, G. Suite from Carmen (1875). Royal Opera House O/Alexander Gibson.

Decca 480 6620 24 Verdi, G. Falstaff ... ola! Sir John Falstaff, from Falstaff (1893). Enrico Facini, ten; Anthony Mee, ten; Bryn Terfel, bass-bar; Anatolij Kotscherga, bass; Berlin PO/Claudio Abbado.

Decca 482 5281 5 Chopin, F. Sonata no 2 in B flat minor, op 35, Funeral march (1839). Ronald Farren-Price, pf.

Move MD 3147 27 Puccini, G. Nessun dorma, from Turandot.

Luciano Pavarotti, ten; John Alldis Choir; London PO/Zubin Mehta.

ABC 480 5629 3 22:00 SATURDAY NIGHT AT HOME Respighi, O. Suite: Rossiniana (1925).

Suisse Romande O/Ernest Ansermet.

Decca 476 2724 26 Khachaturian, A. Violin concerto (1940).

Mihaela Martin, vn; Ukraine NSO/Theodore Kuchar.

Naxos 8.555919 39 Schubert, F. String quartet no 2 in C, D32 (1812). Kodály Quartet.

Naxos 8.557107 18 Marais, M. La gamme (pub. 1723). London Baroque/Charles Medlam.

Harmonia Mundi HMA 1901105 35

Sunday 10 SEPTEMBER 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Elaine Siversen Rutter, J. Gloria (1974). Choir of King’s College, Cambridge; Choir of Gonville and Caius College, Cambridge; City of Birmingham SO/Stephen Cleobury.

EMI 5 57952 2 18 Verdi, G. Excerpts from Messa di gloria (1833). Elisabetta Scano, sop; Juan Diego Flórez, ten; Kenneth Tarver, ten; Eldar Aliev, bass; Daniele Ferrari, org; Milan Giuseppe Verdi Symphony Ch & O/Riccardo Chailly.

Decca 467 280-2 22 Monteverdi, C. Gloria à sette voci, from Selva morale e spirituale (pub.1640). Les Arts Florissants/William Christie.

Harmonia Mundi HMA 1901316/18 13 10:00 THE CLASSICAL ERA Prepared by Di Cox Bach, J. Christian Sinfonia in B flat, op 18 no 2 (c1781). Failoni O/Hanspeter Gmür.

Naxos 8. 553367 9 Cramer, J. Piano concerto no 2 in D minor, op 16 (pub. 1797). London Mozart Players/ Howard Shelley, pf & dir.

Chandos CHAN 10005 25 Abel, C. String quartet in A, op 8 no 5 (1769).

Salomon Quartet.

Hyperion CDA66780 12 Mahon, J. Clarinet concerto no 2 in F (c1775). Colin Lawson, cl; Parley of Instruments/Peter Holman.

Helios CDH55261 19 Clementi, M. Piano trio, op 21 no 1 (pub.

1788). Trio Fauré.

Dynamic CDS 93 13 Gossec, F-J. Symphony in F, op 12 no 6 (pub.1769). London Mozart Players/Matthias Bamert.

Chandos CHAN 9661 15 Bach, J.C.F. Wachet auf, ruft uns die Stimme (c1780). Netherlands Chamber Choir/Uwe Gronostay.

Globe GLO 5080 12 Beethoven, L. German dances, WoO2, 3 and 8 (1795). Vienna Mozart Ensemble/Willi Boskovsky.

Decca 436 782-2 5

Felix Mendelssohn

Ignaz Moscheles

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

Schumann, R. Fantasy pieces, op 73 (1849).

Maria Kliegel, vc; Kristin Merscher, pf.

Naxos 8.550654 12

13:00 WORLD MUSIC: Whirled Wide With Carole Garland 14:00 BACH, HINDEMITH AND BRASS Prepared by Gael Golla Hindemith, P. Konzertmusik für Blasorchester, op 41. William Williams, tpt; Mark Kellogg, tb, euphonium; Eastman Wind Ensemble/Donald Hunsberger.

CBS MK 44916 14 Bach, J.S. Three chorale preludes, BWV721, 1093 and 1100 (1708-17). Trumpet Consort Friedemann Immer.

Harmonia Mundi RD 77027 8 Hindemith, P. Sonata (1955). Gene Pokorny, tuba; Theodor Lichtmann, pf.

Summit DCD 115-2 11 Bach, J.S. Brandenburg concerto no 2 in F, BWV1047 (1717-18). Severino Gazzelloni, fl; Heinz Holliger, ob; Maurice André, tpt; Felix Ayo, vn; I Musici.

Decca 478 4664 13 Hindemith, P. Morgenmusik (1932). Urban Agnas, tpt; Joakim Agnas tpt; Anna Axelsson, hn; Jonas Bylund, tb; Lennart Nord, tuba.

BIS CD-544 6 15:00 SUNDAY SPECIAL The Leipzig connections Prepared by Frank Morrison Bach, J.S. Concerto in A, BWV1055 (173540). Maria João Pires, pf; Gulbenkian Foundation CO/Michel Corboz.

Erato ECD 40001 13 Mendelssohn, F. Quintet no 2 in B flat, op 87 (1845). Primavera Chamber Ensemble.

ASV QS 6168 30

Schumann, C. Three romances, op 22 (1853). Joseph Silverstein, vn; Veronica Jochum, pf.

Pro Arte CDD 395 9 Wagner, R. Overture to The mastersingers of Nuremburg (1867). Sydney SO/Edo de Waart.

ABC 481 0616 9 Moscheles, I. Concertante in F. Marc Grauwels, fl; Joris van den Hauwe, ob; Belgian RTSO/André Vandernoot.

Naxos 8.555977 14 Reger, M. String quartet in A, op 54 no 2 (1900). Reger Quartet.

Pantheon D 14090 19 17:00 HOSANNA Prepared by Richard Munge Hymns: Praise, my soul, the King of heaven; I cannot tell. Choirs and congregation of Grace Episcopal Church, Charleston; J. Scott Bennett, org.

Pro Organo 7148 9 Stanford, C. Villiers Magnificat; Nunc dimittis in G, op 81. Oliver Lepage-Dean, treb; Choir of St John’s College, Cambridge/ Christopher Robinson.

Naxos 8.557557-58 9 Fauré, G. Excerpts from Requiem, op 48 (1893). Joseph Rawlins, treb; Ian White, bar; Choir of Canterbury Cathedral; John Perkins, vn; Matthew Martin, org; Canterbury Cathedral O/David Flood.

York 177 25 Hymns: Jesu, lover of my soul; Guide me, O thou great Jehovah; Eternal Father, strong to save. Huddersfield Choral Society; David Bell, org; Owain Arwell Hughes, cond.

EMI MFP 6059 10 September 2017

fineMusic 102.5

19

Monday 11 SEPTEMBER

Sunday 10 SEPTEMBER 18:00 ROMANTIC SONATAS Prepared by Chris Blower

12:00 SWING SESSIONS with John Buchanan

Dauprat, L. Sonata. Sören Hermansson, hn; Erica Goodman, hp.

BIS CD-648 17

13:00 I MUSICI DE MONTREAL Prepared by Denis Patterson Prokofiev, S. Overture on Jewish themes, op 34b (1934).

Chandos CHAN 8800 9

Pierné, G. Sonata, op 41 (1900). Olivier Charlier, vn; Jean Hubeau, pf.

Erato 2292-45525-2 22

Mozart, L. Cassation in C, Toy symphony.

Chandos CHAN 9098 10

Saint-Saëns, C. Sonata, op 167 (1921).

Michael Collins, cl; Michael McHale, pf.

Chandos CHAN 10637 16 19:00 SUNDAY NIGHT CONCERT Prepared by Andari Anggamulia

Leonard Bernstein

Tchaikovsky, P. Francesca da Rimini, symphonic fantasia after Dante, op 32 (1876).

Gothenburg SO/Neeme Järvi.

BIS SACD-1348 25

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

Prokofiev, S. Violin concerto no 1 in D, op 19 (1916-17). Anne-Sophie Mutter, vn; National SO/Mstislav Rostropovich.

Erato ECD 75506 21 Borodin, A. Symphony no 1 in E flat (186267). Rotterdam PO/Valery Gergiev.

Philips 422 996-2 35 20:30 NEW HORIZONS Prepared by James Nightingale Tanaka, K. Prismes (1984). Malmö SO/ Jun’ichi Hirokami.

BIS CD-490 11 Neal, K. Rabid Bay (2004). Michael Kieran Harvey, pf.

Move MD 3288 10 Donatoni, F. Hot. Ensemble Dal Niente.

New Focus Recordings FCR130 14 Brouwer, M. Shattered glass (2007). Blue Streak Ensemble.

Naxos 8.559763 14 Berio, L. Rendering, after Schubert’s Symphony in D, D936a (c1990). Milan Giuseppe Verdi SO/Riccardo Chailly.

Decca 476 2830 33 22:00 AFTER HOURS JAZZ with Kevin Jones Francesca da Rimini and Paolo fall in love when he is proxy at her wedding to his brother. Discovered, they are slain by her husband. Dante recounts their story in The Inferno.

20

Honegger, A. Concerto da camera (1949).

Chandos CHAN 8632 18 0:00 CLASSIC-ALL THROUGH THE NIGHT

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1922 Prepared by Paul Cooke Poulenc, F. Sonata (1922). Paul Meyer, cl; Ben Hoadley, bn.

Fine Music concert recording 7 Sibelius, J. Andante festivo (1922). Finnish RO/Jean Sibelius.

Ondine ODE 1037-2 6 Beach, A. Hermit thrush at eve, op 92 no 1; Hermit thrush at morn, op 92 no 2 (1922).

Virginia Eskin, pf.

Koch 3-7254-2 8 Ibert, J. Escales (1922). Suisse Romande O/ Neeme Järvi.

Chandos CHSA 5168 15 Roslavets, N. Sonata no 2 (1922). Lachezar Kostov, vc; Viktor Valkov, pf.

Naxos 8.570996 20 Stravinsky, I. Suite from Pulcinella (1922/49).

Lliure Theatre CO/Josep Pons.

Harmonia Mundi HMC 901609 23 10:30 CONCERT HALL Prepared by Derek Parker Mendelssohn, F. Overture to Ruy Blas, op 95 (1839). Gewandhaus O/Riccardo Chailly.

Decca 481 0778 8 Beethoven, L. Triple concerto in C, op 56 (1803-04). Renaud Capuçon, vn; Mischa Maisky, vc; Martha Argerich, pf; Swiss-Italian O/Alexandre Rabinovitch-Barakovsky.

EMI 5 57773 2 35 Franck, C. Symphony in D minor (1887-88).

NO of France/Leonard Bernstein.

DG 478 6971 42

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

Vivaldi, A. Concerto in F for violin and organ, RV542. Eleonora Turovsky, vn; Genevieve Soly, org.

Chandos CHAN 8651 11 Bloch, E. Prayer (1923-24; transcr. Antonini).

Chandos CHAN 8800 5 Davidov, K. Cello concerto no 2 in A minor, op 14 (1863). Alexander Ziumbrovsky, vc.

Chandos CHAN 9622 26 I Musici de Montreal/Yuli Turovsky (all above) 14:30 IN CONCERT Nature Prepared by Albert Gormley Smetana, B. The Moldau, from My country (1874). Queensland SO/Patrick Thomas.

ABC 476 4570 12 Strauss, R. Horn concerto no 2 in E flat (1942). Dennis Brain, hn; Philharmonia O/ Wolfgang Sawallisch.

EMI 7 47834 2 18 Dvorák, A. Symphonic variations, op 78 (1877). London PO/Charles Mackerras.

EMI 5 65026 2 22 Rojas, D. Danza de Montanas (2004). Daniel Rojas, pf.

Danielrojas.com.au DR005 8 Strauss, R. Interludes, from Die Frau ohne Schatten (1919). Minnesota O/Eiji Oue. Reference RR-83 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Tuesday 12 SEPTEMBER

Daniel Barenboim

Ferdinand Ries

0:00 CONTEMPORARY COLLECTIVE

13:00 CLASSICAL SONATAS Prepared by Angela Bell

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 Master pianists Prepared by Frank Morrison Liszt, F. Paraphrase on Verdi’s Aïda (pub.

1879). Daniel Barenboim, pf.

Erato ECD 75477 12 Mozart, W. Piano concerto no 3 in D, K40 (1767). English CO; Daniel Barenboim, pf & dir.

EMI CDC 7 47987-2 13 Beethoven, L. Trio in C minor, op 1 no 3 (1794-95). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf.

EMI CMS 7 63124-2 26 Poulenc, F. Trois pièces (1928).

Decca 417438-2 10 Franck, C. Symphonic variations (1885).

London FO/Ross Pople.

ASV DCA 769 17 Pascal Rogé, pf (2 above) 10:30 CONCERT HALL Prepared by Anne Irish Nielsen, C. Pan and Syrinx, op 49 (1917-18).

South Jutland SO/Niklás Willén.

Naxos 8.557164 9 Mendelssohn, F. Double concerto in D minor (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-2 37 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Berlin PO/Herbert von Karajan.

DG 429 039-2 36 12:00 JAZZ RHYTHM with Jeannie McInnes

Cimarosa, D. Sonata no 78 in B flat.

Donatella Failoni, pf.

Hungaroton HRC 149 4

Camille Saint-Saëns Parish Alvars, E. Harp concerto in G minor, op 81 (1842). Franz Liszt CO/Jean-Pierre Rampal.

Sony SK 58919 29 Marielle Nordmann, hp (2 above)

Ries, F. Sonata in G minor, op 125 (1823).

Guido Larisch, vc; Robert Hill, fp. cpo 999 666-2 29

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

Carulli, F. Sonata, op 21 no 1. Richard Savino, gui.

Naxos 8.553301 17

18:00 SYDNEY SYMPHONY 2017 Produced by Andrew Bukenya

Rossini, G. Sonata no 1 in G (1804).

Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chi-chi Nwanoku, db.

Hyperion CDA66595 11 Mozart, W. Sonata no 14 in C minor, K457 (1784). Andreas Staier, pf.

Harmonia Mundi HMG 508388.89 19

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale

14:30 ON WHICH THE ANGELS PLAY Prepared by Stephen Wilson

22:00 CHAMBER SOIRÉE Prepared by Rex Burgess

Thomas, J. Grand duet in E flat. Lily Laskine, hp; Marielle Nordmann, hp.

Erato 0630-13705-2 13

Saint-Saëns, C. Fantasy, op 124 (1907).

Philippe Graffin, vn; Catherine Benyon, hp.

Helios CDH55353 14

Ravel, M. Introduction and allegro (1905).

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

RN Music MCCN120 11

Piano quartet in B flat, op 41 (1875).

Members of Nash Ensemble.

Hyperion CDA67431/2 30

Westlake, N. Meltponds; Dry valleys; The ice core, from Antarctica (1991). Christine Douglas, sop; Philippe Anquetil, treb; Dene Olding, vn; David Pereira, vc; Timothy Kain, gui; Louise Johnson, hp; O/Carl Vine.

Tall Poppies TP012 7 Gossec, F-J. Symphonie concertante in D. Lily Laskine, hp; Odette Le Dentu, hp; JeanFrançois Paillard CO/Jean-François Paillard.

Erato 0630-13705-2 12 Boïeldieu, A. Duet no 2 in B flat (1796-1806).

Brigitte Haudebourg, pf.

Arion ARN 68285 8

String quartet no 1 in E minor, op 112 (1899).

Fine Arts Quartet.

Naxos 8.572454 34 Piano trio no 2 in E minor, op 92 (1892).

Florestan Trio.

Hyperion CDA67538 34 “Camille Saint-Saëns was neither innovativory nor adventurous but his music is elegant, well-crafted and appealing. It was admired by composers as widely different as Liszt and Ravel and it survives today because it has many delights to offer the listener.”

– Neville Garden September 2017

fineMusic 102.5

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Wednesday 13 SEPTEMBER 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus: Erich Korngold Prepared by Paul Cooke Korngold, E. Overture to a drama, op 4 (1911). BBC PO/Matthias Bamert.

Chandos CHAN 9631 14 Sonata no 1 (1908-09). Geoffrey Tozer, pf.

Chandos CHAN 9389 17 Cello concerto in C, op 37 (1946). Peter Dixon, vc; BBC PO/Matthias Bamert.

Chandos CHAN 9508 13 Garden scene, from Much ado about nothing, op 11 (1918-19). Eddie Chen, vn; Jamie Cock, pf.

5MBS 2014 Finals 6 Interlude, from Das Wunder der Heliane, op 20 (1926). Bruckner O, Linz/Caspar Richter.

ASV DCA 1074 8 Glück, das mir verblieb, from Die tote Stadt (1920). Beverly Sills, sop; London PO/Julius Rudel.

DG 471 766-2 8 Medley from the film The adventures of Robin Hood (1938). National PO/Charles Gerhardt.

RCA GD80912 12 10:30 CONCERT HALL Prepared by Rex Burgess Schumann, R. Overture, scherzo and finale, op 52 (1841-45). Seattle SO/Gerard Schwarz.

Naxos 8.571214 18 Mahler, G. Kindertotenlieder (1901-04).

Thomas Hampson, bar; Vienna PO/Leonard Bernstein.

DG 477 8825 28 Roussel, A. Ballet: Bacchus and Ariadne, op 43 (1930). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9494 36

Mozart, W. Quintet in E flat, K407 (1782).

Nury Guarnaschelli, hn; Signum Quartet.

Capriccio C 5059 17 Hindemith, P. Morgenmusik (1932).

Urban Agnas, tpt; Joakim Agnas, tpt; Anna Axelsson, hn; Jonas Bylund, tb; Lennart Nord, tuba.

BIS CD-544 6 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 CLASSICAL MUSIC EXPLORED France: Part 2 Prepared by Michael Morton-Evans Anglebert, J-H. Suite in D minor (1689).

Kenneth Gilbert, hpd.

Harmonia Mundi HMX 2908250.79 14 Balbastre, C-B. Prélude: a la venue Noël.

Michel Chapuis, org.

LP Telefunken SAWT 9596-A 5 La Malesherbe. Sophie Yates, hpd.

Chandos CHAN 0777 4 Boismortier, J. de Sarabande, from Cello sonata in D minor, op 50 no 4 (pub. 1734).

Suzanne Wujsman, vc; Noeleen Wright, vc; Ensemble Battistin.

ABC 476 5162 3 Aubert, J. Concerto grosso no 4 in E minor, op 2, Le carillon (1739). Collegium Musicum 90/Simon Standage.

Chandos CHAN 0577 11

Malcolm Williamson STORM KNIGHT: Vladimir Matorin, bass Yurlov Academic Choir; Bolshoi TO/Andrey Chistiakov.

Brilliant Classics 94657 1:05 For synopsis, go to finemusicfm.com Stravinsky, I. Mavra. Opera in one act.

Libretto by Boris Kochno after Pushkin. First performed Paris,1922.

PARASHA: Susan Belinck, sop MOTHER: Mary Simmons, mezz NEIGHBOUR: Patricia Rideout, cont HUSSAR: Stanley Kolk, ten CBC SO/Igor Stravinsky.

Sony SM3K 46 291-302 28 For synopsis, go to finemusicfm.com Balakirev, M. Overture to King Lear. BBC PO/Vassily Sinaisky.

Chandos CHAN9667 11 22:00 MAJOR AUSTRALIAN WORKS Prepared by Albert Gormley

Rousseau, J-J. Four airs (1770). Michel Portal, cl; Paul Meyer, cl.

