Fine Music April Magazine by 2MBS Fine Music Sydney

APRIL 2018

MASAAKI SUZUKI AND BEETHOVEN The master choral conductor

150 YEARS LATER Berwald and Rossini

DEATH AT THE METROPOLITAN Tenor dies on stage

MAGAZINE

MEMOIRS OF A CONDUCTOR Nicholas Braithwaite recollects

COMING UP WITH YOUR SSO Unmissable Concerts

Beethoven’s Mass in C Experience Beethoven’s choral masterpiece together with one of Haydn’s great London symphonies in a stirring and magnificent program. Masaaki Suzuki conductor / Sara Macliver soprano Anna Dowsley mezzo-soprano / Benjamin Bruns tenor Christian Immler bass / Sydney Philharmonia Choirs APT MASTER SERIES

11, 13 & 14 APR

Mozart and Mendelssohn THU 5 APR 7PM City Recital Hall TEA & SYMPHONY

FRI 6 APR 11AM Sydney Opera House

TICKETS FROM $39*

Two of music’s most famous prodigies – Mozart and Mendelssohn – and the SSO’s youngest principal musician, Todd Gibson-Cornish, are the stars in this sublime program featuring Mozart’s lively Bassoon Concerto and Mendelssohn’s popular Italian Symphony.

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

ALL CONCERTS AT THE SYDNEY OPERA HOUSE UNLESS OTHERWISE STATED * 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.

Playlist with Matthew Wilkie TUE 1 MAY 6.30PM City Recital Hall

Tickets also available at:

SSO bassoonist Matthew Wilkie introduces a program of music that has inspired him during his career. Meet Matthew, hear this wonderful instrument, and enjoy a drink at the bar with the musicians afterwards.

sydneyoperahouse.com 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pm

cityrecitalhall.com 8256 2222 Mon–Fri 9am–5pm

CONTENTS

FROM THE CHAIR

VOL 45 No 4 2

The Elusive Element of Genius

Symphony on Ancient Texts

Needing a Day Job

Rossini 150: The Italian Girl

Memoirs of a Conductor

The Power of Music

Program Guide and Composer List

What’s on: Sydney and Surrounds

Death at the Metropolitan

Classical CD Reviews

The Six-String Guitar

Musical Families

Jazz CD Reviews

What Makes a Jazz Artist Tick?

2018 Kruger Scholar: Cameron Lam

It is commonplace today to talk about how traditional media have been disrupted by the digital revolution. How we receive information has been transformed in ways unimaginable even as little as 15 years ago. As ‘old media’, radio was expected to be one of the first casualties. With the advent of iTunes, Spotify and other streaming services, how we listen to music was also to be transformed, with CDs and radio headed for the museum. Reality has so far proved somewhat different. Radio has proved remarkably resilient with very little audience loss. Certainly, our surveys have shown no decline in the size of the audience for Fine Music 102.5, rather the reverse. Our listeners repeatedly tell us that they value the human connection provided by our presenters and the opportunity to hear music and performances they might not have found for themselves elsewhere.

A Passionate Madrigalist A Welcome Young Volunteer: Rebecca Zhong

40 YEARS

The main impact of the digital revolution on us to date has been the addition of a digital channel (technically known as DAB+) to our broadcasts on 102.5. The impact of digital radio has been nothing like that of digital TV, mainly because for most there is no obvious improvement in quality. Sales of digital receivers have been slow and there is no prospect of digital replacing FM/AM broadcasts in any foreseeable timeframe. Nonetheless, something like 20 per cent of our audience listens to our digital broadcasts as well as to FM, and that proportion is sure to grow over time.

The current dilemma for community stations, which have only one digital channel, is whether to simulcast their FM broadcasts or to offer different programming entirely. Presently, we simulcast on weekdays, 1974 - 2014 but offer different programs in the evenings, at night and on weekends. This approach is under constant review as we try to judge listener trends and preferences. If you listen to us on digital and have a view on Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 what you would like to hear, please let us know. Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Good listening on Fine Music 102.5 FM and Fine Music DAB+! Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay. David Brett Chair ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Assistant Editor: Elizabeth Hill MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES Sub-editors and Proof readers: Chris Blower, Di Cox, Elizabeth Hill, CO-OPERATIVE LTD Sue Jowell, Maureen Meers, Helen Milthorpe, Catherine Peake Contributors: Chris Blower, Nicholas Braithwaite, David Brett, Tom Our Mission is to be Sydney’s preferred fine music broadcaster, Forrester-Paton, Nicky Gluch, Ross Hayes, Elizabeth Hill, Sue Jowell, broadcasting classical, jazz and other fine music genres for the Randolph Magri-Overend, Jeannie McInnes, Michael Morton-Evans, enjoyment and encouragement of music. We currently broadcast on James Nightingale, Barry O’Sullivan, Catherine Peake, Frank Presley, FM and DAB+, streaming both from www.finemusicfm.com. Another Elaine Siversen The views expressed by contributors to this magazine do not necessarily aim is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and reflect or represent the views of the publisher, Fine Music 102.5 music education and to use our technical and broadcast resources to Images: Allen Ford further this aim. Program Logos: Simon Moore Distribution Coordinator: Sissy Stewart Honorary Patron: Prof. Dame Marie Bashir AD CVO Art Direction: Liza-Jane Smith liza@designcampaign.com.au Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email friends@finemusicfm.com Emerging Artists Patron: Toby Thatcher Cover image: Masaaki Suzuki. Credit: Marco Borggreve. April 2018

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THE ELUSIVE ELEMENT OF GENIUS NICKY GLUCH IN PRAISE OF BEETHOVEN’S MASS IN C Masaaki Suzuki will conduct in April. At the helm of the Sydney Symphony Orchestra, he will direct a performance of Haydn’s Symphony no 95 and Beethoven’s Mass in C. The Mass was commissioned by Haydn’s patron, Prince Esterházy, who thus expected Beethoven’s work to sound something like his teacher’s. However, Beethoven produced something completely unique and, to the Prince, completely unacceptable. It was not just the Prince who disapproved of the work. While Beethoven’s symphonies are almost universally adored, many audiences still struggle with his choral works. Suzuki provides a reason as to why this might be. He says that regarding Beethoven’s two Masses, the struggle with them might be that, ‘we have a tendency to expect a similar structure to his symphonies, which are based on sonata form. This expectation makes it difficult to understand his Masses. In Mozart’s case, for example, he seems to pursue a kind of sonata form (exposition/development/recapitulation) even for the Mass text. Beethoven, however, sticks much more to the text, word by word, as if in Baroque style. We should [therefore] be aware that completely different values from the symphonies must be sought after.’ This explains why academics see so much to praise in the Masses. If thought of intellectually, rather than with preconceived sonic expectations, there can be found a choral Beethoven as much worth investigating as the symphonic one. Suzuki’s comment that the Mass leans towards Baroque style justifies why he is the right man to present it to Sydney audiences. Suzuki is the founder of the Bach Collegium Japan, an ensemble which was founded to expose Japanese audiences to period performance. The ensemble’s recordings are renowned and Suzuki is much decorated for his work.

Masaaki Suzuki. Photo credit Marco Borggreve. When Albert Einstein died, scientists removed his brain to see if they could identify the ‘genius’ element. One imagines that there would have been those who would have liked to have done the same to Beethoven, for when musicologists, especially those of the 20th century, write about Beethoven it is with a reverence which often borders on devotion. These learned academics cannot but quiver in the face of someone whom they believe to be so unique. For Thomas Surette and Daniel Mason, for example, Beethoven brought into perfect flowering the plant which Mozart and Haydn had tended. W.H. Hadow captures the genius sentiment when he emotes how ‘there is no composer who repeats himself so 2

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seldom, who makes less use of the formula’. Sigmund Freud might have had his own perspective on the great man. Indeed, Beethoven led a far from blessed life. Abused by his father, refused by lovers and afflicted by deafness, might Beethoven’s adversity not have made him the man he was? Heroes are supposed to overcome adversity but H.E. Wortham insists that artists make bad heroes; they ‘play the game of life with different rules’ to ‘ordinary’ people. Perhaps that is what makes them brilliant, for where the hero on his journey must transform, it seems that the genius must stubbornly refuse to do so. All this is by way of introduction to the concert

In many ways, Suzuki is not dissimilar to Beethoven. Hadow states that to understand Beethoven’s character, ‘it is necessary constantly to bear in mind the two-sided truth that the greatest men are those who combine the utmost receptivity and teachableness with a perfect self-dependence and fearless initiative’. Suzuki’s approach is much the same. He is a student of period performance and yet he is simultaneously ‘his own thing’. He is a scholar and he is an inventor and that is why Sydney audiences should trust him. How then to capture the work? It begins almost from nothing, the choir creeping in with the first Kyrie. The soprano and bass have the first solo moments, becoming almost like

instruments as they turn the word Kyrie into a musical line. Each entry of the choir is a punctuation of warmth and splendour with the orchestra there as the harmonic suspender. The Gloria starts with its expected fanfare. What is unexpected is how quickly the music quietens, the voices sounding as if they were coming from another world, barely audible and then fugal, placing us back on earth. The tenor solo Gratias agimus tibi is tender and answered by an angelic chorus. This antiphonal device is what makes the Mass so ‘un-Classical’ so ‘unHaydn’ and yet, if indulged, it is spine tingling. Credo begins as a choral movement. This is the proclamation of the Christian creed and Beethoven has all voices speaking as one. It is emphatic and grand. The clarinet then signals the transition from the choral to soli section. Beethoven must have learnt from Mozart, and Gershwin from him, how the clarinet can seem so decidedly human. The bass signals Christ’s Resurrection in an almost operatic fashion and then the choir joins in to personify the Ascension. At this point, audiences may agree with Beethoven’s self proclamation that he was a tone poet more than a composer. The Mass is poetry recited by 20 parts (instruments and voices) and thus, like poetry, it becomes more beautiful with familiarity. The Sanctus, starting slowly, is thus a love poem. The timpani rolls like a heartbeat and the choir sings in perfect harmony. This is not broken by the Allegro section but rather exalted by it. These moods alternate, from the Osanna into the Benedictus and back again. All this is in preparation for the Agnus Dei. As Beethoven does in his Fifth Symphony, he makes the tension the transition from C minor to C major. This, he probably did learn from Haydn, who used it to such dramatic effect in The Creation. Suzuki and the SSO know of this tension first hand. The Creation was the work in their previous collaboration of 2016. In this concert, Suzuki has decided to expand the idea. The Haydn Symphony he has chosen for the first half is not only one of his favourites but is specifically in C minor. This, again, is why Suzuki should be trusted. He is not just a musician but a music curator, guiding audiences through a concert and balancing pieces so that they enhance each other. The Haydn has the effect of being not only in C minor but also being everything which the Beethoven is not. Yet they are both considered ‘Classical’. Where Beethoven eschews sonata form in his Mass, Haydn makes use of it in the first movement of his symphony. Where Haydn’s forms are regular,

Beethoven’s are his own. On hearing the Beethoven before the Haydn, Prince Esterházy’s response is explained. On hearing the Haydn before the Beethoven, the Beethoven ceases to be considered in comparison to Haydn’s symphonies. Through this, it may cease to be such an unappreciated masterpiece. Returning to the idea that Beethoven’s Mass is somewhat Baroque in character, it is interesting to reflect on what Suzuki told Fine Music in 2016. Suzuki’s musical nascence was in the church and thus he was exposed to Baroque music from an early age. Symphonic orchestras, on the other hand, rarely perform music earlier than Haydn. Photo credit: Ronald Knapp As Suzuki remarked, however, ‘the transition Yet, he respects and borrows from tradition. from the Baroque to the Classical period was As Hadow suggested, greatness comes from a continuous progression’. Thus, whilst “… the balancing of two sides: receptivity and Haydn’s music might look and sound quite inventiveness. different from any Baroque music, there are many common elements and styles of Haydn, we may sometimes forget, was an music-making. Nothing is less natural, nor inventor in many ways. Beethoven was also more difficult, than Baroque. [Classical an inventor, as we have now seen. Who music] rather, becomes easier in terms of the knows if scientists would ever have found understanding of the music, in spite of many what they were looking for in Einstein’s brain? tricky technical moments for the ensemble.” The genius element may be elusive, but we This notion explains why even though the always know when it’s there. SSO and the Sydney Philharmonia Choirs may not be period ensembles, the soloists EVENTS have all been chosen for their Baroque BEETHOVEN’S MASS IN C experience. The soprano, tenor and bass Haydn: Symphony in C minor, Hob.I:95 soloists (Sara Macliver, Benjamin Bruns and Beethoven: Mass in C, op 86 Christian Immler) are all renowned for their Sara Macliver, soprano; Anna Dowsley, Bach performances and Anna Dowsley, an mezzo-soprano; Benjamin Bruns, tenor; up-and-coming Australian contralto, received Christian Immler; bass much acclaim for her performance of Bach’s Sydney Philharmonia Choirs Ich habe genug with the Sydney Chamber Sydney SO/Masaaki Suzuki Opera. All this is part of Suzuki’s genius. He ensures that a period-performance sentiment is brought to the main stages of capital cities, and not just to smaller rooms and music festivals. Suzuki is not bounded by definition or by fear: he has challenged the idea that Japan would not be receptive to Bach and the idea that a Bach conductor cannot direct Britten.

DATES Wed 11 April 8pm Friday 13 April 8pm Saturday 14 April 8pm VENUE Concert Hall, Sydney Opera House April 2018

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SYMPHONY ON ANCIENT TEXTS

JAMES NIGHTINGALE ON CARL VINE’S CHORAL WORK The Australian composer, Carl Vine, has consistently composed music which both expresses his personal aesthetic and connects with audiences. Written with a high level of compositional rigour, Vine’s works encompass influences from electronic and popular music as well as speaking to the classical music canon. Vine is one of the most performed symphonic composers of Australia, the composer of seven symphonies, six of which have been commercially recorded. In April, a Sunday Special devoted to Vine’s music will culminate with his Symphony no 6 or Choral symphony which is now 22 years old. The first work of Vine’s to capture my attention was his Café concertino, a chamber sextet dating from 1984. Its repeated rhythmic patterns and layered textures create the direction and tension of the piece. Blocks of static harmonies built around common chords alternate, in a similar way to jazz and popular music, to create a pathway through a series of contrasting emotional levels. These elements make sense to the listener in an intuitive and organic way and this ability to immediately communicate with the audience is one of Vine’s strengths as a composer. Vine began his musical career as a pianist, finding work with several of Australia’s major dance companies as a rehearsal pianist. It was soon obvious that he had much more to offer to these companies and he began to receive commissions to compose music for the Sydney Dance Company and the Queensland Ballet in particular. At the same time, Vine was a founding member of the Australian new music ensemble, Flederman, performing as well as being a major contributor to their repertoire. Vine also brought to the group his expertise in electronic music, and tape works became an important part of their performances and recordings. Vine’s first major work for orchestra was a commission in 1983 from the Queensland ballet for A Christmas carol. A couple of years later he composed Prologue & canzona for the Australian Chamber Orchestra, which was followed by his Microsymphony of 1983. Vine’s career as an orchestral composer had begun and he soon found champions amongst Australia’s orchestral scene, such as the conductor Stuart Challender who commissioned his Second and Third Symphonies for the Sydney Symphony Orchestra and conducted the Symphony no 2 on the SSO’s 1988 tour of the USA. Strong collaborative partnerships have been a feature of Vine’s career, the most striking 4

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being his association with the pianist Michael Kieran Harvey. In 1991, Vine was asked to write a piece of abstract concert music for solo piano by the Artistic Director of the Sydney Dance Company, Graeme Murphy. The piece Vine wrote was his Piano sonata no 1. After performing it around Australia with the SDC, Harvey took Vine’s Sonata to the Ivo Pogorelich Piano Competition in 1993. He won the competition and Vine’s Sonata found new exponents all around the world. Another strong artistic partnership has been with flautist Geoffrey Collins, who was not only a member of Flederman but also of the Australia Ensemble. The Flute sonata is a testament to a long collaborative relationship. The Flute sonata, recorded at least four times, and the Piano sonata no 1 (12 recordings and counting), are Vine’s most recorded pieces. His Choral symphony was written for the centenary celebrations of his old school, Guildford Grammar School in Perth. In writing the symphony he embraced the opportunity to bring together all of the school’s musical forces and distilled his musical language to ensure that everyone could participate fully in

the work. While individual parts and the vocal demands of the symphony may not have the same degree of difficulty as Vine’s earlier symphonies, the construction of the work and its artistic sophistication ensure that it is an engaging and rewarding work for performers and audience alike. Vine chose ancient texts with universal relevance for his Choral symphony. The opening text is Akkadian in origin, describing the creation of the world from primeval chaos. The opening words, Enuma Elish are softly intoned by the basses on a low F sharp, an effect that is immediately familiar but also effectively mysterious. The texts of the following movements, in ancient Greek, are hymns to the Earth, Moon and Sun. Vine chose these texts for both their meaning and their musical character, that is, the sound of the text. Communicating these texts with orchestral brilliance and power, Vine succeeds in capturing the imagination of the listener throughout. Please join us to hear this magnificent choral symphony in Sunday Special on 29 April at 3pm.

NEEDING A DAY JOB CHRIS BLOWER LOOKS AT HOW FRANZ BERWALD MADE ENDS MEET the Royal Opera, but achievement in the genre was, to say the least, elusive. One modest success can be attributed to the participation of ‘The Swedish Nightingale’, Jenny Lind, in the operetta I enter a monastery, but the only one of his operas to have any success was Estrella de Soria, first staged in 1862.

Music doesn’t always pay the bills! When Swedish violinist and composer Franz Berwald’s family got into financial difficulties, he started an orthopaedic and physiotherapy clinic, which became very successful. Born in 1796 into a musical family, Berwald was playing in the orchestra of the Royal Chapel by the age of 13. In 1818, he started publishing a periodical with easy piano pieces and songs by various composers as well as some of his own original work. His early compositions were not always well received; in 1821, some of the audience laughed during the slow movement of his violin concerto. Berwald was awarded a scholarship from the King, which enabled him to study in Berlin, but when he started his clinic he stopped composing. In 1841, he moved to Vienna, married, and started composing again. He produced four symphonies, only one of which was performed during his lifetime. Eight years later, he was back in Stockholm composing and teaching but he still needed a ‘day job’ and accepted a position as manager of a glassworks. His Piano Concerto, which he finished in 1855 for one of his pupils, was not actually

It wasn’t until late in life that Berwald received recognition for his musical achievements. He was appointed Professor of Musical Composition at the Stockholm Conservatory and was also given a number of other important commissions. He did not live to fulfil them all, however, as he died from pneumonia on 3 April 1868. The second movement of his Symphony no 1 was played at his funeral.

performed until 1904, when Berwald’s granddaughter performed it at a Stockholm student concert. Opera had been a continuing interest of Berwald since his teenage years in

“Neither the media, money nor power can damage or benefit good Art. It will always find some simple, decent artists who forge ahead and produce and stand up for their works. In Sweden, you have the finest example of this: Berwald.” - Carl Nielsen, 1911 The sesquicentenary of Berwald’s death will be commemorated on Saturday 7 April at 1pm.

ROSSINI 150: THE ITALIAN GIRL ELAINE SIVERSEN LOOKS AT AN EARLY OPERA Imagine that you’re sitting in an opera house for a performance of Rossini’s The Italian girl in Algiers. The overture begins with a slow, quiet pizzicato by the double basses when suddenly there’s a loud burst of sound from the full orchestra. Even if you’ve heard this overture many times before, the sensation in a live performance is quite unexpected and may make you ‘jump’. This ‘surprise’ reflects Rossini’s admiration for Joseph Haydn whose Symphony no 94 in G has come to be known as the Surprise Symphony because of its sudden shocking effect which, for a bystander, may be seen as somewhat comical. Gioachino Rossini was 18 when his first opera, La cambiale di matrimonio, was staged and only 21 when he composed The Italian girl in Algiers. He called it a dramma giocoso (joyful drama) and it has been described as a ‘fusion of sustained manic energy and elegant pristine melodies’. The opera premiered in Venice in May 1813. Rossini stated that he composed it in 18 days, although other sources claim that it took him 27 days. That’s still remarkable for a two-act opera. However, he had unknown

collaborators to compose the recitatives as well as the aria Le femmine d’Italia. Perhaps this was a direction from the opera house as he was a very young composer? Rossini’s speed in composing became legendary and he was quoted as joking, “Give me the laundress’ bill and I will even set that to music”. He wrote 39 operas as well as some sacred music, songs, chamber music and piano pieces. While the opera was a great success, over the next two years Rossini made changes for later performances in other Italian cities. London audiences first experienced the opera six years later but it had to wait another 13 years before it was staged in New York. By then Rossini had become famous throughout Europe and countries with a European heritage. The opera then fell out of favour for about 90 years until its revival in the 1920s and 30s. It is now probably one of the most popular comic operas in the repertoire. Interestingly it’s not all comic because Rossini combined aspects of opera seria with opera buffa in this work.

During 2018 a Rossini opera will go to air every month to commemorate his death in 1868. At the Opera features The Italian girl in Algiers at 8pm on Wednesday 11 April. April 2018

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MEMOIRS OF A CONDUCTOR

NICHOLAS BRAITHWAITE RECOUNTS EARLY EXPERIENCES Writing my autobiography recently has brought home to me how fortunate I am. I have been able to stand at the heart of some of the greatest creations of the human mind and spirit, working with some of the greatest musicians of our time, in a varied career in terms of both location and repertoire. I have been lucky enough to make a large quantity of recordings of the neglected masterpieces of some fine, and some great, English composers with the superb London orchestras. I discovered a new home in Australia, spending many happy years with the Tasmanian and Adelaide Symphony orchestras, eventually settling in Adelaide. In the first performance of the Brahms Violin Concerto I ever conducted, the soloist was Yehudi Menuhin. I assisted and followed after great conductors such as Haitink, Colin Davis, Mackerras, Silvestri. Along the way I also made lifetime friends with a disparate group of amateur musicians who met for a weekend once a year over 40 years, lived in tents in a field and, in a period of 48 hours, rehearsed and performed Wagner and Strauss operas (including two complete cycles of The Ring) with some of the finest singers in the world. At heart I am a Wagner nut: more the music than the man. While abhorring his faults, one does have to respect a man who could devote 25 years of his life to creating an unperformable piece which no theatre then extant could stage satisfactorily; then cause an appropriate theatre to be built; and then persuade the world to come to hear it in Bayreuth, a place virtually unknown and hardly ever visited. Plus he wrote at least seven of the world’s greatest masterpieces. I was first smitten when my father, conductor Warwick Braithwaite, took me to rehearsals of The Ring at Covent Garden, conducted by one of the greatest of the greats, Rudolf Kempe. He was a very quiet man, rarely speaking to correct the orchestra. If an issue arose, he would make eye contact with the player involved and could immediately see if the player had understood the issue: if he had, Kempe would smile his little smile and continue without a word. The orchestra adored him. It was a different story when Solti took over. I still went to the rehearsals but I usually found myself leaving after half an hour or so. The noise he produced from the orchestra was so loud and rough that I invariably developed a

headache quite early in the piece. Solti was without question a great conductor but I found his music-making brutal. The orchestra didn’t like him and christened him ‘the screaming skull’. There is a story (probably apocryphal) that when he arrived he took two solid weeks of orchestral rehearsal on The Ring (remember they knew it very well as they had been playing it for a number of years with Kempe) and at about 4.30 pm on the second Friday with half an hour of rehearsal to go Tony Tunstall, the Principal Horn, put his hand up and said: “Mr Solti. - “Yes?” - “Siegfried.” - “Right - Siegfried.” Solti lifts the hefty score off the music stand stoops down and scrabbles around until he discovers the score of Siegfried. They have been working on Götterdämmerung. Solti asks, “Yes, Siegfried. What is your question?” - “Act III.” - “Right, Act III.” Solti has to go looking again; he has Act I on his music stand. He finds it. “Yes?” Tunstall mentions a section of the score; Solti searches again; finds it. Tunstall asks him to go to 241 bars before that section; Solti laboriously counts the bars and says, “Found it. Yes?” “Lovely bit that, isn’t it?” says Tunstall. However my major exposure to Wagner was when I became a student in Friedelind Wagner’s Masterclasses at the Bayreuth

Festival in the early 1960s. It was an extraordinary experience. The first thing I heard was a performance of Parsifal, while sitting amongst the orchestra in that unique orchestra pit. Designed by Wagner, it is like a concert platform in reverse, terraced down and away from the conductor. This allows the orchestra to extend far back under the stage with room for all 125 musicians needed for The Ring. Coupled with a cowling which curves over the heads of the conductor and players, hiding the musicians from the audience, it produces an acoustic ‘to die for’. Not only do the singers not have to belt out their parts as in other theatres, but the internal balance of the orchestra is magical. Hearing Parsifal conducted by that erratic but great conductor Hans Knappertsbusch introduced me to the greatest work of human compassion created by human kind, and set the central theme for my life. I have been lucky enough to conduct all of Wagner’s works from Rienzi onwards, most of them several times. To live in the company of these master works has been a blessing beyond compare. Nicholas Braithwaite will talk about his memoirs during In Conversation on Wednesday 4 April at 2pm. You can hear some of his recordings with the Adelaide Symphony on Thursday 19 at 1pm. April 2018

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THE POWER OF MUSIC

NICKY GLUCH ASKS YOU TO KEEP THE MUSIC PLAYING For almost 40 years, Fine Music has been Kessler’s friend, consolation and inspiration. Anyone who has had a relationship with radio will know that this is no exaggeration. Indeed, Richard Glover (we’ll forgive him for being with the ABC) recently wrote how radio exceeds almost all other media forms in the way it delivers ‘pictures’. “The projector plays behind your eyes, not in front of them,” he wrote in Spectrum (17/02). “The listener provides the details ... It’s why radio moments are so memorable. We made the film.”

Nicky and Dr Laurence Gluch in 2006 I would never have been a volunteer at Fine Music if my Dad hadn’t been a subscriber. In the summer of 2015, a motorbike pulled up outside our house and the rider delivered that month’s Fine Music magazine. As it was the university vacation I had ample time, so I read the magazine from cover to cover. That was when I stumbled on a notice asking for new volunteers. I made the call and have never looked back. My Dad began subscribing to Fine Music for the same reason that he supports the Rural Fire Service or the Surf Life Savers: he believes in supporting volunteer organisations, especially those which provide a crucial service. To my Dad, like to so many of us, music is a crucial part of life. As a surgeon, he uses it to help him concentrate in the operating theatre. Pieces are carefully selected and balanced into special playlists; a thyroid operation, it turns out, requires different music to a breast lump. This is where Fine Music comes in. So many of the pieces Dad plays are those he heard first on the radio. Through Fine Music, he’s discovered Wagenseil, befriended Wieniawski and found a new appreciation for Mendelssohn. Dad is a devotee of the Program Guide in the magazine, knowing that it’s often a recording which ‘makes the music’. I confess 8

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that he’s quite enjoyed having someone on ‘the inside’ as now he can even get the details of the filler pieces. To subscribe to Fine Music is to be a shareholder in all the associated memories which music gives us. The volunteers here know that so well. I remember coming in one afternoon and asking one of the presenters how he was. “Not good,” he replied. He explained to me that his sister had just died. Concerned, I asked if he would not rather go home. “No,” he told me, he needed the distraction and besides, his sister adored music. “If I’m here,” he said, “I can play the music she loved.” That is the power of the vibrations we send out into the air. Music touches people, it connects them and it’s often associated with our strongest memories. Professor Clive Kessler captures this sentiment beautifully. A sociologist at the University of New South Wales, Kessler returned to Sydney in 1980 after 15 years abroad. He found a comfort, a solace even, in listening to 2MBS (as it was then). “It provided serenity,” he says, and an ‘uplift’ even, “as well as education and some intermittent ‘transcendence’ during some very difficult times, personally and professionally.”

