Fine Music Magazine February 2019

FEBRUARY 2019

MAGAZINE

2019 IN CELEBRATION A Season of Orchestral Concerts

MY SOUL DOTH MAGNIFY THE LORD John Rutter’s Great Choral Work

WHAT DID CLARA THINK? Brahms’ Supporter and Friendly Critic

COMPOSERS CONSCIOUS OF TRADITION A Link between Mendelssohn and Henze

FINE MUSIC MAGAZINE

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Contents VOL 46 No 2 2 4

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2019 In Celebration Hindemith and the Viola Remembering Ernest Ansermet ‘My Soul Doth Magnify the Lord’ A Forgotten Virtuoso What Did Clara Think?

Program Guide and Composer List Rarities from the Russian Archives Early Sydney’s Leading Conductor Composers Conscious of Tradition What’s On in Music Myths and Legends Musical Families Bizarre Baroque Jazz CD Reviews Tormé and Sinatra: Consummate Artists Award-Winning Anna Stephens Listening to ‘New’ Music Embracing Music, Travel and Dogs: Jill Wagstaff Notes from the Editor

THIS MONTH @ FINE MUSIC I hope that you had a wonderful holiday period and enjoyed special time with friends and family. Time away from our everyday routine can be remarkably reflective and therapeutic for both the mind and body. We here at Fine Music have returned in 2019 with renewed enthusiasm and vigour ready to deliver a variety of fresh programs throughout the coming year.

This month we launch our 2019 Enjoy, Learn, Discuss series. This includes 11 monthly talks presented by some of our passionate, articulate and wellresearched presenters who want to share their knowledge with you.

Apart from a small number of staff members who manage and administer our operations, Fine Music is operated entirely by hundreds of music lovers who generously volunteer their time and talents to organise and administer our extensive activities. Their dedication and intense interest is what sets us apart from the rest. Our Enjoy, Learn, Discuss program is run by a team of knowledgeable volunteer presenters, each with a unique niche interest.

In 2019 we explore a variety of topics and questions you may have never even asked yourself. Who inspired Carmen? What happens backstage at the opera? Is the movie Amadeus simply Mozart nonsense? What are Bach’s forgotten jewels? When did the musical become more complex?

How does a performance connect with us emotionally? What was it like when a piano stood in every household? Why did many composers write Spanish music? What instruments are used in jazz? Was Shakespeare actually the Dark Lady? How do soloists work with composers?

I warmly invite you to explore these questions at our Enjoy, Learn, Discuss series of talks. Check our website for more details and find the 2019 Enjoy, Learn, Discuss brochure inside this magazine.

Rebecca Beare Fine Music Station Manager

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Contents and concept of Fine Music Magazine Copyright © 1975-2019 Music Broadcasting Society of NSW Co-operative Ltd trading as Fine Music 102.5 ABN 64 379 540 010 Honorary Patron: Prof. Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO Emerging Artists Patron: Toby Thatcher Young Composer Award 2018: Daniel Dean Young Virtuoso Award 2018: Anna Stephens Kruger Scholar 2019: Nicholas Gentile FEBRUARY 2019

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2019 IN CELEBRATION CATHERINE PEAKE OUTLINES A CONCERT SEASON

Richard Gill and the Australian Romantic & Classical Orchestra

Mozart’s The marriage of Figaro has a significance for the Australian Romantic & Classical Orchestra as well as being a highlight of the orchestra’s 2019 In Celebration concert season. The performance of excerpts from the opera in the first concert of the series will also pay tribute to the late Richard Gill AO, the orchestra’s founding artistic director.

Established by Gill, Rachael Beesley and Nicole Van Bruggen, the Australian Romantic & Classical Orchestra comprises leading Australian musicians who are ‘dedicated to the performance of Classical and Romantic orchestral and chamber music repertoire in historically informed style on period instruments’. The orchestra continues to evolve, with its Board recently announcing that Beesley and Van Bruggen are taking on the artistic leadership of the orchestra as coartistic directors.