EMI 5 56732 2 8

Williamson, M. Temples, from Five preludes (1968). Antony Gray, pf.

ABC 472 902-2 4

Boïeldieu, A. Overture to Zoraïme and Zulnar (1798). English CO/Richard Bonynge.

Decca 466 434-2 7

Piano concerto no 3 in E flat (1962).

Malcolm Williamson, pf; London PO/Leonard Dommett.

Lyrita SRCD.280 32

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Sculthorpe, P. Quartet no 16 (2005). Goldner String Quartet.

Tall Poppies TP206 22 Williamson, M. Violin concerto (1965).

Ronald Thomas, vn: West Australian SO/ Thomas Mayer.

LP ABC/WRC S 4930 26

12:00 JAZZ SKETCHES with Robert Vale

20:00 AT THE OPERA Prepared by James Nightingale

13:00 BRASS CHAMBER MUSIC Prepared by Gael Golla

Rimsky-Korsakov, N. Kashchey the immortal: an autumn tale. Opera in one act.

Libretto by the composer. First performed Moscow, 1902.

Sculthorpe, P. Piano concerto (1983). Ian Munro, pf; Australian Youth O/Diego Masson.

Tall Poppies TP113 25

KASHCHEY: Alexander Arkhipov, ten PRINCESS: Irina Zhurina, sop KASHCHEYEVNA: Nina Terentieva, mezz PRINCE IVAN KOROLEVITCH: Vladislav Verestnikov, bar

Kaschey the immortal is based a Russian fairy tale about Koschei the Deathless, an evil, ugly wizard, who menaced mainly young women.

Bozza, E. Trois pièces. Triton Trombone Quartet.

BIS CD-604 11 Corelli, A. Sonata in D. Niklas Eklund, tpt; Wasa Baroque Ensemble.

Naxos 8.555099 5 22

Rimmer, W. Fantasia on a Welsh melody, Jenny Jones. James Brice, euphonium; Brett Jones, pf.

AEMS JB001 13

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

Thursday 14 SEPTEMBER 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 Great string players Prepared by Andari Anggamulia Mendelssohn, F. Variations concertante, op 17 (1829). Lynn Harrell, vc; Bruno Cannino, pf.

Decca 430 198-2 9 Mozart, W. Violin concerto no 1 in B flat, K207 (1773). Anne-Sophie Mutter, vn; Academy of St Martin in the Fields/Neville Marriner.

EMI 5 62825 2 21 Tchaikovsky, P. Pezzo capriccioso, op 62 (1887). Lynn Harrell, vc; Cleveland O/Lorin Maazel.

Decca 480 6617 8 Penderecki, K. La follia (2013).

DG 479 2949 12 Mendelssohn, F. Piano trio no 1 in D minor, op 49 (1839). Lyn Harrell, vc; André Previn, pf.

DG 477 8001 28 Anne-Sophie Mutter, vn (2 above) 10:30 CONCERT HALL Mendelssohn, F. Overture to Son and stranger (1829). South German PO/Alfred Scholz.

Point Classics 2672922 7 Rodrigo, J. Concierto de Aranjuez (1939).

William Kimberley, gui; European PO/ Hymisher Greenberg.

Tring SYM 057 31 Scarlatti, A. Cantata pastorale (1716).

Gertraud Stocklassa, sop; Mainz CO/Günther Kehr.

Mediaphon 25407-94 17 Bach, J.S. Orchestral suite no 1 in C, BWV1066. O Classica, St Petersburg/ Leonid Malyshev.

Elap 44131 28 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CHORALE Prepared by Randolph Magri-Overend Rutter, J. A choral fanfare. Cambridge Singers/John Rutter.

UCJ 178 540-0 2 Brahms, J. Four songs, op 17 (1860). RIAS Chamber Choir; Stefan Jezierski, hn; Manfred Klier, hn; Marie-Pierre Langlamet, hp; Marcus Creed, cond.

Harmonia Mundi HMC 901592 15

Beethoven, L. Fantasia in C minor, op 80, Choral (1807). London Voices; Pietro Spada, pf; Philharmonia O/Alexander Gibson.

ASV DCA 911 20 Rachmaninov, S. Three Russian songs, op 41 (1926). Russian State Symphony Cappella/Valery Polyansky.

Chandos CHAN 9665 15 14:00 LOUDLY LET THE TRMPET BRAY Prepared by Stephen Wilson Mouret, J-J. Fanfares in D for four trumpets, timpani and organ. Trumpet Consort Friedemann Immer.

Harmonia Mundi RD 77027 8 Saint-Saëns, C. Septet in E flat, op 65 (1881). David Guerrier, tpt; Renaud Capuçon, vn; Esther Hoppe, vn; Beatrice Muthelet, va; Gautier Capuçon, vc; Janne Saksala, db; Frank Braley, pf.

EMI/Virgin 5 45602 2 16 Hummel, J. Trumpet concerto in B (1802).

David Elton, tpt; Seraphim Trio.

Fine Music concert recording 18 Handel, G. Water music, HWV348-50 (1717; arr.). Crispian Steele-Perkins, tpt; Leslie Pearson, org.

LDR 1006 19 Mozart, L. Serenade in D (1762). Guy Touvron, tpt; Michel Becquet, tb; RIASSinfonietta/Emö Sebestyén.

LP Schwann Musica Mundi MS 2005 F 47 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 SHOWCASING AUSTRALIAN ARTISTS Diana Doherty Prepared by Jennifer Foong Kalliwoda, J. Oboe concertino in F, op 110 (1844). Queensland SO/Werner Andreas Albert.

ABC 456 681-2 16 Piazzolla, A. Oblivion, from Incidental music to Henry V (1984). Sinfonia Australis/Mark Summerbell.

ABC 481 0116 4 Edwards, R. Oboe concerto, Bird spirit dreaming (2002). Melbourne SO/Arvo Volmer.

ABC 476 3768 18 Bach, J.S. Oboe d’amore concerto in A, BWV1055 (1735-40). Ironwood.

ABC 476 3673 15

Modest Mussorgsky Koehne, G. Inflight entertainment (1999).

Sydney SO/Takuo Yuasa.

Naxos 8.555847 29 Diana Doherty, ob (all above) 21:30 SWISS COMPOSERS Prepared by Frank Morrison Bloch, E. Concertino (1948). Noam Buchman,fl; Yuri Gandelsman, va; Atlas Camerata O/Dalia Atlas.

Naxos 8.570259 9 Honegger, A. Pastorale d’été (1920).

Bournemouth Sinfonietta/Tamás Vásáry.

Chandos CHAN 8993 8 Martin, F. Ballade (1939). Celia Chambers, fl; Roderick Elms, pf; London PO/Matthias Bamert.

Chandos CHAN 9380 8 22:00 MUSICAL PORTRAITS Boris Godunov Prepared by Elaine Siversen Kalinnikov, Vasily. Incidental music to Tsar Boris (1899). Budapest SO/Antal Jancsovics.

Marco Polo 8.223135 38 Mussorgsky, M. Prologue; Scene 1, from Boris Godunov (1874). Aki Alamikkotervo, ten; Usko Viitanen, bar; Keikki Kilpeläinen, bar; Jorma Falck, bass-bar; Martti Talvela, bass; Savonlinna Opera Festival Ch & O/ Kyösti Haatanen.

BIS CD-373/374 16 Excerpts from Boris Godunov. Nadya Dobriyanova, sop; Neli Bozhkova, mezz; Milen Paounov, ten; Nikolai Ghiaurov, bass; Bulgarian A Capella Choir; Sofia State PO/ Emil Chakarov.

LP Balkanton KKO 1004 42 Prokofiev, S. Music for Boris Godunov, op 70b. O/Alexander Frolov.

Consonance 81-5005 14 Loudly let the trumpet bray is found in the G&S operetta Iolanthe.

September 2017

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Friday 15 SEPTEMBER 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 Paul Cooke Reicha, A. 18 variations and a fantasy in G on Mozart’s Se vuol ballare, op 51 (1804).

Australian Ensemble.

Fine Music Tape Archive 16 Tchaikovsky, P. Suite no 4 in G, op 61, Mozartiana (1887). Detroit SO/Neeme Järvi.

Chandos CHAN 9514 25 Sor, F. Introduction and variations on a theme from Mozart’s The magic flute, op 9 (c1814).

Stephanie Jones, gui.

5MBS 2014 Finals 7 Hummel, J. Fantasia on Mozart’s Il mio tesore in tanto (1833). Wolfram Christ, va; strings of Australian Youth O. Fine Music Tape Archive 8 Coates, G. Puzzle canon, from Symphony no 15, Homage to Mozart (2004-05). Vienna RSO/Michael Boder.

Naxos 8.559371 9 Chopin, F. Variations on Là ci darem la mano, from Mozart’s Don Giovanni, op 2 (1827). Emil Gilels, pf.

DG 479 6288 15 10:30 CONCERT HALL Prepared by James Nightingale Prokofiev, S. Suite from Lieutenant Kijé, op 60 (1934). Montreal SO/Charles Dutoit.

Decca 430506-2 20 Hummel, J. Violin concerto in G (ed. Hogger, Shelley). James Ehnes, vn; London Mozart Players/Howard Shelley.

Chandos CHAN 10255 22 Dukas, P. Symphony in C (1895-96). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9225 41 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FRENCH IMPRESSIONISM A historial survey Prepared by Rex Burgess Chabrier, E. Sous-bois (1881). Angela Hewitt, pf.

Hyperion CDA67515 4 d’Indy, V. Poem of the mountains, op 15 (1881). Stephanie McCallum, pf.

ABC 461 798-2 20 24

Bourgault-Ducoudray, L-A. Rhapsodie cambodgienne (1882). 17 Fanelli, E. Tableaux symphoniques d’après Le roman de la momie (1883-86). 23 Slovak RSO/Adriano Baumann (2 above) Marco Polo 8.225234 Debussy, C. Printemps, symphonic suite (1887; orch. Busser). Montreal SO/Charles Dutoit.

Decca 444 386-2 16 14:30 PRAYERS IN OPERA Prepared by Giovanni Tarasconi Dvorák, A. Song to the moon, from Rusalka (1901). Renée Fleming, sop; Czech PO/ Charles Mackerras.

ABC 480 5629 6 Verdi, G. Nume, custode e vindice, from Aïda (1871). Plácido Domingo, ten; Samuel Ramey, bass; Metropolitan Opera Ch & O/ James Levine.

Sony 88697527722 4 Pace, pace, mio Dio, from La forza del destino (1862). Grace Bumbry, sop; Stuttgart RSO/Stefan Soltesz.

Orfeo C 081 841 A 6 Ave Maria, from Otello (1887). Anna Netrebko, sop; Mahler CO/Claudio Abbado.

DG 474 8002 5 Puccini, G. Vissi d’arte, from Tosca (1900).

Maria Callas, sop; La Scala O/Victor de Sabata.

EMI 5 57056 2 3 15:00 INTIMATE BRAHMS Prepared by Frank Morrison Rossini, G. Introduction, theme and variations. Vincenzo Mariozzi, cl; I Solisti Aquilani/Vittorio Antonellini.

Nuova Era 6910 13 Bartók, B. Hungarian pictures, op 13 (1931).

Philharmonia O/Neeme Järvi.

Chandos CHAN8895 12 Brahms, J. String quintet no 1 in F, op 88 (1883). Raphael Ensemble.

Hyperion CDA66804 28 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison Weber, C.M. Overture to Peter Schmoll (1803). Berlin PO/Herbert von Karajan.

DG 419 070-2 10

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

Beethoven, L. Ten variations on Ich bin der Schneider Kakadu, op 121a. Macquarie Trio.

Fine Music concert recording 19 Schumann, R. Overture to Genoveva, op 81 (1850). Orchestra Mozart/Claudio Abbado.

DG 479 1061 9 Lalo, E. Trio no 2 in B minor (1852). Barbican Piano Trio.

ASV DCA 899 27 Tobias, R. Overture to Julius Caesar (1896).

Scottish NO/Neeme Järvi.

Chandos CHAN 8656 10 Wolf-Ferrari, E. Piano trio no 1 in D, op 5 (1896). Ilona Then-Bergh, vn; Gerhard Zank, vc; Michael Schäfer, pf.

MD+G L 3310/11 32 22:00 BAROQUE AND BEFORE Josquin and the early Franco-Flemish School Prepared by Elaine Siversen Binchois, G. Triste plaisir; Amours mercy; Lune tres belle; De plus en plus. Members of Ensemble Gilles Binchois/Dominique Vellard.

Virgin 5 45285 2 18 Ockeghem, J. Missa de plus en plus. Tallis Scholars/Peter Phillips.

Gimell 454 935-2 34 Josquin Desprez. La déploration pour Jehan Ockeghem. Hilliard Ensemble/Paul Hillier.

Virgin VER 5 61302-2 6 Plus nulz regrets; In te Domine speravi. Paul O’Dette, lute.

Harmonia Mundi HMU 907548 6 Missa, Pange lingua (c1515). Sydney Chamber Choir/Nicholas Routley.

Tall Poppies TP054 34 Adieu mes amours (pub. 1501); Si j’ai perdu mon amy; Baissez-moi, mon doulce amye (pub.1545). Piffaro Renaissance Band.

Archiv 447 107-2 6 Chanson: Allegez moi; Villota: Scaramella va alla guerra; Frottola: El grillo. Sydney University Chamber Choir/Nicholas Routley.

Fine Music concert recording 4

“The area covered by the northeastern corner of France, Belgium and Luxembourg may be regarded as the powerhose of European music during the 15th and 16th centuries. The cultural environment of the region was largely French and the major political unit, the state of the dukes of Burgundy, was ruled by a line of French dukes ... great Flemish composers evolved an increasingly international musical style in which the ars nova of France played a subsidiary role to the inspiration of Italian and English music.”

– Larousse Encyclopedia of Music

Saturday 16 SEPTEMBER

Neeme Järvi 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 ORCHESTRAS AROUND THE WORLD Gothenburg Symphony Orchestra Prepared by Andari Anggamulia Grieg, E. Lyric suite, op 54 (1889-91).

DG 478 5182 19 Shostakovich, D. Six romances on poems

by Raleigh, Burns and Shakespeare, op 140 (1942; orch. 1970). Sergei Lieferkus, bass.

DG 439 860-2 15 Stenhammar, W. Symphony no 2 in G minor, op 34 (1911-15).

BIS CD-251 43 Gothenburg SO/Neeme Jãrvi (all above) 10:30 SMALL FORCES Prepared by Paul Hopwood Beethoven, L. Trio in C minor, op 1 no 3 (1794-95). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf.

Sony SM2K 64510 30 Glinka, M. Grand sextet in E flat for double bass, piano and string quartet (1832).

Capricorn.

Hyperion CDA66163 25 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Tchaikovsky, P. Waltz of the flowers, from The nutcracker. Allentown Band/Ronald Demkee.

AMP 2G 102 6 Bellstedt, H. Napoli. Band of Yorkshire Imperial Metals/Trevor Walmsley.

Decca SB 306 5

Jacques Offenbach

Bernard Haitink

Sousa, J.P. Hands across the sea. Band of HM Royal Marines/Nick Grace.

ABC 278-0272 3

20:00 INFLUENCES AND CONNECTIONS Beethoven and the Ninth Prepared by Calogero Panvino

Suppé, F. Overture to The beautiful Galathea (1865). Black Dyke Mills Band/Peter Parkes.

Chandos BBRD 1036 6

Beethoven, L. Symphony no 9 in D minor, op 125, Choral, mvt 4 (1817-23). Gundula Janowitz, sop; Hilde Rössel-Majdan, cont; Waldemar Kmentt, ten; Walter Berry, bar; Vienna Singverein; Berlin PO/Herbert von Karajan.

DG 429 041-2 18

Alford, K. March: Old Panama. Grimethorpe Colliery Band/Chris Houlding.

EMI 7243-5-21451-2 3 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 SATURDAY POT-POURRI with Randolph Magri-Overend 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Offenbach, J. Orpheus in the Underworld.

Operetta in two acts. Libretto by Ludovic Halévy; rev. Hector-Jonathan Crémieux. First performed Paris, 1858.

EURYDICE: Natalie Dessay, sop ARISTAEUS-PLUTO: Jean-Paul Fouchécourt, ten ORPHEUS: Yann Beuron, ten PUBLIC OPINION: Ewa Podles, mezz JUPITER: Laurent Naouri, bar Lyon National Choir & O; Grenoble CO/Marc Minkowski.

EMI Classics 5 56725 2 1:50

Wagner, R. Sailors’ chorus, from The flying Dutchman (1843). Budapest Radio Ch; Austrian RSO/Pinchas Steinberg.

Naxos 8.550507 13 Brahms, J. Symphony no 1 in C minor, op 68 (1855-76). Vienna SO/Wolfgang Sawallisch.

Decca 478 5609 44 Mahler, G. Das klagende Lied (1878-80).

Heather Harper, sop; Norma Procter, cont; Werner Hollweg, ten; Netherlands Radio Ch; Royal Concertgebouw O/Bernard Haitink.

Philips 464 372-2 38 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Dvorák, A. Serenade in E for strings, op 22 (1875). London PO/Christopher Hogwood.

Decca 448 981-2 31

For synopsis, go to finemusicfm.com

Haydn, J. Sonata no 34 in D, Hob.XVI:33 (1778). Marc-André Hamelin, pf.

Hyperion CDA67710 17

Excerpts from Gaîté parisienne (1866; arr.

Rosenthal, 1938). Berlin RSO/Paul Strauss.

DG 477 5349 25

Enescu, G. Orchestral suite no 2, op 20 (1915). Rumanian NRO/Horia Andreescu.

Olympia OCD 495 25

17:30 STAGING MUSIC Are we there yet? England with Angela Cockburn

Cavalli, F. Prison scene duets, from L’Ormindo (1644). Fiona Campbell, mezz; David Walker, ct; Ironwood/Neal Peres da Costa.

Vexations 840 840-1101 14

18:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Oscars for best original scores

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 September 2017

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Sunday 17 SEPTEMBER 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Bach, J.S. O Lamm Gottes, unschuldig, BWV618 (1708-15). Det Fynske Kammerkor; Kevin Bowyer, org; Alice Joensen, cond.

Nimbus NI 5457/8 4 Couperin, F. Leçons de Tenèbres (c171317). Concerto Vocale/René Jacobs.

Harmonia Mundi HMC 901133 43 Bach, J.S. Liebster Jesu, wir sind hier, BWV633, 634 (1713-17). Det Fynske Kammerkor; Kevin Bowyer, org; Alice Joensen, cond.

Nimbus NI 5457/8 5 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Kuhlau, F. Overture to The elf’s hill, op 100 (1828). Odense SO/Othmar Maga.

Unicorn-Kanchana DKPCD 9110 11 Ries, F. Sextet, op 142. Dieter Klöcker, cl; Karl Hartmann, bn; Nury Guarnaschelli, hn; Wolfgang Güttler, db; Edward Witsenburg, hp; Werner Genuit, pf.

Schwann 310 001 H1 20 Onslow, G. Piano trio, op 27 (1824). Trio Cascades. cpo 777 230-2 27 Beethoven, L. Mödlinger dances, WoO17 (1819). Vienna Mozart Ensemble/Willi Boskovsky.

Decca 436 782-2 17 Neumann, H. Variations on a theme of Schubert, op 21 (1825). Dieter Klöcker, cl; Sonja Prunnbauer, gui.

Dabringhaus Grimm MD&G L 3319 6 Méhul, É-N. Symphony no 1 in G minor (1808-09). Les Musiciens du Louvre/Marc Minkowski.