So why subscribe to Fine Music? Well, there are the perks, of course, the chance to win free tickets, special invitations to functions and events, but that’s not the real reason. No, the truth is that the pictures of which Glover speaks don’t paint themselves. A noncommercial radio station needs its subscribers to stay alive. To be on air 24 hours a day means 24 hours of electricity, 24 hours of water. It is easy to see how the costs add up. Yet the benefits of radio are innumerable, so we cannot afford to let financial costs overwhelm emotional gains. In my Dad’s words, “We have a collective responsibility to ensure the viability of volunteer organisations. It’s one thing to appreciate having something good and beautiful but it requires the collective to ensure that these institutions survive. We all have to ‘chip in’ and I can therefore take comfort in knowing that I am helping to keep something important alive.” ‘Chipping-in’ is a good sentiment as the costs are not great for something which will touch you in ways you may least expect. Fine Music broadcasts 24 hours a day, 365 days a year because we never know when people might need us. Help us keep the music playing! You’ll find details on the cost of subscribing on the donor/subscription form on page 48. Alternatively you can telephone 9439 4777 or go online at finemusic.fm.com and click on ‘subscribe’.

Sunday 1 APRIL 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Di Cox Vivaldi, A. Gloria in D, RV589. Patrizia Kwella, sop; Elizabeth Priday, sop; Catherine Wyn-Rogers, mezz; Andrew Carwood, ten; Choir of Christ Church Cathedral, Oxford; Hanover Band/Stephen Darlington. Nimbus NI 5278 27 Pergolesi, G. Salve Regina in F minor (1736). Andreas Scholl, ct; Les Talens Lyriques/Christophe Rousset. Decca 466 134-2 14 Bach, J.S. Motet: Komm, Jesu, komm, BWV229. Monteverdi Choir/John Eliot Gardiner. Monteverdi Productions SDG 716 9 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Schubert, F. Overture to The magic harp, D644 (1820). Vienna PO/Riccardo Muti. EMI CDC 7 54873 2 11 Myslivecek, J. Concertino no 1 in E flat for two horns, two flutes, two clarinets, bassoon and strings. Concerto Köln/Werner Ehrhardt. Archiv 479 1045 15 Cannabich, C. Symphony no 49 in F, op 10 (pub. 1772). Nicolaus Esterházy Sinfonia/ Uwe Grodd. Naxos 8.554340 13 Pugnani, G. Quintet no 2 in C for two violins, two flutes and two horns. Ensemble L’Astrée. Symphonia SY 93S21 14 Onslow, G. Piano trio, op 26. Trio Cascades. cpo 777 232-2 31 Haydn, M. Symphony no 5 in A. Slovak CO/ Bohdan Warchal. cpo 999 152-2 26 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 13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia

Bach, J. Christian Piano concerto in D, op 13 no 2. Anthony Halstead, pf & dir. cpo 999 601-2 17 Handel, G. Se in fiorito ameno prato, from Julius Caesar, HWV17 (1724). Nathalie Stutzmann, cont. Newton 8802094 7 Schumann, R. Symphony no 4 in D minor, op 120 (1841/50). RCA 09026 61931 2 23 Roy Goodman, cond (2 above) Hanover Band (all above) 15:00 SUNDAY SPECIAL Master key: B major Prepared by Anne Irish Shostakovich, D. Prelude and fugue in B, op 87 no 11 (1950-51). Vladimir Ashkenazy, pf. Decca 466 066-2 3 Dvorák, A. Nocturne in B, op 40 (1875). Detroit SO/Antal Dorati. Decca 414 370-2 8 Monn, M. Sinfonia in B. Camerata Bern/ Thomas Füri. Archiv 410 599-2 11 Brahms, J. Piano trio no 1 in B, op 8 (1853/89). Macquarie Trio. ABC 472 668-2 38 Haydn, J. Symphony in B, Hob.I:46 (1772). Cologne CO/Helmut Müller-Brühl. Naxos 8.554767 19 Chopin, F. Nocturne in B, op 32 no 1 (1836). Daniel Barenboim, pf. DG 415 117-2 5 Verdi, G. La donna è mobile, from Rigoletto (1851). Luciano Pavarotti, ten; London SO/ Richard Bonynge. Decca 478 8583 2 Glazunov, A. Piano concerto no 2 in B, op 100 (1917). Stephen Coombs, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66877 20 17:00 HOSANNA Prepared by Stephen Matthews Anthems: Easter; Blessed be the God and Father; Ye choirs of New Jerusalem. Choir of Clare College, Cambridge; Matthew Jorysz, org; Graham Ross, cond. Harmonia Mundi HMU 907655 17

14:00 SHOWCASING THE HANOVER BAND Prepared by Gael Golla

Telemann, G. Cantata: Weine nicht! Rheinische Kantorei; Das Kleine Konzert/ Hermann Max. cpo 777 261-1 19

Boyce, W. Overture to The King’s ode for the New Year (1772). Graham Lea-Cox, cond. ASV GAU 176 7

Wood, C. Tis the day of the Resurrection. Choir of King’s College, Cambridge/Stephen Cleobury. EMI 6 09004 2 6

Hymns: The strife is o‘er, the battle won; Christ the Lord is risen today. Cantus Choro; Norman Kaye, org; Peter Chapman, cond. Move MD 3062 5 MacMillan, J. A child’s prayer. Schola Cantorum Reykjavicensis/Hordur Askelsson. BIS CD-2200 3 18:00 ACROSS BORDERS Prepared by Miranda Luo Franck, C. Sonata in A (1886). Arthur Grumiaux, vn; György Sebok, pf. Philips 468 307-2 27 Liszt, F. Transcendental study no 3, Paysage (1851). Stephanie McCallum, pf. ABC 472 763-2 5 Scarlatti, D. Keyboard sonata in A, Kk208. Lucas Debargue, pf. Sony G010003457495A 5 Beethoven, L. Sextet in E flat, op 71 (1796; arr. for wind quintet). Sydney Omega Ensemble/David Rowden. Fine Music concert recording 16 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Bach, W.F. Harpsichord concerto in D. Harmonices Mundi/Claudio Astronio. Brilliant Classics 9407 16 Telemann, G. Orchestral suite in D. Freiburg Baroque O/Gottfried von der Goltz. DHM 88985433232-17 23 Hoffmeister, F. Sinfonia concertante in E flat. Academy of St Martin in the Fields/Iona Brown. EMI 747 98 10 20 Corelli, A. Concerto grosso in G minor, op 6 no 8. Musica Amphion/Pieter-Jan Belder. Brilliant Classics 94112/10 14 Fucik, J. Old Czech march, op 82. Czech PO/Vaclav Neumann. Supraphon SU3557-2 4 20:30 NEW HORIZONS Prepared by Calogero Panvino Crumb, G. 11 Echoes of Autumn, Echoes I (1965). Robert Aitken, fl; Joaquin Valdepenas, cl; Fukiko Imajishi, vn; David Swan, pf. Naxos 8.559205 18 Richter, M. Vivaldi’s The four seasons recomposed (2012). Daniel Hope, vn; Konzerthaus CO/André Ridder. DG 481 0044 44 Lam, B-C. Solitude d’automne (2011). Hilary Hahn, vn; Cory Smythe, pf. DG 479 1725 4 Crumb, G. Black angels (1970). Kronos Quartet. Nonesuch 7559-79242-2 18 22:00 AFTER HOURS JAZZ with Kevin Jones April 2018

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Monday 2 APRIL Mussorgsky, M. Pictures at an exhibition (1874; orch. Ashkenazy). Philharmonia O/ Vladimir Ashkenazy. Decca 478 2826 34 12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell Einar Steen-Nøkleberg 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: 1893 Prepared by Di Cox Sibelius, J. Karelia suite (1893). Royal PO/ Charles Mackerras. Tring TRP013 15 Dvorák, A. Silent woods, op 68 no 5 (1893). Li-Wei Qin, vc; Singapore SO/Lan Shui. Decca 889 8529 6 Puccini, G. E lucevan le stelle, from Tosca (1893). Yu Qiang Dai, ten; New SO/José Antonio Molina. EMI 5 57791 2 3 Saint-Saëns, C. Fantasy in A minor, op 95 (1893). Markus Klinko, hp. EMI CDC 7 54467 2 9 Grieg, E. Lyric pieces, bk 6, op 57 (1893). Einar Steen-Nøkleberg, pf. Naxos 8.553395 27 Glazunov, A. Concert waltz no 1, op 47 (1893). Moscow SO/Igor Golovschin. Naxos 8.553838 9 Rachmaninov, S. Two salon pieces, op 6 (1893). Mikhail Tsinman, vn; Viktor Yampolsky, pf. Hyperion CDA67178 10 10:30 CONCERT HALL Prepared by Anne Irish Wagner, R. Overture to Rienzi (1840). Munich PO/Hans Knappertsbusch. DG 479 1148 14 Beethoven, L. Triple concerto in C, op 56 (1803-04). Itzhak Perlman, vn; Yo-Yo Ma, vc; Berlin PO/Daniel Barenboim, pf & dir. EMI 5 55516 2 35 10

Haydn, J. Quartet in C, Hob.III:77, Emperor (1797). Emerson String Quartet. DG 445 598-2 24 Czerny, C. Andante and polacca (1848). Jean-Jacques Justafré, hn; François-René Duchable, pf. Pierre Verany PV793091 12 Giuliani, M. 12 Ländler, op 75 (pub. 1817). Mikael Helasvuo, fl; Jukka Savijoki, gui. BIS CD-411 8 Rossini, G. La regata veneziana, from Serate musicale. Elisabeth Schwarzkopf, sop; Victoria de los Angeles, sop; Gerald Moore, pf. EMI CDC 7 49238 2 5 Donizetti, G. Concertino in G. Jeremy Polmear, cora; Diana Ambache, pf. Meridian CDE 84147 9 Verdi, G. String quartet in E minor. Melos Quartet. Harmonia Mundi HMC 901671 22 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Beethoven, L. Overture to The ruins of Athens, op 113 (1811). Bavarian RSO/Colin Davis. CBS MDK 44790 5

Jean-Claude Casadesus Strauss, R. Panathenäenzug, op 74. Malcolm Frager, pf; Staatskapelle Dresden/ Rudolf Kempe. EMI 5 73616 2 28 Respighi, O. Pines of Rome (1924). Royal PO/Enrique Bátiz. Naxos 8.550539 19 Bizet, G. Roma symphony (1860-68). Lille NO/Jean-Claude Casadesus. Erato 2292-45016-2 30 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

“It’s not that people don’t like classical music. It’s that they don’t have the chance to understand and to experience it.” - Gustavo Dudamel, conductor

CONTINUING PROGRAM SERIES Rossini 150: At the Opera, The Italian girl in Algiers prepared by Angela Cockburn Wednesday 11 at 8pm Dvorák and the Symphony prepared by Frank Morrison: Friday 6 at 2.30pm (final) Sunday Special, Master Key prepared by Anne Irish and James Nightingale: Sunday 1 at 3pm Musical Families prepared by Jennifer Foong: Tuesday 3, 17 at 2pm Sunday Special, Simply Shostakovich prepared by Paolo Hooke: Sunday 8 at 3pm Died for Love: At the Opera, Troilus and Cressida (Walton) prepared by James Nightingale: Wednesday 25 at 8pm

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

Tuesday 3 APRIL

Midori

Felix Mendelssohn

Fanny Mendelssohn

0:00 CONTEMPORARY COLLECTIVE

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

Mendelssohn, Fanny. Sehnsucht, op 9 no 7 (1830). Barbara Bonney, sop; Geoffrey Parsons, pf. Teldec 2292-44946-2 2

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 Randolph Magri-Overend Schumann, R. Scenes from childhood, op 15. Vladimir Horowitz, pf. Philips 456 838-2 17 Beethoven, L. Fantasia in C minor, op 80, Choral (1808). RIAS Ch; Evgeny Kissin, pf; Berlin PO/Claudio Abbado. DG 435617-2 19 Saint-Säens, C. Danse macabre, op 40 (1874; arr. Liszt). Vladimir Horowitz, pf. Larrikin DDC 931 9 Prokofiev, S. Overture on Hebrew themes, op 34 (1934). Evgeny Kissin, pf; Moscow Virtuosi. Philips 456 871-2 9 Mozart, W. Sonata no 11 in A, K331 (178183). Vladimir Horowitz, pf. CBS MK 44797 18 Chopin, F. Polonaise in A flat, op 53, Heroic (1842). Evgeny Kissin, pf. Sony 88697301102 7 10:30 CONCERT HALL Prepared by Emyr Evans Beethoven, L. Overture to King Stephen, op 117 (1811). Nicolaus Esterházy Sinfonia/Béla Drahos. Naxos 8.553431 7

13:00 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore Highlights and previews of the month’s concerts including interviews with the key players

Mendelssohn, F. Sonata no 1 in B flat, op 45 (1838). Richard Lester, vc; Susan Tomes, pf. Hyperion CDA66478 22 Mendelssohn, Fanny. Was ist eins Mensch? from Job (1831). Sydney University Graduate Chamber Choir & O/Christopher Bowen. SUGC recording 4 Conclusion (1823). Heather Schmidt, pf. Naxos 8.570825 2

14:00 MUSICAL FAMILIES Felix and Fanny Mendelssohn Prepared by Jennifer Foong Mendelssohn, F. Overture to Athalia, op 74 (1845). Bamberg SO/Claus Peter Flor. RCA Victor RD 87905 8

String quartet in E flat (1834). Erato Quartet. cpo 999 679-2 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic

Gruss, op 63 no 3 (1845). Victoria de los Angeles, sop; Dietrich Fischer-Dieskau, bar; Gerald Moore, pf. LP HMV/WRC R 02334 2

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

Mendelssohn, Fanny. Sonata in G minor (1843). Béatrice Rauchs, pf. BIS CD-885 17

20:00 RECENT RELEASES with Michael Field

Hörst du nicht die Bäume rauschen, op 3 no 1 (1846). Heidelberg Madrigal Choir/Gerald Kegelmann. Bayer BR 100 041 3 Mendelssohn, F. Concert piece in D minor, op 114 (1833). Thea King, cl; Georgina Dobrée, bshn; London SO/Alun Francis. Hyperion CDD 22017 9

Sibelius, J. Violin concerto in D minor, op 47 (1903/05). Midori, vn; Israel PO/Zubin Mehta. Sony SK 58967 32

Psalm no 43: Richte mich Gott, from Three psalms, op 78 (1848). Håkan Hagegård, bar; Choir of Oslo Cathedral/Terje Kvam. Nimbus NI 5171 4

Dvorák, A. Symphony no 8 in G, op 88 (1889). London PO/Mstislav Rostropovich. EMI 5 65705 2 41

Prelude and fugue in E minor, op 35 no 1 (pub. 1837). Murray Perahia, pf. CBS MK 42401

22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Brahms, J. Trio in E flat, op 40 (1865). Isabelle Faust, vn; Teunis van der Zwart, hn; Alexander Melnikov, pf. Harmonia Mundi HMX 2908401.08 29 Boyle, G. Sonata to Ernest Hutcheson (1925). Timothy Young, pf. Melba MR301137 32 Koechlin, C. Sonata, op 53 (1915). Roger Benedict, va; Timothy Young, pf. Melba MR 301126 30 Weill, K. Suite from The threepenny opera (1928; arr Ledger). David Elton, tpt; Seraphim Trio. Fine Music concert recording 22 April 2018

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Wednesday 4 APRIL 12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses 13:00 LATE WORKS Schubert Prepared by Stephen Wilson

John Field 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Chris Blower Foote, A. Three character pieces, op 9 (1885). Joseph Silverstein, vn; Virginia Eskin, pf. Northeastern NR 206-CD 15 Quartet in C, op 23 (1890). James Barbagallo, pf; members of Da Vinci Quartet. Naxos 8.559014 28 Five poems after Omar Khayyam, op 41 (1898). Virginia Eskin, pf. Northeastern NR 223-CD 17 Melody, op 44 (1899). Suzanne Omstein, vn; Thomas Schmidt, pf. Marco Polo 8.225117 5 Pizzicato and adagietto, from Suite in E, op 63 (1907). Indianapolis SO/Raymond Leppard. Decca 458 157-2 7 At dusk (1920). Fenwick Smith, fl; Ronald Thomas, vc; Caitriona Yeats, hp. Northeastern NR 227-CD 6

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 SIBELIUS EXPLORED Part 1 Prepared by Michael Morton-Evans Sibelius, J. Allegretto in C (1888); Allegro in A minor (1888-89); Adagio in D minor (1890). Jaakko Kuusisto, vn; Folke Gräsbeck, pf . BIS CD-1023 7 Kullervo’s lament, from Kullervo symphony, op 7 (1892). Jyrki Korhonen, bass; Lahti SO/ Osmo Vänskä. BIS CD-1906/08 2 Karelia suite, op 11 (1893). Vienna PO/Lorin Mazel. Decca 480 6568 14 Lemminkäinen’s return, from Four legends of the Kalevala, op 22 (1895). Philadelphia O/ Eugene Ormandy. EMI 1 66451 2 6

10:30 CONCERT HALL Prepared by Frank Morrison

Caprice, op 24 (1894-1903). Erik T. Tawaststjerna, pf. BIS CD-169 3

Brahms, J. Variations on a theme by Haydn, op 56a, St Anthoni chorale (1873). Vienna PO/ István Kertész. Decca 448 197-2 19

Symphonic poem: En saga, op 9 (1893/1902). Gothenburg SO/Neeme Järvi. BIS CD-295 19

Field, J. Piano concerto no 6 in C (1819). Míceál O’Rourke, pf; London Mozart Players/ Matthias Bamert. Chandos CHAN 9442 31 Nielsen, C. Symphony no 6, Sinfonia semplice (1924-25). Royal Danish O/Paavo Berglund. RCA 74321 20293 2 32 12

Schubert, F. String quintet in C, D956 (1828). Richard Tognetti, vn; Helena Rathbone, vn; Caroline Henbest, va; Emma-Jame Murphy, vc; Melissa Barnard, vc. ABC 476 102-6 55

Diana Veronese 20:00 AT THE OPERA Prepared by Camille Mercep Granados, E. María del carmen. Opera in three acts. Libretto by José Feliu Codina. First performed Madrid, 1898. MARIA DEL CARMEN: Diana Veronese, sop PENCHO: Jesús Suaste, bar JAVIER: Dante Alcalá, ten DOMINGO: Franco Montresor, bar DON FULGENICO: David Curry, ten Wexford Festival Opera Ch; Belarus NPO/ Max Bragado-Darman. Naxos 8.660144-45 1:43 Synopsis at finemusicfm.com/Opera La maja y el ruseñor, from Goyescas (1916). Natalie Dessay, sop; Berlin SO/Michael Schönwandt. EMI 5 56565 2 6 22:00 TCHAIKOVSKY AND CONTEMPORARIES Prepared by Elaine Siversen Rubinstein, A. Symphony no 3 in A, op 56 (1855). Slovak RSO/Robert Stankovsky. Naxos 8.555590 38 Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/70/80). Oslo PO/Mariss Jansons. EMI 5 74113 2 19 Andante cantabile, from String quartet no 1 in D, op 11 (1871; orch. Serebrier). John Doig, vn; Scottish CO/José Serebrier. ASV DCA 719 7

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

Mussorgsky, M. St John’s night on Bald Mountain (1867; arr Rimsky-Korsakov 1886). Royal Liverpool PO/Charles Mackerras. Virgin VC 7 91174-2 11

19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz

Tchaikovsky, P. Symphony no 2 in C minor, op 17, Little Russian (1872). London PO/ Mstislav Rostropovich. EMI 5 65709 2 35

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

Thursday 5 APRIL Boccherini, L. Cello concerto no 9 in B flat (arr. Grützmacher). Julius Berger, vc; SouthWest German CO/Vladislav Czarnecki. ebs 6056 20 Schmidt, F. Symphony no 1 in E (1896-99). Bratislava RSO/Ludovit Rajter. Opus 9350 1851 47 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 Erin Helyard 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 Paul Cooke Fasch, J. Guitar concerto in D minor (arr. Ruggero Chiesa). Tasmanian SO/Benjamin Northey. ABC 476 5948 15 Rigney, S. Sonata in E, Homage to Rodrigo (1988-92). ABC 476 227-1 8 Slava Grigoryan, gui (2 above) Hummel, J. Piano trio no 4 in G, op 65 (pub. c1814). Australian Trio. ABC 476 123-1 18 Westlake, N. Shards of Jaisalmer (2007). Slava Grigoryan, gui; Leonard Grigoryan, gui; Doug de Vries, gui. ABC 476 3658 10 Berlioz, H. Rêverie et caprice, op 8 (1841). Donald Hazelwood, vn; Sydney SO/Patrick Thomas. ABC 476 4565 9 Piazzolla, A. Histoire du tango (1986; arr. E. Grigoryan). Edward Grigoryan, vn; Slava Grigoryan, gui. Sony SK63011 19 10:30 CONCERT HALL Prepared by Paul Hopwood Rimsky-Korsakov, N. Overture: Russian Easter Festival, op 36 (1888). Gothenburg SO/Neeme Järvi. DG 423 604-2 15

13:00 MUSIC FOR DANCING Prepared by Randolph Magri-Overend Offenbach, J. Ballet: Gaîté parisienne (1866; arr. Rosenthal 1938). Berlin PO/Herbert von Karajan. Decca 478 5630 29 Massenet, J. Ballet music from Le Cid (1885). City of Birmingham SO/Louis Frémaux. EMI 5 65150 2 20 Gounod, C. Ballet music from Faust (1859). Berlin PO/Herbert von Karajan. Decca 478 5630 18 Tchaikovsky, P. Suite from The nutcracker, op 71 (1892). Montreal SO/Charles Dutoit. Decca 478 4746 19 Falla, M. de Ballet: Love the magician, Andalusian gypsy scenes (1915). BBC SO/ Leopold Stokowski. BBC BBCL 4005-2 24 15:00 FEATURING ERIN HELYARD Prepared by Gael Golla Veracini, F. Sonata in G minor, op 1 no 1 (pub. 1721). Anna McDonald, vn; Tommie Andersson, gui; Erin Helyard, hpd. Artworks AW024 15 Vivaldi, A. Flute concerto in D, RV428, Goldfinch (pub. c1728). Jane Rutter, fl; Sinfonia Australis/Erin Helyard. ABC 481 1321 10

20:00 SHOWCASING AUSTRALIAN ARTISTS Part 1: Australian Trio Recorded for FINE MUSIC by George Hilgevoord Mozart, W. Piano trio in G, K496 (1786). 27 Beethoven, L. Five folk songs (1815-16). Jane Edwards, sop. 12 Australian Trio (2 above) Mozart, W. Sonata in B flat, K570 (1789). Donald Hazelwood, vn; Michael Brimer, pf. 18 Part 2: More Beethoven Beethoven, L. Sonata no 12 in A flat, op 26 (1800-01). Igor Hmelnitsky, pf. Fine Music tape archive 21 21:30 KOECHLIN SONATAS Prepared by Rex Burgess Koechlin, C. Sonata, op 75 (1920). Leone Buyse, fl; Fenwick Smith, fl. Hyperion CDA66414 8 Sonata, op 66 (1917). Mats Lidström, vc; Bengt Forsberg, pf. Hyperion CDA66979 17 22:00 MUSICAL PORTRAITS Princes and princesses Prepared by Chris Blower Borodin, A. Overture to Prince Igor (1887). Russian NO/Mikhail Pletnev. Newton 8802037 10 Szymanowski, K. Songs of the fairy-tale princess, op 31 (1915). Jadwiga Gadulanka, sop; Jerzy Marchwinski, pf. Muza PNCD 067 19 Rachmaninov, S. Symphonic poem: Prince Rostislav (1891). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 16

Strozzi, B. Lamento, op 7 (pub. 1659). Jane Edwards, sop; Erin Helyard, hpd. Artworks AW033 11

Schmitt, F. Suite: Oriane et le Prince d’Amour, op 83 (1938). Rhineland State PO/ Pierre Stoll. Cybelia CY 816 19

Bach, J.S. Brandenburg concerto no 6 in B flat, BWV1051 (1720). O of the Antipodes/ Erin Helyard. ABC 476 1923 16

Weber, C.M. Overture to Turandot, Princess of China (1809). Tapiola Sinfonietta/JeanJacques Kantorow. BIS SACD-1760 4

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem

Saint-Saëns, C. La princesse jaune, op 30 (1871). Maria Costanza Nocentini, sop; Carlo Allemano, ten; Cantemus; Swiss Italian O/ Francis Travis. Chandos CHAN 9837 44

19:00 THE NEW JAZZ STANDARD with Frank Presley

April 2018

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Friday 6 APRIL 13:00 IN PLAYFUL MOOD Prepared by Ron Walledge

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small

Ireland, J. A comedy overture (1934). London Brass Virtuosi/David Honeyball. Helios CDH88013 12

Bach, C.P.E. Symphony in A, Wq182 no 4 (1773). Freiburg Baroque O/Thomas Hengelbrock. Harmonia Mundi RD77187 13

Honegger, A. Pacific 231, from Three symphonic movements (1924). Bavarian RSO/Charles Dutoit. Erato 2292-45242-2 6

Pierre Monteux 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen Hoffmeister, F. Flute quartet in A, after Mozart’s K331, Alla turca. Israel Flute Ensemble. CDI 18809 24 Avison, C. Concerto grosso in D after Scarlatti (pub. 1744). Berlin Ensemble. Schwann 316 015 F1 12 Davies, P. Maxwell Fantasia on a ground and two pavans after Purcell (1968). Seymour Group. Fine Music concert recording 9 Liszt, F. 12 Songs after Schubert’s Winterreise. Leslie Howard, pf. Hyperion CDS 44378 22 Beethoven, L. String quartet in F, after Piano sonata in E, op 14 no 1 (1802). Kodály Quartet. Naxos 8.554592 12 10:30 CONCERT HALL Prepared by Sheila Catzel MacDowell, E. Suite for large orchestra, op 42. Eastman-Rochester O/Howard Hanson. Mercury 478 5092 20 Raff, J. Piano concerto in C minor, op 185 (1873). Jean-François Antonioli, pf; Lausanne CO/Lawrence Foster. Claves 50-8806 35 Beethoven, L. Symphony no 8 in F, op 93 (1812). Royal Concertgebouw O/Pierre Monteux. Radio Netherlands RCO 05001 27 12:00 A JAZZ HOUR with Barry O’Sullivan 14

Walton, W. Suite no 2 from Façade (1920/77/79). Susana Walton, narr; Richard Baker, narr; City of London Sinfonia/Richard Hickox. Chandos CHAN 8869 11 Mozart, W. A musical joke, K522 (1787). English Concert/Andrew Manze. Harmonia Mundi HMX 2907280 23 14:00 THE FORCE OF DESTINY Prepared by Randolph Magri-Overend Verdi, G. Overture to The force of destiny (1862). State of Mexico SO/Enrique Bátiz. ASV DCA 856 8 Morir, tremenda cosa! ... Urna fatale del mio destino, from The force of destiny. Robert Allman, bar; Sydney SO/Eric Clapham. ABC 442 369-2 5 Pace, pace, mio Dio! from The force of destiny. Birgit Nilsson, sop; Royal Opera House O/Argeo Quadri. Decca 467 912-2 6 Solenne in quest’ora, from The force of destiny. Jussi Björling, ten; Robert Merrill, bar; RCA Victor SO/Renato Cellini. RCA GD 87799 4 14:30 DVORÁK AND THE SYMPHONY Prepared by Frank Morrison Sibelius, J. Karelia suite (1893). Royal PO/ Charles Mackerras. Tring TRP013 15 Debussy, C. Quartet in G minor (1893). Borodin String Quartet. Virgin VJ 7914569-2 25 Dvorák, A. Symphony no 9 in E minor, op 95, From the New World (1893). Berlin PO/ Herbert von Karajan. EMI CDM 7 64325 2 41 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney

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

Tchaikovsky, P. Violin concerto in D, op 35 (1878). James Ehnes, vn; Sydney SO/ Vladimir Ashkenazy. SSO recording 35 Debussy, C. La mer (1903-05). Lyon NO/Jun Märkl. Naxos 8.570759 25 Nielsen, C. Symphony no 5, op 50 (1921-22). Royal Danish O/Paavo Berglund. RCA 74321 20293 2 37 22:00 BAROQUE AND BEFORE Concert spirituel Prepared by Susan Bell Lalande, M-R. de Simphonie; Super flumina, from Super flumina Babilonis (1687). Les Arts Florissants/William Christie. Harmonia Mundi HMC 901351 4 Philidor, Anne. Sonata in D minor (1712). Walter van Hauwe, rec; Wouter Möller, vc; Toyohiko Satoh, lute; Glen Wilson, hpd. Moeck 10013 DDD 8 Lalande, M-R. de Te Deum (pub. 1687). Les Arts Florissants/William Christie. Harmonia Mundi HMC 901351 20 Leclair, J-M. Overture in A, op 13 no 3 (pub. 1753). Florilegium/Neal Peres da Costa. Channel Classics CCS 7595 12 Mouret, J-J. Fanfares (c1729). Members of Collegium Musicum Paris/Roland Douatte. Decca 478 4664 8 Campra, A. In convertendo (1726). Choir of the Baroque Music Center of Versailles; Music Ancient and Modern O/Olivier Schneebeli. Le Couvent K617224 19 Blavet, M. Sonata no 3 in E minor, op 3 (1740). Masahiro Arita, fl; Kiyomi Suga, fl; Masako Hirao, bass viol; Yasunori Imamura, theorbo; Chiyoko Arita, hpd. Denon CO-75957/8 8 Corelli, A. Concerto grosso in G minor, op 6 no 8, por Il Natale (1712). Collegium Musicum 90/Simon Standage. Chandos CHAN 0634 15 Telemann, G. Sonata seconda in G minor (1736). Musica ad Rhenum. Brilliant Classics 94104 10 Mondonville, J-J. de Et enim firmavit, from Grand motet Dominus regnavi (1734). Members of Les Arts Florissants/William Christie. MBF 1108 3

Saturday 7 APRIL 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early and mid-romantic c1830-1875 Prepared by Paul Cooke Bennett, W. Sterndale Overture: The May Queen (1844). London PO/Nicholas Braithwaite. Lyrita SRCD.206 6 Mendelssohn, Fanny. String quartet in E flat (1834). Erato Quartet Basel. cpo 999 679-2 20 Mussorgsky, M. St John’s night on Bald mountain (1867). Chicago SO/Fritz Reiner. RCA 0902661958 2 10 Liszt, F. Tarantella, from Années de pèlerinage, bk 2 (1859). Leslie Howard, pf. Hyperion CDS44510 9 Bruch, M. Romance in A minor, op 42 (1874). Salvatore Accardo, vn; Gewandhaus O/Kurt Masur. Philips 462 164-2 12

Lawson, M. Skye boat song. GUS (Footwear) Band/Stanley Boddington. Columbia SCXO 3512 3 Sousa, J.P. Excerpts from The bride elect. Allentown Band/Ronald Demkee. AMP 97188 11 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 REMEMBERING FRANZ BERWALD Prepared by Chris Blower

1868

A Sesquicentenary Event Berwald, F. String quartet in G minor (1818). Chilingirian Quartet. CRD 3361 33 Violin concerto in C sharp minor, op 2 (1820). Arve Tellefsen, vn; Royal PO/Ulf Björlin. EMI CDM 5 65073 2 21 Serenade (1825). Thomas Annmo, ten; Mikael Björk, db; Joakim Kallhed, pf; members of Arion Wind Quintet; members of Schein String Quartet. Naxos 8.553714 14

Hollaho, hollaho wir kommen zurecht, from Die Faschingsfee (1917); Lockend soll ertönen Dir ein feurig Lied, from Das Hollandweibchen. Slovak RSO/Richard Bonynge. Naxos 8.660105-06 10 17:30 STAGING MUSIC with Angela Cockburn Midsummer Night’s Dream 18:00 SOCIETY SPOT Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm 20:00 INFLUENCES AND CONNECTIONS Eugene Goossens Prepared by Paul Cooke Debussy, C. Prélude à l’après-midi d’un faune (1894). Cleveland O/Pierre Boulez. DG 447 496-2 9 Clarke, R. Sonata (1918). Paul Coletti, va; Leslie Howard, pf. Hyperion CDA66687 21 Walton, W. Overture: Portsmouth Point (1925). London PO/Bryden Thomson. Chandos CHAN 8968 6

Symphony no 1 in G minor, Sinfonie sérieuse (1842). San Francisco SO/Herbert Blomstedt. Decca 478 6787 33

Copland, A. Fanfare for the Common Man (1942). West Australian SO/Benjamin Northey. ABC 476 4110 3

Overture to The Queen of Golconda (1868). Royal PO/Ulf Björlin. EMI CDM 5 65073 2 7

Sutherland, M. Haunted Hills (1953). Melbourne SO/Patrick Thomas. ABC 446 285-2 15

10:30 SMALL FORCES Prepared by Brian Drummond

15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen

Haydn, J. String quartet in A, Hob.III:7 (175557). Piccolo Concerto, Vienna. Accent ACC 10405 21

Kálmán, E. The gypsy princess. Operetta in three acts. Libretto by Leo Stein and Béla Jenbach. First performed Vienna, 1915.

Smyth, E. Mrs Waters’ aria, from The boatswain’s mate (1914-15). Eiddwen Harrhy, sop; Plymouth FO/Philip Brunelle. Virgin VC 7 91188-2 9

Grieg, E. Andante con moto in C minor (1878). Ramy Koch, vn; Henk Lambooij, vc; Jet Röling, pf. Olympia OCD 432 10

SYLVA VARESCU: Yvonne Kenny, sop PRINCE EDWIN: Michael Roider, ten COUNTESS STASI: Mojca Erdmann, sop COUNT BONI: Marko Kathol, ten FERI VON KEREKES: Karl-Michael Ebner, ten Slovak Philharmonic Choir & RSO/Richard Bonynge. Naxos 8.660105-06 1:25

Schumann, R. Concert piece in F, op 86 (1849). American Horn Quartet; Sinfonia Varsovia/Dariusz Wisniewski. Naxos 8.557747 17

Kats-Chernin, E. The three dancers (2015). Amy Dickson, sax; Jack Liebeck, vn; Julian Smiles, vc; Rohan Dasika, db; James Crabb, accordion; Eugene Ughetti, perc; Tamara-Anna Cislowska, pf. Fine Music concert recording 23 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Green, G. Charlestown capers. James Moyer, xylophone; Allentown Band/Ronald Demkee. WWFM Radio WWFM 1 3 Jones, M. Rhonda rhapsody. Park and Dare Band/Ieuan Morgan. EMI OU 2105 3 Anon. Quick march: The President. WilliamsFairey Engineering Band. Delta 60357 4

Synopsis at finemusicfm.com/Opera A little slow foxtrot with Mary, from The duchess of Chicago (1928); What happens in the world, from The circus princess (1926); O you wondrous time, from The little Dutch girl (1920). Marilyn Hill Smith, sop; Chandos Concert O/Stuart Barry. Chandos CHAN 8978 14 Hungarian dance suite, from Der Teufelsreiter (1932). Slovak RSO/Richard Bonynge. Naxos 8.660105-06 7 My dream, my dream; Lovely Marquise, from Empress Josephine (1936). Marilyn Hill Smith, sop; Chandos Concert O/Stuart Barry. Chandos CHAN 8978 10

Williamson, M. Sonata no 2 (1957). Antony Gray, pf. ABC 472 902-2 20 Goossens, E. Concert piece, op 65 (1957). Jeff Crellin, ob, cora; Marshall Maguire, hp; Alannah Guthrie, hp; Melbourne SO/Andrew Davis. Chandos CHSA 5119 22 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Saint-Saëns, C. Ballet music from Les barbares (1901). O Victoria/Guillaume Tournaire. Melba MR301130 25 Field, J. Quintet in A flat (1815). David Juritz, vn; Jennifer Godson, vn; Sarah-Jane Bradley, va; Julia Desbruslais, vc; Míceál O’Rourke, pf. Chandos CHAN 9534 11 Stravinsky, I. Apollon musagète (1928/47). Royal Concertgebouw O/Riccardo Chailly. Decca 473 731-2 30 Cherubini, L. Requiem in C minor (1816). Corydon Singers; Corydon O/Matthew Best. Hyperion CDA66805 47 April 2018

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Sunday 8 APRIL 0:00 CLASSIC-ALL THROUGH THE NIGHT

Symphony no 5 in D minor, op 47 (1937). National SO/Mstislav Rostropovich. DG 445 577-2 46

6:00 SUNDAY MORNING MUSIC with Robert Small

17:00 HOSANNA Prepared by Meg Matthews

9:00 MUSICA SACRA Prepared by Robert Small

Hymns: The strife is o’er; Lord Jesus think on me; O brother man. Cantus Choro; Norman Kaye, org; Peter Chapman, cond. Move MC3062 8

Whitacre, E. When David heard (2000). Eric Whitacre Singers/Eric Whitacre. Decca 279 6323 18 Hovhaness, A. Requiem and resurrection for brass choir and percussion, op 224 (1968). North West Wind Symphony/Alan Hovhaness. Crystal Records 805 15 Telemann, G. Cantata: In dulci jubilo (c1717). Collegium Musicum 90/Simon Standage. Chandos CHAN 0634 14 Tallis, T. Lamentations I of Jeremiah. Parsons Affayre/Warren Trevelyan-Jones. Vox Foris MMPA002 8

Gennady Rozhdestvensky

Prima Luce (2 above) Soundwright SWCD 1509

Mendelssohn, F. Andante in D minor for violin and piano (1820). Nomos Duo. Naxos 8.554725 3

Handel, G. Return, O God of hosts, from Samson, HWV57 (1743). Kathleen Ferrier, cont; London PO/Adrian Boult. GL 307 4

10:00 THE CLASSICAL ERA Prepared by Di Cox Weber, C.M. Overture to Der Freischütz, op 77 (1817-21). Berlin PO/Herbert von Karajan. DG 419 070-2 11

Two piano pieces (pub. 1860). Daniel Barenboim, pf. DG 453 061-2 6

Bach, C.P.E. Cello concerto in A, Wq172 (1753). Anner Bijlsma, vc; O of the Age of Enlightenment/Gustav Leonhardt. Virgin VC 7 90800-2 19

Trio no 1 in D minor, op 49 (1839). Gould Piano Trio. Naxos 8.555063 28

Schubert, F. Im Gegenwärtigen Vergangenes, D710 (1821). Utrecht Vocal Soloists; Ronald Brautigam, pf; Udo Reinemann, cond. Globe GLO 5021 6 Haydn, J. String quartet in G minor, op 74 no 3 (1793). Schuppanzigh-Quartett. Accent ACC 24223 24 Mozart, W. Sonata in A, K331 (1781-83). Mitsuko Uchida, pf. Philips 422 115-2 24 Bach, J. Christian Sinfonia in B flat, op 18 no 2 (1781). Failoni O/Hanspeter Gmür. Naxos 8. 553367 9 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

Reilly, R. O Mother of perpetual help. 3

14:00 FOCUS ON MENDELSSOHN Prepared by Emyr Evans

Violin concerto in E minor, op 64, mvt 3 (1844). Anne-Sophie Mutter, vn; Leipzig Gewandhaus O/Kurt Masur. DG 477 9730 6

Giuliani, M. Grande serenade, op 82 (1817). Mikael Helasvuo, fl; Jukka Savijoki, gui. BIS CD-412 16

Monteverdi, C. Ave Maris Stella, from Vespers of the Blessed Virgin (pub.1610). 4

The bee’s wedding, from Songs without words (1825-45; arr.). Sinfonia of London/ Robert Irving. EMI CDM 1 66433 2 2

Brahms, J. How lovely is thy dwelling place; Blessed are the dead, from An English Requiem (1867-68; arr.). Choir of Kings College, London; James Baillieu, pf; Richard Uttley, pf; Joseph Fort, cond. Delphian DCD 34195 14 Vaughan Williams, R. All people that on earth do dwell. Choir of St Andrews Cathedral; Cathedral Brass Consort; Andrej Kouznetzov, org; Ross Cobb, cond. SACCHOIR 15 4 Gardiner, H. Evening hymn. 6 Rheinberger, J. Abide with us. 3

Wedding march, from A midsummer night’s dream (1842; arr.). David Kinsela, org. LP Aura 821 6

Choir of Christ Church Cathedral, Newcastle; Keith Murree-Allen, org; Peter Guy, cond (2 above) Chartreuse 3184201110

15:00 SUNDAY SPECIAL Simply Shostakovich Prepared by Paolo Hooke

18:00 MUSIC OF THE DANCE Nordic dances Prepared by Elaine Siversen

Shostakovich, D. Suite from Katerina Ismailova, op 114 (1934/62). Royal Scottish NO/Neeme Järvi. Chandos CHAN 7000/1 17

Peterson-Berger, W. Three new dance poems (1924). Olof Höjer, pf. Swedish Society SCD 1089 10

Jazz suite no 1 (1934). Royal Concertgebouw O/Riccardo Chailly. Decca 433 702-2 8

Riisager, K. Six dances from ballet, Twelve by The Mail, op 37 (1939). Helsingborg SO/ Thomas Dausgaard. Marco Polo 8.224082 11

Excerpts from The limpid stream, op 39 (1935; arr. Rozhdestvensky). Royal Stockholm PO/Gennady Rozhhdestvensky. Chandos CHAN 9423 31

Saeverud, H. Tunes and dances from Siljustøl, op 21 (1942). Jan Henrik Kayser, pf. LP BIS LP-73 12

Excerpts from The human comedy, op 37 (1934/77; arr. Solin). Rustem Hayroudinoff, pf. Chandos CHAN 9907 7

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Sibelius, J. Five country dances, op 106 (1925). Nils-Erik Sparf, vn; Bengt Forsberg, pf. BIS CD-625 19

Monday 9 APRIL

Sunday 8 APRIL

Miriam Hyde

Paul Hindemith

Robert Casadesus

19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello

0:00 CLASSIC-ALL THROUGH THE NIGHT

Korngold, E. Suite from Much ado about nothing, op 11 (1920). Gil Shaham, vn; André Previn, pf. DG 439 886-2 13

Glinka, M. Overture to Ruslan and Ludmila (1842). Australian Youth O/Christoph Eschenbach. ABC 426 210-2 5 Hyde, M. Piano concerto no 1 in E flat minor (1933). Miriam Hyde, pf; West Australian SO/ Geoffrey Simon. ABC 446 285-2 30

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1938 Prepared by Raj Gopalakrishnan Hanson, H. Suite from Merry Mount (1938). Nashville SO/Kenneth Schermerhorn. Naxos 8.559072 18

Debussy, C. Prélude à l’après-midi d’un faune (1894). Strasbourg PO/Alain Lombard. Erato 2292-45082-2 10

Hill, A. Quartet no 17 in C (1938). Dominion String Quartet. Naxos 8.573416 18

Dvorák, A. Symphony no 8 in G, op 88 (1889). Scottish NO/Neeme Järvi. Chandos CHAN 8666 36

Bridge, F. Vignettes de danse (1938). BBC Welsh NO/Richard Hickox. Chandos CHAN 10729(6) 11

20:30 NEW HORIZONS Prepared by James Nightingale

Alwyn, W. Rhapsody (1938). David Willison, pf; members of Quartet of London. LP Chandos ABRD 1153 10

Bonshek, C. As small birds play (2011). Jason Noble, cl. Australian Music Centre 6 Aho, K. Concerto (2014-15). Anders Paulsson, sax; Lapland CO/John Storgårds. BIS BIS-2216 24 Eötvos, M. Counterpoint: And I was tired (2014). Claire Edwardes, perc. Move MD 3416 4 Chen Yi. The ancient Chinese beauty (2008). Michala Petri, rec; Kremerata Baltica. OUR 8.226905 14 Coelho, T. Read/write error (2015). Ensemble Offspring. Ensemble Offspring recording 12 Ghandar, A. Sinai music (1991-93). Ian Munro, pf. Tall Poppies TP145 5 Pickard, J. 16 Sunrises (2013). BBC Welsh NO/Martyn Brabbins. BIS BIS-2261 15 22:00 AFTER HOURS JAZZ with Kevin Jones

Hindemith, P. Suite: Nobilissima visione (1938). San Franciso SO/Herbert Blomstedt. Decca 433 809-2 22 10:30 CONCERT HALL Prepared by Derek Parker Rossini, G. Overture to The silken ladder (1812). Cambridge Buskers. Decca 482 1785 4 Hummel, J. Bassoon concerto in F (1805). Claudio Gonella, bn; Italian International O/ Diego Dini-Ciacci. Naxos 8.554280 27 Mahler, G. Symphony no 4 in G (1900). Reri Grist, sop; New York PO/Leonard Bernstein. Sony 88697943332 55 12:00 SWING SESSIONS with John Buchanan 13:00 FOR SHAKESPEARE’S COMEDIES Prepared by Elaine Siversen Walton, W. As you like it, a poem (1936; arr. Palmer). Academy of St Martin in the Fields/ Neville Marriner. Chandos CHAN 8842 12

Goldschmidt, B. Overture to A comedy of errors (1925). City of Birmingham SO/ Berthold Goldschmidt. Decca 452 599-2 5 Bishop, H. Excerpts from A comedy of errors (1821). Susan Grittow, sop; Julia Gooding, sop; Chorus; Musicians of the Globe/Philip Pickett. Decca 470 381-2 22 14:00 FAVOURITE CLASSICS Prepared by Ron Walledge Barber, S. Overture: The school for scandal, op 5 (1932). Detroit SO/Neeme Järvi. Chandos CHAN 8958 9 Novák, V. Slovak suite, op 32 (1903). Royal Liverpool PO/Libor Pesek. Virgin 5 45251 2 32 Ravel, M. Piano concerto in D, op 102 (1931). Robert Casadesus, pf; Philadelphia O/Eugene Ormandy. Philips 456 739-2 17 Lalo, E. Symphonie espagnole in D minor, op 21. Isaac Stern, vn; Philadelphia O/Eugene Ormandy. CBS MPK 45555 33 Respighi, O. Fountains of Rome (1917). Philharmonia O/Yan Pascal Tortelier. Chandos CHAN 8989 17 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson April 2018

fineMusic 102.5

Tuesday 10 APRIL Legnani, L. Potpourri concertant for cello and guitar. Duo Vitare. www.duovitare.com 16 Mertz, J. Tarantelle. Paulo Lambiase, gui; Piero Viti, gui. Nuova Era 7036 4 Sor, F. Divertissment militaire, op 49. Robert Kubica, gui; Wilma van Berkel, gui. Naxos 8.553302 12

Nikolai Demidenko 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Frank Morrison Bach, J.S. Capriccio in B flat, BWV992, On the departure of a beloved brother (1704-07; transcr. Busoni). Hyperion CDA66566 14 Mussorgsky, M. Mephistopheles’ song of the flea (1879). Anatoli Safiulin, bass. Hyperion CDA66775 3 Weber, C.M. Concert piece in F minor, op 79 (c1821). Scottish CO/Charles Mackerras. Hyperion CDA66729 16 Nikolai Demidenko, pf (3 above) Villa-Lobos, H. Suite from Prôle do bebé (1918). RCA RD 85670 11 Prokofiev, S. Fugitive vision no 7 (1915-17). RCA RD 85670 2 Dvorák, A. Piano quartet in E flat, op 87 (1889). Members of Guarneri Quartet. RCA RD 86256 34 Artur Rubinstein, pf (3 above) 10:30 CONCERT HALL Prepared by Elaine Siversen Haydn, J. Divertimento in C, Hob.II:17 (c1761). Haydn Sinfonietta/Manfred Huss. Koch Schwann 3-1481-2 28 Handel, G. Concerto no 3 in F for two wind bands and strings, HWV334 (1746-47). Academy of St Martin in the Fields/Neville Marriner. Decca 480 1388 16 18

Karl Böhm Beethoven, L. Symphony no 7 in A, op 92 (1811-12). Vienna PO/Karl Böhm. DG 479 1949 38 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 A 20TH CENTURY FRENCH FLAVOUR Prepared by Andrew Dziedzic

Aguado, D. Andante and rondo moderato, from Trois rondos brillants, op 2 no 2. Emanuele Buono, gui. Naxos 8.573362 9 Paganini, N. Sonata no 4 in A, from Medley of sonatas (1808). Gil Shaham, vn; Göran Söllscher, gui. DG 479 2565 9 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 SYDNEY SYMPHONY 2018 Produced by Andrew Bukenya

Tailleferre, G. Sonata (1957). Isabelle Moretti, hp. Harmonia Mundi 7905 184 9 Auric - Milhaud - Poulenc. Ballet: The marriage on the Eiffel Tower (1921). Philharmonia O/Geoffrey Simon. Chandos CHAN 8356 21 Milhaud, D. The creation of the world, op 81 (1923). Lausanne CO/Alberto Zedda. Virgin VC 7 91098-2 17 Schmitt, F. Sonatine en trio, op 85 (1935). Emmanuel Pahud, fl; Paul Meyer, cl; Eric Le Sage, pf. EMI 5 57948 2 8

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Buxtehude, D. Sonata in G minor, op 2 no 3 (pub. 1696). Boston Museum Trio. Harmonia Mundi HMA 1901089 12

14:00 DEVELOPMENT OF THE SIX STRING GUITAR Part 1: Europe Prepared by Ross Hayes

Bach, J. Christian Quintet in D for flute, oboe, violin, cello and keyboard, op 22 no 1. English Concert. Archiv 423 385-2 20

Weber, C.M. Divertimento assai facile, op 38 (1816). Martin Maria Krüger, gui; Klaus Schilde, pf. Calig CAL 50912 15

Onslow, G. Grand sextet, op 77b (1849). Marc Marder, db; Jean Hubeau, pf; members of Nielsen Quintet. apex 0927 49536 2 33

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 Coste, N. Fantasy on a ballet theme of Armide, op 4 (c1832). Frédéric Zigante, gui. Naxos 8.554194 11 Giuliani, M. Variations on a theme by Paisiello, op 4. Ricardo Gallén, gui. Naxos 8.555284 14

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

Widor, C-M. Suite, op 34 (1877). Maria Cecilia Muñoz, fl; Tiffany Butt, pf. Ars ARS 38 129 17 Enescu, G. Pièce de concert (1906). Roger Chase, va; Michiko Otaki, pf. Naxos 8.572293 9 Koechlin, C. Wind septet, op 165 (1937). O Città Aperta Wind Ensemble/Filippo Farinelli. Brilliant Classics 9266 18

Wednesday 11 APRIL

CPE Bach

Lorin Maazel

Samuel Ramey

0:00 CONTEMPORARY COLLECTIVE

Mozart, W. Piano concerto no 21 in C, K467 (1785). City of London Sinfonia/Howard Shelley, pf & dir. IMP PCD 832 29

Molto moderato-scherzo (1885). Tempera Quartet. BIS CD-1376 4

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Stephen Matthews Bach, C.P.E. Fantasia in C. Colin Tilney, clvd. 6 Psalm 130. Dietrich Fischer-Dieskau, bar. 2 Jorg Demus, tangent pf (2 above) Archiv 453 168-2 Sinfonia no 1 in D. Salzburg Chamber PO/ Yoon K Lee. Naxos 8.553289 10 Trio sonata in B flat, Wq158. 14 Edle Freiheit, Gottergluck: aria for tenor. 1 Cafe Zimmermann/Rupert Charlesworth (2 above) Alpha 267 Chorales, from St Matthew Passion. Windsbach Boys Choir; German Chamber Virtuosi, Berlin/Karl-Friedrich Beringer. Rondeau ROP2034 2 Quartet no 1 in A minor for flute, viola, cello and keyboard, Wq93 (1788). Les Adieux. DHM 88843021622-2 17 Serenata in praise of Hamburg. Barockwerk Hamburg/Ira Hochman. cpo 555 016-2 22 10:30 CONCERT HALL Prepared by Brian Drummond Lovelock, W. Overture for a cheerful occasion (1979). Queensland Youth O/John Curro. LP Grevillea GRV100 6 Grieg, E. Norwegian dances, op 35 (1881). Bergen PO/Ole Kristian Ruud. BIS CD-1740/42 18

Sibelius, J. Symphony no 3 in C, op 52 (1906-07). Vienna PO/Lorin Maazel. Decca 478 8541 26 12:00 JAZZ SKETCHES with Robert Vale 13:00 CASCADES Prepared by Miranda Luo Wild, E. Seven virtuoso études after Gershwin (1976). Xiayin Wang, pf. Chandos CHAN 10626 21 Vaughan Williams, R. The lark ascending (1914/20). Royal PO/Pinchas Zukerman, vn & dir. Decca 478 9386 14 Chopin, F. Étude in A flat, op 25 no 1 (183236). Maurizio Pollini, pf. Testament SBT 1473 2 Skryabin, A. Sonata no 2 in G sharp minor, op 19 (1892-97). Daniil Trifonov, pf. DG 4791728 11 Zabel, A. The spring, op 23. Louise Johnson, hp. Artworks AW017 5 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 SIBELIUS EXPLORED Part 2 Prepared by Michael Morton-Evans Sibelius, J. Rakastava, op 14 (1893/98). King’s Singers. Signum SIGCD297 8 Overture and opening scene, from The maiden in the tower (1896). Mari-Ann Häggander, sop; Tone Kruse, cont; Erland Hagegård, ten; Jorma Hynninen, bar; Gothenburg Concert Hall Choir; Gothenburg SO/Neeme Järvi. LP BIS LP-250 9

Symphony no 1 in E minor, op 39, mvt 4 (1899). New Zealand SO/Pietari Inkinen. Naxos 8.572305 13 Historic scenes, suite no 1, op 25 (1899/1911). Scottish NO/Alexander Gibson. Chandos CHAN 6591 19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Angela Cockburn 1792-1868

3:00 CLASSICAL TILL DAWN

GIOACHINO ROSSINI

Rossini, G. The Italian girl in Algiers. Opera in two acts. Libretto by Angelo Anelli. First performed Venice, 1813. MUSTAFÀ: Samuel Ramey, bass LINDORO: Ernesto Palacio, ten ISABELLA: Marilyn Horne, mezz Prague Philharmonic Ch; I Solisti Veneti/ Claudio Scimone. Teldec 256468335-9 2:21 Synopsis at finemusicfm.com/Opera 22:30 20TH CENTURY FRENCH ORCHESTRA Prepared by Rex Burgess Roussel, A. Symphony no 1, op 7, The poem of the forest (1904-06). Rhineland Palatinate State PO/Leif Segerstam. Cybelia CY 801 32 Poulenc, F. Concert champêtre (1927-28). Zuzana Ruzicková, hpd; Czech PO/Kurt Sanderling. Supraphon SU 4117-2 28 Dutilleux, H. The shadows of time (1997). Radio France PO/Esa-Pekka Salonen. DG 479 1180 22 April 2018

fineMusic 102.5

Thursday 12 APRIL Rebel, J-F. Ballet: Les élémens (1737). Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 421 656-2 24