The Australian Romantic & Classical Orchestra will celebrate its sixth birthday this year, and the three Sunday afternoon concerts forming the In Celebration series, to be held in the City Recital Hall, will tell the orchestra’s story from its inception to the present day. This will be told through the historically informed performances for which the orchestra has become renowned. The series will include the music of Mozart, Beethoven, Johann Stamitz, Franz Xaver Richter, Mendelssohn and Brahms, with entertaining and informative preconcert talks adding to the concert experience.

The series, In Celebration, will begin in March, with the Madness & Confrontation concert 2

FEBRUARY 2019

recounting the story of Richard Gill conducting Mozart’s The marriage of Figaro. The opera’s libretto by Lorenzo da Ponte was based on Day of Madness, a comedy by Beaumarchais.

The opera’s overture, duets and arias will be performed with soprano Jacqueline Porter and baritone David Greco, followed by Nicole Van Bruggen playing basset clarinet in Mozart’s Clarinet concerto in A major. The basset clarinet was the instrument for which Mozart originally wrote the concerto, demonstrating the orchestra’s adherence to historically informed performance practice. The concert will finish with Beethoven’s famous Symphony no 5 in C minor. Van Bruggen says: “Beethoven’s magnificent Fifth Symphony ushered classical music into a new era and its infamous opening four-note motif confronts and enthrals audiences even to this day.”

The second concert, Mannheim Rocket, to be held in May, will take the audience to the late 18th century and the modern symphonic style that originated in Mannheim at the time.

This is a significant musical period for the Australian Romantic & Classical Orchestra and the Mannheim influence infiltrates its work at several levels, including its education work with students. The concert will demonstrate the orchestra’s interest in historical influence with performances of Stamitz’s Sinfonia à quattro in A major and Richter’s Sinfonia à quattro in B flat major. Both composers were influences on the young Mozart, who was later at the centre of the classical Viennese style. The audience will have the opportunity to enjoy more Mozart, with Rachael Beesley performing his Fifth Violin Concerto, also known as the Turkish,

Photo: Nick Gilbert

and the concert concludes with Mozart’s Symphony no 40 in G minor containing ‘the most famous ascending musical rocket of all’.

The orchestra will move along in time for its third and final concert of the series with New Constellations, on Sunday 18 August.

The concert will comprise chamber music of the early romantic period, with Berlin-based violinist Jakob Lehmann returning as guest director of the orchestra. He will lead an ensemble of specialist local and international chamber musicians in Mendelssohn’s Octet in E flat for strings, which Mendelssohn wrote at the age of 16, and Brahms’ Serenade no 1 in D major for nonet. Brahms had destroyed this version, but composer Alan Boustead reconstructed it in the 1980s using archival and other written accounts.

To complement the In Celebration concert series, the orchestra is again running a series of educational concerts. The Voyage of Musical Discovery series will demonstrate the musicians’ knowledge and understanding of the late 18th and 19th century repertoire in both the historical context and as applied to the performance of contemporary Australian music. The concerts will feature guest musicians and ensembles with the orchestra which in the past has proven to be just as popular with the general public as with students.

The three ‘Voyage’ concerts are designed to fit with the corresponding concert in the In Celebration series. Each concert features a particular aspect of musical composition and will use an historical example and a

In March, the first concert of the Voyage of Musical Discovery series takes the theme Phrasing & Form with Mozart’s The marriage of Figaro once again on stage. Australian singer-songwriter Lior joins the Australian Romantic & Classical Orchestra with vocal soloists Jacqueline Porter and David Greco to explain and demonstrate phrasing and form in both Mozart’s opera and Lior’s own compositions.

Cultural & Historical Contexts in May will see Jane Rutter and her Third Culture World Music Ensemble performing with the orchestra to demonstrate the influence of culture and historical context on presentday music. Compositions and performances in the program will range from the earlyclassical Mannheim School (reflecting the second concert in the In Celebration series) to Australian and Chinese contemporary music.