Erato 2292-45026-2 26 12:00 SPEAK EASY, SWING HARD with Richard Hughes 13:00 WORLD MUSIC: Whirled Wide with Linda Marr 14:00 FROM SALIERI TO SCHUMANN Prepared by Andrew Parker Salieri, A. Concerto in C. Richard Adeney, fl; James Brown, ob; English CO/Richard Bonynge.

ABC 475 070-2 18 Schubert, F. Sonata no 3 in G minor, D408 (1816). Midori Seiler, vn; Jos van Immerseel, pf.

Harmonia Mundi ZZT060501 16 26

Schumann, R. Frauenliebe und -leben, op 42 (1840). Kathleen Ferrier, cont; Bruno Walter, pf.

Decca 414 611-2 21 15:00 SUNDAY SPECIAL Shostakovich: The lighter side Prepared by Paolo Hooke Shostakovich, D. Excerpts from The bedbug (1929; arr. Shostakovich, Solin). Rustem Hayroudinoff, pf.

Chandos CHAN 9907 19 Excerpts from the ballet, The limpid stream, op 39 (1935; rev. Rozhdestvensky). Royal Stockholm PO/Gennady Rozhdestvensky.

Chandos CHAN 9423 31 Jazz suite no 2 (1938). Royal Concertgebouw O. Decca 433 702-2 24 Excerpts from film, The gadfly, op 97 (1955).

Philadelphia O. Decca 452 597-2 31 Riccardo Chailly, cond (2 above) 17:00 HOSANNA Prepared by Richard Munge Hymn: Glorious things of Thee are spoken; Psalm no 145, I will magnify Thee, O God, my King. Choir of York Minster; John Scott Whiteley, org; Philip Moore, cond.

Priory PRCD 5013 8 Walton, W. Coronation Te Deum (195253). 10 Britten, B. Jubilate Deo (1961). 3 Choir of St John’s College, Cambridge/ Christopher Robinson (2 above) Naxos 8.557557-58 Stanford, C. Villiers Song of wisdom. 5 Campbell, S. Praise to God in the highest. 3 Handel, G. Let the bright seraphim, from Samson, HWV57. 8 Knight, G. Christ whose glory. 3 Choristers of Canterbury Cathedral; Michael Harris, org; David Flood, cond (4 above) York 120 Wesley, S.S. Thou wilt keep him in perfect peace. Martin Neary, cond. 4 Hymn: All people that on earth do dwell.

Roderick Franks, tpt; London Brass; Iain Simcock, org. 5 Widor, C-M. Toccata, from Organ symphony no 5 in F minor, op 42 no 1 (1879). 6

18:00 MOZARTIANA Prepared by Chris Blower Chopin, F. Variations on Là ci darem la mano, from Mozart’s Don Giovanni (1827).

Emil Gilels, pf.

DG 479 6288 15 Reinecke, C. Fantasy piece, op 276 no 5, after Mozart. Christian Lambour, pf.

Schwann 310 120 2 Glinka, M. Variations in E flat on a theme from Mozart’s The magic flute (1822). Tatiana Loguinova, pf.

Phaedra 292026 9 Hummel, J. Fantasina, after Mozart’s The abduction from the seraglio (1830). Christian Lambour, pf.

Schwann 310 120 7 Liszt, F. Two transcriptions on themes from Mozart’s Requiem (pub. 1865). Leslie Howard, pf.

Hyperion CDS44554 7 Czerny, C. Tenth rondino on a theme of Mozart, op 98. Christian Lambour, pf.

Schwann 310 120 11 19:00 SUNDAY NIGHT CONCERT Copland, A. Four dance episodes, from Rodeo (1942). Detroit SO/Antal Dorati.

Decca 430 705-2 20 Giuliani, M. Guitar concerto, op 30.

Dagoberto Linhares, gui; Camerata Cassovia/ Johannes Wildner.

Naxos 8.550483 25 Tchaikovsky, P. Suite no 1 in D, op 43 (1879). Natonal SO of Ireland/Stefan Sanderling.

Naxos 8.550644 38 20:30 NEW HORIZONS Prepared by Nev Dorrington Preisner, Z. Danse macabre, suite no 1 (2010). Calisia Philharmonic SO/Adam Klocek.

New Music Productions B0040QOAKA 36 Labyrinthe, opéra égyptien. Warsaw Chamber Ch & SO. Virgin France 7243-841258 9 Danse macabre, suite no 2 (2010). Callsia Philharmonic SO/Adam Klocek.

New Music Productions B0040QOAKA 22 Vangelis. Elegy (2011). Boris Andrianov, vc; Russian NO. 10

Martin Neary, org (2 above)

Preisner, Z. Greetings from Pamallcan (2016). Leszek Mozdzer, pf.

EMI 72435 56971 8

Choir of Westminster Abbey (3 above) Pickwick International PCD 919

22:00 AFTER HOURS JAZZ with Kevin Jones

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

Monday 18 SEPTEMBER

Nicola Hall

Charles Dutoit

Eyvind Alnaes

0:00 CLASSIC-ALL THROUGH THE NIGHT

Smetana, B. Vltáva, from Ma vlast (1874).

Polish National RSO/Antoni Wit. Naxos 8.550931 13

Bizet, G. Suite from Carmen (1873-74).

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1939 Prepared by Rex Burgess Wolf-Ferrari, E. Overture to The backward woman (1939). Royal PO/José Serebrier.

ASV DCA 861 8 Schmitt, F. Hasards, op 96 (1939-44). Régis Pasquier, vn; Bruno Pasquier, va; Roland Pidoux, vc; Haridas Grief, pf.

Auvidis V 4679 15 Bartók, B. Divertimento for strings (1939).

Tasmanian Symphony Chamber Players/ William Hennessy.

Fine Music Tape Archive 25 Vaughan Williams, R. Serenade to music (1939). Pearl Berridge, sop; Elaine Blighton, sop; Janet Delpratt, sop; Marilyn Richardson, sop; Lauris Elms mezz; Ruth Gurner, mezz; Helen McKinnon, mezz; Suzanne McLeod, mezz; Ronald Dowd, ten; Gerald English, ten; Raymond McDonald, ten; David Parker, ten; Lyall Bevan, bass; Robert Dawe, bass; Graham McIntosh, bass; Donald Shanks, bass; Sydney SO/Patrick Thomas.

ABC 476 4565 12 Castelnuovo-Tedesco, M. Guitar concerto no 1 in D, op 99 (1939). Nicola Hall, gui; London Mozart Players/Andrew Litton.

ABC 480 6461 21 10:30 CONCERT HALL Prepared by Randolph Magri-Overend Smetana, B. Three dances, from The bartered bride (1866). Cleveland O/George Szell.

Sony SBK 48 279 11 Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708; transcr. Stokowski).

Sydney SO/Robert Pikler.

Chandos CHAN 6532 10

Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). Czech PO/George Szell.

Sony SMK 68 447 49 12:00 SWING SESSIONS with John Buchanan 13:00 ‘THE BEST SPANISH MUSIC …’

Prepared by Barrie Brockwell Chabrier, E. España (1883). London SO/ Ataulfo Argenta.

Decca 443 580-2 7 Chaminade, C. Serenade espagnole (1895; arr. Kreisler). Tzigane Piano Trio.

ASV DCA 965 3 Ravel, M. Rhapsodie espagnole (1907).

Detroit SO/Paul Paray.

Mercury 475 6268 15 Debussy, C. La soirée dans Grenade, from Estampes (1903). Claudio Arrau, pf.

Philips 432 330-2 6 Lalo, E. Symphonie espagnole, op 21 (1875).

Sarah Chang, vn; Royal Concertgebouw O/ Charles Dutoit.

EMI 5 55292 2 33 Ravel, M. Chanson espagnole, from Folk songs (1910). Victoria de los Angeles, sop; Gonzalo Soriano, pf.

EMI CMS 5 65061 2 3 Alborada del gracioso, no 4 from Miroirs (1905). Stephen Hough, pf.

Hyperion CDA67890 6

Sydney SO/Matthias Bamert.

ABC 434 714-2 8 14:30 A NORDIC CONCERT Prepared by Barrie Brockwell Isolfsson, P. Festival overture (1950).

Icelandic SO/Petri Sakari.

Chandos CHAN 9180 13 Crusell, B. Bassoon concertino in B flat (1829). Karen Geoghegan, bn; BBC PO/ Gianandrea Noseda.

Chandos CHAN 10613 17 Alnaes, E. Piano concerto in D, op 27. Piers Lane, pf; Bergen PO/Andrew Litton.

Hyperion CDA67555 32 Alfvén, H. Suite: The prodigal son (1957).

Stockholm PO/Neeme Järvi.

BIS CD-455 19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 19:00 JAZZ 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

MUSIC TRIVIA 1. Richard Strauss wrote two tone poems with the word Don in the title. Can you name them?

2. Franz Schubert wrote the song cycle Die schöne Müllerin, but who wrote the cycle Die schöne Magelone?

3. To what does the term ‘polychoral’ refer?

4. In what country was the 18th century French composer Chevalier de St Georges born?

5. The Sorcerer was an operetta by Gilbert & Sullivan, but who wrote The Sorcerer’s apprentice?

Find answers on page 37.

September 2017

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Tuesday 19 SEPTEMBER 0:00 CONTEMPORARY COLLECTIVE

Falla, M. de Concerto for harpsichord, flute, oboe, clarinet, violin and cello (1923-26).

Frantisek Cech, fl; Jaraslav Chvapil, ob; Karel Dlouhy, cl; Lubomir Novosad, vn; Karel Vik, vc; Zuzana Ruzicková, hpd.

Supraphon SU 4117-2 13

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 Master pianists Prepared by Chris Blower

Obradors, F. Canciones clásicas espanolas, vol 1 (1921). Lauris Elms, cont; David Miller, pf.

Fine Music concert recording 12

Mozart, W. Fantasia in D minor, K397 (c1782).

Sony SK89233 7 Grieg, E. Piano concerto in A minor, op 16 (1868). Queensland SO/Richard Bonynge.

ABC 481 011-7 31 Gershwin, G. Nice work if you can get it, from A damsel in distress (1937; arr. Risby).

James Morrison, tpt.

ABC 481 0629 5 Simon Tedeschi, pf (3 above) Schubert, F. Soirées de Vienne, D427 (1816).

MBS 40 7 Chopin, F. Nocturnes, op 9: nos 1 and 2 (1830-31; arr. Rutter). Jane Rutter, fl.

ABC 476 6476 10 Beethoven, L. Sonata no 8 in C minor, op 13, Pathétique (1798).

ABC 465 695-2 19 Gerard Willems, pf (3 above) 10:30 CONCERT HALL Prepared by Gerald Holder Bach, J.S. Orchestral suite no 3 in D, BWV1068 (c1731). Capella Istropolitana/ Jaroslav Dvorák.

Naxos 8.554043 20 Prokofiev, S. Symphony-concerto in E minor, op 125 (1952). Mstislav Rostropovich, vc; USSR State RT SO/Gennady Rozhdestvensky.

Brilliant Classics 9240 36 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). Vienna PO/Georg Solti.

Decca 414 371-2 29

Delius, F. On hearing the first cuckoo in spring (1911-12). English CO/Daniel Barenboim.

DG 442 8333 7 Bauer, H. Capriccio on the cuckoo’s call, after Frescobaldi. Sandro Ivo Bartoli, pf.

Brilliant Classics 9417 5 Vivaldi, A. Violin concerto in A, RV335, The cuckoo. Elizabeth Wallfisch, vn; Australian Brandenburg O/Paul Dyer.

ABC 456 364-2 9 Schmelzer, J. Cuckoo sonata. Romanesca.

Harmonia Mundi HMU 907143 6 Handel, G. Organ concerto no 13 in F, HWV295, The cuckoo and the nightingale (1739). Warwick Dunham, org; Cove O/ Alexander Briger.

Fine Music concert recording 13 14:00 OUT OF AMERICA Prepared by Frank Morrison Barber, S. Overture: The school for scandal, op 5 (1932). Detroit SO/Neeme Järvi.

Chandos CHAN 8958 9 Gottschalk, L. Grand tarantelle, op 67 (1868; arr. Kay). Reid Nibley, pf; Utah SO/Maurice Abravanel.

Vanguard OVC 4051 7

12:00 JAZZ RHYTHM with Jeannie McInnes

Bernstein, L. Prelude, fugue and riffs (1949).

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

Chandos CHAN 9210 8

13:00 THE CUCKOO Prepared by Stephen Wilson

14:30 SPANISH CHAMBER MUSIC Prepared by Gael Golla

Canteloube, J. The cuckoo, from Songs of the Auvergne, bk 4 (1923-30). Sara Macliver, sop; Queensland O/Brett Kelly.

ABC 476 570-3 2 Walther, J.J. Sonata no 10, In imitation of a cuckoo. Elizabeth Wallfisch, vn; Rosanne Hunt, vc; Linda Kent, hpd.

ABC 465 269-2 8 28

George Frideric Handel

Granados, E. Valses poéticos (1887). Pro Arte Guitar Trio.

ASV WHL 2061 15 Sarasate, P. de The song of the nightingale, op 29 (pub. 1885). Ruggiero Ricci, vn; Graeme McNaught, pf.

Dynamic CDS 94 7

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

Bacarisse, S. Romanza, from Concertino in A minor, op 72 (1929). Karin Schaupp, gui; Tasmanian SO/Benjamin Northey.

ABC 481 1965 6 Rodrigo, J. Serenata al Alba del Dia. Virginia Taylor, fl; Timothy Kain, gui.

Tall Poppies TP003 4 Turina, J. Piano trio no 1, op 35 (1927).

Beaux Arts Trio.

Philips 446 684-2 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Klughardt, A. Schilflieder, op 28 (1873).

Albrecht Mayer, ob; Tabea Zimmerman, va; Markus Becker, pf.

Decca 478 3564 19 Raff, J. String octet in C, op 176 (1872).

Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 8790 24 Hummel, J. Septet no 2 in C, op 114, Military (1829). Capricorn.

Hyperion CDA66396 30 Pleyel, I. Trio in D for violin, viola and cello, op 10 no 2. Members of Consortium Classicum/Dieter Klöcker. cpo 999 743-2 11 Fauré, G. String quartet in E minor, op 121 (1924). Parrenin Quartet.

EMI CMS 7 62548 2 25 Birds have played a role in Western Classical music since at least the 14th century. The nightingale and the cuckoo are probably the most often quoted birds.

Many composers have used the cuckoo’s distinctive call including Delius, Vivaldi, Mahler and Handel (The cuckoo and the nightingale) while the melodic nightingale’s song has inspired many more.

Wednesday 20 SEPTEMBER

Friedrich Kuhlau

Franz Schubert

Pyotr Ilyich Tchaikovsky

0:00 CONTEMPORARY COLLECTIVE

13:00 IN LOVE WITH THE VIOLA Prepared by Derek Parker

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Handel, G. Viola d’amore sonata in C. Sydney Consort.

Sydney Consort SC005 14

20:00 AT THE OPERA 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: Friedrich Kuhlau Prepared by Jennifer Foong Kuhlau, F. Overture to Lulu (1824). Odense SO/Eduard Serov.

Unicorn-Kanchana DKP(CD)9132 8 Trio in G, op 119 (1831). Jean-Pierre Rampal, fl; Claudi Arimany, fl; John Steele Ritter, pf.

Delos DE 3212 16 Sonatina in D, op 55 no 5 (pub. 1823). Jenö Jandó, pf.

Naxos 8.570710 5 Concertino in F minor, op 45 (1821). Ib Lazky-Otto, hn; Frøydis Ree Wekre, hn; Odense SO/Othmar Maga.

Unicorn-Kanchana DKPCD 9110 23 Grande sonate concertante in A, op 85 (1827). Alain Marion, fl; Pascal Rogé, pf.

Denon 33CO-2046 28 10:30 CONCERT HALL Prepared by Michael Field Ciurlionis, M. The sea (1903-07). Slovak PO/Juozas Domarkas.

Marco Polo 8.223323 27 Beethoven, L. Piano concerto no 3 in C minor, op 37 (1800). Gerard Willems, pf; Sinfonia Australis/Antony Walker.

ABC 980 046-5 36 Sibelius, J. Symphony no 7 in C, op 105 (1926). Royal Concertgebouw O/Eugene Ormandy.

Radio Nederland RCO 06004 21 12:00 JAZZ SKETCHES with Robert Vale

Schubert, F. Concerto in A minor for viola d’amore and strings, D821, Arpeggione (1824; arr.). Alexander Labko, va d’amore; RIAS Sinfonietta/Jirí Stárek.

Musica Mundi CD 316 023 F1 23 Ariosti, A. Viola d’amore sonata in D (1724).

Members of Sydney Consort.

Sydney Consort SC002 8 Vivaldi, A. Viola d’amore concerto in D minor, RV393. Garth Knox, va d’amore; Agnès Vesterman, vc.

ECM New Series 2157 4764501 9 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 CLASSICAL MUSIC EXPLORED France: Part 3 Prepared by Michael Morton-Evans

Tchaikovsky, P. The Queen of Spades.

Opera in three acts and seven scenes.

Libretto by Modest Tchaikovsky after Pushkin.

First performed St Petersburg, 1890.

HERMANN: Vladimir Atlantov, ten LlSA: Tamara Milachkina, sop COUNTESS: Valentina Levko, cont PRINCE YELETSKY: Andrei Fedoseyev, bar Bolshoi Opera Ch & O/Marc Ermler.

Melodia 74321170812 2:41 For synopsis, go to finemusicfm.com Waltz scene, from Eugène Onegin (1879).

William Mason, bass; Bernd Weik, bar; John Alldis Choir; Royal Opera House O/Georg Solti.

Decca 448 135-2 7 23:00 ENGLISH STRINGS Prepared by Stephen Wilson

Berlioz, H. Overture: Le corsaire, op 21 (1844). Polish State PO/Kenneth Jean.

Naxos 8.550231 9

Elgar, E. Serenade in E minor, op 20 (1892).

Adelaide SO/Carl Pini.

LP ABC 5ABCL 8001 11

Fauré, G. Cantique de Jean Racine, op 11 (1865). Choir of St John’s College Cambridge/Christopher Robinson.

Brilliant Classics 94412 5

Lloyd Webber, W. Serenade for strings (1951-80). City of London Sinfonia/Richard Hickox.

Chandos CHAN 9595 10

Massenet, J. Suite no 4: Scènes pittoresques (1874). Sydney SO/Eugene Goossens.

LP ABC/HMV OXLP 7620/21 16 Debussy, C. Prélude à l’après-midi d’un faune (1894). Cleveland O/Pierre Boulez.

DG 447 496-2 9 Ravel, M. La valse (1911). Montreal SO/ Charles Dutoit.

Decca 458 605-2 12 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

Vaughan Williams, R. Charterhouse suite (1923). English Northern Philharmonia/David Lloyd-Jones.

Naxos 8.555068 14 Howells, H. Serenade for strings (1917). City of London Sinfonia/Richard Hickox.

Chandos CHAN 9161 4 Berkeley, L. Serenade for strings, op 12 (1939). London PO/Lennox Berkeley.

Lyrita SRCD.226 13

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Thursday 21 SEPTEMBER 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 SHOWCASING AUSTRALIAN ARTISTS Seraphim Trio Prepared by Stephen Wilson Schubert, F. Notturno in E flat, D897 (c1828).