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore

14:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Emyr Evans Beethoven, L. Romance no 2 in F, op 50 (1798). Yehudi Menuhin, vn; Philharmonia O/ John Pritchard. EMI 1 66447 2 9 Elgar, E. Sospiri, op 70 (1914). Osian Ellis, hp; English CO/Paul Goodwin. Harmonia Mundi HMG 507258 5 Sonata in E minor, op 82 (1917-18). Yehudi Menuhin, vn; Hephzibah Menuhin, pf. EMI 5 66122 2 29 Holst, G. Choral hymns from the Rigveda, op 26 no 3 (1910). Purcell Singers; Osian Ellis, hp; Imogen Holst, cond. Decca 430 062-2 12 Shankar, R. Swara-kakali (1966). Yehudi Menuhin, vn; Ravi Shankar, sitar. Warner Classics 5 86555 2

Debussy, C. Sonata in G minor for flute, viola and harp (1916). Osian Ellis, hp; members of Melos Ensemble. Decca 421154-2 16 10:30 CONCERT HALL Prepared by Rex Burgess Wagner, R. Overture to Rienzi (1838-40). Los Angeles PO/Zubin Mehta. Decca 475 7470 12 Diepenbrock, A. Die Nacht (1911). Linda Finnie, mezz; Hague Residency O/Hans Vonk. Chandos CHAN 8878 15 Bruckner, A. Symphony no 6 in A (1881). Cleveland O/Christoph von Dohnányi. Decca 436 153-2 55 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 MUSIC OF THE DANCE Prepared by Elaine Siversen Mouret, J-J. Ballet, from Les amours des dieux (1727). 12 Campra, A. Ballet, from L’Europe galante (1697). 8

Verdi, G. Lunge de lei, from La traviata (1853). Jean Temperley, mezz; Francisco Araiza, ten; English CO/Alberto Zedda. Philips 420 070-2 8 Wagner, R. Mild und leise wie er lächelt, from Tristan und Isolde (1857-59). Gwyneth Jones, sop; Cologne RO/Roberto Paternostro. Chandos CHAN 8930 7

Simon Tedeschi

Mascagni, P. Intermezzo, from Cavalleria rusticana (1890). Rome O/Silvio Varviso. Decca 440 844-2 4

Ellington, D. Black, from Black, brown and beige (arr. Kevin Hunt). Kevin Hunt, pf. ABC 275 2052 10

Massenet, J. Maître, bois dans cette amphore ... Vision fugitive, from Hérodiade (1881). Juan Pons, bar; San Francisco Opera Ch & O/Valery Gergiev. Sony SK 61 965 6

Schumann, R. Songs of dawn, op 133 (1853). ABC 481 5558 15

14:30 MUSIC FROM THE 1940s Prepared by Gael Golla Copland, A. Appalachian spring (1943-44). Seattle SO/Gerard Schwarz. Delos DE 3154 24 Shostakovich, D. Quartet no 4 in D, op 83 (1949). Borodin String Quartet. EMI CDC 7 49268 2 25 Stravinsky, I. Ebony concerto (1945). Harmen de Boer, cl; Netherlands Wind Ensemble/Richard Dufallo. Chandos CHAN 9210 10 Bartók, B. Piano concerto no 3 (1945). Zoltán Kocsis, pf; Budapest FO/Iván Fischer. Philips 416 832-2 23 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 Simon Tedeschi Prepared by Jennifer Foong Bach, J.S. Capriccio in B flat, BWV992, On the departure of his beloved brother (1704-07). Sony SK89233 11

Symphonie du Marais/Hugo Reyne (2 above) Astrée E8650

Ravel, M. Suite from Mother Goose (1908). Kevin Hunt, pf. ABC 275 2052 12

Boismortier, J. de Third ballet, from Ballets de village, op 52. Le Concert Spirituel/Hervé Niquet. Naxos 8.554295 8

Gershwin, G. Let’s call the whole thing off; Nice work if you can get it; S’wonderful. Sarah McKenzie, voice; James Morrison, tpt. ABC 481 0629 12

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

Gershwin, G. Rhapsody in blue (1924). Queensland SO/Benjamin Northey. ABC 534 3879 18 Simon Tedeschi, pf (all above) 21:30 A CHAMBER INTERLUDE Prepared by Paul Hopwood Beethoven, L. Sonata in F, op 17 (1800). Hermann Baumann, hn; Leonard Hokanson, pf. Philips 416 816-2 15 Stanford, C. Villiers Fantasy in A minor (1922). Stephen Stirling, hn; RTÉ Vanbrugh Quartet. Hyperion CDA67434 12 22:00 MUSICAL PORTRAITS Characters in children’s stories Prepared by Elaine Siversen Mills, R. Ballet: Snugglepot and Cuddlepie (c1987). Queensland SO/Richard Mills. ABC 422 933-2 40 Lanchbery, J. Excerpts from The tales of Beatrix Potter (1970). Royal Opera House O/ John Lanchbery. EMI 7545372 33 Zemlinsky, A. The mermaid, symphonic fantasy after Hans Christian Anderson (1903). New Zealand SO/James Judd. Naxos 8.570240 41

While composing Die Nacht, Dutch composer, essayist and classicist Alphons Diepenbrock wrote to a friend ‘to me this [poem] is very sympathetic Romanticism, magnificent, calm and charming’. He later spoke of the ‘sublime beauty of the poem’. His music matches that sentiment.

Friday 13 APRIL Liszt, F. Reminiscences, after Mozart’s Don Juan (1841-77). Leslie Howard, pf. Hyperion CDS44537 19 Chopin, F. Sonata in G minor, op 65 (184546). János Starker, vc; Gyorgy Sebok, pf. Mercury 478 5092 24 Alkan, C-V. Trio in G minor, op 30 (1840). Dong-Suk Kang, vn; Yvan Chiffoleau, vc; Olivier Gardon, pf. Timpani IC 1013 21

Paul Dukas

Simon Rattle

0:00 CONTEMPORARY COLLECTIVE

Hovhaness, A. Symphony no 1, op 17 no 2, Exile (1936/70). Seattle SO/Gerard Schwarz. Naxos 8.559717 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 Chris Blower Fauré, G. Dolly suite, op 56 (1893-96; orch. Rabaud). BBC PO/Yan Pascal Tortelier. Chandos CHAN 9416 17 Sullivan, A. Suite from Pineapple Poll (arr. Mackerras, Duthoit 1951). Eastman Wind Ensemble/Frederick Fennell. Decca 468 810-2 11 Debussy, C. Clair de lune (1905, orch. Luck). Sydney SO/Patrick Thomas. ABC 476 4565 5 Dukas, P. The sorcerer’s apprentice (1897; arr. Schottstädt). Sabine Meyer, cl; Alliage Quintett. Sony 88875190972 10 Grieg, E. Ballade in G minor, op 24 (187576; orch. Tveitt). Royal Scottish NO/Bjarte Engeset. Naxos 8.557854 20 Mozart, W. Clarinet quartet in B flat, K378 (1779; arr. from Violin sonata). Deborah de Graaff, cl; Carl Pini, vn; Jane Hazelwood, va; Georg Pedersen, vc. Fine Music concert recording 17 10:30 CONCERT HALL Prepared by James Nightingale Rameau, J-P. Suite from Zoroastre (1749). O of the Eighteenth Century/Frans Brüggen. Glossa GCD C81106 34 Prokofiev, S. Piano concerto no 3 in C, op 26 (1917-21). Roger Woodward, pf; Sydney SO/ Edo de Waart. ABC 481 1322 28

12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 THE BEAUTIFUL LADIES Prepared by Elaine Siversen Offenbach, J. Overture to La belle Hélène (1864). Polish National RSO/Richard Hayman. Naxos 8.553264 5 Stanford, C. Villiers La belle dame sans merci (1877). Stephen Varcoe, bar; Clifford Benson, pf. Hyperion CDA67123 5 Elgar, E. Suite from The Spanish lady (1932). Australian CO. LP MBS 10 6 Delibes, L. Les filles de Cádiz (1872). Victoria de los Angeles, sop; Sinfonia of London/Rafael Frühbeck de Burgos. EMI 1 66446 2 3 Parry, H. Lady Radnor’s suite (1894). London SO/Adrian Boult. Lyrita SRCD 220 13 Bizet, G. Suite from The fair maid of Perth (1866). Melbourne SO/John Lanchbery. ABC 456 669-2 13 Bizet, G. La, la, la, la ... Quand la flamme de l’amour, from The fair maid of Perth. Joseph Rouleau, bass; Royal Opera House O/John Matheson. LP Decca SAL 6637 4 14:00 THREE PIANO MASTERS Prepared by Rex Burgess

Liszt, F. Grand symphonic fantasy on themes from Berlioz’s Lélio (1834). Leslie Howard, pf; Budapest SO/Karl Anton Rickenbacher. Hyperion CDS44595 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Katy Rogers-Davies Varèse, E. Amériques (1918-21). Chicago SO/Pierre Boulez. DG 471 137-2 25 Bernstein, L. Chichester Psalms (1965). Vienna Youth Choir; Israel PO/Leonard Bernstein. DG 469 115-2 19 Beethoven, L. Symphony no 9 in D minor, op 125, Choral (1822-24). Barbara Bonney, sop; Birgit Remmert, cont; Kurt Streit, ten; Thomas Hampson, bar; City of Birmingham Symphony Ch; Vienna PO/Simon Rattle. EMI 5 57448 2 1:10 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Scheidt, S. Ludi musici, pt 1 (pub. 1621): no 22, Intrada; no 5, Paduan; no 24, Galliard; no 17, Courant; no 6, Paduan; no 21, Galliard battaglia; no 16, Alamande; no 26, Canzon ad imitationem Bergamasca Anglica; no 28, Canzon super O nachbar Roland; no 11, Courant. Hespèrion XX/Jordi Savall. Erato 5 62028 2 36 Schütz, H. St Luke’s Passion (c1666). Johan Linderoth, ten; Jakob Bloch Jespersen, bassbar; Ars Nova Copenhagen/Paul Hillier. Dacapo 8.204035 53

Chopin, F. Ballade no 4 in F minor, op 52 (1842). Krystian Zimerman, pf. DG 477 8445 12

Schein, J. Suite no 16 in A minor, from Banchetto musicale (pub. 1617). Hespèrion XX/Jordi Savall. Erato 5 62028 2 11

Alkan, C-V. Le chemin de fer, op 27 (1844). Laurent Martin, pf. Naxos 8.553434 5

Schütz, H. Kleine geistliche Konzerte (1639). Concerto Vocale/René Jacobs. Harmonia Mundi HMX 2971310 14 April 2018

fineMusic 102.5

Saturday 14 APRIL Arnold, M. Suite from The Inn of the Sixth Happiness (1958). London SO/Richard Hickox. Chandos Chan 9100 15 Loesser, F. Excerpts from Guys and dolls (1950-55). Marlon Brando, Jean Simmons, Frank Sinatra, Vivianne Blaine, voices. Blue Moon BMCD 3507 19 20:00 INFLUENCES AND CONNECTIONS Giovanni Pergolesi Prepared by Rex Burgess

Carl Reinecke 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early and mid-Romantic c1830-1875 Prepared by Robert Small Bennett, W. Sterndale Piano concerto no 1 in D minor, op 1 (1832; ed. Byers). Malcolm Binns, pf; London PO/Nicholas Braithwaite. Lyrita SRCD 204 24 Onslow, G. Grand sextet, op 77b (1849). Marc Marder, db; Jean Hubeau, pf; members of Nielsen Quintet. apex 0927 49536 2 33 Schumann, R. Symphony in G minor, Zwickau (1832-33). O Révolutionnaire et Romantique/John Eliot Gardiner. Archiv 457 591-2 19 10:30 SMALL FORCES Prepared by Paul Hopwood Czerny, C. Variations on Gott erhalte Franz den Kaiser, op 73 (1825). Maureen Jones, pf; Zurich Chamber Ensemble. Jecklin 608-2 27 Reinecke, C. Trio in A minor, op 188 (1887). Ingo Goritzki, ob; Barry Tuckwell, hn; Ricardo Requejo, pf. Claves 50 803 28 11:30 ON PARADE Prepared by Robert Small Sampson, W. High Command (1942). Graham Lloyd, cond. 5 Broadstock, B. Fortuna (1999). 11 Stanhope, D. Lovely Joan. 5 Caswell, A. On the inside (1979; arr. Broadbent). 5 Mark Ford, cond (3 above) Kew Band (all above) ABC 465 173-2 22

Sergei Prokofiev 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 LATE WORKS Prepared by Stephen Wilson Mendelssohn, F. Overture and war march of the priests, from Athalie, op 74 (1845). Vienna PO/Christoph von Dohnányi. Decca 460 239-2 14 Lieder, op 63 (1845): no 1, Ich wollt’ meine Lieb’ ergösse sich; no 2, Abschiedslied der Zugvögel; no 3, Gruss; no 4, Herbstlied; no 5, Volkslied. Sophie Daneman, sop; Nathan Berg, bar; Eugene Asti, pf. Hyperion CDA66906 10 Songs without words, op 102 nos 3 and 4 (1845). Martin Jones, pf. Nimbus NI 7704 3 String quartet no 6 in F minor, op 80 (1847). New Zealand String Quartet. Naxos 8.570001 26

Bach, J.S. Tilge, Höchster, Meine Sünden, BWV1083 (c1741-46). Emma Kirkby, sop; Daniel Taylor, ct; Theatre of Early Music. BIS SACD-1546 37 Pergolesi, G. Trio sonata in F. Bruno Cocset, vc; members of Il Seminario Musicale/Gérard Lèsne. Virgin 6 66357 2 14 Gallo, D. Trio sonata no 7 in G minor, La follia (pub. 1780). Parnassi Musici. cpo 999 717-2 6 Pergolesi, G. Orfeo, cantata da camera (pub. 1749). Julia Faulkner, sop; Anna Gondo, cont; Camerata Budapest/Michael Halász. Naxos 8.550766 17 Wassenaer, U. Concerto no 2 in B flat for strings and continuo, from Sei concerti armonici. Amsterdam Baroque O/Ton Koopman. Erato ECD 75395 10 Stravinsky, I. Suite from Pulcinella (191920). Academy of St Martin in the Fields/ Neville Marriner. Decca 443 577-2 23 22:00 SATURDAY NIGHT AT HOME Prepared by Paul Cooke

15:00 STAR CROSSED LOVERS Prepared by Chris Blower

Mozart, W. Violin concerto no 1 in B flat, K207 (1773). Australian CO/Richard Tognetti, vn & dir. BIS SACD-1755 19

Prokofiev, S. Ballet: Romeo and Juliet, op 64 (1938). Sydney SO/Vladimir Ashkenazy. SSO recording 2:24

Schubert, F. Fantasy in C, D760, Wanderer (1823). Leslie Howard, pf. Hyperion CDA67203 23

17:30 THE VOICES, THE ROLES with Angela Cockburn Barrack room baritones

Foulds, J. Quartet no 10, op 89, Quartetto intimo (1931). Andrew Watkinson, vn; James Clark, vn; Garfield Jackson, va; David Waterman, vc. Pearl SHE 9564 33

18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Merrill, B. Excerpts from Carnival (1961). Anna Maria Alberghetti, Jerry Orbach, Kaye Ballard, voices; members of the original Broadway cast. Polydor 837 195-2 17

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

Raff, J. Symphony no 3 in F, op 153, In the forest (1869). Slovak State PO/Urs Schneider. Naxos 8.555491 38

The beauty and vitality of the music of Romantic composer Joachim Raff is now being rediscovered and appreciated.

Sunday 15 APRIL 12:00 SPEAK EASY, SWING HARD with Richard Hughes 13:00 WORLD MUSIC: Whirled Wide 14:00 CONTRASTS Prepared by Ron Walledge Bach, C.P.E. Flute concerto in G, Wq169 (c1755). Konrad Hünteler, fl; Amsterdam Baroque O/Ton Koopman. Erato ECD 75536 24 Haydn, J. Symphony in F, Hob.I:89 (1787). London Mozart Players/Jane Glover. ASV DCA 635 21 Johann Christian Bach 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Hildegard of Bingen. O Jerusalem. Emma Kirkby, sop. Hyperion CDS44251 8 La Rue, P de. Missa sancte Dei genitrix. Hyerion CDA67010 19 Gothic Voices/Christopher Page (2 above) Mendelssohn, F. Magnificat in D (1822). Yale Schola Cantorum; Yale Voxtet; Yale Collegium Players/Simon Carrington. Naxos 8.572161 26 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Beethoven, L. Overture to Egmont, op 84 (1810). Czech PO/George Szell. Sony SMK 68 447 9 Bennett, W. Sterndale Piano concerto no 1 in D minor, op 1 (1832; ed. Byers). Malcolm Binns, pf; London PO/Nicholas Braithwaite. Lyrita SRCD 204 24 Glinka, M. Trio pathétique in D minor (1832). Borodin Trio. Chandos CHAN 8477 18 Crusell, B. Clarinet concerto no 1 in E flat, op 1 (1803). Karl Leister, cl; Lahti SO/Osmo Vänskä. BIS CD-345 21 Bishop, H. Lo! Here the gentle lark (1819). Valerie Masterson, sop; Richard Adeney, fl; Roger Vignoles, pf. Pearl SHE 9590 5 Jadin, H. String quartet, op 1 no 3 (1797). Rasumovsky Quartet. ASV GAU 151 15 Bach, J. Christian Symphony in G minor, op 6 no 6 (1769). Academy of Ancient Music/ Simon Standage. Chandos CHAN 0540 15

Fauré, G. Élégie, op 24 (1880; orch. Aubert). Peter Dixon, vc; BBC PO/Yan Pascal Tortelier. Chandos CHAN 9416 8 15:00 SUNDAY SPECIAL Alma Moodie, Part 1: The Australian child prodigy Prepared by James Nightingale Bach, J.S. Excerpts from Sonata no 1 in G minor, BWV1001 (1720). Richard Tognetti, vn. ABC 476 805-1 10 Brahms, J. Violin concerto in D, op 77 (1883). Isabelle Faust, vn; Mahler CO/Daniel Harding. Harmonia Mundi HMX 2908401.08 37 Reger, M. Solo violin prelude (c1915). David Oistrakh, vn. Brilliant Classics 8402 4 Bach, J.S. Double concerto in D minor, BWV1043 (1730-31). Joseph Szigeti, vn; Carl Flesch, vn; O/Walter Goehr. Naxos 8.110979 16 Bartók, B. Sonata no 2 (1922). József Szigeti, vn; Béla Bartók, pf. Vanguard OVC 8008 19 Glazunov, A. Violin concerto in A minor, op 82 (1904-05). Anne-Sophie Mutter, vn; National SO/Mstislav Rostropovich. Erato ECD 75506 20 17:00 HOSANNA Prepared by Richard Munge Hymns: The King of love my Shepherd is; He is risen, He is risen. Washington Symphonic Brass; 11 Noble, T. Magnificat; Nunc dimittis in A. Choir of Ely Cathedral. Heritage HTGCD 219 7 Brahms, J. Anthem: How lovely is thy dwelling place. 6

Choir of St George’s Chapel, Windsor; Roger Todd, org; Timothy Byram-Wigfield, cond (3 above) Delphian DCD 34048 Hymns: Be still my soul; Christ is our cornerstone. Geoffrey Cox, org. 6 Hymn: O praise ye the Lord. Norman Kaye, org. 3 Cantus Choro; Peter Chapman, cond (2 above) Move MD 3142 Dupré, M. Chorale and fugue, op 57. Jeremy Filsell, org. Heritage HTGCD 219 7 18:00 CHAMBER HOUR Prepared by Sheila Catzel Prokofiev, S. Overture on Hebrew themes, op 34 (1919-34). James Campbell, cl; Eleonora Turovsky, vn; Rivka Golani, va; Borodin Trio. Chandos CHAN 8924 10 Kozeluch, L. Wind octet: Parthia in F. Consortium Classicum. Orfeo 442 981 18 Dvorák, A. Piano quintet in A, op 5 (1872). Ivan Klansky, pf; Vlach Quartet Prague. Naxos 8.555377 24 19:00 SUNDAY NIGHT CONCERT Prepared by Chris Blower Mendelssohn, F. String symphony no 12 in G minor (1823). London FO/Ross Pople. Hyperion CDS44081/3 20 Benjamin, A. Piano concerto, Quasi una fantasia (1949). Lamar Crowson, pf; London SO/Arthur Benjamin. Everest EVC 9029 27 Glazunov, A. Ballet: The seasons, op 67 (1899). Suisse Romande O/Ernest Ansermet. Decca 480 0038 36 20:30 NEW HORIZONS Prepared by Nev Dorrington Pärt, A. Für Anna Maria (2013). Jerden van Veen, pf. Brilliant Classics 94775 28 Kancheli, G. Ex contrario (2015). Gidon Kremer, vn. DG 28947 94817 30 Pärt, A. Fratres; Spiegel im spiegel (2013). Jerden van Veen, pf. Brilliant Classics 95053 21

Gardiner, H. Balfour Evening hymn. 6

Hutchings, S. Blind date (2016). Sophie Hutchings, pf. Preservation B01H82LZ 8

Harwood, B. O how glorious is Thy kingdom. 7

22:00 AFTER HOURS JAZZ with Kevin Jones April 2018

fineMusic 102.5

Monday 16 APRIL

Leopold Godowsky 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: 1900 Prepared by Frank Morrison Sibelius, J. Malinconia, op 20 (1900). Torleif Thedéen, vc; Folke Gräsbeck, pf. BIS CD-817 12 Ciurlionis, M. In the forest (1900). Slovak PO/Juozas Domarkas. Marco Polo 8.223323 15 Godowsky, L. Studies on Chopin’s Étude, op 10 no 5 (1900-14). David Stanhope, pf. Tall Poppies TP135 15 Dvorák, A. Song to the moon, from Rusalka, op 114 (1900). Cheryl Barker, sop; Australian Opera and Ballet O/Richard Hickox. Chandos CHAN 10568(2) 8 Debussy, C. Nuages; Sirènes, from Nocturnes (1915). Detroit SO/Paul Paray. Mercury 478 5092 14 Rimsky-Korsakov, N. Flight of the bumblebee (1900). Henryk Szeryng, vn; Charles Reiner, pf. Mercury 434 339-2 1 Sarasate, P. de Concert fantasy on Gounod’s Faust (1874). Livia Sohn, vn; Geoff Nuttall, va; Benjamin Loeb, pf. Naxos 8.573403 12 10:30 CONCERT HALL Prepared by Frank Morrison Massenet, J. Orchestral suite no 3: Scènes dramatiques (1873). Monte Carlo Opera O/ John Eliot Gardiner. Erato 2292-45858-2 19 24

David Robertson

Jean-Efflam Bavouzet

Lalo, E. Cello concerto in D minor (1877). János Starker, vc; London SO/Stanislaw Skrowaczewski. Mercury 432 010-2 23

Chausson, E. Trio in G minor, op 3 (1881). Philippe Graffin, vn; Gary Hoffman, vc; Pascal Devoyon, pf. Hyperion CDA67028 30

Mozart, W. Symphony no 36 in C, K425, Linz (1783). Prague PO/Jirí Belohlávek. Harmonia Mundi HMC 901891 39 12:00 SWING SESSIONS with John Buchanan 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell David, Felicien. Nonetto in C minor (1839). London Gabrieli Brass Ensemble/Christopher Larkin. Hyperion CDA66470 21 Debussy, C. Fêtes. Pascal Rogé, pf; Ami Rogé, pf. Onyx ONYX 4117 6 Jadin, H. String quartet, op 1 no 3 (1797). Rasumovsky Quartet. ASV GAU 151 15 Satie, E. Je te veux (1900); La diva de l’Empire (1904). Yvonne Kenny, sop; Malcolm Martineau, pf. Walsingham WAL 8022-2 7

14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Rameau, J-P. Suite from Les Indes galantes (1735). O of La Chapelle Royale/Philippe Herreweghe. Harmonia Mundi HMP390808 15 Saint-Saëns, C. Suite from ballet Javotte (1896). Monte Carlo PO/David Robertson. Auvidis V 4688 21 Ravel, M. Piano concerto (1931). Jean-Efflam Bavouzet, pf; BBC SO/Yan Pascal Tortelier. Chandos CHSA 5084 18 Falla, M. de Ballet: El amor brujo (1915/16). New York PO/Leonard Bernstein. CBS MYK 44721 26 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

MUSIC TRIVIA 1. What nickname was given to Beethoven’s Piano trio in D, op 70 because of the slow movement’s eerie atmosphere? 2. To whom was the celebrated 19th century Spanish operatic soprano Isabella Colbran married? 3. Which well-known Catholic figure wrote the poem on which Elgar based his oratorio, The dream of Gerontius? 4. Leonard Bernstein wrote the music for West Side Story, but who wrote the libretto? 5. For whose coronation did William Walton write Orb and Sceptre? Find answers on page 33

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

Tuesday 17 APRIL

Lydia Mordkovitch 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds

Kathrin Graf

Peter-Lukas Graf

12:00 JAZZ RHYTHM with Jeannie McInnes

Kuhlau, F. Grand sonata in E flat, op 64 (1824). Zsuzsanna Sirokay, pf. Claves CD 50-8705 27

13:00 MOON MUSIC Prepared by Gael Golla

9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Madilina Tresca

Strauss, R. Introduction and moonlight music, from Capriccio (1942; arr. 1945). Vienna PO/André Previn. DG 437 790-2 14

Finzi, G. Eclogue, for piano and string orchestra, op 10 (c1949). Royal Liverpool PO/Vernon Handley. EMI 5 65742 2 10

Dvorák, A. Song to the moon, from Rusalka (1900). Nicole Car, sop; Australian Opera & Ballet O/Andrea Molino. ABC 481 2371 6

d’Albert, E. Sonata in F sharp minor, op 10. Hyperion CDA66945 27

Lee, R. Broken moon (1992). Riley Lee, shakuhachi. Tall Poppies TP033 3

Giampieri, A. Carnival of Venice. Michael Collins, cl. Chandos CHAN 10615 7 Piers Lane, pf (3 above)

Edwards, R. Full moon dances (2012). Amy Dickson, sax; Sydney SO/Benjamin Northey. ABC 481 1703 29

Debussy, C. The little shepherd, from Children’s corner suite (1906-08). ABC 476 4991 2

14:00 MUSICAL FAMILIES Kathrin and Peter-Lukas Graf Prepared by Jennifer Foong

Ravel, M. Jeux d’eau (1901). ABC 481 0408 6

Ravel, M. Introduction and allegro (1906). Hans Rudolf Stalder, cl; Ursula Holliger, hp; Zürich CO. Claves CD 50-280 11

Anna Goldsworthy, pf (2 above) Dvorák, A. Quintet no 1 in A, op 5 (1872). Piers Lane, pf; Goldner String Quartet. Hyperion CDA67805 27 10:30 CONCERT HALL Prepared by Di Cox Wagner, R. Prelude to Act I, from The mastersingers of Nuremberg (1866-67). New York PO/Pierre Boulez. Sony SMK 64 108 11 Khachaturian, A. Violin concerto in D minor (1940). Lydia Mordkovitch, vn; Scottish NO/ Neeme Järvi. Chandos CHAN 8918 37 Mozart, W. Symphony no 38 in D, K504, Prague (1786). English CO/Jeffrey Tate. EMI 5 74185 2 34

Widor, C-M. Suite, op 34 (1898). Bernd Glemser, pf. Claves CD 50-9306 19 Rameau, J-P. Rossignols amoureux, from Hippolyte et Aricie (1733). Kathrin Graf, sop; Alexander van Wijnkoop, vn; Raffaele Altwegg, vc; Michio Kobayashi, hpd. Claves CD 50-604 7 Reger, M. Serenade in G, op141a (1915). Sandor Vegh, vn; Rainer Moog, va. Claves CD 50-8104 15 Martin, F. Trois chants de Noël d’Albert Rudhart (1947). Kathrin Graf, sop; Raffaele Altwegg, vn; Michio Kobayashi, pf. Claves CD 50-604 6

Krommer, F. Concertino in C, op 65 (c1810). Heinz Holliger, ob; English CO. Claves CD 8203 22 Peter-Lukas Graf, fl (all above) 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 Robert Small 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Mendelssohn, Fanny. String quartet in E flat (1834). Erato Quartet Basel. cpo 999 679-2 20 Farrenc, L. Wind sextet in C minor, op 40 (1852). Les Vents Français. Warner Classics 0825646231850 24 Schumann, C. Trio in G minor, op 17 (1846). Joseph Silverstein, vn; Colin Carr, vc; Veronica Jochum, pf. Pro Arte CDD 395 28 Raff, J. Duo on themes from Wagner’s Lohengrin, op 63 no 3 (1853). Livia Sohn, vn; Benjamin Loeb, pf. Naxos 8.570202 9 Onslow, G. Quintet in B minor, op 70. Nepomuk Fortepiano Quintet. Brilliant Classics 94377 27

George Onslow, the grandson of an English Earl, was actually a Frenchman. He spent part of his teen years in Hamburg in the late 1790s when his father went into exile for counter-revolutionary activities. April 2018

fineMusic 102.5

Wednesday 18 APRIL 13:00 PUCCINI’S OTHER MUSIC Prepared by James Hunter Puccini, G. Quartet in D (1880). Raphael String Quartet. Etcetera KTC 1050 8 Inno a Roma; Avanti Urania! (1899). Plácido Domingo, ten; Julius Rudel, pf. CBS MK 44981 5 Capriccio sinfonico (1883). Berlin RSO/ Riccardo Chailly. Decca 410 007-2 12 Crisantemi (1890). Giovane Quartetto Italiano. Claves 50-9114 6 Giacomo Puccini 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jennifer Foong Magnard, A. Ouverture, op 10 (1895). Toulouse Capitole O/Michel Plasson. EMI 5 72364 2 12 Trio in F minor, op 18, mvts 1 and 3 (1906). Genevieve Laurenceau, vn; Maximilian Hornung, vc; Oliver Triendl, pf. cpo 777 765-2 13 Promenades, op 7 (1893). Stephanie McCallum, pf. Tall Poppies TP081 29 String quartet in E minor, op 16, mvt 3 (1903) Artis Quartett Accord 149160 11 Sonata in G, op 13, mvt 4 (1903). Genevieve Laurenceau, vn; Oliver Triendl, pf. cpo 777 765-2 13 10:30 CONCERT HALL Prepared by Michael Field Brahms, J. Tragic overture, op 81 (1880/81). Vienna PO/Leonard Bernstein. DG 410 084-2 14 Hummel, J. Bassoon concerto in F (1805). Valery Popov, bn; Russian State SO/Valery Polyansky. Chandos CHAN 9656 25 Copland, A. Symphony no 3 (1946). New Zealand SO/James Judd. Naxos 8.559106 43 12:00 JAZZ SKETCHES with Robert Vale 26

Kyrie; Sanctus; Agnus Dei, from Messa di gloria (1880). José Carreras, ten; Hermann Prey, bar; Ambrosian Singers; Philharmonia O/Claudio Scimone. Erato 2292-45197-2 11 Ninna-nanna (1899). Roberta Alexander, sop; Tan Crone, pf. Etcetera KTC 1050 2 Minuetto I, II, III (pub. 1892). Raphael String Quartet. Etcetera KTC 1050 9 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 SIBELIUS EXPLORED Part 3 Prepared by Michael Morton-Evans

Susan Graham 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Berlioz, H. Beatrice and Benedict. Opera in two acts. Libretto by Hector Berlioz. First performed Weimar, 1863. BEATRICE: Susan Graham, sop BENEDICT: Jean-Luc Viala, ten HERO: Sylvia McNair, sop CLAUDIO: Gilles Cachemaille, bar Lyon Opera Ch & O/John Nelson. Musifrance 2292-45773-2 1:52 Synopsis at finemusicfm.com/Opera

Sibelius, J. Finlandia, op 26 no 7 (18991900). Scottish NO/Alexander Gibson. Chandos CHAN 6508 7

Overture to Les Francs-juges, op 3 (182728). Montreal SO/Charles Dutoit. Decca 452 480-2 12

Valse triste, op 44 no 1, from Incidental music to Kuolema (1903/04). Queensland SO/ Patrick Thomas. Phonart PT 1001/3 5

Excerpts from The damnation of Faust, op 24 (1845). Rotterdam PO/Valery Gergiev. Radio Netherlands RPHO2008-1 12

Violin concerto in D minor, op 47, mvt 3 (1903-04) Pekka Kuusisto, vn; Helsinki PO/ Leif Segerstam. Ondine ODE 878-2 8 Symphony no 3 in C, op 52, mvt 3 (1907). London SO/Colin Davis. RCA 090266 61963 2 8 Symphonic poem: Pohjola’s daughter, op 49 (1906). Scottish NO/Alexander Gibson. Chandos CHAN 6508 12 Romance, op 82 no 2 (1915-19). Joshua Bell, vn; Samuel Sanders, pf. Decca 475 6715 3 Arioso, op 3 (1911). MariAnne Häggander, sop; Gothenburg SO/Jorma Panula. BIS CD-1906/08 4

22:30 WOMEN COMPOSERS Prepared by Gael Golla Kats-Chernin, E. Torque (2002). Australian CO/Richard Tognetti. ABC 481 4571 15 Hyde, M. Sonata in G minor (1961-62). Christine Draeger, fl; James Muir, pf. Walsingham 2WAL8036-2 13 Chaminade, C. Autumn (c1890; orch. Uy). Michael Guttman, vn; Royal PO/José Serebrier. ASV DCA 855 7 Mendelssohn, Fanny. String quartet in E flat (1834). Erato Quartet Basel. cpo 999 679-2 20

Scout march, op 91b (1918). Dominante Choir; Lahti SO/Osmo Vänskä. BIS CD-1906/08 3

Boyd, A. Goldfish through summer rain (1978; arr. Lee, McGuire). Riley Lee, shakuhachi; Marshall McGuire, hp. ABC 476 4870 5

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

Boulanger, N. Fantasy (1912). David Greilsammer, pf; French RPO/Steven Sloane. naïve V 5224 20

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Thursday 19 APRIL Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-07). Tasmanian SO/Patrick Thomas. ABC 476 4570 47 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 NICHOLAS BRAITHWAITE CONDUCTS Prepared by Elaine Siversen Jacob, G. Trombone concerto (1955). Warwick Tyrrell, tb. ABC 438 825-2 20 Murray Perahia 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Elgar, E. Sea pictures (1899). Elizabeth Campbell, mezz. ABC 476 796-6 24

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore

Shostakovich, D. Symphony no 8 in C minor, op 65 (1943). ABC 426 510-2 1:07

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Chris Blower

Adelaide SO/Nicholas Braithwaite (all above)

Weiss, S. Guitar concerto in D minor (c1730; arr. E.Grigoryan). Slava Grigoryan, gui; Tasmanian SO/Benjamin Northey. ABC 476 5948 9 Bowen, Y. Phantasy in F, op 54 (1918). Lawrence Power, va; Simon CrawfordPhillips, pf. Hyperion CDA67651-52 14 Boccherini, L. Quintet no 4 in D, G448, Fandango (1798). Zoë Black, vn; Elizabeth Jones, vn; Ian Rathbone, va; Melissa Barnardi, vc; Slava Grigoryan, gui. Fine Music concert recording 16 d’Indy, V. Chorale and variations, op 55 (1903). Lawrence Power, va; BBC NO of Wales/Thierry Fischer. Hyperion CDA67690 12 Piazzolla, A. Tango suite (1984). Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 472 824-2 18 Benjamin, A. Three pieces (1924). Lawrence Power, vn; Simon Crawford-Phillips, pf. Hyperion CDA67969 11 10:30 CONCERT HALL Prepared by Stephen Wilson Rossini, G. Ballet music from The siege of Corinth (1826). Monte-Carlo Opera NO/ Antonio de Almeida. Philips 422 843-2 14 Mendelssohn, F. Piano concerto no 1 in G minor, op 25 (1831). Murray Perahia, pf; Academy of St Martin in the Fields/Neville Marriner. CBS MK 42401 20

15:00 GOODY GOODY TWO ‘SCHUS’ Prepared by Tom Forrester-Paton Schubert, F. Rondeau brillant in B minor, D895 (1826). Adele Anthony, vn; Jonathan Feldman, pf. Naxos 8.554148 15 Schumann, R. Three romances, op 94 (1849). Charles Neidich, cl; Leonard Hokanson, pf. Sony 88725443532 13 Schubert, F. Impromptu in C minor, D899 no 1 (1827). Alfred Brendel, pf. Philips 456 727-2 9 Schumann, R. Overture to Manfred, op 115 (1848-49). Swedish CO/Thomas Dausgaard. BIS SACD-1619 11 Widmung (arr. Liszt). Philip Johnston, pf. Warner 06 301 34632 4 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 Part 1: Musica Viva presents the Goldner String Quartet Recorded for FINE MUSIC by Peter Bell Puccini, G. Crisantemi (1890). 6 Haydn, J. Quartet in G, op 76 no 1 (1797). 20 McGuffie, K. Quartet no 2, Nostalgia (2014). 7

Janácek, L. Quartet no 1, Kreutzer sonata (1923). 18 Goldner String Quartet (all above) Part 2: Sonata Bartók, B. Sonata in E minor. Susanne Stanzeleit, vn; Gusztav Fenyö, pf. ASV DCA 982 29 21:30 BOLOGNA 1666 Prepared by Rex Burgess Laurenti, G. Violin concerto in E minor (1706). Torelli, G. Violin concerto in D minor (1700).

10 8

Alberti, G. Chamber concerto in E minor, op 1 no 7 (1713). 8 Basle CO/Julia Schröder, vn & dir (all above) DHM 88985 31559-2 22:00 MUSICAL PORTRAITS Witches Prepared by Paul Cooke Mendelssohn, F. Die schöne Melusine, op 32 (1833). Gewandhaus O/Kurt Masur. Berlin Classics 0300249BC 11 Verdi, G. Witches chorus, from Macbeth (1847). Welsh National Opera Ch & O/ Richard Armstrong. EMI 5 66115 2 4 Dvorák, A. Symphonic poem: The noon witch, op 108 (1896). Czech PO/Charles Mackerras. Supraphon SU 4012-2 14 Berlioz, H. Songe d’une nuit de sabbat, from Symphonie fantastique, op 14 (1830; transcr. Liszt). François-René Duchâble, pf. EMI 5 72356 2 4 10 Bantock, G. The witch of Atlas (1902). Royal PO/Vernon Handley. Hyperion CDA66450 15 Paganini, N. Witches’ dance, op 8 (arr. Kreisler). Ruggiero Ricci, vn; Louis Persinger, pf. Decca 458 191-2 7 MacMillan, J. The confession of Isobel Gowdie (1990). BBC Scottish SO/Jerzy Maksymiuk. Koch 476 2646 26 Blamont, F. Circé (1736). Les Ombres. Ambronay AMY301 21

“Music is the universal language of mankind.” - Henry Wadsworth Longfellow April 2018

fineMusic 102.5

Friday 20 APRIL

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

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

9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Paul Cooke

Shostakovich, D. Tahiti trot, op 16 (1928). Royal Concertgebouw O/Riccardo Chailly. Decca 433 702-2 4

Spohr, L. Variations in B flat on Euer Liebreiz, eure Schönheit, from Alruna (1809). Michael Collins, cl; Swedish CO/Robin O’Neill. Hyperion CDA67509 8

Prokofiev, S. Suite from Lieutenant Kijé, op 60 (1934). Montreal SO/Charles Dutoit. Decca 430506-2 20

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Purcell, H. Suite from King Arthur (1691; arr Balsom). Alison Balsom, tpt; English Concert/ Trevor Pinnock. EMI 4 40329 2 14 Williams, G. Fantasia on Welsh nursery tunes (1940). Royal Ballet Sinfonia/Andrew Penny. Marco Polo 8.225048 11 Haydn, J. Quartet in G, op 76 no 1 (Hob. III:75). Vienna Flautists. Discover International DICD 920211 24 Respighi, O. Quattro litiche su poesie popolari armene (1921). Denisa Slepkovská, mezz; Vladimir Havran, fl; Michal Sintál, ob; Gabriel Koncer, cl; Ivan Viskup, bass cl; Ivan Paulicka, bn; Frantisek Kovács, tb; Katarina Vavreková, hp; Adriano, cond. Naxos 8.570741 9 Glinka, M. Divertimento brillante on themes from Bellini’s opera La sonnambula (1832). Alexei Bruni, vn; Mikhail Moshkunov, vn; Andrei Kevorkov, va; Erik Pozdeev, vc; Rustem Gabdulin, db; Leonid Ogrinchuk, pf. Olympia MKM 76 13 10:30 CONCERT HALL Prepared by Di Cox Dvorák, A. Scherzo capriccioso, op 66 (1883). Czech PO/Karel Sejna. Supraphon SU 1915-2 001 12 Crusell, B. Clarinet concerto no 2 in F minor, op 5 (1808). Karl Leister, cl; Lahti SO/Osmo Vänskä. BIS CD-345 23 Sibelius, J. Symphony no 2 in D, op 45 (1901) London SO/Pierre Monteux. Decca 480 6568 44 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 IN PLAYFUL MOOD Prepared by Ron Walledge Wolf-Ferrari, E. Overture to Susanna’s secret (1909). Royal PO/José Serebrier. ASV DCA 861 3 28

14:00 EUROPEAN COMPOSERS IN ENGLAND 1700-1800 Part 1 Prepared by Frank Morrison Handel, G. Concerto grosso in A, HWV329 (1739). Tasmanian Symphony Chamber Players/Geoffrey Lancaster. ABC 438 192-2 17 Abel, C. Trio sonata in A, op 9 no 1 (1771). London Baroque. Amon Ra SAR 14 6 Bach, J. Christian Piano concerto in D, op 1 no 6 (1763). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus. Philips 438 712-2 13 Mozart, W. Symphony no 1 in E flat, K16 (1764). Northern CO/Nicholas Ward. Naxos 8.550871 13 Pleyel, I. Piano trio in F minor (1791). Trio 1790. cpo 777 544-2 18 Dussek, J. Sonata in G minor, op 10 no 2 (1790). Geoffrey Govier, fp. Olympia OCD 430 11 Haydn, J. Symphony in D, Hob.I:104, London (1795). English Sinfonia/Charles Groves. IMP PCD 916 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Chief conductors of the Sydney Symphony Prepared by David Brett Strauss, J. II Waltz: On the beautiful blue Danube, op 314 (1867). Sydney Symphony SS01 11 Debussy, C. La mer: Three symphonic sketches (1903-05). ABC 476 595-7 24 Sydney SO/Gianluigi Gelmetti (2 above)

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

Smetana, B. The Moldau; From Bohemia’s woods and meadows, from My country (187279). Milwaukee SO/Zdenek Macál. Telarc 80265 24 Strauss, R. Four last songs (1948). Ricarda Merbeth, sop. 24 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). 25 Sydney SO/Gianluigi Gelmetti (2 above) Sydney Symphony SS01 22:00 BAROQUE AND BEFORE Pomp and ceremony in England Prepared by Elaine Siversen Locke, M. Music for His Majesty’s sagbutts and cornetts (1661; arr. Steele-Perkins). London Gabrieli Brass Ensemble ASV QS 6013 10 Purcell, H. Music for the funeral of Queen Mary (1695). Felicity Lott, sop; Charles Brett, ct; John Williams, ct; Thomas Allen, bass; Monteverdi Choir & O; Equale Brass Ensemble/John Eliot Gardiner. Erato 2292-45123-2 19 Eccles, J. Suite: Made for the Queen’s coronation (1702). Mark Bennett, tpt; members of Parley of Instruments/Peter Holman. Hyperion CDA66817 12 Handel, G. Jubilate in D for the Peace of Utrecht 1713 (1713). Emma Kirkby, sop; Judith Nelson, sop; Charles Brett, ct; Rogers Covey-Crump, ten; Paul Elliott, ten; David Thomas, bass; Choir of Christ Church Cathedral, Oxford; Academy of Ancient Music/Simon Preston. L’Oiseau-Lyre 414 413-2 19 Boyce, W. Overture to The Cambridge installation ode (1749). New Philharmonia O/ Raymond Leppard. Philips 446 569-2 9 Handel, G. Coronation anthem no 1: Zadok the priest, HWV258 (1727). Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. Philips 456 502-2 6 Coronation anthem no 4: My heart is inditing, HWV261 (1727). Westminster Abbey Choir & O/Simon Preston. DG 478 5183 12 Music for the royal fireworks, HWV351 (1749). English Concert/Trevor Pinnock. Archiv 479 1932 18

William Boyce’s Cambridge Installation Ode was first performed on 1 July 1749 at the installation of the Duke of Newcastle as Chancellor of the University.

Saturday 21 APRIL Haydn, J. Flute trio in G, Hob.IV:7 (1784). Jean-Pierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc. CBS 37786 10 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Khachaturian, A. Concert march. Central Band of the Royal Air Force/Robin Wilkinson. EMI 5 21451 2 3

Yan Pascal Tortelier 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early and mid romantic c1830-1875 Prepared by Frank Morrison Verdi, G. Ballet music from Il trovatore (1853). Monte Carlo National Opera O/ Antonio de Almeida. Philips 422 846-2 22 Schumann, R. Trio no 1 in D minor, op 63 (1847). Israel Piano Trio. CRD 3433 31 Brahms, J. An die Nachtigall, op 46 no 4 (1868). Elly Ameling, sop; Rudolf Jansen, pf. Hyperion CDA66444 3 Saint-Saëns, C. Symphony no 2 in A minor, op 55 (1859). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8822 21 10:30 SMALL FORCES Prepared by Frank Morrison Clementi, M. Piano trio, op 21 no 1 (pub. 1788). Trio Fauré. Dynamic CDS 93 13 Schumann, R. Fantasy pieces, op 73 (1849). Paul Meyer, cl; Eric Le Sage, pf. Denon CO-75960 11 Sibelius, J. Sonatina in E, op 80 (1915). NilsErik Sparf, vn; Bengt Forsberg, pf. BIS CD-525 13 Bellstedt, H. Napoli, variations on a Neapolitan song. Wynton Marsalis, cornet; Eastman Wind Ensemble/Donald Hunsberger. CBS MK 42137 6

MacDowell, E. To a wild rose. Royal Doulton Band/Edward Gray. LP Astor GGS 1506 2 Hardelot, G. de Because (1902). Phillip McCann, cornet; Sellers Engineering Band/ Roy Newsome. Chandos CHAN 4503 5 Gardini, F. Thou, whose almighty word. Cathedral Brass; Michael Austin, org; Harry Mortimer, cond. LP World Record Club WRC R 02982 2 Kay, H. Cakewalk suite. Allentown Band/ Ronald Demkee. AMP Volume 24 14 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 SATURDAY POT-POURRI Prepared by Randolph Magri-Overend 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen German, E. Tom Jones. Operetta in three acts. Libretto by Robert Courtneidge and Alexander Thompson; Lyrics by Charles Taylor. First performed Manchester, 1907. SOPHIA: Marianne Hellgren Staykov, sop TOM JONES: Richard Morrison, bar SQUIRE WESTERN: Donald Maxwell, bar BENJAMIN PARTRIDGE: Richard Suart, bar LADY BELLASTON: Gaynor Keeble, mezz National Festival Ch & O/David Russell Hulme. Naxos 8.660270-71 1:50

Pierre Boulez 18:00 CLASSICAL GUITAR SOCIETY Prepared by Sue McCreadie Westlake, N. In loving memory, from Ali’s wedding. Slava Grigoryan, gui; Sydney SO/ Nigel Westlake. ABC 481 5738 4 Songs of the forest (1994). Karin Schaupp, gui; Claire Edwardes, perc. Fine Music concert recording 7 Hinchinbrook riffs (2003). Craig Ogden, gui. Tall Poppies TP187 8 Jovian moons (2001/02). Slava Grigoryan, gui; Michael Kieran Harvey, pf. ABC 476 574-4 16 Six fish (2003). Guitar Trek. Tall Poppies TP221 15 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell The American West 20:00 INFLUENCES AND CONNECTIONS Ian Shanahan Prepared by Calogero Panvino Messiaen, O. Chronochromie (1959-60). Cleveland O/Pierre Boulez. DG 445 827-2 24

Synopsis at finemusicfm.com/Opera

Shanahan, I. Echoes, fantasies (1984). Nigel Westlake, bass cl; Michael Askill, vibraphone, tubular bells. Jade JADCD 1070 10

Overture to Richard III (1889). RTE Concert O/Andrew Penny. Marco Polo 8.223695 9

Fredericks, I. Sunrise (1986). Tape realised by the composer. Jade JADCD 1024 11

Incidental music to Romeo and Juliet (1895). Czecho-Slovak RSO/Adrian Leape. Naxos 8.554711 13

Shanahan, I. SineBirds: Feral abacus (1981). Tape. Jade JADCD 1088 3

17:30 STAGING MUSIC with Angela Cockburn Adaptations: Hamlet, part 1

Gross, E. Fanfopus (1973). Sydney SO/ Patrick Thomas. Jade JADCD 1070 3 April 2018

fineMusic 102.5

Sunday 22 APRIL

Saturday 21 APRIL

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Buxtehude, D. Cantata: Jesu, meine Freude, BuxWV60. Emma Kirkby, sop; Suzie LeBlanc, sop; Peter Harvey, bass; Purcell Quartet. Chandos CHAN 0691 13

Christopher Hogwood Sculthorpe, P. A sun song for Eric (1991). Ian Shanahan, rec; Dominique Guerbois, vn; Susan Blake, vc. Jade JADCD 1031 2 Varèse, E. Intégrales (1924-25). Los Angeles PO/Zubin Mehta. Decca 478 2826 11 Stravinsky, I. Variations for orchestra, Aldous Huxley in memoriam (1964). Columbia SO/ Robert Craft. Sony SM3K 46 291-302 5 Gyger, E. I am not yet born. Sydney Children’s Choir/Lyn Williams. Sydney Children’s Choir recording 7 Hindson, M. Speed. Tasmanian SO/David Porcelijn. ABC 465 432-2 17 Ferneyhough, B. Unity capsule (1976). Laura Chislett, fl. Vox Australis VAST 007-2 16 Shanahan, I. Three pieces from Five études: Helical ribbon (1990); Lingua silens (1991); Cathy’s song (1988). Ian Shanahan, rec. Jade JADCD 1088 3 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Kuhlau, F. Concertino in F minor, op 45 (1821). Ib Lanzky-Otto, hn; Frøydis Ree Wekre, hn; Odense SO/Othmar Maga. Unicorn-Kanchana DKPCD 9110 23 Mozart, W. Serenade no 9 in D, K320, Posthorn (1779). Academy of Ancient Music/ Christopher Hogwood. L’Oiseau-Lyre 452 604-2 45 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 Dohnányi, E. Sextet in C for clarinet, horn, piano and string trio, op 37 (1935). Endymion Ensemble. ASV DCA 943 30 30

Saint-Saëns, C. Mass, op 4 (1856). Amy Corkery, sop; Anna Yun, mezz; Christopher Ashton-Jones, ten; Paul Goodwin-Groen, bass; Sydney University Graduate Chamber Choir; Amy Johansen, org; Christopher Bowen, cond. SUGC recording 42 10:00 THE CLASSICAL ERA Prepared by Denis Patterson Saint-Georges, J. Violin concerto in A, op 5 no 2 (pub. 1755). Takako Nishizaki, vn; Cologne CO/Helmut Müller Brühl. Naxos 8.555040 25 Cimarosa, D. Concerto in C. Lajos Lencsés, ob; Arcata CO/Patrick Strub. Hänssler Classic 98.467 11 Spohr, L. Concerto no 1 in C minor, op 26 (1808). Andreas Ottensamer, cl; Rotterdam PO/Yannick Nézet-Séguin. DG 481 0131 22 Spontini, G. Divertimento. Sören Hermansson, hn; Erica Goodman, hp. BIS CD-648 5 Hummel, J. Piano quintet in E flat, op 87 (c1802). The Music Collection. Chandos CHAN 0800 25 Weber, C.M. Symphony no 2 in C (1807). Academy of St Martin in the Fields/Neville Marriner. Brilliant Classics 99935 18 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 AT DAWN Prepared by Stephen Wilson Mussorgsky, M. Dawn over the Moscow River, from Khovanshchina (1872; arr. Rimsky-Korsakov). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00178 6 Edwards, R. Dawn mantras (arr. Manins). Riley Lee, shakuhachi; David Jones, perc. Move MD 3364 6 Wagner, R. Dawn; Siegfried’s Rhine journey and death; Funeral march, from Götterdämmerung (1869-74). Seattle Symphony/Gerard Schwarz. Naxos 8.572767 27

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Hovhaness, A. Symphony no 53, op 377, Star dawn (1983). Royal Scottish Academy of Music and Drama Wind O/Keith Brion. Naxos 8.559207 13 15:00 SUNDAY SPECIAL For the Court of the Sun King Prepared by Robert Small Lully, J-B. Te Deum (1677). Le Concert Spirituel/ Hervé Niquet. Naxos 8.554397 29 Visée, R. de Suite in E minor for two theorbos. Eric Bellocq, gui; Massimo Moscardo, gui; Le Concert Spirituel. Naxos 8.553745 17 Lalande, M-R. de Fourth suite, from Symphonies for the king’s supper. Edith Selig, sop; Paul Kuentz CO/Paul Kuentz. Archiv 453 169-2 27 Marais, M. Suite no 2 in G minor, from Pièces en trio (1692). The Marais Project/Jennifer Eriksson. Move MCD 512 17 Lully, J-B. Excerpts from Persée (1682). Cyril Auvity, ct; Bruno Rostand, bass; Les Talens Lyriques/Christophe Rousset. Ambroisie AM 167 18 17:00 HOSANNA Prepared by Jeremy Hall Hymn: Love divine, all loves excelling. Choir of St James, King Street/David Drury. 4 Howells, H. Magnificat, from Gloucester Service. Choir of Trinity College, Cambridge; Jeremy Cole, org; Stephen Layton, cond. Hyperion CDA67914 6 Finzi, G. Lo, the full final sacrifice. Choir of St John’s College, Cambridge; Christopher Whitton, org; Christopher Robinson, cond. Naxos 8.555792 14 Berkeley, L. The Lord is my Shepherd. Choir of St John’s, Elora; Michael Bloss, org; Noel Edison, cond. Naxos 8.554823 5 Taverner, J. Christe Jesu, pastor bone. Cambridge Singers/John Rutter. Collegium COLCD113 3 Whitacre, E. Hope, faith, life, love. Eric Whitacre Singers/Eric Whitacre. Decca B0045G3QW4 4 Mendelssohn, F. Verlieh uns Frieden gnädlich. St Thomas Boys Choir, Leipzig; Gewandhaus O/ Georg Christoph Biller. Rondeau ROP4029 5 Hymn: Praise to the holiest in the height. Choir of Westminster Abbey; Martin Baker, org; Martin Neary, cond. Griffin B000055Y22 3 Mendelssohn, F. Sonata no 3 in A minor, mvt 1. Ullrich Böhme, org. Rondeau ROP6029 7