ABC 476 4741 9 Zoltán Kodály 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 Great string players Prepared by Michael Morton-Evans Handel, G. Double concerto in B flat, HWV294 (arr. E. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui; Tasmanian SO/ Benjamin Northey.

ABC 476 5948 13 Hoffmeister, F. Quartet no 4 in D. Norbert Duka, db; Ernö Sebestyén, vn; Helmut Nicolai, va; Martin Ostertag, vc.

Naxos 8.572187 14 Kodály, Z. Serenade, op 12 (1920). Vilmos Tátrai, vn; István Várkonyi, vn; György Konrád, va.

Hungaroton HCD 31046 20 Brahms, J. Quartet no 3 in B flat, op 67 (1875). Mikhail Kopelman, vn; Andrey Abramenkov, vn; Dmitry Shebalin, va; Valentin Berlinsky, vc.

Melodiya MA 00063 002 36 10:30 CONCERT HALL Prepared by Rex Burgess Grieg, E. Suite no 1, op 46, from Peer Gynt (1876). Vienna PO/Herbert von Karajan.

Decca 478 5630 15 Nielsen, C. Violin concerto, op 33 (1911).

Dong-Suk Kang, vn; Gothenburg SO/MyungWhun Chung.

BIS CD-614/616 34 Sibelius, J. Symphony no 5 in E flat, op 82 (1915/19). Gothenburg SO/Neeme Järvi.

BIS CD-222 34 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 30

Nikolaus Harnoncourt

Hummel, J. Trumpet concerto in B (1802).

David Elton, tpt. 18

13:00 MAGIC MOZART Prepared by Frank Morrison

Mozart, W. Symphony no 38 in D, K504, Prague (1786; arr. Hummel). 23

Mozart, W. Der Vogelfänger bin ich ja, from The magic flute, K620 (1791). Bryn Terfel, bass-bar; Metropolitan Opera O/James Levine.

DG 445 866-2 3

Dvorák, A. Piano trio no 4 in E minor, op 90, Dumky (1891). 31

Quartet no 21 in D. Lotus String Quartet. apex 0927 49575-2 23 Der Hölle Rache, from The magic flute. Sumi Jo, sop; Vienna PO/Georg Solti.

Decca 448 135-2 3 Sonata no 13 in B flat, K333 (1783-84). Alfred Brendel, pf.

Philips 454 244-2 21 In diesen heil’gen Hallen, from The magic flute. Matti Salminen, bass; Lahti SO/Eri Klas.

BIS CD-520 4 Violin concerto no 5 in A, K219, Turkish (1775). Itzhak Perlman, vn; Vienna PO/ James Levine.

DG 427 813-2 29 Symphony no 35 in D, K385, Haffner (1782).

Concertgebouw O/Nikolaus Harnoncourt.

Teldec 8.42703 23 15:00 VIOLA SELECTIONS Prepared by Frank Morrison Glinka, M. Sonata in D minor (1825-28; compl. Borisovsky). Nobuko Imai, va; Roland Pöntinen, pf.

BIS CD-358 16 Bruch, M. Romance, op 85 (c1912). Rainer Moog, va; Rhenish PO/Wolfgang Balzer.

EBS ebs6071 8

Fine Music concert recordings (3 above) Seraphim Trio (all above) 21:30 BEAUTIFUL RAINBOW Prepared by Madilina Tresca Mortier, W. Rainbow bridge. Belgian NO Clarinet Quartet.

Naxos 8.557407 3 Toch, E. The covenant, The rainbow (194445). Tovah Feldshuh, narr; Barbara Feldon, narr; David Margulies, narr; Fritz Weaver, narr; Isaiah Shefferm, narr; Ernst Senff Choir; Berlin RSO/Gerard Schwarz.

Naxos 8.559442 6 Zaidel-Rudolph, J. At the end of the rainbow (1988). NSO of South Africa/Allan Stephenson.

Claremont GSE 1532 16 22:00 MUSICAL PORTRAITS Prepared by Paul Cooke Schubert, F. Ballet music from Rosamunde, D797 (1823). Vienna SO/Nikolaus Harnoncourt.

Apex 0927 498132 16 Kodály, Z. Suite from Háry János, op 15 (1927). South-West German SO/José Serebrier.

BIS CD-875 24 Goossens, E. Romance, from Don Juan de Mañara, op 57 (1937).

Naxos 8.572860 6

Stravinsky, I. Élégie (1944). Nobuko Imai, va.

BIS CD-358 6

Debussy, C. Khamma, dance legend (1912).

Jean-Efflam Bavouzet, pf.

Chandos CHAN 10545 20

Stamitz, C. Viola concerto in D, op 1 (pub.

1774). Tabea Zimmermann, va; European Union CO/Dmitri Demetriades.

Helios CDH55035 21

Rimsky-Korsakov, N. Scheherazade, op 35 (1888). Christopher Warren-Green, vn; Philharmonia O/Vladimir Ashkenazy.

Decca 478 5616 46

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

Friday 22 SEPTEMBER 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 Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708; transcr. Stokowski).

Sydney SO/Robert Pikler.

Chandos CHAN 6532 10 Marcello, A. Oboe concerto in C minor (transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito.

CBS MK 39560 12 Haydn, J. Symphony in G, Hob.I:94, Surprise (1791; arr. Salomon). Ensemble of the Classic Era. ABC 454 500-2 22 Mozart, W. Divertimento in D, K136 (1772; arr. Kain). Guitar Trek.

ABC 432 698-2 12 Tommasini, V. The good-humoured ladies, after Scarlatti (1917). Concert Arts O/Robert Irving.

EMI 65911 15 Liszt, F. Fantasy on motifs from Wagner’s Rienzi (1859). Leslie Howard, pf.

Hyperion CDS44542 9 10:30 CONCERT HALL Prepared by Brian Drummond Borodin, A. In the Steppes of Central Asia (1880). Lamoureux O/Igor Markevitch.

DG 479 0530 8 Westlake, N. Suite from Antarctica (1992).

John Williams, gui; London SO/Paul Daniel.

Sony SK 53361 22 Strauss, R. An alpine symphony, op 64 (1911-15). Cleveland O/Vladimir Ashkenazy.

Decca 425 112-2 50 12:00 A JAZZ HOUR with Barry O’Sullivan

Cherubini, L. Sinfonia, from Medea (1797; arr. Triebensee). Amphion Wind Octet Accent ACC 24232 8 Grandison, M. Tasmanian sparkling; Eden Valley riesling; Pinot noir, from Cellar door suite for cello octet (2016). Cellists of Metropolitan O/Mark Grandison.

Fine Music concert recording 10 Gade, N. String octet in F, op 17 (pub. 1848).

L’Archibudelli; Smithsonian Chamber Players.

Sony SK 48307 29 Gombert, N. In illo tempore (c1540). Henry’s Eight/Jonathan Brown.

Hyperion CDA66943 5 Hertel, J. Concerto in C for eight kettledrums and strings. Werner Thärichen, drums; Berlin RSO/Vernon Handley.

LP Schwann VMS 2066 E 19 15:00 ON A WING AND A PRAYER Prepared by Randolph Magri-Overend Mendelssohn, F. Hear my prayer ... O for the wings of a dove (1844). Kirsten Flagstad, sop; London PO/Adrian Boult.

Decca 448 902-2 12 Strauss, J. II Waltz: Wings of the phoenix, op 125 (1853). CSSR State PO/Alfred Walter.

Marco Polo 8.223201 7 Mussorgsky, M. Farewell, prayer and death of Boris, from Boris Godunov (1874; orch. Rimsky-Korsakov). Fedor Chaliapin, bass; Royal Opera House Ch & O/Vincenzo Bellezza.

EMI CDH 7 61009-2 12 Haydn, J. On mighty wings uplifted, from The Creation, Hob.XXI:2 (1798). Sara Macliver, sop; Tasmanian SO/Ola Rudner.

ABC 472 447-2 7 Janácek, L. The Lord’s prayer (1901-06).

William Kendall, ten; Choir of Gonville and Caius College, Cambridge; Helen Cole, hp; Michael Phillips, org; Geoffrey Webber, cond.

ASV DCA 914 15 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Liszt, F. Hymne triomphal; Marche du sacré, from Meyerbeer’s The prophet (1849-50).

Leslie Howard, pf.

Hyperion CDS44539 15 Berlioz, H. The death of Cleopatra (1829).

Janet Baker, mezz; London SO/Alexander Gibson.

EMI 5 62788 2 21 Wieniawski, H. Études-caprices, op18: nos 2, 5 and 4. David Oistrakh, vn; Igor Oistrakh, vn.

DG 463 616-2 9 Flotow, F. The last rose of summer, from Martha (1847). Joan Sutherland, sop; London SO/Richard Bonynge.

Decca 480 4670 3 Balakirev, M. Piano concerto no 2 in E flat, op posth (1862/1906; compl. Lyapunov).

Anastasia Seifetdinova, pf; Russian PO/ Dmitri Yablonsky.

Naxos 8.570396 37 22:00 BAROQUE AND BEFORE Prepared by Rebecca Zhong Leclair, J-M. Violin sonata in D, op 9 no 3 (pub. 1738). David Oistrakh, vn.

Brilliant Classics 8402 12 Janequin, C. La guerre (c1515). Song Company/Michael Noone.

ABC 461 731-2 7 Boismortier, J. de Sonata in D minor, op 50 no 4 (pub. 1734). Kim Walker, bn; Clena Stein, db; Darryl Nixon, hpd.

Gallo 367 5 Couperin, F. Third lesson for Tenebrae, from Leçons de Tenèbres (c1713-17). Concerto Vocale/René Jacobs.

Harmonia Mundi HMC 901133 13 Rameau, J-P. Suite in G major/minor, from Nouvelles suites de clavecin (pub. 1728).

Gilbert Rowland, hpd.

Naxos 8.553048 27 Le Jeune, C. Motet: Benedicite Dominum omnes angeli, from Deuxième livre des meslanges (pub. 1612). Choir of New College, Oxford/Edward Higginbottom.

Hyperion CDA66387 12

13:00 OCTETS Prepared by Stephen Wilson

20:00 THE ROMANTIC CENTURY Prepared by Denis Patterson

Corrette, M. Sonata in D, from Les délices de la solitude, op 20 no 6 (c1739). Mark Caudle, vc; Paul Nicholson, hpd.

Amon Ra SAR 57 11

Reinecke, C. Wind octet in B flat, op 216 (1892). Members of Boston SO. Naxos 8.570777 23

Tchaikovsky, P. Overture to The Voyevoda (1869). Ukraine NSO/Theodore Kuchar.

Naxos 8.554845 9

Lully, J-B. Ballet de Xerxès (1660). Aradia Baroque Ensemble/Kevin Mallon.

Naxos 8.554003 19

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

BIS CD-1796/98 14

Sarasate, P. de Carmen fantasy, op 25 (c1883). Joshua Bell, vn; Samuel Sanders, pf.

Decca 475 6715 15

Some music lovers like to consider the Baroque era as the ‘Good Old Days’.

September 2017

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Saturday 23 SEPTEMBER 0:00 CLASSIC-ALL THROUGH THE NIGHT

Strouse, C. Excerpts from Bye, bye, birdie (1960). Ann-Margret, Janet Leigh, Dick Van Dyke, Bobby Rydell, voices.

RCA 82876 54217 2 18

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

20:00 INFLUENCES AND CONNECTIONS Lili Boulanger Prepared by James Nightingale Boulanger, L. Old Buddhist prayer (1917).

Julian Podger, ten; Monteverdi Choir; London SO/John Eliot Gardiner.

DG 479 1044 8

9:05 ORCHESTRAS AROUND THE WORLD The English Concert Prepared by Di Cox Bach, C.P.E. Sinfonia in A, Wq182 no 4 (1773).

Archiv 415 300-2 12 Fasch, J. Concerto in B flat. Colin Lawson, chalumeau.

Archiv 449 210-2 11

Bohuslav Martinů

Haydn, J. Symphony in D, Hob.I:6, Morning (1761).

Archiv 423098-2 21

13:00 IN A SENTIMENTAL MOOD with Maureen Meers

Mozart, W. Exsultate, jubilate, K165 (1773).

Barbara Bonney, sop.

Archiv 445 353-2 16 Handel, G. Music for the royal fireworks, HWV351 (1749).

Archiv 453 451-2 18 English Concert/Trevor Pinnock (all above) 10:30 SMALL FORCES Prepared by Frank Morrison Khandoshkin, I. Six old Russian songs (1783). Anastasia Khitruk, vn; Dimitry Yakubovsky, va; Kyrill Yevtushenko, vc.

Naxos 8.570028 24 Hyde, M. Trio in G (1948). Christine Draeger, fl; Anne Brisk, cl; James Muir, pf.

Walsingham 2WAL8036-2 11 Bach, J.S. Sonata in E minor, BWV1030 (c1730). Matthew Wilkie, bn; Kees Boersma, db; Neal Peres da Costa, hpd.

Melba MR 301124 18 11:30 ON PARADE Prepared by Paul Hopwood Sousa, J.P. The glory of the Yankee navy (1909).

Naxos 8.559093 4 The invincible eagle (1901).

Naxos 8.572651-52 5

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

14:00 FROM 1890 TO 1920 Prepared by Frank Morrison d’Indy, V. Souvenirs, op 62 (1906).

Strasbourg PO/Theodor Guschlbauer.

Auvidis V4686 20 Chaminade, C. Arabesque, op 61 (c1890).

Peter Jacobs, pf.

Hyperion CDA66846 4 Sinding, C. Romanze in D, op 100 (1910).

Andrej Bielow, vn; North German Radio PO/ Frank Beermann. cpo 777 114-2 9 Humperdinck, E. String quartet in C (191920). Diogenes Quartett. cpo 777 547-2 18 15:00 A CZECH BALLET Martinu, B. Ballet: Spalícek (1932). Anna Kratochvilová, sop; Miroslav Kopp, ten; Richard Novák, bass; Kantiléna Children’s Ch; Kühn Female Ch; Brno State PO/ Frantisek Jílek.

Supraphon SU 3925-2 1:37 Schubert, F. Trio no 2 in E flat, D929 (1827).

Alexander Schneider, vn; Pablo Casals, vc; Mieczyslaw Horszowski, pf.

Sony SMK 58 988 43 17:30 THE VOICES, THE ROLES Tenors: cads and murderers with Angela Cockburn

Royal Artillery Band/Keith Brion (2 above)

18:00 SYDNEY SCHUBERT SOCIETY Prepared by Ross Hayes

Ansell, J. Plymouth Hoe (arr. Godfrey).

Phillip Anderson, cond.

Royal Australian Navy RAN-002 7

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Sparke, P. Orient Express. Steven Stanke, cond. 8 Grainger, P. Lisbon, from A Lincolnshire posy.

Phillip Anderson, cond. 1 Royal Australian Navy RAN-013 (2 above) Royal Australian Navy Band (3 above) 32

Fantasy (1912). David Greilsammer, pf; French RPO/Steven Sloane. naïve V 5224 20

De Paul, G. Excerpts from Li’l Abner (1956).

Peter Palmer, Edith Adams, Stubby Kaye, voices; members of original Broadway cast.

Columbia SK 87700 18 Porter, C. Excerpts from Can can (1953).

Frank Sinatra, Shirley MacLaine, Maurice Chevalier, voices.

Hallmark 710142 13

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

Vierne, L. Westminster carillion, op 54 no 6 (1927). Marie-Claire Alain, org.

Erato 2292-45976-2 6 Tournier, M. Vers la source dans les bois (1919-22). Marshall McGuire, hp.

Artworks AW036 5 Boulanger, L. Nocturne (1911). Janine Jansen, vn; Itamar Golan, pf.

Decca 478 2256 3 Debussy, C. Prélude à l’après-midi d’un faune (1892-94). Melbourne SO/Jorge Mester.

ABC 481 0408 10 Fauré, G. Sonata in E minor, op 108 (191617). Shlomo Mintz, vn; Yefim Bronfman, pf.

DG 477 5448 24 Boulanger, L. Faust et Hélène (1913). Lynne Dawson, sop; Janson Howard, bass; BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9745 30 22:00 SATURDAY NIGHT AT HOME Some of life’s pleasures Prepared by Elaine Siversen Bach, J.S. Cantata, BWV211: Schweigt stille, plaudert nicht, Coffee cantata (1734). Emma Kirkby, sop; Rogers Covey-Crump, ten; David Thomas, bass; Academy of Ancient Music/ Christopher Hogwood.

L’Oiseau-Lyre 478 7863 25 Strauss, J. II Wine, women and song, op 333 (1869). Vienna PO/Zubin Mehta.

Sony 88875035492 10 Walton, W. Anon in love (1959). Martyn Hill, ten; Westminster Singers; City of London Sinfonia/Richard Hickox.

Chandos CHAN 8824 11 Sousa, J.P. Excerpts from People who live in glass houses (1909). Razumovsky SO/Keith Brion.

Naxos 8.559008 14 Strauss, R. Suite from Whipped cream, op 70 (1924). Detroit SO/Neeme Järvi.

Chandos CHAN 9606 50 The ballet Whipped cream is set in a Vienna cake shop where the confectionery comes alive.

Sunday 24 SEPTEMBER 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Bach, J.S. Singet dem Herrn ein neues Lied, BWV225 (1727). Australian Chamber Choir/ Douglas Lawrence.

Move MD 3363 14 Bruckner, A. Psalm 150 (1892). Juliet Booth, sop; Jean Rigby, mezz; John Mark Ainsley, ten; Gwynne Howell, bass; Corydon Singers; Corydon O/Matthew Best.

Hyperion CDA66599 8 Cellier, A. Theme and variations on Psalm 149 du Psautier de la Réforme, chantez à Dieu chanson nouvelle. Edward Tarr, tpt; Elisabeth Westenholz, org.

BIS CD-152 5 Schubert, F. Mass in C, D452 (1816). Lucia Popp, sop; Brigitte Fassbaender, cont; Adolf Dallapozza, ten; Dietrich Fischer-Dieskau, bass; Bavarian Radio Choir & SO/Wolfgang Sawallisch.

EMI CDM 7 69222 2 26 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Cambini, G. String quartet, op 40 no 3.

Giovane Quartetto Italiano.

Claves 50-9114 12 Pichl, V. Sinfonia in E, Clio (1764-1803).

Toronto CO/Kevin Mallon.

Naxos 8557761 18 Danzi, F. Wind quintet in F, op 68 no 2 (pub.

1824). Vienna-Berlin Ensemble.

DG 423 591-2 19 Gluck, C. Suite from Don Juan (1761).

Rhenish CO/Jan Corazolla.

Christophorus CHE 0064-2 19 Cannabich, C. Flute quintet in E minor, op 7 no 3 (1768-69). Camerata Cologne. cpo 999 544-2 15 Wagenseil, G. Concerto in G. Jana Bouskova, hp; South West German CO, Pforzheim/Vladislav Czarnecki.

Brilliant Classics 99512 14 Haydn, J. Symphony in C, Hob.I:9 (c1762).

Hanover Band/Roy Goodman.

Hyperion CDA66529 12 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 with Gerry Myerson

14:00 TWO AND THREE PIANOS Prepared by Frank Morrison Bach, J.S. Toccata in F for six hands on three pianos, BWV540 (1712-17; arr.

Grainger). Robert Chamberlain, pf; Darryl Coote, pf; Max Cooke, pf.

Move MD 3158 8 Martinu, B. Fantasie for two pianos (1929).

Joshua Price, pf; Dorothy Jonas, pf.

Phoenix PHCD 104 7 Mozart, W. Piano concerto no 7 in F, K242 (1776). Zoltán Kocsis, pf; Dezsö Ránki, pf; András Schiff, pf; Hungarian State O/János Ferencsik.

Fidelio 1812 22 Stravinsky, I. Three movements from Petrushka for two pianos (1911/47). Katia Labeque, pf; Marielle Labeque, pf.

Philips 420 822-2 15 15:00 SUNDAY SPECIAL The Tarot: The Fool’s journey Prepared by Angela Cockburn McCartney, P. The fool on the hill (1967; arr Brouwer). Brew Guitar Duo. DiskBank 793573 736369 4 Riisager, K. Excerpts from Fools’ paradise, op 33 no I (1936). Helsingborg SO/Thomas Dausgaard.

Marco Polo 8.224082 10 Adès, T. Fool’s rhymes, op 5 (1992).

Polyphony; Hugh Webb, hp; Richard Benjafield, perc; Tom Poster, pf; Christopher Bowers-Broadbent, org; Stephen Layton, cond.

EMI 5 57610 2 4 Mayerl, B. April’s fool (pub. 1945). Eric Parkin, pf.

Chandos CHAN 8560 3 Sullivan, A. My name is John Wellington Wells, from The sorcerer (1877). Dennis Olsen, bar; Adelaide SO/James Christiansen.

ABC 480 4510 2 Shore, H. The hill of sorcery, from The hobbit, an unexpected journey. London PO/ Howard Shore.

Decca 3715565 4 Menotti, G. Suite from Amahl and the night visitors (1951). New Zealand SO/Andrew Schenck.

Koch 3-7005-2 6 Bellini, V. Casta diva, from Norma (1831).

Joan Sutherland, sop; Royal Opera House O/ Francesco Molinari-Pradelli.

Decca 475 7981 8 Verdi, G. Possante Fthà, from Aïda (1871).

Mietta Sighele, sop; Giorgio Tozzi, bass; Rome Opera Ch & O/Georg Solti.

Decca 478 3705 6

Ravel, M. Empress of the pagodas (1908-11).

Louise Johnson, hp; Gerard Willems, pf.

MBS 40 4 Honegger, A. Empress’s chaconne, from music for the film Napoleon (1927).

USSR Ministry of Culture SO/Gennady Rozhdestvensky.

LP Melodiya C10-20459 -009 4 Strauss, J. I Homage to Queen Victoria of Great Britain, op 103 (1838). London SO/ John Georgiadis.

Chandos CHAN 8739 8 Strauss, J. II Emperor waltz, op 437 (1889).

Philharmonia Prom O/Henry Krips.

EMI CDM 1 66422 2 9 Haydn, J. The emperor’s hymn, from String quartet, op 76 no 3 (1797). Parley of Instruments/Peter Holman.

Hyperion CDA67150 5 Strauss, J. II March of rejoicing at the deliverance of Emperor Franz Josef I, op 126 (1853). CSSR State PO/Alfred Walter.

Marco Polo 8.223202 4 Mozart, W. O Isis and Osiris, from The magic flute, K620 (1791). Opera Queensland Ch; Queensland SO/Johannes Fritzsch.

ABC 476 3489 3 Handel, G. Zadok the priest, HWV258 (1727). Westminster Abbey Choir; English CO/Martin Near.

Cantoris-Griffin CSACD3050 5 Billings, W. Funeral anthem: Samuel the priest (pub. 1786). His Majestie’s Clerkes/ Paul Hillier.

Harmonia Mundi HMU 907048 4 Liszt, F. L’hymne du Pape (c1864). Leslie Howard, pf.

Hyperion CDS44514 3 17:00 HOSANNA Prepared by Jeremy Hall Hymn: All my hope on God is founded (c1930). 3 Stanford, C. Villiers Te Deum in C. 7 Cambridge Singers; Wayne Marshall, org; John Rutter cond (2 above) Collegium COLCD 118 Britten, B. Rejoice in the lamb, op 30 (1943).

Choir of St John’s College, Cambrige; Iain Farrington, org; Christopher Robinson, cond.

Naxos 8.554791 16 Tallis, T. Spem in alium. Magnificat/Philip Cave.

Linn BKD 233 10 Vaughan Williams, R. Deck thyself, my soul, with gladness. Choir of Trinity College, Cambridge/Richard Marlow.

Conifer CON 51249 4 September 2017

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Sunday 24 SEPTEMBER

Monday 25 SEPTEMBER

Rutter, J. Hymn to the Creator of light (1992).

Choir of Jesus College, Cambridge/Mark Williams.

Signum SIGCD269 7

Tchaikovsky, P. Waltz of the flowers, from The nutcracker, op 71 (1892). Royal PO/ Vladimir Ashkenazy.

RPO 8021 8

The Lord bless you and keep you. Choir of St Paul’s Cathedral; Simon Johnson, org; Andrew Carwood, cond.

Decca B01N170S90 3

Bizet, G. De mon amie, fleur endormie …

Ton cœur n’a pas compris le mien, from The pearl fishers (1863). Ruth Ann Swenson, sop; Plácido Domingo, ten; Philharmonia O/ Eugene Kohn.

EMI 5 55554 2 9

18:00 CLASSICAL SONATAS Prepared by Chris Blower Krufft, N. Sonata in E. Hermann Baumann, hn; Leonard Hokanson, pf.

Philips 416 816-2 18 Glinka, M. Sonata in D minor (1825-28; compl. Borisovsky). Nobuko Imai, va; Roland Pöntinen, pf.

BIS CD-358 16 Kuhlau, F. Sonata in C, op 83 no 2 (1827).

Uwe Grodd, fl; Matteo Napoli, pf.

Naxos 8.555346 20 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Beethoven, L. Romance no 2 in F, op 50 (c1798). Pinchas Zukerman, vn; London PO/ Daniel Barenboim.

DG 429 179-2 10 Mozart, W. Se al labbro mio non credi, K295 (1778). Christoph Prégardien, ten; Le Petite Bande/Sigiswald Kuijken.

Virgin VC 7 90753-2 14 Wagner, R. The ring, an orchestral adventure (1850-76; arr. Vlieger). Minsung Kim, hn; Baltic Sea PO/Kristjan Järvi.

Sony G0100035774639 59 20:30 NEW HORIZONS Prepared by Paul Cooke Smith, T. Sonata no 1: Hall of mirrors (1993).

Tommy Smith, sax; Murray McLachlan, pf.

Linn AKD103 19 MacMillan, J. ...as others see us... (1990).

Scottish CO/James MacMillan.

Catalyst 0902661916 2 25 Weir, J. Piano quartet (2000). Schubert Ensemble.

NMC D090 18 Beamish, S. Sangsters (2000). Swedish CO, Örebro/Ola Rudner.

BIS CD-1241 20 22:00 AFTER HOURS JAZZ with Kevin Jones Wagner’s gift for orchestration is highlighted in the arrangement of The Ring, an orchestral adventure.

34

Carl Maria von Weber 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1886 Prepared by Derek Parker Saint-Saëns, C. The carnival of the animals (1886). Ircam soloists.

EMI/Virgin 5 45602 2 22 Debussy, C. Petite suite (1886-89). Detroit SO/Paul Paray.

Mercury 478 5092 11 Brahms, J. Piano trio no 3 in C minor, op 101 (1886). Borodin Trio.

Chandos CHAN 8335 24 Franck, C. Sonata in A (1886). Christian Ferras, vn; Pierre Barbizet, pf.

DG 480 6655 27 10:30 CONCERT HALL Prepared by Derek Parker Liszt, F. Symphonic poem: Les préludes (1848). Vienna PO/Giuseppe Sinopoli.

DG 478 4234 16 Mozart, W. Symphony no 35 in D, K385, Haffner (1782). Queensland PO/Chitaru Asahina.

Walsingham WAL 8038-2 19 Brahms, J. Piano concerto no 2 in B flat, op 83 (1878-81). Alfred Brendel, pf; Berlin PO/ Claudio Abbado.

Philips 432 975-2 49 12:00 SWING SESSIONS with John Buchanan 13:00 BLOOMIN’ FLOWERS Prepared by Randolph Magri-Overend Puccini, G. Flower duet, from Madama Butterfly (1904). Mirella Freni, sop; Christa Ludwig, mezz; Vienna PO/Herbert von Karajan.

Decca 460 805-2 8

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

Schubert, F. Introduction and variations on Trockne Blumen, D802 (1824). Robert Aitken, fl; Robin McCabe, pf.

BIS CD-183 20 Delibes, L. Flower duet, from Lakmé (1833).

Joan Sutherland, sop; Jane Berbié, mezz; Monte Carlo National Opera O/Richard Bonynge.

Decca 421 314-2 6 14:00 ORPHEUS CHAMBER ORCHESTRA Prepared by Denis Patterson Mozart, W. Serenade no 11 in E flat, K375 (1781).

DG 478 5185 24 Piano concerto no 20 in D minor, K466 (1785). Richard Goode, pf.

Nonesuch 7559-79439-2 29 Kreisler, F. Violin concerto in C in the style of Vivaldi (c1905). Gil Shaham, vn.

DG 439 933-2 11 Ives, C. Symphony no 3, The camp meeting (1904).

DG 457 911-2 23 Weber, C.M. Clarinet concerto no 2 in E flat, op 74 (1811). Charles Neidich, cl.

DG 435 875-2 21 Orpheus CO (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 JAZZ 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson Franz Liszt was a brilliant and flamboyant pianist whose public appearances attracted the kind of wild following enjoyed by the Beatles in the 1960s. His personal life was racy, to say the least, but despite his frenzied, almost manic, activity he was a sensitive, imaginative and extremely forward-looking composer who created the symphonic poem. The third of them was Les préludes.

Tuesday 26 SEPTEMBER

Robert Schumann

Franz Danzi

Emil Gilels

0:00 CONTEMPORARY COLLECTIVE

13:00 OPERA IN CONCERT Prepared by Giovanna Grech

Moscheles, I. Septet in D, op 88 (1832).

Walter Hermann, cl; Christoph Moinian, hn; Mayumi Shimizu, vn; Jaap Zeijl, va; Christoph Groth, vc; Volker Donandt, db; Caroline Weichert, pf.

Koch Schwann 3-1178-2 29

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 Master pianists Prepared by Jennifer Foong Bach, J.S. Chromatic fantasia and fugue in D minor, BWV903 (bef. 1722/30). Angela Hewitt, pf.

Hyperion CDA66746 12 Alkan, C-V. Chamber concerto in C sharp minor, op 10 no 2 (1834). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA66717 8 Medtner, N. Improvisation in B flat minor, op 31 no 1. Marc-André Hamelin, pf.

Hyperion CDA67050 7 Beethoven, L. Sonata in F, op 5 no 1 (1796).

Daniel Müller-Schott, vc; Angela Hewitt, pf.

Hyperion CDA67633 25 Schumann, R. Quintet in E flat, op 44 (1842).

Marc-André Hamelin, pf; Takács Quartet.

Hyperion CDA67631 30 10:30 CONCERT HALL Prepared by Michael Field Respighi, O. Church windows (1927).

Cincinnati SO/Jésus López-Cobos.

Telarc 80356 28 Lalo, E. Cello concerto in D minor (1877).

Maria Kliegel, vc; Nicolaus Esterházy Sinfonia/Michael Halász.

Naxos 8.554469 28 Mozart, W. Symphony no 25 in G minor, K183 (1773). Academy of Ancient Music/ Christopher Hogwood.

L’Oiseau-Lyre 417 841-2 28 12:00 JAZZ RHYTHM with Jeannie McInnes

Wallace, V. Overture to Maritana (1845). New Philharmonia O/Richard Bonynge.

Decca 466 431-2 10 Rossini, G. Miei rampolli femminini, from Cinderella (1817). Bryn Terfel, bass-bar; Metropolitan Opera O/James Levine.

DG 445 866-2 6 Catalani, A. I’ll float into the distance, from La Wally (1892). Cheryl Barker, sop; London PO/David Parry.

Chandos CHAN 3161 4 Smetana, B. Three dances, from The bartered bride (1866). Cleveland O/George Szell.

Sony SBK 48 279 11 Meyerbeer, G. O beau pays de la Touraine, from Les Huguenots (1836). Joan Sutherland, sop; Royal Opera House Ch & O/Francesco Molinari-Pradelli.

Decca 414 450-2 6

Saint-Saëns, C. Septet in E flat, op 65 (1881). Nash Ensemble.

Hyperion CDA67431/2 17 Onslow, G. Grand septet in B flat, op 79.

Rudolf Frei, db; Werner Bärtschi, pf; Stalder Quintet.

Jecklin 554-2 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Richard Verco

Strauss, R. Arabella and Mandryka’s duet, from Arabella (1933). Lucia Popp, sop; Alan Titus, bar; Bamberg SO/Horst Stein.

Eurodisc 258938 3

Neukomm, S. Serenade in B flat for wind octet and double bass (1796). Consortium Classicum.

Schwann 310 002 H1 13

Verdi, G. Condotta ell’era in ceppi, from Il trovatore (1853). Lauris Elms, mezz; Sydney SO/Eric Clapham. 5

Ries, F. The dream, op 49 (1813). Susan Kagan, pf.

Naxos 8.572204 19

Quel vecchio maledivami! ... Signor? va, non ho niente, from Rigoletto (1842). Robert Allman, bar; Neil Warren-Smith, bass; Sydney SO/Eric Clapham. 4 ABC 442 369-2 (2 above)

Cherubini, L. String quartet no 3 in D minor (1834). Quartetto David.

BIS CD-1004 29

14:00 SEPTETS Prepared by Stephen Wilson

Molique, B. Introduction, andante and polonaise, op 43 (1851). Peter-Lukas Graf, fl; Zsuzsanna Sirokay, pf.

Jecklin 577-2 13

Danzi, F. Septet in E, op 10 (pub. 1802).

Consortium Classicum.

Orfeo C 674 081 A 20

Strauss, R. Trio no 1 in A (1877). Amelia Piano Trio.

Naxos 8.570896 16

Salzedo, C. Bolmimerie (1919). Seven Harp Ensemble.

Tall Poppies TP204 12

Beethoven, L. Sonata no 8 in C minor, op 13, Pathétique (1798). Emil Gilels, pf.

DG 400 036-2 20 September 2017

fineMusic 102.5

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Wednesday 27 SEPTEMBER

Jan Ladislav Dussek 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus: Jan Dussek Prepared by Frank Morrison Dussek, J. Trio sonata in D, op 31 no 2 (c1795). Trio 1790. cpo 999 583-2 13 Piano concerto in C, op 29 (1795). Ulster O/ Howard Shelley, pf & dir.

Hyperion CDA68027 23 Duetto in F, op 26 (1794). Masumi Nagasawa, hp; Richard Egarr, pf.

Etcetera KTC1436 17 Harp sonatina no 5. Sandrine Chatron, hp.

Ambroisie AM 179 3 Quintet in F minor, op 41 (1799). Nepomuk Fortepiano Quintet.

Brilliant Classics 94377 24 10:30 CONCERT HALL Prepared by Paul Hopwood Berlioz, H. Overture: King Lear, op 4 (1831).

Polish State PO/Kenneth Jean.

Naxos 8.550231 15 Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Leon Fleisher, pf; Cleveland O/George Szell.

Sony SBK 46549 38 Haydn, J. Symphony in D, Hob.I:101, Clock (1793-94). Royal PO/Thomas Beecham.

EMI 1 66449 2 28 12:00 JAZZ SKETCHES with Robert Vale 13:00 60 MINUTES IN RUSSIA Prepared by Randolph Magri-Overend Borodin, A. Overture to Prince Igor (1887).

Russian NO/Mikhail Pletnev.

Newton 8802037 10 36

Mariss Jansons Mussorgsky, M. St John’s night on Bald Mountain (1867; transcr. Stokowski).

Cleveland O/Oliver Knussen.

DG 457 646-2 9 Rimsky-Korsakov, N. Suite from Sadko, op 5 (1867). USSR Academic SO/Yevgeny Svetlanov.

Melodiya MCD 211 11 Tchaikovsky, P. Francesca da Rimini, symphonic fantasia after Dante, op 32 (1878). Oslo PO/Mariss Jansons.

EMI 5 74113-2 22 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 CLASSICAL MUSIC EXPLORED France: Part 4 Prepared by Michael Morton-Evans Satie, E. Gnossienne no 1 (1890). Élodie Sablier, pf. elodiesablier.com EL0002 5 Allons-y Chochette (1905). Patricia Petibon, sop; Olivier Py, voice; Christian-Pierre La Marca, vc; Susan Manoff, pf.

DG 479 2465 4 Roussel, A. Le festin de l’araignée, op 17. Le Patrimoine Lyrique Francais/Albert Roussel.

Philips 422 138-2 16 Dutilleux, H. Sarabande et cortège (1942).

Karen Geoghegan, bn; Philip Fisher, pf.

Chandos CHAN 10521 8 Sancan, P. Sonatine (1946). Sharon Bezaly, fl; Love Derwinger, pf.

BIS SACD-1639 9 Messiaen, O. La ville d’en haut (1987).

Cleveland O/Pierre Boulez.

DG 445 827-2 9 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

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

Ian Munroe 20:00 AT THE OPERA Prepared by Angela Cockburn Pepusch, J. The beggar’s opera (arr.

Britten). Opera in three acts. Libretto by John Gay. First performed London, 1728.

MACHEATH: Philip Langridge, ten MRS PEACHAM: Anne Collins, cont PEACHUM: Robert Lloyd, bass POLLY PEACHAM: Ann Murray, mezz LOCKIT: John Rawnsley, bar LUCY LOCKIT: Yvonne Kenny, sop Ch & O/Steuart Bedford.

Decca 4785364 1:48 For synopsis, go to finemusicfm.com Excerpts from The beggar’s opera (arr Pearce-Higgins). Frances Cuka, sop; Jan Waters, mezz; Hy Hazel, cont; Peter Gilmore, ten; John Cater, bar; James Cossins, bass; London Cast Ch & Ensemble; Peter Gilmore TO/Neil Rhoden.

Masterworks 38675115512 12 Excerpts from The beggar’s opera (arr.

Barlow). Patrizia Kwella, sop; Paul Elliott, ten; Broadside Band/Jeremy Barlow.

Harmonia Mundi HMC 9901071 10 22:30 FOCUS ON AUSTRALIAN PIANO Prepared by Brian Drummond Chopin, F. Études, op 25 nos 1 to 12 (1836).

Roger Woodward, pf.

Fine Music concert recording 31 Mozart, W. Piano concerto no 20 in D minor, K466 (1785). Ian Munro, pf; Willoughby SO/ Nicholas Milton.

Fine Music concert recording 30 Schubert, F. Fantasie in F minor, D940 (1828). Stephen Emmerson, Bernard Lanskey, pf.

Tall Poppies TP154 20 Erik Satie’s music ‘will echo your own solitude and fill it with its magic song: friendly, calming and pure’ – Henri Sauget

Thursday 28 SEPTEMBER 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 Great string players Prepared by Frank Morrison Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). London SO/Antal Doráti.

Mercury 432 010-2 19 Mendelssohn, F. Variations concertante, op 17 (1820) Mercury 478 5092 8 Bartók, B. First rhapsody (c1928).

Mercury 4785092 10 György Sebok, pf (2 above) Bruch, M. Kol nidrei, op 47 (1881). London SO/Antal Doráti.

Mercury 432 001-2 10 János Starker, vc (4 above) Mozart, W. Rondo in C, K373 (1781). New Philharmonia O/Raymond Leppard.

Philips 426 977-2 5 Bach, J.S. Partita no 3 in E, BWV1006 (1720).