Sunday 22 APRIL 18:00 SIBELIUS AND OTHER FINNS Prepared by Gael Golla Sibelius, J. Suite champêtre, op 98b (1921). Christer Throvaldsson, vn; Gothenburg SO/ Neeme Järvi. BIS CD-384 9 Pergament, M. Little suite (1972). Lina Åkerlund, rec; Eva Hagberg, rec. BIS CD-57 4 Sallinen, A. Quattro per quattro, op 12 (196465). Gunilla von Bahr, fl; Ari Angervo, vn; Veikko Höylä, vc; Eva Nordwall, hpd. BIS CD-64 17 Rautavaara, E. Legenda. Lund University Male Choir/Janåke Larson. Caprice CAP 21423 4 Crusell, B. Quartet no 2 in C minor, op 4 (1804). Thea King, cl; members of Allegri String Quartet. Hyperion CDA66077 18 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Elgar, E. Overture: In the South, op 50, Alassio (1903). BBC PO/Edward Downes. Conifer CDCF 187 22 Wagner, R. Excerpts from Act I Götterdämmerung (1869-74). Lisa Gasteen, sop; Timothy Mussard, ten; Adelaide SO/ Asher Fisch. Melba MR 301133-34 21 Roslavets, N. Violin concerto no 1 (1925). Alina Ibragimova, vn; BBC Scottish SO/Ilan Volkov. Hyperion CDA67637 39 21:30 NEW HORIZONS Prepared by Paul Cooke Brouwer, M. Mandala (2001). Kevin Price, tb; Royal Liverpool PO/Gerard Schwarz. Naxos 8.559250 12 Edwards, R. Ulpirra suite (1993-98). Deborah de Graaff, ct; Len Vorster, perc. Walsingham WAL80442 13 Adams, J. The Dharma at Big Sur (2003). Chloe Hanslip, electric vn; BBC NO of Wales/ Eric Stern. BBC Music BBCMM406 26 Kats-Chernin, E. Phoenix story (2007). PeiSian Ng, vc; Pei-Jee Ng, vc. Melba MR 301113 15 Dessner, B. St Carolyn by the sea. Bryce Dessner, electric gui; Aaron Dessner, electric gui; Copenhagen PO/Andre de Ridder. DG 479 2388 13 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 23 APRIL 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: 1898 Prepared by Derek Parker Ravel, M. Fairy overture: Shéhérazade (1898). Zurich Tonhalle O/Lionel Bringuier. DG 479 5524 13 German, E. Song without words (1898). Andrew Long, vn; Ian Buckle, pf. Naxos 8.573407

Delage, M. Quatre poèmes hindous, op 37 (1898). Janet Baker, mezz; Melos Ensemble. Decca 476 7091 10 Grieg, E. Three piano pieces (1898). Einar Steen-Nøkleberg, pf. Naxos 8.553399 11 Widor, C-M. Introduction and rondo, op 72 (1898). Michael Collins, cl; Michael McHale, pf. Chandos CHAN 10804 8 Saint-Saëns, C. Panis angelicus (1898). Sydney University Graduate Chamber Choir/ Christopher Bowen. SUGC recording 3 Caplet, A. Quintet for piano and winds 1898). Claire Désert, pf; members of Moraguès Quintet. Le Chant du Monde LDC 2781116 10:30 CONCERT HALL Prepared by Derek Parker Coleridge-Taylor, S. Overture: The song of Hiawatha, op 30 no 3 (1899). BBC Welsh NO/Rumon Gamba. Chandos CHAN 10797 11 Tippett, M. Piano concerto (1953-55). Howard Shelley, pf; Bournemouth SO/ Richard Hickox. Chandos CHAN 9333 35

Gershon Dembinsky Spohr, L. Trio in E minor (1806). Sophie Langdon, vn; Susan Dorey, vc; Hugh Webb, hp. Naxos 8.555364 20 Weber, C.M. Grand duo concertant in E flat, op 48 (1816). Gershon Dembinsky, cl; Jonathan Zak. pf. CDI 18807 23 Beethoven, L. Quartet in D, op 18 no 3 (1798-1800). Smithson String Quartet. Harmonia Mundi RD 77029 22 14:30 RUSSIAN NATIONALISM The mighty handful Prepared by Albert Gormley Glinka, M. Overture to A life for the Tsar (1834-36). Suisse Romande O/Ernest Ansermet. Decca 480 0038 9 Mussorgsky, M. Intermezzo in B minor (1867). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00178 8 Balakirev, M. Overture on Russian folk themes (1858). Tasmanian SO/Shalom Ronly-Riklis. ABC 838 903-2 8 Borodin, A. String quartet no 2 in D (1885). Borodin Quartet. Le Chant du Monde LDC 278 793 29

Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Australian CO/Richard Tognetti. ABC 481 4571 34

Rimsky-Korsakov, N. Suite from Le coq d’or (1907). Bournemouth SO/Paavo Berglund. EMI CDM 1 66428 2 26

12:00 SWING SESSIONS with John Buchanan

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett

13:00 GERMAN CLASSICAL CHAMBER MUSIC Prepared by Gael Golla Kuhlau, F. Trio in G, op 119 (1831). JeanPierre Rampal, fl; Claudi Arimany, fl; John Steele Ritter, pf. Delos DE 3212 16

19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson April 2018

fineMusic 102.5

Tuesday 24 APRIL

Frederick Delius

David Tong

Narciso Yepes

0:00 CONTEMPORARY COLLECTIVE

Mozart, W. Horn concerto no 4 in E flat, K495 (1786; arr). Christian Lindberg, hornbone; Tapiola Sinfonietta/Jean-Jacques Kantorow. BIS CD-1008 15

Turina, J. Fantasia Sevillana, op 29 (1923). Owen Thomson, gui. Move MD3243 6

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 Handel, G. Suite no 3 in D minor, HWV428 (pub. 1720). Murray Perahia, pf. Sony SK 62785 13 Brahms, J. Spanish song, op 6 no 1 (1852). Jessye Norman, sop. DG 459 469-2 3 Chopin, F. Fantasia in F minor, op 49 (1841). DG 477 9519 14 Daniel Barenboim, pf (2 above) Schumann, R. Herbstlied, op 43 no 2 (1840). Peter Schreier, ten; Dietrich Fischer-Dieskau, bar. DG 457 915-2 2 Schubert, F. Ländler, D814 (1869). Justus Frantz, pf. EMI 5 69770 2 4 Dvorák, A. I wander oft, from Love songs, op 83 (1888). Adriana Kucerová, sop. Avie AV2234 1 Christoph Eschenbach, pf (3 above) Bach, J.S. Suite no 2 in C minor, BWV813, French (c1722). DG 479 6565 14 Beethoven, L. Quintet in E flat, op 16 (1796). Neil Black, ob; Thea King, cl; Graham Sheen, bn; Tony Halstead, hn. Sony SX4K 63380 27

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 LATE WORKS Chopin Prepared by Stephen Wilson Chopin, F. Polonaise-fantasie in A flat, op 61 (1845-46). Nikolai Demidenko, pf. Hyperion CDA66597 14

Falla, M. de Homenaje Le tombeau de Claude Debussy. Decca 466 128-2 3 Suite no 1 from The three cornered hat (1919). Ulster O/Josep Caballé-Domenech. BBC Music BBC MM255 9 Eduardo Fernández, gui (2 above) Bacarisse, S. Concertino in A minor, op 72 (1929). Narciso Yepes, gui; Spanish RTV SO/ Odón Alonso. DG 439 526-2 22

Sonata in G minor, op 65 (1845-46). Pei-Jee Ng, vc; David Tong, pf. Melba MR 301113 27

Rodrigo, J. Concierto de Aranjuez (1939). John Williams, gui; English CO/Daniel Barenboim. CBS M2YK 45610 22

Nocturne in B, op 62 nos 1 and 2 (1846). Nelson Freire, pf. Decca 478 2182 12

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

14:00 DEVELOPMENT OF THE SIX STRING GUITAR Part 2: Spain Prepared by Ross Hayes

19:00 THE JAZZ BEAT with Lloyd Capps

Tárrega, F. Variations on The Carnival of Venice. Andrew Blanch, gui. www.andrewblanch.com 9

22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood

Llobet, M. Variations on a theme of Sor. Anabel Montesinos, gui. Naxos 8.557294 8 Pujol, E. Three Spanish pieces. Mattias Jacobsson, gui. Avie AV2254 11

20:00 RECENT RELEASES with David Garrett

Chausson, E. Quartet in A, op 30 (1897). Claire Désert, pf; Kadinsky Quartet. FNAC 592194 37 Beethoven, L. String trio in G, op 9 no 1 (1797-98). Members of Australia Ensemble. Fine Music Tape Archive 23

10:30 CONCERT HALL Prepared by Michael Field

Segovia, A. Preludio no 14 in B minor. Eliot Fisk, gui. MusicMasters 01612-67174-2 3

Boccherini, L. Quintet no 3 in B flat (1798). Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble. Philips 438 769-2 23

Delius, F. Suite from A village Romeo and Juliet (1907). London PO/Carl Davis. Virgin VC 7 90716-2 26

Tórroba, F. Moreno Sonatina in A. Andrés Segovia, gui. DG 474 9612 11

Brahms, J. Sonata no 1 in G, op 78 (187879). Krysia Osostowicz, vn; Susan Tomes, pf. Hyperion CDA66465 27

Murray Perahia, pf (2 above)

Schmidt, F. Symphony no 3 in A (1927-28). Chicago SO/Neeme Järvi. Chandos CHAN 9000 42

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Wednesday 25 APRIL 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Died for love Prepared by James Nightingale Walton, W. Troilus and Cressida. Opera in three acts. Libretto by Christopher Hassall. First performed London, 1954.

Percy Grainger

Francis Poulenc

0:00 CLASSIC-ALL THROUGH THE NIGHT

12:00 JAZZ SKETCHES with Robert Vale

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Chris Blower Grainger, P. Three settings of Robert Burns (1898). Martyn Hill, ten; Penelope Thwaites, pf. Chandos CHAN 9610 13 Scandinavian suite (1902). Joel Moerschel, vc; Stephen Drury, pf. Northeastern NR 228 CD 16 The bride’s tragedy (pub 1914). Monteverdi Choir; English Country Gardiner O/John Eliot Gardiner. Philips 446 657-2 9

13:00 IN PLAYFUL MOOD Prepared by Ron Walledge Poulenc, F. Babar the elephant (1945; orch. Françaix). Jay Laga’aia, narr; Tasmanian SO/ Kenneth Young. ABC 476 3686 28

Duarte, J. Birds, op 66. Antigoni Goni, gui. Naxos 8.554554 10

14:00 IN CONVERSATION with Michael Morton-Evans

Sibelius, J. Symphony no 6 in D minor, op 104, mvt 3 (1923). London PO/Paarvo Berglund. LPO Live LPO-0065 4

Walton, W. Ballet: The wise virgins, after J.S. Bach (1943). Sadler’s Wells O/William Walton. EMI 5 65003 2 18 Arnold, M. Suite from The bridge on the River Kwai (1957). Chandos CHAN 9100 29 Britten, B. Sinfonia da Requiem, op 20 (1940). Chandos CHAN 8983/2 22 London SO/Richard Hickox (2 above)

Casals, P. Song of the birds (1972). Ofra Harnoy, vc; Orford String Quartet. Pro Arte CDD 418 3

Debussy, C. Children’s corner (1908; orch. Caplet). Montreal SO/Charles Dutoit. Decca 444 386-2 17

A Lincolnshire posy (1939). City of Birmingham SO/Simon Rattle. EMI 5 56412 2 17

Coleridge-Taylor, S. Overture: Hiawatha, op 30 (1899). RTÉ Concert O/Adrian Leaper. Marco Polo 8.223516 11

22:30 SOME FEATHERED FRIENDS Prepared by Emyr Evans

Anon. Six tunes for the instruction of singingbirds (pub. 1717). David Munrow, flageolet. Decca 440 079-2 4

15:00 SIBELIUS EXPLORED Part 4 Prepared by Michael Morton-Evans

10:30 CONCERT HALL Prepared by Emyr Evans

Synopsis at finemusicfm.com/Opera

Shostakovich, D. Jazz suite no 1 (1934). Russian State SO/Dmitri Yablonsky. Naxos 8.555949 8

Tribute to Foster (1913/31). Melbourne Symphony Ch & O/Andrew Davis. Chandos CHSA 5121 10

Thanksgiving song (1945). Melbourne Symphony Ch & O/Andrew Davis. Chandos CHSA 5121 13

CRESSIDA: Judith Howarth, sop TROILUS: Arthur Davies, ten PANDARUS: Nigel Robson, ten DIOMEDE: Alan Opie, bar CALKAS: Clive Bayley, bass Opera North Ch; English Northern Philharmonia/ Richard Hickox. Chandos CHAN 9370/1 2:13

Suite no 2 from The tempest, op 109 (1925). Gothenburg SO/Neeme Järvi. BIS CD-448 16 Symphonic poem: Tapiola, op 112 (1926). Vienna PO/Lorin Maazel. Decca 478 8541 19 Dance intermezzo, op 45 no 2 (1904). New Zealand SO/Pietari Inkinen. Naxos 8.570763 3 The swan of Tuonela, op 22 no 2 (1895/97). Gerhard Stempnik, cora; Berlin PO/Herbert von Karajan. DG 479 0540 8 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm with Brendan Walsh

Strahan, D. The land of the birds, from The Australian ark (1972). Neville Amadio, fl; Donald Westlake, cl; Robert Miller, vc; Derek Strahan, cond. Jade JADCD 1078 9 Sibelius, J. Wedding march, from Language of the birds, op 71 (1911). Gothenburg SO/ Neeme Järvi. BIS CD-502 3 Martinu, B. Butterflies and birds of paradise (1920). Emil Leichner, pf. Supraphon 11 1010-2 16 Liszt, F. Legend of St Francis of Assisi preaching to the birds, from Legends (1863). Leslie Howard, pf. Hyperion CDS44512 9 Messiaen, O. The alpine chough, from Catalogue of birds (1956-58). Håkon Austbo, pf. Naxos 8.553532-34 8 Respighi, O. Suite: The birds (1927). BBC PO/Patrick Thomas. Carlton Classics 15656 91372 18

Music Trivia Answers: 1 The Ghost Trio 2 Rossini 3 Cardinal Newman 4 Stephen Sondheim 5 Elizabeth II April 2018

fineMusic 102.5

Thursday 26 APRIL

Paavo Berglund

Duncan Gifford

Edward Elgar

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

20:00 SHOWCASING AUSTRALIAN ARTISTS The dream of Gerontius Recorded for FINE MUSIC by Peter Bell

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 Beethoven, L. 14 Variations in E flat, op 44 (c1792). Pinchas Zukerman, vn; Daniel Barenboim, pf. EMI CMS 7 63124 2 15 Monn, M. Cello concerto in G minor. London SO/John Barbirolli. EMI CZS 5 68132 2 23 Jacqueline du Pré, vc (2 above) Vaughan Williams, R. The lark ascending (1914/20). Royal PO. Decca 478 9386 14 Vivaldi, A. Violin concerto in D minor, RV242 (pub. 1725). Philip Ledger, hpd; English CO. Sony SBK 53 513 9 Pinchas Zukerman, vn & dir (2 above) Mozart, W. Sonata no 27 in G major/minor, K379 (1781). Pinchas Zukerman, vn; Marc Neikrug, pf. RCA RD 60447 19 10:30 CONCERT HALL Prepared by Elaine Siversen Busoni, F. Turandot suite, op 41 (1905/11). La Scala PO/Riccardo Muti. Sony SK 53 280 24 Edwards, R. Violin concerto, Maninyas (1988). Adele Anthony, vn; Adelaide SO/Arvo Volmer. Canary Classics CC09 26 Nielsen, C. Symphony no 6, Sinfonia semplice (1924-25). Royal Danish O/Paavo Berglund. RCA 74321 20293 2 32 34

13:00 LATE WORKS Prepared by Stephen Wilson Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Duncan Gifford, pf. ABC 438 827-2 20 Symphonic dances, op 45 (1940). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 34 14:00 ROMEO AND JULIET Prepared by Randolph Magri-Overend Prokofiev, S. Dances from Romeo and Juliet (1934; arr.). Beryl Kimber, vn; Geoffrey Parsons, pf. LP ABC RRCS 569 7 Liszt, F. Les adieux: reverie on Gounod’s Romeo and Juliet. Leslie Howard, pf. Hyperion CDS44542 11 Lambert, C. Ballet: Romeo and Juliet (1926). State O of Victoria/John Lanchbery. Chandos CHAN 9865 31 Prokofiev, S. Suite no 3 from Romeo and Juliet, op 101 (1946). Scottish NO/Neeme Järvi. Chandos CHAN 8508 18 Delius, F. Suite, from A village Romeo and Juliet (1907). London Philharmonic/Carl Davis. Virgin VC 7 90716-2 26 Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). Polish State PO/Kenneth Jean. Naxos 8.550231 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley

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

Elgar, E. The dream of Gerontius, op 38 (1900). Jacqueline Dark, mezz; Andrew Goodwin, ten; José Carbó, bar; Sydney Philharmonia Choirs; Sydney Youth O; members of Sydney Philharmonia O/Brett Weymark. 1:36 Introduction and allegro for strings, op 47 (1905). Australian CO/David Stanhope. Fine Music Tape Archive 14 22:00 MUSICAL PORTRAITS Apollo Stravinsky, I. Apollon musagète (1928). Academy of St Martin in the Fields/Neville Marriner. Decca 443 577-2 30 Britten, B. Young Apollo, op 16 (1939). Nikolai Lugansky, pf; Hallé O/Kent Nagano. Apex 2564 67391 7 7 Pichl, V. Symphony concertante in D, op 6, Apollo. Oradea PO/Romeo Rîmbu. Olympia OCD 434 23 Riisager, K. To Apollo, god of light (1972). Danish National SO/Owain Arwel Hughes. Dacapo 6.220527 11 Handel, G. Cantata: Apollo and Daphne, HWV122 (c1708). Nancy Argenta sop; Michael George, bass; Collegium Musicum 90/Simon Standage. Chandos CHAN 0583 40

Neville Garden described Elgar’s The dream of Gerontius as a ‘deeply disturbing vision of what happens to a soul after death’. Based on a poem by Cardinal John Newman, its Catholic dogma of sending the soul to Purgatory caused difficulties for performances so a revised text was used for later performances.

Friday 27 APRIL 20:00 EVENINGS WITH THE ORCHESTRA The symphonies of Franz Schmidt Prepared by Paul Cooke Schoenberg, A. Chamber symphony no 1, op 9 (1906). Twentieth Century Classics Ensemble/Robert Craft. Naxos 8.557523 20 Prokofiev, S. Piano concerto no 2 in G minor, op 16 (1913). Horacio Gutierrez, pf; Royal Concertgebouw O/Neeme Järvi. Chandos CHAN 10522(2) 31

Eric Le Sage

Ronald Dowd

0:00 CONTEMPORARY COLLECTIVE

Dohnányi, E. Concert piece in D, op 12 (1903-04). Raphael Wallfisch, vc; London SO/Charles Mackerras. Chandos CHAN 8662 24

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 Schumann, R. Carnaval, op 9 (1833-35; orch. Ravel). Minnesota O/Eiji Oue. Reference RR-79 10 Grainger, P. Handel in The Strand (1912; orch. Wood). Bournemouth Sinfonietta/ Kenneth Montgomery. Chandos CHAN 8377 5 Fauré, G. Fantasy, op 79 (1898; orch. Aubert). Richard Davis, fl; BBC PO/Yan Pascal Tortelier. Chandos CHAN 9416 5 Mussorgsky, M. St John’s night on Bald Mountain (1867; orch. Rimsky-Korsakov 1886). Royal Liverpool PO/Charles Mackerras. Virgin VC 7 91174-2 11 Tchaikovsky, P. Romeo and Juliet duo: Do you not hear the nightingale? (1869; compl. and orch. Taneyev). Suzanne Murphy, sop; Keith Lewis, ten; Scottish NO/Neeme Järvi. Chandos CHAN 8476 13 Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720; arr. Segovia). László Szendrey-Karper, gui. White Label HRC 146 15 Schubert, F. Introduction and variations in E minor on a theme from Die schöne Müllerin, D802 (1824). Emmanuel Pahud, fl; Eric Le Sage, pf. naïve V 4863 20 10:30 CONCERT HALL Prepared by Frank Morrison Schubert, F. Overture to The magic harp, D644 (1820). Vienna PO/Riccardo Muti. EMI CDC 7 54873 2 11

Schmidt, F. Symphony no 1 in E (1896-99). Bratislava RSO/Ludovit Rajter. Opus 9350 1851 47 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 DRAMA AND POETRY IN MUSIC Romanticism Prepared by Albert Gormley

Berg, A. Altenberg-Lieder, op 4 (1912). Margaret Price, sop; London SO/Claudio Abbado. DG 423 238-2 12 Schmidt, F. Symphony no 2 in E flat (1913). Chicago SO/Neeme Järvi. Chandos CHAN 8779 47 22:00 BAROQUE AND BEFORE The keyboard and its companions Prepared by Brian Drummond Anon. Gloria de Sancta Maria Vergine, from the Buxheimer Organ Book (pub. 1450-70). Joseph Payne, org. Naxos 8.553466 6 Goldberg, J. Trio sonata in C. London Baroque. BIS BIS-1995 11

Schubert, F. Winterreise, D911 (1827). Ronald Dowd, ten; John Winther, pf. ABC 426 991-2 1:12

Byrd, W. My lady Nevell’s ground. Laurent Stewart, hpd. Pierre Verany PV795051 5

Mendelssohn, F. Excerpts from A midsummer night’s dream, op 21 (1826), op 61 (1842). Bavarian RSO/Rafael Kubelik. DG 439 411-2 27

Bach, J.S. Cantata, BWV78: Jesu, der du meine Seele (1724). Wilhelm Wiedl, treb; Paul Esswood, alto; Kurt Equiluz, ten; Ruud van der Meer, bass; Tölz Boys Choir; Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 2564 69943-7 21

Paganini, N. Variations on The carnival of Venice, op 10 (1829). Salvatore Accardo, vn; CO of Europe/Franco Tamponi. EMI 5 72854 2 12 15:00 20TH CENTURY VIOLIN Prepared by Paul Hopwood Barber, S. Violin concerto, op 14 (1939-41). Gil Shaham, vn; London SO/André Previn. DG 439 886-2 23 Bernstein, L. Serenade for violin, strings, harp and percussion (1954). Philippe Quint, vn; members of Bournemouth SO/Marin Alsop. Naxos 8.559245 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Couperin, F. Le trophée; Le point du jour; L’anguille; Le croc-en-jambe; Menuets croisés; Les tours de passe-passe, from Ordre 22 (pub.1730). Christophe Rousset, hpd. Harmonia Mundi HMC 901445.46 16 Handel, G. Organ concerto no 9 in B flat, HWV308 (1751). Paul Nicholson, org; Brandenburg Consort/Roy Goodman. Hyperion CDA67291/92 17 Richter, F. Sonata no 4 in C, from Sonate da camera (1764). Pauliina Fred, fl; Heidi Peltoniemi, vc; Aapo Häkkinen, hpd. Naxos 8.572030 16 Bach, J.S. Triple concerto in D minor, BWV1063. Kenneth Gilbert, hpd; Lars Ulrik Mortensen, hpd; English Concert/Trevor Pinnock, hpd & dir. Archiv 471 754-2 14 April 2018

fineMusic 102.5

Saturday 28 APRIL

Jean Martinon

Riccardo Chailly

Miklós Spányi

0:00 CLASSIC-ALL THROUGH THE NIGHT

11:30 ON PARADE Prepared by Paul Hopwood

18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes

6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early and mid romantic c1830-1875 Prepared by James Nightingale Hummel, J. Suite from Das Zauberglöckchen (1837). London Mozart Players/Howard Shelley. Chandos CHAN 9925 16 Chopin, F. Ballade no 2 in F, op 38 (183639). Artur Rubinstein, pf. RCA RD 89651 7 Farrenc, L. Wind sextet in C minor, op 40 (1852). Les Vents Français. Warner Classics 0825646231850 24 Saint-Saëns, C. Symphony no 1 in E flat, op 2 (1853). French National RTO/Jean Martinon. Brilliant Classics 94360 31 10:30 SMALL FORCES Prepared by James Nightingale Telemann, G. Fantasia 5 in C. Jed Wentz, fl. Brilliant Classics 94104 4 Bach, C.P.E. Sonata in B flat, Wq77. Amandine Beyer, vn; Edna Stern, fp. Alpha-Classics 329 16 Henderson, M. G’day Africa (1991). Perihelion. Tall Poppies TP043 7 Schmitt, F. Légende, op 66 (1918). Arno Bornkamp, sax; Ivo Janssen, pf. Globe GLO 5032 11 Mozart, W. String quartet no 10 in C, K170 (1773). Barylli Quartet. Westminster RC 8808678121735 14 36

Sousa, J.P. Untitled march (1930); Songs of grace and songs of glory (1892). 12 In the land of the golden fleece (1911); Coronation march (1896); Riders for the flag (1927), from Tales of a traveller. 15 Royal Artillery Band/Keith Brion (all above) Naxos 8.559093 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 LATE WORKS Prepared by Stephen Wilson Beethoven, L. String quartet no 16 in F, op 135 (1826). Guarneri Quartet. Philips 420 926-2 25 Sonata no 32 in C minor, op 111 (1822). Tamara-Anna Cislowska, pf. Fine Music concert recording 29 15:00 SYMPHONY OF A THOUSAND Mahler, G. Symphony no 8 in E flat, Symphony of a thousand (1906). Alessandra Marc, sop; Julia Faulkner, sop; Cyndia Sieden, sop; Jard van Nes, cont; Birgit Remmert, cont; Gary Lakes, ten; Andreas Schmidt, bar; Robert Holl, bass; Boys’ Choir of St Bavo Cathedral, Haarlem; Prague Philharmonic Choir; Kühn Mixed Choir; Breda Sacraments Choir; Royal Concertgebouw O/ Riccardo Chailly. Radio Nederland NI 5070 1:26

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Brown, N. Excerpts from Singing in the rain (1952). Gene Kelly, Debbie Reynolds, Donald O’Connor, voices. Rhino Movie Music 8122 74497-2 19 Rodgers, R. Excerpts from Pal Joey (1940). Sian Phillips, Denis Lawson, Danielle Carson, O/Trevor York. Ter Orbis MUS C N16 12 Adler - Ross. Excerpts from The pyjama game (1954/57). Doris Day, John Raitt, Carol Haney, Eddie Foy Jnr, voices. Collectibles COL-CD-6699 18 20:00 INFLUENCES AND CONNNECTIONS Johann Christian Bach Prepared by Elaine Siversen Bach, J.S. Fantasy and fugue in A minor, BWV904 (c1725). Gustav Leonhardt, clvd. Philips 422 349-2 8 Bach, C.P.E. Harpsichord concerto in C minor, Wq31 (1753-55). Miklós Spányi, hpd; Concerto Armonico, Budapest/Péter Szùts. Hungaroton HCD 31159 23 Martini, G. Flute concerto in G (1752). Symphonia Perusina/Mario Ancillotti, fl & dir. Nuova Era 7026 16 Bach, J. Christian Vo solcando un mar crudele, from Artaserse (1760). Bejun Mehta, ct; Academy for Ancient Music Berlin/René Jacobs. Harmonia Mundi HMC 902172 7

Brahms, J. Piano quartet no 2 in A, op 26 (1861-62). Rivka Golani, va; Borodin Trio. Chandos CHAN 8809/10 56

Abel, C. Sonata in G. Bengt Ericson, va da gamba; Rolf LaFleur, lute. BIS CD-22 8

17:30 THE VOICES, THE ROLES with Angela Cockburn Contraltos: plain speaking

Haydn, J. Symphony in C, Hob.I:69, Loudon (1779). Philharmonia Hungarica/Antal Dorati. Decca 425 920-2 16

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Saturday 28 APRIL

Sunday 29 APRIL 13:00 WORLD MUSIC: Whirled Wide 14:00 CONTRASTS Prepared by Ron Walledge Schubert, F. Overture to Rosamunde, D797 (1823). Minneapolis SO/Stanislaw Skrowaczewski. Mercury 462 954-2 10 Offenbach, J. Overture to La belle Hélène (1864). Detroit SO/Paul Paray. Mercury 434 332-2 8

Idil Biret

Antonio Salieri

Bach, J. Christian La legge accetto, from Orfeo ed Euridice (1774). Philippe Jaroussky, ct; Le Cercle de l’Harmonie/Jérémie Rhorer. Virgin 5099969456404 5

0:00 CLASSIC-ALL THROUGH THE NIGHT

Duet in A, op 18 no 5. Rafael Puyana, Genoveva Galvez, hpd. Mercury 478 5092 10

9:00 MUSICA SACRA Prepared by Stephen Matthews

Mozart, W. Keyboard concerto in D after J C Bach, K107 no 1 (1770). Ronald Brautigam, fp; Cologne Academy/Michael Alexander Willens. BIS BIS-2084 12 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Wagner, R. Prelude to Act III; Dance of the apprentices; Procession of the Mastersingers, from The Mastersingers of Nuremberg (186667). Seattle SO/Gerard Schwarz. Naxos 8.572769 12 Schumann, R. Forest scenes, op 82 (184849). Mitsuko Uchida, pf. Decca 478 5393 24 Respighi, O. Il tramonto (1914). Elizabeth Campbell, mezz; Australian CO/Peter Robinson. Fine Music concert recording 14 Suk, J. Serenade for strings in E flat, op 6 (1892). Czech PO/Jiri Bélohlávek. Chandos CHAN 9640 30 Saint-Saëns, C. Piano concerto no 4 in C minor, op 44 (1875). Idil Biret, pf; Philharmonia O/James Loughran. Naxos 8.550334 30

On the score of his Waldszenen (Forest scenes), Schumann wrote that ‘good music needs no sign-post’ and continued ‘the composer, by adding one, at least prevents a complete misunderstanding of the character of his music’. He also wrote: “What is important is that such a verbal heading should be significant and apt”.

6:00 SUNDAY MORNING MUSIC with Peter Poole

Sarri, D. Missa. Sachsisches Vocalensemble; Batzdorfer Hofkapelle O/ Matthias Jung. cpo 777 726-2 46 Esenvalds, E. Rivers of light (1765-68). Portland State Chamber Choir/Ethan Sperry. Naxos 8.579008 7

Strauss, R. Tone poem: Don Juan, op 20 (1888). Malcolm Stewart, vn; Royal Liverpool PO/Libor Pesek. Virgin VC 7 91171-2 17 Wagner, R. Siegfried idyll (1870). Philharmonia O/Otto Klemperer. EMI 5 62815 2 18 15:00 SUNDAY SPECIAL Carl Vine’s Choral symphony Prepared by James Nightingale Vine, C. Café concertino (1984). Australia Ensemble. Tall Poppies TP002 11 Oboe concerto (1996). Diana Doherty, ob; Tasmanian SO/Ola Rudner. ABC 476 226-7 17

10:00 THE CLASSICAL ERA Prepared by Melissa Evans

Sonata no 1 (1990). Michael Kieran Harvey, pf. ABC 461 723-2 16

Clementi, M. Sonata in F sharp minor, op 25 no 5 (1790). Howard Shelley, pf. Hyperion CDA67738 13

Quartet no 5 (2007). Goldner String Quartet. ABC 476 5168 22

Bach, J.C.F. Symphony in B flat (c1792). Leipzig CO/Morten Schuldt-Jensen. Naxos 8.572217 23

Flute sonata (1992). Geoffrey Collins, fl; David Miller, pf. Tall Poppies TP120 13

Salieri, A. Requiem in C minor, Piccolo (1804). Iva Hospesova, sop; Magdalena Kozená, cont; Zoltán Korda, ten; Jirí Klecker, bass; Italian Chamber Choir; Concertino Notturno Prague/Andreas Kröper. Milan Vicek SY 0008-2 29

Choral symphony (1996). Sydney Philharmonia Motet Choir; Sydney SO/Edo de Waart. ABC 456 698-2 29

Haydn, J. String quartet in C, op 33 no 3, Bird (1781). Jerusalem Quartet. Harmonia Mundi HMX 2908601.30 20 Gluck, C. Ballet: Alessandro (1764). Musica Antiqua Köln/Reinhard Goebel. Archiv 479 1045 24 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes

17:00 HOSANNA Prepared by Meg Matthews Hymns: Guide me O thou great Jehovah; Lead kindly light; Be still my soul. Cantus Choro; Geoffrey Cox, org; Peter Chapman, cond. Move MD 3142 9 Brahms, J. Missa canonica: Kyrie; Sanctus, Benedictus, Agnus Dei (1856). Chamber Choir of Stuttgart; Detlef Bratschke, org; Frieder Bernius, cond. Carus 83.201 16 April 2018

fineMusic 102.5

Monday 30 APRIL

Sunday 29 APRIL

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: 1800 Prepared by Chris Blower Beethoven, L. Sonata in F, op 17 (1800). Wolfgang Tomboeck, hn; Madoka Inui, pf. Naxos 8.557471 14

Aaron Copland Monteverdi, C. Exulta, filia Sion; Adoramus te Christe. 10 Gabrieli, G. Magnificat à 14; Fuga del nono tono. 10 Taverner Choir, Consort & Players/Andrew Parrott (2 above) EMI CDC 7 54117 2 18:00 SOCIETY SPOT Sydney Society of Recorder Players Prepared by Susan Bell 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Krommer, F. Concerto in E flat, op 36 (1803). Emma Johnson, cl; Royal PO/Günther Herbig. ASV DCA 763 22 Copland, A. Four dance episodes, from Rodeo (1942). Czecho-Slovak RSO/Stephen Gunzenhauser. Naxos 8.550282 20 Sibelius, J. Symphony no 4 in A minor, op 63 (1911). Danish National RSO/Leif Segerstam. Chandos CHAN 8943 40 20:30 NEW HORIZONS Prepared by Robert Small Westlake, N. Missa solis: Requiem for Eli (2000/09). Liam Crisanti, treb; Melbourne Symphony Ch & O/Nigel Westlake. ABC 476 5057 41 Daugherty, M. Radio City: Symphonic fantasy on Arturo Toscanini and the NBC SO (2011). Pacific SO/Carl St Clair. Naxos 8.559749 26 Sculthorpe, P. Island songs (2012). Amy Dickson, sax; Sydney SO/Benjamin Northey. ABC 481 1703 18 22:00 AFTER HOURS JAZZ with Kevin Jones

“Lesser artists borrow, great artists steal.” - Igor Stravinsky 38

Mayr, S. Sinfonia in B flat (1800). I Virtuosi Italiani/Franz Hauk. Naxos 8.573484 6 Haydn, J. Songs, Hob. XXX1a (1800): no 166, My deary if thou die; no 159, Highland Mary; no 168, Auld Robin Gray; no 35bis, Maggie Lauder. Lorna Anderson, sop; Jamie MacDougall, ten; Haydn Trio Eisenstadt. Brilliant Classics 92542 15 Dussek, J. Sonata in E flat, op 44, Farewell (1800). Ian Hobson, pf. Arabesque Z 6594 28 Wölfl, J. Septet in D for winds and double bass (1800). Consortium Classicum. Schwann CD 310 002 H1 9 Wesley, S. Dixit Dominus (1800). Choir of Gonville and Caius College, Cambridge/ Geoffrey Webber. ASV GAU 157 7 10:30 CONCERT HALL Prepared by Di Cox Berwald, F. Overture to The Queen of Golconda (1864). Gävle SO/Petri Sakari. Naxos 8.555370 8 Mendelssohn, F. Piano concerto no 2 in D minor, op 40 (1837). Stephen Hough, pf; City of Birmingham SO/Lawrence Foster. Hyperion CDA66969 21 Holst, G. The planets, op 32 (1916). London Voices; London SO/Richard Hickox. IMP PCD 890 51 12:00 SWING SESSIONS with John Buchanan 13:00 STRINGS AND MORE STRINGS Prepared by Gael Golla Bach, J.S. Partita no 3 in E, BWV1006 (1720). Arthur Grumiaux, vn. Philips 438 736-2 15 Mozart, W. String duo no 1 in G, K423 (1783). Carl Pini, vn; Jane Hazelwood, va. Fine Music Tape Archive 14 Reger, M. String trio in A minor, op 77b (1904). Gernot Süssmuth, vn; Stefan Fehlandt, va; Hans-Jakob Eschenburg, vc. Naxos 8.570785 24

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Franz Anton Hoffmeister Hoffmeister, F. Quartet no 3 in D. Ernö Sebestyén, vn; Helmut Nicolai, va; Martin Ostertag, vc; Norbert Duka, db. Naxos 8.572187 11 Respighi, O. Ancient airs and dances, set 3 (1931). String soloists of Australian Youth O. Fine Music Tape Archive 16 14:30 TWENTIETH CENTURY RUSSIAN ORCHESTRA Prepared by Rex Burgess Myaskovsky, N. Sinfonietta in A minor, op 68 no 2 (1947). Russian Federation SO/Evgeny Svetlanov. Warner Classics 69689-8 30 Shostakovich, D. Piano concerto no 2 in F, op 102 (1957). Dmitri Shostakovich, pf; I Musici de Montréal/Maxim Shostakovich. Chandos CHAN 8443 18 Rachmaninov, S. The bells, choral symphony, op 35 (1913). Elli Bertolotti, sop; Marcus Bertolotti, ten; David Hidden, bass; Willoughby Symphony Ch & O/Nicholas Milton. Fine Music concert recording 34 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

While on a walking holiday in Essex, Gustav Holst stayed one night in Thaxted. He was so enchanted by the historic village that he brought his wife back and they rented a cottage for a number of years. It was here that he wrote the orchestral suite, The Planets.

The following composers have works of at least five minutes on the APRIL dates listed Abel, C. 1723-1787 20,28 Adams, J. b1947 22 Aguado, D. 1784-1849 10 Aho, K. b1949 8 Alkan, C-V. 1813-1888 13 Alwyn, W. 1905-1985 9 Arnold, M. 1921-2006 14,25 Avison, C. 1709-1770 6 Bacarisse, S. 1898-1963 24 Bach, C.P.E. 1714-1788 6,8,11,15,28 Bach, J. Christian 1735-1782 1,8,10,15,20,28 Bach, J.C.F. 1732-1795 29 Bach, J.S. 1685-1750 1,5,1 0,12,14,15,20,24,27,28,30 Bach, W.F. 1710-1784 1 Balakirev, M. 1837-1910 23 Bantock, G. 1868-1946 19 Barber, S. 1910-1981 9,27 Bartók, B. 1881-1945 12,15,19 Beethoven, L. 1770-1827 1,2,3,5,6,10,12,13,15,23, 24,26,28,30 Bellstedt, H. 1858-1926 21 Benjamin, A. 1893-1960 15,19 Bennett, W. Sterndale 1816-1875 7,14,15 Berg, A. 1885-1935 27 Berlioz, H. 1803-1869 5,18,19,26 Bernstein, L. 1918-1990 13,27 Berwald, F. 1796-1868 7,30 Bishop, H. 1786-1855 9 Bizet, G. 1838-1875 2,13 Blamont, F. 1690-1760 19 Blavet, M. 1700-1768 6 Boccherini, L. 1743-1805 5,19,24 Boismortier, J. de 1689-1755 12 Bonshek, C. b1977 8 Borodin, A. 1833-1887 5,23 Boulanger, N. 1887-1979 18 Bowen, Y. 1884-1961 19 Boyce, W. 1711-1779 1,20 Boyd, A. b1946 18 Boyle, G. 1886-1948 3 Brahms, J. 1833-1897 1,3,4,8,15,18,21,24,28,29 Bridge, F. 1879-1941 9 Britten, B. 1913-1976 25,26 Broadstock, B. b1952 14 Brouwer, M. b1940 22 Brown, N. 1896-1964 28 Bruch, M. 1838-1920 7 Bruckner, A. 1824-1896 12 Busoni, F. 1866-1924 26 Buxtehude, D. 1637-1707 10,22 Byrd, W. 1543-1623 27 Campra, A. 1660-1744 6,12 Cannabich, C. 1731-1798 1 Caplet, A. 1878-1925 23 Carulli, F. 1770-1841 10 Chaminade, C. 1857-1944 18

Chausson, E. 1855-1899 16,24 Chen Yi. b1953 8 Cherubini, L. 1760-1842 7 Chopin, F. 1810-1849 1,3,13,24,28 Cimarosa, D. 1749-1801 22 Ciurlionis, M. 1875-1911 16 Clarke, R. 1886-1979 7 Clementi, M. 1752-1832 21,29 Coelho, T. b1983 8 Coleridge-Taylor, S. 1875-1912 23,25 Copland, A. 1900-1990 12,18,29 Corelli, A. 1653-1713 1,6 Coste, N. 1806-1883 10 Couperin, F. 1668-1733 27 Crumb, G. b1929 1 Crusell, B. 1775-1838 15,20,22 Czerny, C. 1791-1857 2,14 d’Albert, E. 1864-1932 17 d’Indy, V. 1851-1931 19 Daugherty, M. b1954 29 David, Felicien. 1810-1876 16 Davies, P. Maxwell 1934-2016 6 Debussy, C. 1862-1918 6,7,8,12,16,20,25 Delage, M. 1879-1961 23 Delius, F. 1862-1934 24,26 Dessner, B. b1976 22 Diepenbrock, A. 1862-1921 12 Dohnányi, E. 1877-1960 21,27 Donizetti, G. 1797-1848 2 Duarte, J. 1919-2004 25 Dukas, P. 1865-1935 13 Dupré, M. 1886-1971 15 Dussek, J. 1760-1812 20,30 Dutilleux, H. 1916-2013 11 Dvorák, A. 1841-1904 1,2,3,6,8,10,15,16,17,19,20 Eccles, J. c1668-1735 20 Edwards, R. b1943 17,22,26 Elgar, E. 1857-1934 12,13,19,22,26 Ellington, D. 1899-1974 12 Enescu, G. 1881-1955 10 Esenvalds, E. b1977 29 Falla, M. de 1876-1946 5,16 Farrenc, L. 1804-1875 17,28 Fasch, J. 1688-1758 5 Fauré, G. 1845-1924 13,15 Ferneyhough, B. b1943 21 Field, J. 1782-1837 4,7 Finzi, G. 1901-1956 17,22 Foote, A. 1853-1937 4 Foulds, J. 1880-1939 14 Franck, C. 1822-1890 1 Fredericks, I. b1943 21 Gabrieli, G. c1556-1612 29 Gallo, D. 1730-c1768 14

Gardiner, H. Balfour 1877-1950 8,15 German, E. 1862-1936 21,23 Gershwin, G. 1898-1937 12 Ghandar, A. b1943 8 Giampieri, A. 1893-1963 17 Giuliani, M. 1781-1829 2,8,10 Glazunov, A. 1865-1936 1,2,15 Glinka, M. 1804-1857 8,15,20,23 Gluck, C. 1714-1787 29 Godowsky, L. 1870-1938 16 Goldberg, J. 1727-1756 27 Goldschmidt, B. 1903-1996 9 Goossens, E. 1893-1962 7 Gounod, C. 1818-1893 5 Grainger, P. 1882-1961 25 Granados, E. 1867-1916 4 Grieg, E. 1843-1907 2,7,11,13,23 Gyger, E. b1968 21 Handel, G. 1685-1759 1,10,20,24,26,27 Hanson, H. 1896-1981 9 Harwood, B. 1859-1949 15 Haydn, J. 1732-1809 1,2,7, 8,10,15,19,20,21,28,29,30 Haydn, M. 1737-1806 1 Henderson, M. b1941 28 Hildegard of Bingen. 1098-1179 15 Hill, A. 1870-1960 9 Hindemith, P. 1895-1963 9 Hindson, M. b1968 21 Hoffmeister, F. 1754-1812 1,6,30 Holst, G. 1874-1934 12,30 Honegger, A. 1892-1955 6 Hovhaness, A. 1911-2000 8,13,22 Howells, H. 1892-1983 22 Hummel, J. 1778-1837 5,9,18,22,28 Hutchings, S. bc1978 15 Hyde, M. 1913-2005 8,18 Ireland, J. 1879-1962 6 Jacob, G. 1895-1984 19 Jadin, H. 1769-1802 15,16 Janácek, L. 1854-1928 19 Kálmán,E. (1882-1953) 7 Kancheli, G. b1935 15 Kats-Chernin, E. b1957 7,18,22 Kay, H. 1919-1981 21 Khachaturian, A. 1903-1978 17 Koechlin, C. 1867-1950 3,5,10 Korngold, E. 1897-1957 9 Kozeluch, L. 1747-1818 15 Krommer, F. 1759-1831 17,29 Kuhlau, F. 1786-1832 17,21,23 La Rue, P de. c1452-1518 15 Lalande, M-R. de 1657-1726 6,22

Key Music duration is shown after the record and citation Orchestra Ch & O: Chorus & RTO: Radio & Television Orchestra CO: Chamber Orchestra Orchestra RTV SO: Radio and FO: Festival Orchestra NO: National Orchestra Television Symphony NSO: National Symphony Orchestra SO: Symphony Orchestra Orchestra PO: Philharmonic Orchestra TO: Theatre Orchestra alto: male alto RO: Radio Orchestra RSO: Radio Symphony 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

Lalo, E. 1823-1892 9,16 Lambert, C. 1905-1951 26 Lanchbery, J. 1923-2003 12 Leclair, J-M. 1697-1764 6 Legnani, L. 1790-1877 10 Liszt, F. 1811-1886 6,7,13,25,26 Llobet, M. 1878-1938 24 Locke, M. c1621-1677 20 Loesser, F. 1910-1969 14 Lovelock, W. 1899-1986 11 Lully, J-B. 1632-1687 22 MacDowell, E. 1860-1908 6 MacMillan, J. b1959 19 Magnard, A. 1865-1914 18 Mahler, G. 1860-1911 9,28 Marais, M. 1656-1728 22 Martin, F. 1890-1974 17 Martini, G. 1706-1784 28 Martinu, B. 1890-1959 25 Massenet, J. 1842-1912 5,12,16 Mayr, S. 1763-1845 30 McGuffie, K. 21st c 19 Mendelssohn, F. 1809-1847 3,14,15,19,22,27,30 Mendelssohn, Fanny. 1805-1847 3,7,17,18 Merrill, B. 1921-1998 14 Messiaen, O. 1908-1992 21,25 Milhaud, D. 1892-1974 10 Mills, R. b1949 12 Monn, M. 1717-1750 1,26 Monteverdi, C. 1567-1643 29 Mouret, J-J. 1682-1738 6,12 Mozart, W. 1756-1791 3,5, 6,8,11,13,14,16,17,20,21,23, 24,26,28,30 Mussorgsky, M. 1839-1881 2,4,7,22,23,27 Myaskovsky, N. 1881-1950 30 Myslivecek, J. 1737-1781 1 Nielsen, C. 1865-1931 4,6,26 Noble, T. 1867-1953 15 Novák, V. 1870-1949 9 Offenbach, J. 1819-1880 5,13,29 Onslow, G. 1784-1853 1,10,14,17 Paganini, N. 1782-1840 10,19,27 Parry, H. 1848-1918 13 Pärt, A. b1935 15 Pergolesi, G. 1710-1736 1,14 Peterson-Berger, W. 1867-1942 8 Philidor, Anne. 1681-1728 6 Piazzolla, A. 1922-1992 5,19 Pichl, V. 1741-1805 26 Pickard, J. b1963 8 Pleyel, I. 1757-1831 20 Poulenc, F. 1899-1963 11,25

db: double bass dbn: double bassoon did: didjeridu elec: electronic fl: flute fp: fortepiano gui: guitar hn: french horn hp: harp hpd: harpsichord

Prokofiev, S. 1891-1953 3,13,14,15,20,26,27 Puccini, G. 1858-1924 18,19 Pugnani, G. 1731-1798 1 Pujol, E. 1886-1980 24 Purcell, H. 1659-1695 20 Rachmaninov, S. 1873-1943 2,5,19,26,30 Raff, J. 1822-1882 6,14,17 Rameau, J-P. 1683-1764 13,16,17 Ravel, M. 1875-1937 9,12,16,17,23 Rebel, J-F. 1666-1747 12 Reger, M. 1873-1916 17,30 Reinecke, C. 1824-1910 14 Respighi, O. 1879-1936 2,9,20,25,28,30 Richter, F. 1709-1789 27 Richter, M. b1966 1 Rigney, S. b1960 5 Riisager, K. 1897-1974 8,26 Rimsky-Korsakov, N. 1844-1908 5,23 Rodgers, R. 1902-1979 28 Rodrigo, J. 1901-1999 24 Roslavets, N. 1881-1944 22 Rossini, G. 1792-1868 11,19 Roussel, A. 1869-1937 11 Rubinstein, A. 1829-1894 4 Saeverud, H. 1897-1988 8 Saint-Georges, J. 1739-1799 22 Saint-Saëns, C. 1835-1921 2,3,5,7,16,21,22,28 Salieri, A. 1750-1825 29 Sallinen, A. b1935 22 Sarasate, P. de 1844-1908 16 Sarri, D. 1679-1744 29 Satie, E. 1866-1925 16 Scheidt, S. 1587-1654 13 Schein, J. 1586-1630 13 Schmidt, F. 1874-1939 5,24,27 Schmitt, F. 1870-1958 5,10,28 Schoenberg, A. 1874-1951 27 Schubert, F. 1797-1828 1,4,8,14,19,20,27,29 Schumann, C. 1819-1896 17 Schumann, R. 1810-1856 1,3,7,12,14,19,21,27,28 Schütz, H. 1585-1672 13 Sculthorpe, P. 1929-2014 29 Shanahan, I. b1962 21 Shankar, R. b1920 12 Shostakovich, D. 1906-1975 8,12,19,25,30 Sibelius, J. 1865-1957 2,3, 4,6,8,11,16,18,20,21,22,29 Skryabin, A. 1872-1915 11 Smetana, B. 1824-1884 20 Smyth, E. 1858-1944 7 Sor, F. 1778-1839 10 Sousa, J.P. 1854-1932 7,28

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Spohr, L. 1784-1859 20,22,23 Spontini, G. 1774-1851 22 Stanford, C. Villiers 1852-1924 12,13 Stanhope, D. b1951 14 Strahan, D. b1935 25 Strauss, J. II 1825-1899 20 Strauss, R. 1864-1949 2,17,20,29 Stravinsky, I. 1882-1971 7,12,14,26 Strozzi, B. 1619-1664 5 Suk, J. 1874-1935 28 Sullivan, A. 1842-1900 13 Sutherland, M. 1897-1984 7 Szymanowski, K. 1882-1937 5 Tailleferre, G. 1892-1983 10 Tallis, T. c1505-1585 8 Tárrega, F. 1852-1909 24 Tchaikovsky, P. 1840-1893 4,5,6,27 Telemann, G. 1681-1767 1,6,8 Tippett, M. 1905-1998 23 Tórroba, F. Moreno 1891-1982 24 Turina, J. 1882-1949 24 Varèse, E. 1883-1965 13,21 Vaughan Williams, R. 1872-1958 11,26 Veracini, F. 1690-1768 5 Verdi, G. 1813-1901 2,6,12,21 Villa-Lobos, H. 1887-1959 10 Vine, C. b1954 29 Visée, R. de c1660-c1720 22 Vivaldi, A. 1678-1741 1,5,26 Wagner, R. 1813-1883 2,12,17,22,28,29 Walton, W. 1902-1983 6,7,9,25 Wassenaer, U. 1692-1766 14 Weber, C.M. 1786-1826 8,10,22,23 Weill, K. 1900-1950 3 Weiss, S. 1686-1750 19 Wesley, S. 1766-1837 30 Westlake, N. b1958 5,29 Whitacre, E. b1970 8 Widor, C-M. 1844-1937 10,17,23 Wild, E. 1915-2010 11 Williams, G. 1906-1977 20 Williamson, M. 1931-2003 7 Wölfl, J. 1773-1812 30 Wood, C. 1866-1926 1 Zabel, A. 1834-1910 11 Zemlinsky, A. 1871-1942 12

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What’s On CELEBRATION OF SACRED MUSIC OF J.S. BACH Bach Akademie Australia and soloists Madeleine Easton, violin & director Saturday 21 April, 8pm St Francis of Assisi Church, Paddington Bookings and information: www.baa20181.floktu.com or 0411 144 401 Few Australian musicians can say that they have worked with Sir John Eliot Gardiner. Only one can say that he’s the patron of her orchestra. Violinist Madeleine Easton is that person. Born and bred in Sydney, Easton has been based in London for the past 17 years, where she has worked with the crème de la crème of the music world in London and Europe. Bringing distinguished musical scholarship and authenticity to her work, Easton founded Bach Akademie Australia 12 months ago.

You are warmly invited to help the Bach Akademie Australia celebrate its first birthday as it presents music of J.S. Bach. The program includes Cantata, BWV106: Gottes Zeit ist die allerbeste Zeit, also known

as Actus tragicus, as well as Brandenburg concerto no 2 in F, BWV1047, Sonata no 3 in G minor for viola da gamba and harpsichord, BWV1029 and Cantata, BWV175: Er rufet seinen Schafen mit Namen.

MUSICA VIVA COFFEE CONCERTS PRESENT: Australian Brass Quintet Wednesday 18 April, 11am Complimentary morning tea from 10am Independent Theatre, North Sydney Tickets and information: musicaviva.com.au or 1800 688 482 There’s simply nothing like the sound of a great brass quintet: bold, sparkling, and with the air-shaking splendour of perfectly tuned harmonics! With more than 15 years of experience playing together, the virtuosos of the Australian Brass Quintet bring finesse and sensitivity in equal measure to every concert they play. This exquisite program is a collage

of colourful dances, songs and fanfares from around the world, culminating in Joan Tower’s glistening Copperwave. The program also includes Witold Lutosławski’s Mini overture, Juan del Encina’s Five dances (arr. Kinmont),

ENJOY, LEARN, DISCUSS LECTURE SERIES: Felix and Fanny Presenter: Meg Matthews Sunday 15 April, 2.30pm Fine Music Centre 72-76 Chandos St, St Leonards Bookings and information: 9439 4777 or finemusic.fm.com

Leonard Bernstein’s Selections from West Side story (arr. Gale) and Enrique Crespo’s Three spirituals. Dixon Advisory has been a proud sponsor of the Musica Viva Coffee Concerts since 2015.

the Christian faith. Both displayed precocious musical talent which was fostered by their parents. Both had lessons in piano, violin and composition, and both sang in the Singakademie choir in Berlin. Yet history has been much more attentive to Felix than to Fanny. Why?

Recently this imbalance has been shifting, and in this exploration of their lives and music, Sister and brother, Fanny and Felix Fine Music programmer and presenter, Meg Mendelssohn, were born into a cultured Matthews, will look at how, why and when Jewish family but both were brought up in these changes have been taking place.