Philips 438 736-2 15 Mozart, W. Sonata no 21 in E minor, K304 (1778). Walter Klein, pf.

Philips 446 237-2 12 Arthur Grumiaux, vn (3 above) 10:30 CONCERT HALL Prepared by Gerald Holder Szymanowski, K. Concert overture in E, op 12 (1904-05/12-13). Polish Radio NSO/Jacek Kasprzyk.

EMI CDM 5 65082 2 13 Grieg, E. Piano concerto in A minor, op 16 (1868). Géza Anda, pf; Berlin PO/Rafael Kubelik.

DG 474 838-2 31 Prokofiev, S. Symphony no 4 in C, op 47 (1929-30).

Supraphon SU 4093-2 40 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 GOODBYE Prepared by Randolph Magri-Overend Verdi, G. Addio del passato, from La traviata (1852-53). Anna Netrebko, sop; Vienna PO/ Carlo Rizzi.

DG 477 5953 6

Beethoven, L. Sonata no 26 in E flat, op 81a, Les adieux (1809-10). Daniel Barenboim, pf.

EMI 5 73522 2 18

21:30 ROUND THE CLOCK MUSIC Sunrise Prepared by Francis Frank

Hummel, J. Grand piano concerto in C, op 110, Les adieux (1814). Hans Kann, pf; Hamburg SO/Heribert Beissel.

Vox 1157162 32

Hovhaness, A. Sunrise. O/André Kostelanetz.

LP CBS SBR 235868 4

14:00 VERSATILE SCHUMANN Prepared by Frank Morrison Schumann, R. Overture to Manfred, op 115 (1848-49). Philharmonia O/Carlo Maria Giulini.

EMI CZS 7 67723 2 12 Sonata no 3 in F minor, op 14 (1835-36).

András Schiff, pf.

ECM 1806/07 27 Berg und Burgen schaun herunter, from Liederkreis, op 24 (1840). Olaf Bär, bar; Geoffrey Parsons, pf.

EMI CDC 7 54027 2 4 Quartet no 3 in A, op 41 no 3 (1842). Vertavo String Quartet.

Simax PSC 1098 30 Symphony no 1 in B flat, op 38, Spring (1841). Seattle SO/Gerard Schwarz.

Naxos 8.571212 36 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 SHOWCASING AUSTRALIAN ARTISTS Dene Olding Prepared by Brian Drummond

Schubert, F. Morning song, D381 (1816).

Elizabeth Connell, sop; Graham Johnson, pf.

Hyperion CDJ 33005 2 Delius, F. A song before sunrise (c1918).

Northern Sinfonia/Richard Hickox.

EMI 5 65067 2 6 Elgar, E. Sabbath morning at sea, from Sea pictures, op 37 (1899). Rosemarie Lang, mezz; Helsingborg SO/Hans-Peter Frank.

BIS CD-530 6 Mozart, W. Now, marching down the road of morning, from The magic flute, K620 (1791).

Deborah Riedel, sop; Andrew Phipps, treb; Michael Tierny, treb; Christopher Taplin, treb; Australian Opera and Ballet O/Richard Bonynge.

ABC 434 140-2 6 22:00 MUSICAL PORTRAITS Orpheus Prepared by Robert Small Offenbach, J. Overture to Orpheus in the Underworld (1858/74). Detroit SO/Paul Paray.

Mercury 434 332-2 9 Clérambault, L-N. Cantata: Orpheus (1710).

Julianne Baird, sop; Music’s Re-creation.

Meridian CDE 84182 19 Stravinsky, I. Ballet: Orpheus (1947). London SO/Robert Craft.

Naxos 8.557502 29

Mozart, W. Duo in B flat, K424 (1783). Irina Morzova, va.

Fine Music concert recording 20

Berlioz, H. The death of Orpheus (1827).

Daniel Galvez Vallejo, ten; Northern Region Choir; Lille NO/Jean-Claude Casadesus.

Harmonia Mundi HMC 901542 13

Beethoven, L. Sonata no 5 in F, op 24, Spring (1800-01). Max Olding, pf.

ABC 432 699-2 23

Hovhaness, A. Meditation on Orpheus, op 155 (1958). O/André Kostelanetz.

LP CBS SBR 235868 13

Bartók, B. Six Rumanian dances (1915; arr.

Székely). Kathryn Selby, pf.

Fine Music concert recording 5

Liszt, F. Symphonic poem no 4: Orpheus (1853-54). New Zealand SO/Michael Halász.

Naxos 8.553355 11

Westlake, N. The last place on earth, from Antarctica (1991). Christine Douglas, sop; Philippe Anquetil, treb; David Pereira, vc; Timothy Kain, gui; Louise Johnson, hp; Studio O/Carl Vine.

Tall Poppies TP012 6

Menotti, G. Cantata: The death of Orpheus (1990). Jamie MacDougal, ten; Spoleto Festival Choir & O/Richard Hickox.

Chandos CHAN 9979 12

Edwards, R. Violin concerto, Maninyas (1988). Sydney SO/Stuart Challender.

ABC 438 610-2 25 Dene Olding, vn (all above)

Music Trivia Answers: 1 Don Juan and Don Quixote 2 Johannes Brahms 3 Music for two or more choirs 4 Guadeloupe 5 Paul Dukas September 2017

fineMusic 102.5

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Friday 29 SEPTEMBER In memoriam H. von Kleist, op 13. Stuttgart RSO/Meir Minsky.

Naxos 8.554733 10 Violin concerto in G minor in one movevent, op 3 (1851). Suyoen Kim, vn; Staatskapelle Weimar/Michael Halász.

Naxos 8.570991 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse Yondani Butt

Jean-Philippe Collard

0:00 CONTEMPORARY COLLECTIVE

PO/Frédéric Devreese.

Marco Polo 8.223827 20

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 Rebecca Zhong Beethoven, L. Seven variations on Mozart’s Bei Männern, from The magic flute, WoO46 (1801). Maria Kliegel, vc; Nina Tichman, pf.

Naxos 8.555785 10 Bach, J.S. Concerto in D minor, after Vivaldi op 3 no 11, BWV596 (c1714). Fernando Germani, org.

EMI 5 69328 2 13 Field, J. Piano concerto no 6 in C, mvt 2 (1819). Miceal O’Rourke, pf; London Mozart Players/Matthias Bamert.

Chandos CHAN 9442 6 Liszt, F. Entry of the guests into the Wartburg, after Wagner’s Tannhäuser (1852/75). Leslie Howard, pf.

Hyperion CDS44545 12 Poulenc, F. Suite française (1935). French NO/Charles Dutoit.

Decca 476 2181 12

38

Shostakovich, D. Symphony no 1 in F minor, op 10 (1924-25). Royal Liverpool PO/Vasily Petrenko.

Naxos 8.572396 33 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FRENCH IMPRESSIONISM A historical survey: Claude Debussy Prepared by Rex Burgess Debussy, C. Prélude à l’après-midi d’un faune (1894). London SO/André Previn.

EMI CDM 1 66432 2 10 Nocturnes (1897-99). Paris Choir & O/Daniel Barenboim.

DG 435 069-2 26 Vous ne savez pas où je vous ai menée ...

C’est au bord d’une fontaine: Interlude, from Pelléas et Mélisande (1902). Colette AlliotLugaz, sop; Didier Henry, ten; Montreal SO/ Charles Dutoit.

Decca 460 805-2 10 Éstampes (1903). Jean-Philippe Collard, pf.

EMI 5 72376 2 14 La mer (1903-05). Cleveland O/Lorin Maazel.

Decca 480 6630 23

20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison Krommer, F. Clarinet quartet in B flat, op 21 no 2 (1802). Dieter Klöcker, cl; Consortium Classicum. cpo 999 141-2 20 Carulli, F. Guitar concerto in A, op 8a (1809).

Pepe Romero, gui; Academy of St Martin in the Fields/Iona Brown.

Decca 478 5669 16 Berwald, F. Piano trio in C (1853). Susan Tomes, pf; Gaudier Ensemble.

Hyperion CDA66835 17 Volkmann, R. Cello concerto in A minor, op 33 (1853-55). Johannes Wahlmacher, vc; North-west German PO/Werner Andreas Albert. cpo 999 151-2 17 Reger, M. String quartet in A, op 54 no 2 (1900). Reger Quartet.

Pantheon D 14090 19 Conus, J. Violin concerto in E minor (1897).

Itzhak Perlman, vn; Pittsburg SO/André Previn.

EMI 5 66060 2 19 22:00 BAROQUE AND BEFORE Ends in themselves Prepared by Paul Roper

Ysaÿe, E. Sonata in A minor, op 27 no 2 (1924). Oscar Shumsky, vn.

Nimbus NI 7715 12

14:30 JOSEPH JOACHIM ‘The greatest violinist of his time’ Prepared by Stephen Wilson

Falckenhagen, A. Lute trio in D (c1743).

David Parsons, lute; Marianna Szücs, vn; Francisco del Amo, vc.

ASV GAU 233 14

Blacher, B. Variations on a theme of Paganini, op 26 (1947). Vienna PO/Georg Solti.

Decca 452 853-2 14

Joachim, J. Overture: Hamlet, op 4 (1855).

Stuttgart RSO/Meir Minsky.

Naxos 8.554733 17

Abel, C. Allegro in D minor. Simone Eckert, bass viol.

Christophorus CHR 77223 5

10:30 CONCERT HALL Prepared by Elaine Siversen

Variations in E minor (1881). Hagai Shaham, vn; Arnon Eriez, pf.

Hyperion CDA67663 14

Bach, J.S. The art of fugue, BWV1080 (c1740-45). Hespèrion XX/Jordi Savall.

Astrée E2001 1:32

Grieg, E. Symphonic dances, op 64 (189697). Royal PO/Yondani Butt.

ASV DCA 722 28

Overture to Demetrius (arr. Brahms). SilkeThora Matthies, pf; Christian Köhn, pf.

Naxos 8.555849 16

Benoit, P. Flute concerto, op 43a, Symphonic tale (1865). Gaby van Riet, fl; Royal Flanders

Schottische melodie. Vaughan Jones, vn.

First Hand FHR29 2

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

Counterpoint is the very essence of the fugue (meaning ‘flight’). The opening ‘voice’ is followed by another ‘voice’ chasing after the first which ‘flies’ before it.

Saturday 30 SEPTEMBER 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Nicky Gluch 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 ORCHESTRAS AROUND THE WORLD Britten Sinfonia Prepared by Derek Parker Rossini, G. Introduction, theme and variations in B flat (1810). Joy Farrell, cl; Nicholas Daniel, cond.

ASV QS 6242 13 Strauss, R. Horn concerto no 2 in E flat, AV132 (1942). David Pyatt, hn; Nicholas Cleobury, cond.

EMI 5 65581 2 20

Hector Berlioz

Wilhelm Stenhammar

Sinfonia Sevillana, op 23 (1920). Cincinnati SO/Jésus López-Cobos.

Telarc 80574 22

Rangström, T. Dityramb (1909). Norrköping SO/Michail Jurowski. cpo 999 748-2 17

Britten, B. Cantata: Saint Nicholas, op 42 (1948). Andrew Kennedy, ten; Choir of King’s College, Cambridge; Sawston Village College Choir; Cambridge University Musical Society Chorus; Stephen Cleobury, org & dir.

Choir of King’s College KGS0003 50

Hominaje a Tárrega, op 69 (1935). Alberto Ponce, gui.

Arion ARN 68212 4

Mälarlegender, three legends (1919). Mats Jansson, pf. cpo 999 689-2 15

Sextet for viola and piano quintet, op 7, Scène Andalouse (1912). Nash Ensemble.

Hyperion CDA67889 12

Atterberg, K. A Värmland rhapsody, op 36 (1933). Norrköping SO/Jun’ichi Hirokami.

BIS CD-553 9

Britten Sinfonia (all above)

17:00 MELLOW TONES Prepared by Stephen Wilson

Rangström, T. King Erik’s ballads, op 23 (1918). Bo Skovhus, bar; Danish NSO/ Michael Schonwandt.

Chandos 10249 14

10:30 SMALL FORCES Prepared by Derek Parker Handel, G. Viola d’amore sonata in C. Sydney Consort.

Sydney Consort SC005 14

Bruch, M. Romance in F, op 85 (pub. 1911).

Patricia Pollett, va; Queensland PO/Werner Andreas Albert.

Tall Poppies TP084 9

Shield, W. String quartet in C minor, op 3 no 6 (c1800). Salomon Quartet.

Hyperion CDA66780 12

Brahms, J. Sonata in E flat, op 120 no 2 (1894). Paul Silverthorne, va; Phillip Shovk, pf.

Fine Music concert recording 21

Stanford, C. Villiers Sonata, op 129. Emma Johnson, cl; Malcolm Martineau, pf.

ASV DCA 891 21

Vaughan Williams, R. Flos campi (1925).

Bournemouth Sinfonietta Choir; Frederick Riddle, va; Bourmemouth Sinfonietta/Norman Del Mar. Chandos CHAN 8374 21

Parry, H. I was glad. Vancouver Bach Choir; Vancouver SO/Bruce Pullan.

CBC SMCD 5121 5 11:30 ON PARADE The USAF Heritage Band plays Hearshen Prepared by Robert Small Hearshen, I. Symphony on themes of John Philip Sousa (1994-97). 13 Divertimento for band (1988). 12 The USAF Heritage of America Band/Lowell Graham (2 above) Naxos 8.5734041 12:00 FINE MUSIC LIVE Jazz and classical music brought to you live from the Founders’ Studio 16:00 FOCUS ON TURINA Prepared by Angela Bell Turina, J. Silhouettes, op 70 (1931). Jordi Masó, pf.

Naxos 8.570370 15

Bach, J.S. Cello suite no 2 in D minor, BWV1008 (c1720; arr.). Maxim Rysanov, va.

BIS-2033 17 Berlioz, H. Harold in Italy, op 16 (1834).

Antoine Tamestit, va; Les Musiciens du Louvre/Marc Minkowski. naïve V 5266 39 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Happy days are here again: Entertainment and the Depression 20:00 INFLUENCES AND CONNECTIONS Ture Rangström Prepared by Rex Burgess Pfitzner, H. Overture to Das Christelflein (1906). Wolf Harden, pf; Czecho-Slovak RSO/Heribert Beissel.

Marco Polo 8.223162 12

Stenhammar, W. String quartet no 5 in C, op 29, Serenade (1910). Stenhammar Quartet.

BIS BIS-2009 19 Rangström, T. Symphony no 3 in D flat (1929). Norrköping SO/Michail Jurowski. cpo 999 748-2 22 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Debussy, C. Symphonic suite: Spring (1887).

Paris O/Daniel Barenboim.

DG 435 069-2 18 Beethoven, L. Sonata no 5 in F, op 24, Spring (1800-01). Dene Olding, vn; Max Olding, pf.

ABC 432 699-2 23 Gade, N. Spring fantasia, op 23 (1852). Bodil Gobil, sop; Minna Nyhus, mezz; Ole Jensen, ten; Mogens Schmidt Johansen, bass; Eyvind Moller, pf; Danish RSO/John Frandsen.

EMI 5 66000 2 21 Suk, J. Spring, op 22a (1902). Margaret Fingerhut, pf.

Chandos CHAN 9026/7 16 Schumann, R. Symphony no 1 in B flat, op 38, Spring (1841). Royal Concertgebouw O/ Bernard Haitink.

Radio Nederland RCO 08005 34 September 2017

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The following composers have works of at least five minutes on the SEPTEMBER dates listed Abel, C. 1723-1787 10 Adès, T. b1971 3 Albéniz, I. 1860-1909 7,8,9 Albrechtsberger, J. 17361809 2 Alfvén, H. 1872-1960 18 Alkan, C-V. 1813-1888 26 Alnaes, E. 1872-1932 18 Alwyn, W. 1905-1985 9 Anglebert, J-H. 1635-1691 13 Ansell, J. 1874-1948 23 Ariosti, A. 1666-1729 20 Atterberg, K. 1887-1974 30 Aubert, J. 1689-1753 13 Avison, C. 1709-1770 1 Bacarisse, S. 1898-1963 19 Bach, C.P.E. 1714-1788 23 Bach, J. Christian 17351782 10 Bach, J.C.F. 1732-1795 10 Bach, J.S. 1685-1750 2,3,1 0,14,17,18,19,22,23,24,26,2 8,29,30 Balakirev, M. 1837-1910 8,13,22 Balbastre, C-B. 1727-1799 13 Barber, S. 1910-1981 19 Bartók, B. 1881-1945 15,18,28 Bazzini, A. 1818-1897 9 Beach, A. 1867-1944 5,11 Beamish, S. b1956 24 Beethoven, L. 1770-1827 1,3, 4,5,8,9,11,12,14,15,16,17,18,1 9,20,24,26,27,28,29,30 Bellini, V. 1801-1835 24 Bellstedt, H. 1858-1926 16 Benda, F. 1709-1786 7 Benoit, P. 1834-1901 29 Berio, L. 1925-2003 10 Berkeley, L. 1905-1989 20 Berlioz, H. 1803-1869 6,20,22,27,28,30 Bernstein, L. 1918-1990 19 Berwald, F. 1796-1868 29 Binchois, G. c1400-1460 15 Bizet, G. 1838-1875 9,18,25 Blacher, B. 1903-1975 29 Bloch, E. 1880-1959 14 Boccherini, L. 1743-1805 2,5 Boïeldieu, A. 1775-1834 3,12,13 Boismortier, J. de 1689-1755 9,22 Borodin, A. 1833-1887 10,22,27 Boulanger, L. 1893-1918 23 Bourgault-Ducoudray, L-A. 1840-1910 15 Bozza, E. 1905-1991 13 Brahms, J. 1833-1897 1,2,5,6,7,14,15,16,21,25,30 Bridge, F. 1879-1941 2,3 Britten, B. 1913-1976 3,24,30 Brophy, G. b1953 5 Brouwer, M. b1940 10 Bruch, M. 1838-1920 3,7,21,28,30 Bruckner, A. 1824-1896 24

Busoni, F. 1866-1924 1,2 Cambini, G. 1746-1825 24 Cannabich, C. 1731-1798 24 Caroso, F. fl c1600 2 Carrillo, M. 1883-1968 7 Carulli, F. 1770-1841 12,29 Castelnuovo-Tedesco, M. 1895-1968 9,18 Cavalli, F. 1602-1676 16 Cellier, A. 1883-1968 24 Chabrier, E. 1841-1894 18 Cherubini, L. 1760-1842 22,26 Chopin, F. 1810-1849 5,7,9,15,17,19,27 Ciurlionis, M. 1875-1911 20 Clementi, M. 1752-1832 10 Clérambault, L-N. 16761749 28 Coates, E. 1886-1957 2 Coates, G. b1938 15 Conus, J. 1869-1942 29 Copland, A. 1900-1990 17 Corelli, A. 1653-1713 13 Corrette, M. 1709-1795 22 Couperin, F. 1668-1733 6,17,22 Cramer, J. 1771-1858 10 Crusell, B. 1775-1838 18 Czerny, C. 1791-1857 17 d’Indy, V. 1851-1931 7,15,23 Danzi, F. 1763-1826 24,26 Dauprat, L. 1781-1861 10 Davidov, K. 1838-1889 11 De Paul, G. 1919-1988 23 Dean, B. b1961 3 Debussy, C. 1862-1918 15,18,20,21,23,25,29,30 Delibes, L. 1836-1891 25 Delius, F. 1862-1934 19,28 Desmarets, H. 1661-1741 7 Diabelli, A. 1781-1858 3 Dittersdorf, C. 1739-1799 3 Donatoni, F. 1927-2000 10 Donizetti, G. 1797-1848 8 Du Mont, H. 1610-1684 3 Dukas, P. 1865-1935 3,15 Dussek, J. 1760-1812 27 Dutilleux, H. 1916-2013 27 Dvorák, A. 1841-1904 1,4,11,15,16,21 Edwards, R. b1943 14,28 Elgar, E. 1857-1934 20,28 Enescu, G. 1881-1955 2,16 Falckenhagen, A. 16971761 29 Falla, M. de 1876-1946 19 Fanelli, E. 1860-1917 15 Fasch, J. 1688-1758 23 Fauré, G. 1845-1924 3,7,8,10,19,20,23 Fibich, Z. 1850-1900 4 Field, J. 1782-1837 1,29 Foerster, J. 1859-1951 7 Franck, C. 1822-1890 11,12,25 Gade, N. 1817-1890 22,30 German, E. 1862-1936 8 Gershwin, G. 1898-1937 19