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DEATH AT THE METROPOLITAN

RANDOLPH MAGRI-OVEREND EXPLORES THE CURSE It was the evening of 4 March 1960. The time was 9.55pm. At the Metropolitan Opera House in New York, in a performance of Verdi’s La forza del destino with Renata Tebaldi and Richard Tucker, baritone Leonard Warren had just finished singing his Don Carlo aria which begins Morir! tremenda cosa! (To die is a momentous thing) when he collapsed. Rudolf Bing, the Met’s general manager, recalls that Warren fell face forward without saying a word, but others say that he started coughing and gasping, and crying “Help me! Help me!” Someone in the audience called out “For God’s sake, bring down the curtain”. Within 25 minutes of his fall the cause of death was determined as a massive cerebral haemorrhage. Warren was 48 years old. Bing appeared on stage a while later. He began his statement and the audience gasped. “This is one of the saddest nights in the history of the Metropolitan,” he said. “I ask you all to rise in tribute to one of the greatest performers. He died as I am sure he would have wanted to die. He died in the middle of a performance. I am sure you will agree with me that it would not be possible to continue with the performance.” And so began one of the tightest deadlines in newspaper history, for the New York Herald Tribune’s Sanche de Gramont (under his pen name of Ted Morgan) and for Howard Taubman of The New York Times. When the call about the death came, Morgan was editing a column for the following day’s paper. “This was half an hour before deadline,” recalls one of Morgan’s colleagues. “All was confusion at the Met. Our opera critic was sitting helplessly, crying … he didn’t even phone the desk.” Taubman, The New York Times critic (and not the feared Harold Schonberg), had left the opera early to begin writing the review. Mr Taubman’s son recalls the night very clearly. “My mother, Nora, remained behind to enjoy

be regarded, if one is inclined to believe, as the first application of the curse. The plot itself is as improbable as they come and includes curses being thrown around as profusely as confetti at a wedding. Leonora loves Álvaro who accidentally kills Leonora’s father who curses their union as he dies. Leonora flees to a monastery and the leading monk, Padre Guardiano, exhorts a curse on anyone who violates the new hermit’s sanctuary. Meanwhile Álvaro becomes the blood brother of Don Carlo, Leonora’s brother. When they discover their true identities Álvaro mortally wounds Carlo who kills Leonora and Álvaro flings himself off a cliff cursing all and sundry.

the rest of the performance,” he wrote 44 years later. “When Warren died, she realised the news value, took careful notes on what had happened and then called Howard at The Times and gave him a firsthand account … my mother was an English teacher … and knew the drill.” Mr Morgan returned from the Met (then on Broadway between 39th and 40th) by 10.40pm. Further details were supplied by another reporter, Dave Miller. The article was cleared by 11.30 and made the late city edition. For his coverage Mr Morgan received a Pulitzer Prize for local reporting. Some people still believe that Verdi’s opera is cursed and that what happened in New York re-enforces that belief. Based on a 19th century Spanish melodrama (Don Álvaro o la fuerza del sino), which was already confusing, the opera was stitched together by Verdi and his librettist Francesco Maria Piave and presented to the Theatre of St Petersburg as the commissioned opera for their 1861-62 season. However, the leading soprano fell ill and the premiere had to be postponed to 10 November 1862. That postponement can

Of course the death of Warren in New York made the curse seem plausible. In addition, in the late 80s, in the middle of the tenor aria O, tu che in seno (You who are in my heart) from La forza the lights went out. The power failure was later tracked to an electrical problem at a nearby cemetery. Famous singers were also wary of the curse. Luciano Pavarotti refused to sing the role of Álvaro. In fact, there is no mention of La forza in William Wright’s biography of him, nor is there any mention by Tito Gobbi in his autobiography. Another great Italian tenor, Franco Corelli, was rumoured to have shielded his crotch as ‘protection’ during some of his performances of the opera. Warren must have known about the curse, although obviously he didn’t give it much credence. As proof, he recorded the opera. Maybe his conversion to Catholicism had something to do with it. He now rests in peace at St Mary Cemetery in Greenwich, Connecticut. Arias Leonard Warren would have sung in La forza del destino can be heard on Friday 6 April at 2pm. April 2018

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Classical CD Reviews POULENC AND SAINT-SAËNS SACRED CHORAL MUSIC Various soloists; Pro Arte de Lausanne Ch Suisse Romande Ch & O/Jésus López-Cobos Choir of Christ Church Cathedral, Oxford/ Simon Preston Choir of Worcester Cathedral/Donald Hunt Eloquence 482 8798

✶✶✶✶ This release from Decca/Eloquence, compiling three remastered recordings by different choirs, is a treat for lovers of the quirky, witty world of French liturgical music. Its two major works span a period of a century, beginning in the mid-1800s, during which French composers wrote an increasing volume of sacred music for concert performance. Francis Poulenc, whom a friend described as ‘half-monk, half guttersnipe’, was nobody’s idea of a devout composer. Yet like Fauré before him, and propelled spiritually by

the shocking death of a friend in 1936, he managed to combine a tolerably profane youth with the composition, in his mature years, of fine sacred music. His Gloria, completed in 1959, is a staple of the choral repertoire. Camille Saint-Saëns, writing his Messe à quatre voix a century earlier, was an early contributor to the fashion for writing liturgical works for concert performance, of which the Gloria is a sparkling late example. These works form appropriate bookends to this collection, with the four Christmas motets of Poulenc nestling between. The performances? Three different but expertly directed choral forces; three different performance spaces; so no uniformity of texture here. The Poulenc motets and the Mass are sung by English cathedral choirs with boys and counter-tenors singing the high parts. Only the Gloria enjoys the services of women choristers. It’s very much a personal thing but I prefer to hear women in the upper

Well, all I can say is that it’s not a minute before time! Reynaldo Hahn is best known for his vocal music, having written a great many songs and operas during his lifetime. His other music has been largely ignored, both in the recording world and on the concert platform. Now, Australian pianist Leslie Howard and Italian pianist Mattia Ometto have recorded a 2 CD set of Hahn’s wonderful piano music.

BELLE ÉPOQUE Reynaldo Hahn: Complete Works for Two Pianos and Piano Duet Leslie Howard and Mattia Ometto Melba MR 301148-49

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At least three pieces are world premieres, which beggars belief because in his day Hahn was a celebrated performer in the salons of Paris, both as a singer and a pianist. All of his piano music is absolutely delightful. The major work in the set is The untied ribbon, a series of 12 waltzes written for two pianos. Hahn wrote these pieces to soothe his comrades during

registers in French choral music. Nonetheless, the Worcester boys made a fine job of the Mass. The motets, sung by the Choir of Christ Church Cathedral, suffered a ‘tad’ from treble squeakiness but the opportunity to hear these gems make this a fine choice. Tom Forrester-Paton

grim times in the French army at war on the Western Front. Simplicity and nostalgia are their key. All the works are brilliant, but my favourite is one of the world premieres, Variations for piano four hands on a theme by Charles Levadé, a contemporary French composer and a pupil of Jules Massenet. Until now the work has remained in manuscript and little is known of its provenance, except that we know that the two men were good friends. It’s an unusual theme with interesting variations ending in a mad scramble for the finish line and, as Leslie Howard says, in all probability to the nearest hostelry. No buyer of this 2-CD set will be disappointed. Michael Morton-Evans

AN UNUSUAL PREMIERE While we’re considering Reynaldo Hahn’s music, let’s imagine that we’re by the side of the Grand Canal in Venice waiting for a glimpse of a gondola carrying a man and a piano. This was the scene in 1901 for the premiere of Hahn’s song cycle Venezia when crowds lined the Grand Canal and filled the bridges spanning it. When the gondola approached the assembled throng saw Hahn, who was an excellent baritone and pianist, accompanying himself as he sang his new vocal work. That would have been a most interesting recital and would certainly have guaranteed a receptive audience!

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THE SIX-STRING GUITAR ROSS HAYES EXPLORES THE MODERN INSTRUMENT The guitar’s early history is dominated by various forms, courses of strings, and materials of construction. It was not until the late 18th century that the modern sixstring guitar came into prominence. An extra string was added at the bass end, single strings replaced the double courses and the sound Guitar collection Museu de la Música de Barcelona box was increased in volume by the swelling out of the sides to The history of the guitar in the first half of the form the figure-of-eight shape. This is the 19th century was dominated by virtuosi who guitar associated with many well-known not only encouraged the further development names including Schubert, Weber, Berlioz of the instrument, but also produced a vast and Paganini. The addition of the sixth string amount of music and did much to advance was claimed for the Weimar maker Jacob Otto the teaching of guitar playing. In this period, shortly after 1788, but it is likely that this had the ‘home’ of guitar playing was Paris with already been in use in Spain. the likes of the Italians Ferdinando Carulli

through these various phases, with particular emphasis on the countries of influence. We start with the French, Italian and German composers. The focus then switches to Spain and the modern incarnation of the six-string guitar with the likes of Tárrega, Tórroba, Falla, Rodrigo and the one acknowledged as the greatest influence, Andrés Segovia. Finally we cross the Atlantic to South America and another, most interesting phase of the guitar’s development with composers such as Ponce, Villa-Lobos and Piazzolla.

By the end of the 18th century, there was no doubt that the six-string guitar was the dominant plucked instrument. The appearance of virtuoso guitarists such as Fernando Sor made continual demands on the skills of luthiers right throughout Europe to produce better and better instruments.

On hearing Mauro Giuliani play, Beethoven pronounced that ‘the guitar is a miniature orchestra in itself’.

and Matteo Carcassi, and the Frenchman Napoléon Coste. Vienna for many years claimed the Italians Mauro Giuliani and Luigi Legnani as well as the finest of the German composer-players, Johann Kaspar Mertz.

In April we begin a series which explores the development of the six-string guitar as it went

Tune in to The Development of the Six-String Guitar, on Tuesdays 10 and 24 April and 8 May at 2pm.

MUSICAL FAMILIES CATHERINE PEAKE DISCUSSES BROTHERS AND SISTERS Brother and sister musicians, who both achieved positions of professional standing in their chosen musical fields, are featured this month. The talents of German-born Fanny and Felix Mendelssohn were recognised when they were children and they were supported by music-loving parents. More recently, PeterLukas and Kathrin Graf became well-known in their music fields of flute and voice respectively. Fanny Mendelssohn wrote several books of pieces for piano and voice, some of which were originally published under her brother’s name, possibly due to the lack of acceptance of female composers at that time. In 1841 she began composing one of her most important works, Das Jahr, a suite of piano pieces based on the months of the year, and in 1846 she independently published a collection of her songs. Fanny, a pianist, performed her brother’s Piano concerto no 1 in public and took an interest in his work. Felix was a pianist, organist and conductor as well as a composer in a wide variety of genres. Although his music was neglected for a period after his death, it is now

amongst the most popular from the 19th century. He was a child prodigy who made his first public appearance as a pianist at the age of nine. He began composing operas and symphonies as a child and, at age 13, had his first work published. His early works were often performed at home with a private orchestra. As an adult in 1843, while working as chief conductor of the Leipzig Gewandhaus, he founded and became Director of the Leipzig Conservatory of Music. He was devastated by the death of his sister Fanny and six months later he died from the same illness.

Fanny Mendelssohn

The Swiss Graf siblings developed independent musical careers. Peter-Lukas Graf became one of the best-known flautists of his generation who has performed in chamber and as a soloist with orchestra in numerous concerts and recordings. His career includes conducting and teaching and his publications on flute playing have greatly benefited students of the instrument. Soprano Kathrin Graf has

performed and recorded in a range of musical genres from oratorio to Lieder, covering a broad repertoire. The siblings have often performed and recorded together. Listen to the music of these siblings in Musical Families at 2pm on Tuesday 3 and 17 April. Fanny and Felix Mendelssohn will also be the subject of Enjoy, Learn, Discuss on Sunday 15 April. Book on 9439 4777 or at finemusicfm.com. April 2018

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Jazz CD Reviews ELLA AND LOUIS Patti Austin, James Morrison and others Melbourne SO/Benjamin Northey ABC 481 6483

✶✶✶✶ James Morrison is, by anyone’s standards, a virtuoso in the true sense of the word. Besides the trumpet, this multi-instrumentalist also plays piano, all the brass, saxophones and the double bass. He deftly displays his prowess on the trumpet and trombone on this newly released double CD with the Melbourne Symphony Orchestra and the American vocalist Patti Austin. The ensemble delivers a warm celebration of the iconic duet recordings of Ella Fitzgerald and Louis Armstrong recorded last year at the Melbourne International Jazz Festival

IN STRIDE Aaron McCoullough Quartet www.aaronmccoullough.com

✶✶✶✶✶ NEW HORIZONS Justin Gray and Synthesis Venuti String Quartet Justingraysynthesis.com

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Toronto-based artist Justin Gray may not be widely known to Australian audiences, but some of his collaborators over the years are well known down-under. Greg Osby and Ingrid Jensen need no introduction, while tenor saxophonist Tony Malaby recorded with our own, the late David Ades in Brooklyn back in 2011. Like our cross-cultural explorers Matt Keegan and Sandy Evans, the bassist and composer Justin Gray also shares a passion for the fusion of Indian classical styles with jazz. So intense is that passion, that in 2010 he co-created an instrument with a sound which seamlessly straddles both genres without 44

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before a live audience. Backing Morrison and Austin and the orchestra are the outstanding performances of his band musicians, Jake Barden (saxophone), Mark Fitzgibbon (piano), William Morrison (guitar), Harry Morrison (bass) and Patrick Danao (drums). Most of the Ella and Louis favourites are included (despite some glaring omissions, e.g. They can’t take that away from me and Cheek to cheek) and are given sparkling new arrangements with slight hints to the original recordings. Ella and Louis weren’t blessed with the luxurious full sound which this orchestra provides with Benjamin Northey at the helm so maybe it is best to listen to this album for what it is: a maestro trumpet player alongside a quintessential and sassy jazz singer accompanied by a great orchestra The focus of Provenience is embedded in a reflection upon, and a rediscovery of, specific localities of the Illawarra region in New South Wales. The tunes, written by drum master/composer Aaron McCoullough, represent his personal responses to growing up there and are named after places and localities with which he has a special affinity. Throughout all tracks the exemplary guitar playing of Hugh Stuckey is a standout as each track pursues its own distinctive path. A tune named after Bombo Beach (a magical location) provides the perfect vehicle for the steadfast prowess of pianism displayed by James Bowers, whose extended solo on this track is a feature of the album. McCoullough is generous with the amount of space he provides these musicians to shine compromise. As the sole practitioner of this instrument, his multi-stringed fretless bass veena coalesces the electric bass tradition of Pastorius with the humming resonance and agility of the vichitra veena. Underpinning the sophistication of the project is the addition of the Venuti String Quartet which provides a glorious, almost orchestral unison ride for Gray to state the raga and carnatic melodies against the deep grooves of drummer Derek Gray and Ed Hanley’s tabla. All these memorable melodies are from the pen of the bassist. The purity of tone of this instrument is at its crystalline best on Break of dawn when the strings lay off and Alam Khan joins the party on sarod, but it’s Gray’s virtuosity which compels the listener to the rotational symmetry of the plucked drone strings, the strummed body strings and the

and a standout band rather than just another tribute album. With that combination, it scores extremely well. Barry O’Sullivan in allowing them to freely stretch their improvisations alongside his technically superb drumming skills which maintain perfect tempos throughout. He is a true master of form. New York bassist Marty Holoubek engages beautifully gentle bass playing, giving inconceivably cosmic atmosphere to the album. This is most notable on Mystics, named after a beach in the Illawarra which is an all-time favourite with locals. From start to finish, perfection reigns on this album with every number worthy of endorsement. Shortcomings? To state the case as clearly as possible, there are none. This album is a class act with some first rate musicianship. Barry O’Sullivan

remaining four conventional fretless bass strings. This is an outstanding debut and a must listen for indo-jazz fans. Frank Presley

WHAT MAKES A JAZZ ARTIST TICK?

JEANNIE McINNES EXPLORES THIS AND OTHER IDEAS through bending and stretching the dots and with occasional flights into scat. To watch Sandie’s performance is a clear indication that she is not so much in the present as in the song, the music and the performance itself. Her repertoire ranges through jazz standards, vocalise and sultry torch songs, dipping into the wide range of jazz history, with wonderful expression and improvisational ability.

What makes jazz artists tick and what do they listen to? These are some of the ideas to be explored with a practising musician in the first of an occasional series in Jazz Rhythm. Singer Sandie White commences the series. Using her first two names of Sandra Louise, her career began here in Sydney in the 1950s, before trying her voice on the world stage with Harry Roy and Ray Ellington in the UK, freelancing with Ike Isaacs and Basil Kirchin and Peter McGurk who was later Dudley Moore’s bassist. There were also gigs in Amsterdam, Paris and Germany performing with such luminaries as Lionel Hampton, Zoot Sims and Oscar Pettiford. In fact, from one sitin with the Pettiford band came an invitation to continue performing with them for the rest of their contract. Time was also spent in South Africa and Spain performing with local bands in night clubs, cabarets and jazz joints. Back in Australia, Sandie had regular live gigs, including at Sammy Lee’s Latin Quarter as well as numerous appearances on television: Brian Henderson’s Bandstand, Graham Kennedy’s In Melbourne Tonight and The Light Show, and with Channel 7 for three years including having her own TV show Cue for Music with Tommy Tycho and his Orchestra.

The 1980s saw Sandie join Jack Allen’s band, perform at the Sacramento Jazz Festival with the Noel Crow band, and the musical match-up with pianist Vince Genova, resulting in the LP Angel Eyes. There was also the inaugural Jazz Action Society Jazz Vocalist of the Year Award in 1986, along with work with American vocalist Mark Murphy and with English saxophonist Ronnie Scott, including appearances on TV, performances at The Don Burrows Supper Club and at Kinsella’s, and a series Upstairs at Ronnie Scott’s in London. More recent years have seen (or rather heard) Sandie performing with the best of Australia’s jazz fraternity in music venues around the country, and more recordings (Be diggin’ me clear now, Taking risks, A bluer shade of white, Wild October gladness, and her latest release, So many songs – So little time) all launched on her own label, Jazmin Records. As well as performances in venues, Sandie presents soirée recitals at home with small group accompaniment from some of Australia’s finest along with husband Patrick as chief roadie, all providing an intimate backdrop for her highly personal performances. To listen to Sandie perform is to be taken on a journey through the song, to be transformed by her inner feelings displaying themselves

With such exceptional jazz credentials, what is it that makes Sandie White tick? Why would such a talented and worthy singer choose to sing jazz, rather than perhaps more lucrative popular styles of music? What does she see and hear in a jazz song, and how does she make the song and the performance uniquely her own? Why, with such experience, is she still listening and learning and looking for new songs and performances? To help us understand these concepts and to learn how performers craft their art, Sandie will be sharing some of the songs to which she listens and most admires, and she’ll be discussing why she has chosen them. Some of her own recordings will also be heard. This is a second visit for Sandie to Fine Music 102.5. In November 2017, she joined Michael Morton-Evans for In Conversation, which can be heard on our website, finemusicfm.com, under the Listen – In Conversation tab. In this visit, though, we will be concentrating more on her musical performance, and the backstory to this particularly wonderful singer. As a listening audience, we are so fortunate to have such magnificent talents share their creativity with us. Usually, we just listen and enjoy, but there is often so much more to what we hear. This first program of the series, Musician’s Choice, is a chance to pause and reflect with Sandie White on what it is that makes her performance so special. Sandie White will be joining Jeannie McInnes for Jazz Rhythm at midday on Tuesday 24 April. April 2018

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2018 STEFAN KRUGER SCHOLAR

ELIZABETH HILL OUTLINES CAMERON LAM’S PLANS need to provide a detailed outline of a project or course of study which has the potential to significantly enhance their careers, as well as a recording demonstrating their performance or compositional abilities. The 2018 winner, Cameron Lam, is a freelance composer, Founder and Artistic Director of art music production company Kammerklang, and he is Art Music Specialist at APRA AMCOS. He has worked with, and written for, many of Australia’s leading musicians such as percussionist Claire Edwardes, vocal ensemble Halcyon, the Nexas Saxophone Quartet and YouTuber and EWI-ist, Peter Smith.

Cameron Lam Since it was established in 2014, the Fine Music Stefan Kruger Scholarship has assisted outstanding young musicians to further their careers in their chosen fields of music. The Scholarship, set up with Stefan Kruger’s bequest to Fine Music, is open to Sydney-based applicants aged between 18 and 30. It awards $10,000 with an additional $5,000 through marketing, promotion, broadcasting and recording services at Fine Music. Applicants

On winning the scholarship, Cameron said, “It’s always incredibly humbling when someone values your work as an artist and it’s incredibly heartening to receive this support to continue to create and collaborate with other artists”. The most surprising thing for him was the amount of press he received and how widespread it was, with messages of congratulations coming from his colleagues all over the country, including his home town of Orange. The catalyst for Cameron’s scholarship

application was stumbling across Sarah Holland-Batt’s poem The Art of Disappearing. Cameron said he was so astounded by its lyricism that he knew he had to set it to music. The resulting work will be a 70-minute song cycle of 12 pieces for mezzo-soprano and string quartet. Most of Cameron’s time this year will be spent working with long-time collaborator Jenny Duck-Chong writing, refining ideas, recording and releasing the album, prior to its premiere. For Cameron, this process is incredibly insightful. “It’s rare we get time to slowly iterate on songs and refine ideas. I think it’s really improved my vocal writing and has led to some of my best work yet”. Cameron’s future plans include a new Art Music show with Fine Music later in the year, and running live gigs with his production company, Kammerklang. He is planning future performances of his Concerto, Yggdrasil, for contrabass clarinet and wind orchestra and sketching out a new orchestral concerto. Past Stefan Kruger Scholars are jazz and blues singer-songwriter Frances Madden, violinist Rebecca Gill, recorder player Alicia Crossley and saxophonist Nicholas Russoniello.

THE PASSIONATE MADRIGALIST

ELAINE SIVERSEN ON RENAISSANCE AVANT-GARDE MUSIC Donna Maria d’Avalos and devoted the rest of his life to music. He played the lute, guitar and harpsichord and wrote some of the most extraordinary music of his time. Gesualdo also seems to have written most of the texts of his madrigals, with one of the most obvious characteristics being his extravagant use of words representing extremes of emotion and passion: love, pain, death, ecstasy, agony and similar. Most late 16th century madrigalists wrote on these themes but it appeared to be an obsession with Gesualdo. All of this agony is expressed in the most exquisite music.

He wrote intensely expressive madrigals and sacred music in a chromatic language not heard again until the late 19th century, yet he lived between 1566 and 1613. The Prince of Venosa and Count of Conza, Carlo Gesualdo, born into a family related to princes of the church, was destined for the priesthood. Instead he married his cousin 46

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Despite this, the best-known fact of his life is his violent murder of his wife, her lover and the son whom he suspected was not his child. It must have been a case of ‘who you know’ as Gesualdo was judged to be innocent. He married again but he and his wife separated and it is even suspected that when he died he had been murdered by his wife. With his considerable financial resources, Gesualdo was able to maintain a group of virtuoso singers and instrumentalists to perform his music at his castle at Gesualdo.

Otherwise, he lived a solitary life after his wife left him and he suffered from depression. It has been suggested that this depression was finally a realisation of his guilt for the murders although others have said that the guilt was always there and was the reason for the intensity of passion in his music. Gesualdo’s music is among the most experimental and expressive of the Renaissance. He published music in three genres: sacred vocal, secular vocal and instrumental. He is most renowned for his six books of madrigals. One of his sacred works, Tenebrae responsoria, is notable for being very much like his madrigals but with texts from the Passion. In this he uses sharp dissonance to portray Christ’s suffering and Peter’s guilt at his betrayal of Jesus. In this and the madrigals, he pushes to extreme lengths the most daring chromatic and contrapuntal harmonies. Gesualdo, Composer, Prince and Murderer will be the subject of Enjoy, Learn, Discuss on Sunday 20 May. Book on 9439 4777 or at finemusicfm.com.

A WELCOME YOUNG VOLUNTEER SUE JOWELL TALKS TO REBECCA ZHONG

It would be a mistake to assume that Fine Music volunteers are made up exclusively of retired or semi-retired ‘baby boomers’. In reality, there are a growing number of exciting young and enthusiastic people coming through the doors of the station. Rebecca Zhong is one of them.

Rebecca arrived at Fine Music as a Year 10 work experience student in 2015 and was thrilled with the variety of broadcasting opportunities available. In fact, she enjoyed it so much that she stayed on as a volunteer. However, she was no stranger to the station, having been an avid listener for as long as she can remember. Music has always been part of Rebecca’s life. Apart from listening to the radio and CDs, her parents nurtured her love of music by taking her to concerts and the ballet, and encouraged her to play an instrument. She began with the violin at the age of five, and, when she entered primary school she took up the trumpet. She attended MLC Burwood, a high school renowned for its music education (particularly from Mrs Carey of ‘concert’ fame!). Clearly the first amongst equals, Rebecca was Music Captain in Year 12, which is not surprising, considering she wrote a 4000-word paper on Shostakovich’s Eighth String Quartet! Now, as a university student, it might be expected that Rebecca would not have time

to spend at Fine Music. On the contrary, she says, “I have just finished my first year of Law/Media (Screen and Sound Production) at UNSW and the experience at Fine Music has benefitted many aspects of my media degree”. Her participation in the filming of a promo for the station was one of many new and unique experiences which Rebecca believes has had significant impact on her personal development.

In addition, Rebecca finds that she has become more confident and has benefitted enormously from all of the skills she has acquired: digital editing, writing for Fine Music magazine and particularly programming. Programming, she finds, is very meaningful as it provides the creative freedom to include some of her own favourite pieces as well as the opportunity to discover new works and composers. Rebecca is a welcome member of ‘the new generation’ of young men and women who, with their musical awareness, appreciation, talent and skills, are so vital to the future growth of Fine Music.

PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD, registered under the Co-operatives Act 1992 (NSW); owner and operator of Australia’s first community-operated stereo FM station, 2MBS-FM now known as Fine Music 102.5; annual membership fee is $33 and members are entitled to vote at Society general meetings. Enquiries: admin@finemusicfm.com VOLUNTEERS Fine Music 102.5 is run by volunteers supported by a small team of staff. To find out how to join our volunteers, visit finemusicfm.com or call 9439 4777. DIRECTORS Chair: David Brett; Deputy Chair: David James; Secretary: Christopher Waterhouse; Lloyd Capps, Andrew Dziedzic; Jeannie McInnes, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; Jazz: Barry O’Sullivan; Technical: Stephen Wilson; Library: Susan Ping Kee; Volunteers: Sue Nicholas; Finance: Norm Chosid; Work Health and Safety: Dennis Oppenheim; Emerging Artists: Rebecca Beare VOLUNTEER PROGRAMMERS AND PRESENTERS FOR APRIL Charles Barton, Peter Bell, Susan Bell, Nina Beretin, Chris Blower, David Brett, Barrie Brockwell, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Colleen Chesterman, Lyn Chong, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Emyr Evans, Melissa Evans, Sepehr Fard, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Carole Garland, David Garrett, Nicky Gluch, Gabi Goddard, Gael Golla, Raj Gopalakrishnan, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, Richard Hughes, James Hunter, Leita Hutchings, Anne Irish, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Peter Kurti, Ray Levis, Krystal Li, Miranda Luo, Christina MacGuinness, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, Lachlan Mahoney, Sue McCreadie, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, John Milce, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Rob Thomas, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Simone Vitiello, Ron Walledge, Brendan Walsh, Christopher Waterhouse, Ken Weatherley, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka PROGRAM SUB-EDITORS Jan Akers, Chris Blower, Di Cox, Colleen Chesterman, Melissa Evans, Amal Fahd, Ana Ferreira, Noelene Guillemot, Gerald Holder, Susanne Hurst, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Paul Belfanti, Tracy Chen, Helen Dignan, Lynden Dziedzic, Peter Goldner, Elizabeth Grey, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Anne Wiseman, Jonathan Wood STATION OPERATIONS Transmitter: Max Benyon; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Marketing Manager: Mona Omar; Program Coordinator: Sophie McCulloch; Financial Administrator: Sharon Sullivan; Administration Assistants: Krystal Li, Joe Goddard April 2018

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