Gilles, J. 1668-1705 3 Ginastera, A. 1916-1983 7 Giuliani, M. 1781-1829 9,17 Glazunov, A. 1865-1936 8 Glinka, M. 1804-1857 1,16,17,21,24 Gluck, C. 1714-1787 5,24 Godard, B. 1849-1895 8 Goossens, E. 1893-1962 21 Gossec, F-J. 1734-1829 10,12 Gottschalk, L. 1829-1869 19 Granados, E. 1867-1916 19 Grandison, M. b1965 22 Grétry, A-E-M. 1741-1813 3 Grieg, E. 1843-1907 16,19,21,28,29 Handel, G. 1685-1759 2,7,9,14,17,19,20,21,23,24,30 Harris, W. 1883-1973 3 Haydn, J. 1732-1809 3,4,5,7,9,16,22,23,24,27 Hearshen, I. b1948 30 Hertel, J. 1727-1789 22 Hindemith, P. 1895-1963 10,13 Hoffmeister, F. 1754-1812 21 Holloway, R. b1943 1 Holst, G. 1874-1934 8 Honegger, A. 1892-1955 6,11,14 Hovhaness, A. 1911-2000 28 Howells, H. 1892-1983 3 Hummel, J. 1778-1837 5,7,14,15,17,19,21,28 Humperdinck, E. 1854-1921 23 Hyde, M. 1913-2005 23 Ibert, J. 1890-1962 11 Isaac, H. c1450-1517 1 Isolfsson, P. 1893-1974 18 Ives, C. 1874-1954 25 Jackson, F. b1917 9 Janácek, L. 1854-1928 22 Janequin, C. c1485-1558 22 Joachim, J. 1831-1907 29 Josquin Desprez. c1440-1521 1,15 Kalinnikov, Vasily. 18661901 3,14 Kalkbrenner, F. 1785-1849 6 Kalliwoda, J. 1801-1866 14 Kelly, F. 1881-1916 5 Khachaturian, A. 19031978 9 Khandoshkin, I. 17471804 23 Klughardt, A. 1847-1902 19 Kodály, Z. 1882-1967 21 Koehne, G. b1956 14 Korngold, E. 1897-1957 13 Kreisler, F. 1875-1962 25 Krommer, F. 1759-1831 29 Krufft, N. 1779-1818 24 Kuhlau, F. 1786-1832 17,20,24 Künneke, E. 1885-1953 7 Lalo, E. 1823-1892 15,18,26 Le Jeune, C. c1529-1600 22

Key Music duration is shown after the record and citation SO: Symphony Orchestra PO: Philharmonic Orchestra NO: National Orchestra RO: Radio Orchestra FO: Festival Orchestra CO: Chamber Orchestra TO: Theatre Orchestra

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ban: bandoneon 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

Leclair, J-M. 1697-1764 22 Linek, J. 1725-1791 3 Liszt, F. 1811-1886 4,6,12,17,22,25,28,29 Lloyd Webber, W. 19141982 20 Locke, M. c1621-1677 8 Lully, J-B. 1632-1687 22 MacMillan, J. b1959 24 Mahler, G. 1860-1911 4,7,13,16 Mahon, J. c1749-1834 10 Marais, M. 1656-1728 9 Marcello, A. 1684-1750 22 Martin, F. 1890-1974 14 Martinu, B. 1890-1959 23,24 Massenet, J. 1842-1912 6,20 Mayer, C. 1799-1862 1 Medtner, N. 1880-1951 2,26 Méhul, É-N. 1763-1817 17 Mendelssohn, F. 1809-1847 3,6,7,10,11,12,14,22,28 Menotti, G. 1911-2007 24,28 Messiaen, O. 1908-1992 27 Meyerbeer, G. 1791-1864 26 Molique, B. 1802-1869 26 Mompou, F. 1893-1987 4 Monteverdi, C. 1567-1643 10 Moscheles, I. 1794-1870 10,26 Mouret, J-J. 1682-1738 14 Mozart, L. 1719-1787 11,14 Mozart, W. 1756-1791 1,3,5, 7,9,12,13,14,19,21,22,23,24,2 5,26,27,28 Mussorgsky, M. 1839-1881 14,22,27 Neal, K. b1972 10 Neukomm, S. 1778-1858 26 Neumann, H. 1792-1861 17 Nielsen, C. 1865-1931 7,12,21 Obradors, F. 1897-1945 19 Obrecht, J. c1450-1505 1 Ockeghem, J. 1430-1497 15 Offenbach, J. 1819-1880 4,28 Onslow, G. 1784-1853 17,26 Paganini, N. 1782-1840 2,6,9 Parish Alvars, E. 1808-1849 12 Parry, H. 1848-1918 30 Penderecki, K. b1933 14 Pergolesi, G. 1710-1736 1 Pfitzner, H. 1869-1949 30 Piazzolla, A. 1922-1992 7 Pichl, V. 1741-1805 24 Pierné, G. 1863-1937 8,10 Pleyel, I. 1757-1831 19 Porter, C. 1891-1964 9,23 Poulenc, F. 1899-1963 1,11,12,29 Preisner, Z. 20th c 17 Prokofiev, S. 1891-1953 1,4,5,10,11,14,15,19,28 Puccini, G. 1858-1924 9,25 Rachmaninov, S. 1873-1943 1,3,4,14 Raff, J. 1822-1882 19

db: double bass dbn: double bassoon elec: electronic eng horn: English horn fl: flute fp: fortepiano gui: guitar hn: French horn hp: harp hpd: harpsichord mand: mandolin

Raimbaut de Vaqueiras. c1159-1207 6 Rameau, J-P. 1683-1764 6,22 Rangström, T. 1884-1947 30 Ravel, M. 1875-1937 2,3,5,12,18,20 Reger, M. 1873-1916 6,10,29 Reicha, A. 1770-1836 15 Reinecke, C. 1824-1910 22 Respighi, O. 1879-1936 9,26 Ries, F. 1784-1838 2,9,12,17,26 Riisager, K. 1897-1974 24 Rimmer, W. 1862-1936 13 Rimsky-Korsakov, N. 18441908 21,27 Rodgers, R. 1902-1979 9 Rodrigo, J. 1901-1999 14 Rojas, D. b1974 11 Roslavets, N. 1881-1944 11 Ross, C. 20th c 9 Rossini, G. 1792-1868 1,8,12,15,26,30 Rousseau, J-J. 1712-1778 13 Roussel, A. 1869-1937 13,27 Rutter, J. b1945 10,24 Saint-Saëns, C. 1835-1921 2,4,7,8,9,10,12,14,16,25,26,28 Salieri, A. 1750-1825 17 Salzedo, C. 1885-1961 26 Sancan, P. 1916-2008 27 Sarasate, P. de 1844-1908 4,19,22 Scarlatti, A. 1659-1725 7,14 Schmelzer, J. c1620-1680 19 Schmitt, F. 1870-1958 18 Schubert, F. 1797-1828 3,4,5, 8,9,17,19,20,21,23,24,25,27 Schumann, C. 1819-1896 10 Schumann, R. 1810-1856 6,8,10,13,15,17,26,28,30 Sculthorpe, P. 1929-2014 13 Senfl, L. c1486-c1543 1 Shield, W. 1748-1829 30 Shostakovich, D. 1906-1975 2,16,17,29 Sibelius, J. 1865-1957 6,11,20,21 Sinding, C. 1856-1941 23 Sirmen, M. 1745-1818 3 Smetana, B. 1824-1884 11,18,26 Smith, T. b1967 24 Smyth, E. 1858-1944 8 Sor, F. 1778-1839 15 Sousa, J.P. 1854-1932 23

mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder sax: saxophone sop: soprano

Sparke, P. b1951 23 Spohr, L. 1784-1859 8 Stamitz, C. 1745-1801 5,21 Stanford, C. Villiers 18521924 10,24,30 Stenhammar, W. 1871-1927 2,16,30 Strauss, J. I 1804-1849 24 Strauss, J. II 1825-1899 22,23,24 Strauss, R. 1864-1949 1,4,11,22,23,26,30 Stravinsky, I. 1882-1971 1,11,21,24,28 Strouse, C. b 1928 23 Suk, J. 1874-1935 2,30 Suppé, F. 1819-1895 16 Szymanowski, K. 18821937 28 Tallis, T. c1505-1585 24 Tanaka, K. b1961 10 Tchaikovsky, P. 1840-1893 7,8,10,14,15,16,17,22,25,27 Thomas, A. 1811-1896 5,8 Thomas, J. 1826-1913 12 Thuille, L. 1861-1907 7 Tobias, R. 1873-1918 15 Toch, E. 1887-1964 21 Tommasini, V. 1878-1950 22 Turina, J. 1882-1949 19,30 Vangelis. b1943 17 Vaughan Williams, R. 18721958 9,18,20,30 Verdi, G. 1813-1901 8,10,24,28 Vierne, L. 1870-1937 23 Villa-Lobos, H. 1887-1959 6 Vivaldi, A. 1678-1741 11,19,20 Volkmann, R. 1815-1883 29 Wagenseil, G. 1715-1777 24 Wagner, R. 1813-1883 6,7,9,10,16,24 Wallace, V. 1812-1865 26 Walther, J.J. c1650-1717 19 Walton, W. 1902-1983 2,17,23 Weber, C.M. 1786-1826 8,15,25 Weir, J. b1954 24 Wesley, S. 1766-1837 3 Westlake, N. b1958 12,22,28 Widor, C-M. 1844-1937 17 Wieniawski, H. 1835-1880 22 Willan, H. 1880-1968 3 Williamson, M. 1931-2003 13 Wolf-Ferrari, E. 1876-1948 15,18 Ysaÿe, E. 1858-1931 2,29 Zaidel-Rudolph, J. 20th c 21

tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vle: violone vn: violin

A FAIRYTALE BALLET CHRIS BLOWER REVEALS THE CHAPBOOK INSPIRATION scenes drawn from Bohemian folk or fairy tales rather than depicting a single adventure.

The composer’s manuscript includes the sub-heading: ‘Ballet from folk games, customs and fairy-tales - Ballet revue’.

What do Puss in Boots, Cinderella and The cobbler and Death have in common? Apart from all being fairy tales (although the last is less familiar in Western European culture than the others), they are the principal sections of an unusual ‘ballet with singing’ by Czech composer Bohuslav Martinu: Spalicek.

Of Czech and Rumanian ancestry, Martinu was born in 1890 in Policka, a small town in Bohemia near the Moravian border. In 1923 he left Czechoslovakia for Paris and began a series of informal lessons with Albert Roussel, who remained his teacher until dying in 1937.

In the early 1930s Martinu found his main compositional style, the neo-classical style as developed by Stravinsky. He became a prolific composer of chamber, orchestral, choral and instrumental works. His ‘signature’ became the use of piano obbligato.

Martinu would retain close ties to his homeland, visiting Prague and Policka during the summer months and for major performances of his works, but he never returned there to live. He continued to use Czech and Moravian folk melodies in his work, being particularly attracted by nursery rhymes. The best-known work during this time is Spalicek, which incorporates Czech folk tunes and nursery rhymes. It is a very attractive, predominantly humorous, ballet made up of a series of short stories or

The title Spalicek is generally translated as ‘Chapbook’. A chapbook was a pocket-sized booklet, the term covering many kinds of printed material such as pamphlets, political and religious tracts, nursery rhymes, poetry, folk tales, children’s literature and almanacs. Where there were illustrations, they would have been popular prints. The word is derived from ‘chapmen’, pedlars who circulated such literature as part of their stock.

Chapbooks were an important medium for the dissemination of popular culture to the common people, especially in rural areas.

They were a medium of entertainment, information and (generally unreliable) history.

The original version of Spalicek was for three solo voices, children’s or women’s choir, and small orchestra. During the 1930s Martinu became more and more interested in using the traditional symphony orchestra so when a second production of Spalicek appeared possible, he made revisions to it, including a brilliant and colorful new orchestration. An opening scene sets the tone for the whole work: ‘There’s a tale I will tell, that our dog’s run away.

There’s one more I’ll tell you, that water runs down the brook, in the brook is a little stool, on the stool is a little plate, on the plate is a little fish.

Where has the little fish gone? It’s been eaten by the pussy.

Where has the pussy gone? It has run into the wood.

Where has the wood gone? It has been burnt to powder.

Where has the powder gone? It has been carried away by the water.

Where has the water gone? It has been drunk by the oxen.

Where have the oxen gone? They have been slaughtered by the butchers.

Where have the butchers gone? They have died and lie in the grave.’

Act I of the ballet begins with four children’s games: Play at the doll, Play at the prisoner’s base, Play at the little wolf and Play at the little cock and hen, leading us to the first fairy tale, Puss in boots. Act II takes us to a story all but unknown outside Eastern Europe. A cobbler prepares for, and then sets out on a journey which eventually takes him to an enchanted castle. He meets Death, is taken to the gates of Hell but the Act ends with him being escorted to Heaven. Act III takes us back into familiar territory with the story of Cinderella.

The music in this section is also more familiar, being featured in the two suites which Martinu arranged from the ballet.

The first version of Spalicek finished with a ‘ballet cantata’ called The wedding shirts, but it soon became evident that it made the work far too long. It was therefore deleted and became a separate work known in English as The spectre’s bride. Spalicek is Martinu at his most tuneful and playful.

Spalicek will be heard in the ballet program on Saturday 23 at 3pm.

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Classical CD Reviews

1000 YEARS OF CLASSICAL MUSIC: VOL. 21 Haydn Arias

Sara Macliver; Tasmanian SO/Ola Rudner ABC 481 4657

✶✶✶✶✶

The series 1000 years of Classical Music offers the listener the opportunity to benefit 1000 YEARS OF CLASSICAL MUSIC: VOL. 40 Schumann Piano Works Stephanie McCallum ABC 481 4941

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Here we find four substantial works by Robert Schumann performed with agility and delicacy by Stephanie McCallum. Included are descriptions to highlight the passion normally associated with the piano music of Schumann.

It was a comment from his wife Clara which prompted Schumann to write Scenes from Childhood and, despite its title, the work was not written for children to play but to provide adults with the opportunity to view life through music.

Schumann wrote solely for the piano until he was 30 and, following that, he extended his repertoire to produce his four great symphonies

1000 YEARS OF CLASSICAL MUSIC: VOL. 96 Toru Takemitsu: Music for Orchestra Michael Dauth; Norio Sato; Jeffery Crellin; Melbourne SO/Hiroyuki Iwaki ABC 481 4975

✶✶✶✶✶ Japanese composer Toru Takemitsu was born in 1930 and first came into prominence in the 42

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from the accompanying Fast Facts included with each CD and that’s very helpful. Haydn brought to the world so much wonderful music including those 104 symphonies as well as many string quartets and keyboard sonatas.

It isn’t possible to produce a CD involving Haydn arias without including excerpts from The Creation and The Seasons.

The Creation was an immediate success and brought Haydn so much international recognition. Apparently for its first performance in 1799, The Creation involved huge numbers of instrumentalists and some 200 singers with Haydn conducting the performance. What an occasion that would have been!

In this particular recording the Tasmanian Symphony Orchestra is conducted by Swede Ola Rudner who has an impressive

along with the well-known and popular piano concerto as well as some chamber music.

So on this disc we meander through the 13 pieces of the delightful Scenes from childhood with Curious tale to the well-known Träumerei, By the fireside and Child falling asleep, all producing some really expressive sensitive moments from the piano.

Coming up next we hear the three movements of the Fantasie written by Robert for his wife Clara: a work full of energy. In the third movement, Schumann had Beethoven in mind. Fanciful and passionate energetic moods are required for the Fantasie and the overall colouring is undeniably Schumann before the mood reverts to a more soothing expressive style.

Papillions is a work demanding colour and energy and the performance shows a

early 1950s, joining with other composers who sought new modes of musical expression. It was at this time that Takemitsu absorbed major contemporary musical techniques.

Takemitsu’s music is a meeting point between East and West and brings together European trends in the 20th Century. Music for orchestra shows hints of music past: there’s a little Ravel, Debussy, and Scryabin influencing the overall soundscape. Included is Dreamtime written in 1981 with its strong connection with Aboriginal culture. Nostalgia for violin and string orchestra was written for, and given its first performance, by Yehudi Menuhin. Takemitsu had an interest in the movement of water and in this work he conveys the effect of the beauty of water in the form of rain and mist. Michael Dauth is the solo violinist.

track record of having conducted most of the Scandinavian orchestras and a long list of other European orchestras. Soprano Sara Macliver was born and raised in Perth, Western Australia and is one of Australia’s most popular and versatile artists, appearing in operas, concert and recital performances and numerous recordings. The delightful sound which Sara Macliver produces shows great agility throughout the range and an ease to produce some stunning florid moments. As a result she is regarded as one of the leading exponents of Baroque and Classical repertoire in Australia.

This is a CD well worth acquiring and adding to your home library.

- Emyr Evans

comfortable sense of ownership in this respect.

Finally, because Schumann may have felt he needed to attend to detail, Papillions only shows metronome indications! The disc ends with Novelette.

- Emyr Evans

Takemitsu’s preoccupation with water is shown again in Vers, l’arc-en-ciel, palma inspired by the paintings of Spanish artist Miré. This work features guitarist Norio Sato with Jeffery Crellin playing oboe d’amore, an unusual and beautiful combination, conveying Takemitsu’s preoccupation with water in the form of a dream river meandering its way into a sea of tonality. In A flock descends into the pentagonal garden, Takemitsu’s fascination with pentatonic numbers is reflected with many references to the number five.

In all these works, the Melbourne Symphony Orchestra under conductor Hiroyuki Iwaki produces an excellent performance.

- Emyr Evans

THE GREATEST VIOLINIST OF HIS TIME WAS HE JOSEPH JOACHIM? ASKS ELAINE SIVERSEN At the age of 18, it was said that ‘in the whole of Germany’, Joseph Joachim had no equal, either in the rendering of Bach or in the concertos of Beethoven and Mendelssohn, while as a quartet player, ‘he had no cause to fear rivalry’. Among the most notable of Joachim’s achievements were his revivals of Beethoven’s Violin Concerto, Bach’s Sonatas and Partitas for solo violin and Beethoven’s late string quartets.

Hungarian-born, Joseph Joachim became a violinist, conductor, composer and teacher and was widely regarded as one of the most significant violinists of the 19th century. Was he, however, the greatest violinist of his own time? Ferdinand David, born a generation earlier, was also a great virtuoso violinist and they both played in the Gewandhaus Orchestra under Mendelssohn’s direction with David the leader of the orchestra. David was a childhood friend of Mendelssohn and it was for him that the latter’s Violin Concerto was composed. While David played many works for solo violin, and was regarded as a virtuoso, the brilliance of the young Joseph Joachim overshadowed him.

Joachim made his public debut in 1839 when he was aged seven. Four years later, he became a protégé of Mendelssohn, who arranged for him to study theory and composition at the Leipzig Conservatory.

Mendelssohn took the 13-year-old Joachim to London in 1844 to debut with the London Philharmonic where the young violinist played the solo part in Beethoven’s Violin Concerto.

This was a triumph and it was reported that ‘cheers of the audience accompanied every ... part of the concerto’. One reviewer wrote, ‘The greatest violinists hold this concerto in awe ...

Young Joachim ... attacked it with the vigour and determination of the most accomplished artist ... no master could have read it better’ and he also wrote that the two cadenzas, written by Joachim, were ‘tremendous feats ... ingeniously composed’. Joachim remained a favourite with the English public for the rest of his career and he visited England on many occasions for years afterwards.

Following Mendelssohn’s death in 1847, Joachim stayed briefly in Leipzig, teaching at the Conservatorium and playing at the first desk of the Gewandhaus Orchestra when Ferdinand David became the conductor.

Joachim left to become one of the first of the young avantgarde disciples to join Franz Liszt in Weimar. They were opposed to the conservatism of the Leipzig circle. He served Liszt enthusiastically as concertmaster for several years but became disenchanted and moved to Hanover. He wrote to Liszt: “I am completely out of sympathy with your music; it contradicts everything which from early youth I have taken as mental nourishment from the spirit of our great masters”. Joachim’s duties in Hanover included playing the main violin part in opera performances and conducting state concerts. In the summer months he made concert tours around Europe further consolidating his reputation as a great violinist.

In 1853, at the Lower Rhine Music Festival, Joachim again played the Beethoven Violin Concerto. His success made him, it is said, ‘the most renowned artist of Germany’.

Robert and Clara Schumann were deeply impressed and formed a close friendship with him. There Joachim also met the unknown 20-year-old Johannes Brahms and admired his piano playing and compositions so much that he strongly recommended the young man to Robert Schumann. As a result Brahms was received by the Schumanns with great enthusiasm.

After Robert’s death in 1856, Joachim, Clara Schumann and Brahms remained lifelong friends and shared musical views. Clara and Joachim frequently performed together and in October–November 1857, they took a recital tour together to Dresden, Leipzig, and Munich.

Joachim’s performing style with the violin, like Clara’s at the piano, is said to have been ‘restrained, pure, anti-virtuosic, expressing the music rather than the performer’. Yet Joachim’s reputation today is as a great virtuoso violinist.

In 1866 Joachim moved to Berlin, where he helped to found, and to become the first

director of a new department of the Royal Academy of Music concerned with musical performance. Three years later, he formed the Joachim String Quartet which quickly gained a reputation as Europe’s finest. It continued to perform until Joachim’s death in 1907. A milestone in his life came in 1903 when he was the first violinist of distinction to make a recording followed shortly after by Pablo de Sarasate.

Joachim composed various works for the violin (including three concertos) and overtures to Shakespeare’s Hamlet and Henry IV. He also wrote cadenzas for a number of other composers’ concertos. Most importantly, Joachim played a pivotal role in the career of Brahms and remained a tireless advocate of Brahms’ compositions.

Undoubtedly, though, he was the greatest violinist of his time.

We can’t hear Joachim playing but we can listen to some of his compositions in The Greatest Violinist of his Time on Friday 29 September at 2.30pm.

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Jazz CD Reviews

WITHIN AND WITHOUT Jeremy Rose Earshift Music EAR 018

✶✶✶✶ One defining characteristic integral to the success of any recording is the cast of ENRAPTURE Ken Peplowski Capri 74141-2

✶✶✶✶✶ Many, including myself, consider Ken Peplowski to be the finest clarinet player in jazz today. He has been compared to Benny Goodman because of his tone and virtuosity. In fact distinguished music writer Will Friedwald in the Wall Street Journal said Peplowski ‘sounds the way Goodman might have if he had kept evolving, kept listening to new music, kept refining his sound, polishing his craft’. As a lover of the jazz clarinet, I have followed Peplowski’s career on record since his first album (Double Exposure on the Concord label in 1987).

TURN UP THE QUIET Diana Krall Decca /Verve 573 5217

✶✶✶✶ 44

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players with whom one surrounds oneself.

On that score the award-winning saxophonist/ composer Jeremy Rose has chosen wisely on his newly-released album Within and without.

The music featured on the album was written at a time of great change in Rose’s life and is inspired by travel, personal relationships and a new-found creative inspiration which traverses variances in mood and tempos appropriately accommodating its inspirational sources, the Atlas Mountains of Morocco, the islands of Indonesia and the outback of Australia on Flash Jack from Gundagai. Rose exquisitely displays his musical prowess on eight distinctively original compositions alongside his longtime collaborator, pianist Jackson Harrison.

Harrison contributes one outstanding composition and plays gracefully and sublimely on all tracks along with American Kurt Rosenwinkel, now a Berlin resident where

the album was recorded and highly regarded as one of the jazz world’s most acclaimed and influential guitarists. Rosenwinkel uses a wide variety of effects units, each with a specific function and effect on the guitar’s sound throughout all of the compositions which are complimented by a terrific rhythm section, bassist Andreas Lang from Denmark and drummer Tobias Backhaus from Berlin.

On Zombie and Second chance, Rosenwinkel lustrously shines on his guitar alongside the other musicians, especially on From the river to you which clearly demonstrates Harrison’s prowess in pianism and composition.

Rose’s deft ability on alto saxophone and bass clarinet permeates the whole album, weaving all the musicians’ performances into a magic web of harmony and creativity: a total kaleidoscopic affair full of contrasting moods and tonal colours.

- Barry O ‘Sullivan

His warm and glowing tone is a joy to hear and his fluid, light-fingered technique enables him to handle any tempo with ease. A good example here is his bold attack on a blistering The flaming sword, a tropically infused piece of Ellingtonia. He considers the quartet with Israeli-born pianist Ehud Asherie, bassist Martin Wind and drummer Matt Wilson the finest he has worked with, unified and responsive to any challenge. They needed an eclectic program, which included music by film composer Bernard Herrman, John Lennon and Yoko Ono, Noel Coward, Anthony Newley, Barry Manilow and Harry Warren. They more than rose to the challenge, which makes this 2015 session among Peplowski’s very best.

Among the highlights: on clarinet, the melodic

duet with Wind on Lennon and Ono’s Oh, my love and the sumptuous reading of Coward’s I’ll follow my secret heart. Then there’s his tenor saxophone gliding effortlessly through Manilow’s When October comes. Flawless!

- Kevin Jones

This latest release album from the pianist/ singer finds her returning to well-known standards from the Great American Songbook. Reuniting with producer Tommy LiPuma for the first time since 2009’s Bossa Nova inspired Quiet nights, Ms Krall works with a trio of line-ups on Turn up the quiet, alternating between a trio, quartet, and a quintet.

The album isn’t divided into triads but rather gently shifts between these bands, a move which is sometimes imperceptible because the focus is firmly on Ms Krall, the pianist. Her voice often operates at a managed hushed whisper, a decision which suits this collection of romantic and dreamy material. It also underscores the importance of the record’s

title and that emphasises her lithe pianism along with the solo spotlights from her featured musicians, guitarists Russell Malone, Anthony Wilson, and Marc Ribot, along with supple playing by bassists Christian McBride, Tony Garnier, and Anthony Wilson.Violinest Stuart Duncan, in particular, stuns with his solos on I’ll see you in my dreams and Moonglow.

Diana Krall, the vocalist, keeps things smoky and subdued throughout the recording, a method she seems to have mastered. This is a recording for the wee small hours of the morning or for that special dinner party gathering. It won’t offend or intrude and the end result is so elegant, it seems effortless.

- Barry O’Sullivan

THE NULLABOR, GOANNAS AND BULL ANTS JOHN BUCHANAN CELEBRATES AUSTRALIAN JAZZ whatever music they liked: music in which they could express their own thoughts.

The event which gave focus and identity to these traditional bands at the end of World War II was the historic first Australian Jazz Convention held in North Melbourne in December 1946. Graeme Bell’s Dixieland Band was joined by another popular Melbourne band led by trumpet player Tony Newstead. As news spread two other Australian groups, Tom Pickering’s Barrelhouse Four from Hobart and Dave Dallwitz’s Southern Jazz Group from Adelaide also agreed to come.

At the end of the Second World War there was a worldwide revival of traditional jazz to help the free world celebrate the end of the war in the same way that the ‘Jazz Age’ of the 1920s helped everyone to celebrate the end of the First World War. The music was so fresh and exciting, ideally suited to helping us put behind all the horrors of the war. Many books on the history of jazz were being published around that time.

Frederic Ramsey Jr and Charles Edward Smith’s pioneering book Jazzmen was the first to hit the book stores, followed by Rudi Blesh’s Shining trumpets, Rex Harris’ Jazz and so on, all adding to our knowledge and interest in this great African-American music.

One April evening in 1952, I couldn’t believe my ears as I walked into the Sydney Town Hall to a concert featuring Graeme Bell and his Australian Jazz Band. They were playing the classic New Orleans march, High society.

Everything I had heard on record, everything I had read about was being played out in front of me: eight men lighting up the Town Hall with their music.The musical aspect of my life would never be the same again. The band had just returned home from their second European tour and they were on a national tour of Australia, filling one Town Hall after another around the country.

Most tunes were known to me but some of them with names like Nullabor, Broken Hill

and Goanna march seemed to be played in a more relaxed laid-back manner, not so much the ‘hot’ dance music, blues, and the New Orleans brass band marching tradition which I had been expecting. Later on checking the program, I found that most of these tunes had been written by members of the Graeme Bell Band.

In the late 1930s Roger Bell had introduced his brother Graeme into the world of jazz.

With a school friend from Scotch College in Melbourne, Ade Monsbourgh, and a couple of other friends, they formed a jazz group which by the late 1930s had begun playing some local dances, eventually followed by engagements at Portsea and St Kilda.

In July 1943 the band secured a regular engagement to play Saturday nights at the Heidelberg Town Hall and they soon built up a loyal following. In September, they gained further support when they began a two-year stint at the Palais Royale. Ade Monsbourgh joined the RAAF in 1944 so the full band was not to re-form until after the war.

After the war, Melbourne became the launching pad for the jazz revival in Australia.

It had more dance-halls and centres of entertainment than any other of the major cities. Also more musicians and bands in Melbourne were showing an interest in this new type of music and a new generation, many of them being amateurs, played

At that first convention about 50 people, mostly men in their early 20s, gathered to play together in a casual atmosphere. The convention became so important to the traditionalists that it has been held every year since, making it the oldest jazz festival in the world. Each year the jazz conventions continued to spread and influence what was happening on the Australian jazz scene.

This resulted in the introduction of an annual Original Tunes Competion at the second Convention in 1947, which this year will deliver its 70th original tunes winner.

Do we really have an Australian tradition?

The Bell brothers, Ade Monsbourgh and other members of their band, wrote more than 100 tunes over the years. Many other bands like Frank Johnson and his Fabulous Dixielands and The Southern Jazz Group have also contributed. Ade Monsbourgh tended to like slow tempos and he had the Bell band playing with a loping buoyant pulse which came to be known as the ‘Melbourne bounce’. Add to this Roger Bell’s lyrical trumpet playing, the band’s relaxed laid-back style and attitude and I think it is fair to say that we do really have our own Australian way of playing jazz.

In my Classic Jazz and Ragtime program on Sunday 10 September at 12 noon, I will play some of the Australian tunes written during the post-war revival including those which Graeme Bell and his band played that April night at the Sydney Town Hall in 1952.

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VAMPIRES AND VIRGIN BRIDES The opera Der Vampyr (The Vampire) isn’t performed very often but, in 1992, there was an updated version performed on television with the title, The Vampyr: A Soap Opera. A stage adaptation appeared in 2014 which was a spoof on modern vampire stories such as Dracula, the Vampire Chronicles and other similar stories. What the composer Heinrich Marschner would have thought of this depends on whether or not he had a sense of humour.

For someone who was regarded in his time as the most important composer of German opera in between Carl Maria von Weber and Richard Wagner, this could have been an insult, or it could have been appreciated as a wickedly funny version of his work.

Marschner had to wait nine years after he composed the opera before it was staged in Leipzig in 1828. He had the advantage here in that, the year before, he had become the stage composer and conductor in that city.

Der Vampyr was a hit with Leipzig audiences.

No doubt the story of the nobleman who had to kill three virgin brides within 24 hours or risk being turned into a vampire appealed to a thrill-seeking audience. The climax of the

opera comes when the nobleman is struck by lightning and falls into Hell. There is a happy ending though for the other main character who was also in danger of becoming a vampire.

He survives and marries his sweetheart. The audience would have been on the edge of their seats!

It was after meeting with Beethoven in 181516 that Marschner decided to leave his legal studies and to devote his life to music. Even though Marschner was just 20 at the time, he became a friend of the older composer. Later he also formed friendships with Mendelssohn and with Schumann who lavishly praised Marschner’s piano trios. Marschner was a private music teacher before turning to composing for the stage and conducting in Dresden (1821-27) and Leipzig (1827-30) and finally at the Court Theatre in Hanover where he remained until his death in 1861.

To the extent that Marschner is still remembered, it is largely for his operas which were extremely popular in his lifetime. However his contribution to the Lied is significant, the best of which have been compared with those of Carl Loewe. Marschner’s ability to depict

supernatural horror musically is especially evident in some of his operas as well as in some ballads. - ES Be horrifed by the supernatural At the Opera on Wednesday 6 September at 8pm as you listen to Heinrich Marschner’s The Vampire.

A PASSIONATE, IMAGINATIVE PIANIST then thought of studying conducting but in 1987 decided that the piano was his future.

In following this course he has studied at the Conservatories of St. Petersburg, Moscow and Paris and at a prestigious music school in Madrid. Since making his debut as a pianist, Volodos has received such acclaim that he is now one of the world’s most highly regarded pianists. He has a wide repertoire and his recordings encompass the works of Rachmaninov, Tchaikovsky, Skryabin, Mompou, Ravel, Schubert, Brahms, Schumann and Liszt amongst many others.

Recording producer, Thomas Frost, said that the Russian pianist, Arcadi Volodos ‘has everything: imagination, colour, passion and a phenomenal technique to carry out his ideas’. This opinion has to be respected as Thomas Frost was the producer of many of the recordings of the great Vladimir Horowitz as well as being the producer of a number of recordings by Volodos. This virtuoso pianist is not as well-known as many of the 46

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leading pianists of our time although he is an award-winning performer. This includes the prestigious Gramophone Award for three of his recordings, one of which was recorded live at Carnegie Hall, New York. You can’t fake a live performance!

Although Volodos, who was born in Leningrad in 1972, learned the piano from a young age, he began as a singer, following in the footsteps of his parents both of whom were singers. He

According to a review of a 2015 Volodos recital in London’s Barbican Theatre: “The pianist brought definition and tonal warmth to complex works by the two composers [Brahms and Schubert], showing again what a superb musician he is”. Another reviewer wrote glowingly of ‘the definition and tonal warmth of his playing’. - ES An Unfamiliar Virtuoso features Arcadi Volodos on Thursday 14 September at 2pm.

THE MAN BEHIND THE MUSIC SUE JOWELL TALKS TO ROBERT TREGEA about their business, with heads seemingly permanently buried in banks of chords, wires, screens and sockets, ensure that we seamlessly and clearly stay on air 24/7. One member of that team is Robert Tregea.

developed. The challenge of designing and constructing essential specialised equipment was irresistible and working with a team of like-minded people, Max Benyon, Roger Doyle and David James, was an added bonus.

In this rushed, frenetic world we take everything for granted, as long as it all works.

Modest and self-effacing, Robert has an impressive background. With a Certificate in Electronics and Communications and an Associate Diploma of Electrical Engineering, he has covered everything from constructing radio and TV transmitters and PABX telephone exchanges (remember them?) to aircraft navigation equipment and even traffic lights! He also played a role (‘a very minor one’ he says modestly) in the manufacture of the original audio equipment at the Opera House.

Technical wizardry apart, Robert has always loved music. He remembers how, during the 50’s and 60’s his parents listened avidly to the radio. Back then 2FC was the only station in Sydney which played some classical music.

Things are different now. Robert only has to raise his head from the depths of switches, plugs and wires and there is it is: music from the Middle Ages to the Modern and especially the music of Delius and Vaughan Williams. He loves it all, just as long as it is melodic.

Even at Fine Music, where we actually see much of the ‘underground’ technology behind glass-fronted rooms, we do not pause to ponder about WHAT makes everything work or HOW it works or, most importantly, WHO keeps the show on the road? The answer is that a small team of volunteers who quietly go

In 1977, when, he recalls ‘FM Broadcasting was new to Australia, very much a pioneering activity’, he responded to a call from 2MBS for Technical Volunteers. After eight years he left to continue his career, but on retirement in 2009, a chance meeting with Max Benyon revealed that the studios were to be re-

It is good to imagine that on any day, while attending to his essential tasks, when On hearing the first cuckoo in Spring or The lark ascending is being broadcast, Robert might pause momentarily to enjoy the music with its crystal clear sound which he has helped to produce.

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 $22 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: Janine Burrus; Deputy Chair: Lloyd Capps; Secretary: Andrew Dziedzic; David Brett, David James, Jeannie McInnes, Simon Moore, Stephen Wilson COMMITTEE CHAIRS Programming: Chris Blower; Presenters: Ross Hayes; Technical: Roger Doyle; Volunteers: Sue Nicholas; Marketing: David Brett; Finance: David Brett; Jazz: Jeannie McInnes; Library: Susan Ping Kee; Under 30s: Heather Middleton; Work Health and Safety: Dennis Oppenheim PROGRAMMERS AND PRESENTERS Andari Anggamulia, Charles Barton, Angela Bell, Peter Bell, Susan Bell, Chris Blower, David Brett, Barrie Brockwell, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Colleen Chesterman, Lyn Chong, Andrew Clark, Angela Cockburn, Liam Collins, Sam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Emyr Evans, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Francis Frank, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Gabi Goddard, Gael Golla, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, Richard Hughes, James Hunter, Leita Hutchings, Anne Irish, Paul Jackson, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Yvonne Laki, Ray Levis, Sophie Looi, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Heather Middleton, 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, Paul Roper, Darryl Rule, Genji Sato-Fraser, Marilyn Schock, Debbie Scholem, Julie Simonds, Elaine Siversen, Robert Small, Manfred Stäuber, Garth Sundberg, Giovanni Tarasconi, Patrick Thomas, Anna Tranter, Madilina Tresca, Robert Vale, Phil Vendy, Richard Verco, Brendan Walsh, Christopher Waterhouse, Ken Weatherley, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Tom Zelinka, Rebecca Zhong PROGRAM SUB-EDITORS Jan Akers, Chris Blower, Di Cox, Colleen Chesterman, Amal Fahd, Noelene Guillemot, Gerald Holder, Susanne Hurst, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Joan Buckley, 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, Anne Wiseman STATION OPERATIONS Transmitter: Max Benyon; Studio operations: Roger Doyle; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Financial Administrator: Sue Ferguson; Marketing Manager: Mona Omar; Program Coordinator: Steve-Marc McCulloch; Administration Assistant: Krystal Li September 2017

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