The final program in August, illustrates the role of Dynamics & Expressive Techniques with the vocal group, The Idea of North, joining the Australian Romantic & Classical Orchestra. The musicians will explain and demonstrate how these techniques are central in the performance of both early romantic and contemporary Australian chamber music.

Photo: Milk Photography

The Voyage of Musical Discovery series is not the only educational program the orchestra regularly presents. Education based on the concert platform is a major focus of the orchestra’s regular schedule and it conducts tutorials and masterclasses for tertiary students and professional musicians while on tour.

Jacqueline Porter

Richard Gill’s influence can be seen in the work the orchestra undertakes with both adults and children, reflecting his achievements ‘as a celebrated conductor, [and] an educator of children, musicians and curious audience members’. Van Bruggen acknowledges his contribution. “We are eternally grateful for the joyous years of our lives enriched and enlivened by Richard’s larger than life presence and appreciate that we have learned so much from our great teacher, mentor and friend. We loved Richard and we miss him dearly, but we know every time the orchestra and our youth programs stand proudly on stage, we will be honouring him and giving him thanks for his extraordinary life and vision.”

Gill’s work in music and education has been acknowledged by many people, and music educator Karen Carey says: “His tireless efforts have resulted in the mentoring program which is rapidly gaining momentum. His clarity of thought, tireless energy, fabulous sense of humour and love for people was just wonderful and unforgettable.”

A large part of the orchestra’s educational activity is focused on school students. It runs educational courses and works with schools throughout Melbourne and Sydney, and aims to expand into other Australian cities and towns in the future. As Nicole Van Bruggen says, ‘We are passionately committed to our education programs’.

One of the orchestra’s major educational initiatives is the youth orchestra program, Young Mannheim Symphonists, which provides the opportunity for students from all backgrounds and from all around Australia to engage in the performance of great music. The orchestra’s musicians work with and mentor youth orchestras and emerging musicians around the country, giving the young musicians the chance to experience historically informed performance and to learn about the importance of this style of performance in context.

One aspect of the orchestra’s approach is seen in its appreciation of the 18th century Mannheim School, which plays a major role in both the educational and concert platforms of the orchestra’s work. Van Bruggen says: “The 18th century English music historian Charles Burney referred to the Mannheim orchestra as an ‘army of generals’, which was famous throughout Europe for its highly disciplined virtuosity and its ability to produce certain novel and arousing effects.”

As well as providing an historical focus for performance, the orchestra members take the approach of the Mannheim School into account when working with young musicians, aiming to give them a knowledge and expertise about the use and importance of historical performance techniques, and are ‘always adding to our capacity to provide a fascinating

Photo: Nick Gilbert

contemporary Australian work to illustrate the continuities in music over time. Van Bruggen says: “We believe that the best way to deepen the appreciation, understanding and experience of Classical and Romantic repertoire is to share our knowledge and passion in a way which is inspiring and empowering, as well as challenging and completely relevant to contemporary musicmaking.”

Richard Gill and Nicole Van Bruggen

and enlightening educational resource’.

The students gain a lot from their experience in the Young Mannheim Symphonists, with one participant telling the orchestra of the experience. “I couldn’t quite understand it when you said that you always find something new in the symphony, but now I can really feel what you mean all because of how much you’ve taught us about it. Thank you for leading the orchestra with your professionalism and kindness. I’m sure everyone will cherish these memories for a long time.”

Historically informed performance plays a major part in all of the orchestra’s work. Nicole Van Bruggen admits that encompassing historical performance scholarship in the orchestra’s performances does not mean that she and Rachael Beesley believe they are ‘getting it exactly right’. However, using period instruments along with ‘the knowledge of style and composer expectations’ means that they can get as close to an original performance as they can, something that could not be achieved without this understanding: an approach that is reflected in the Australian Romantic & Classical Orchestra’s program for 2019.

EVENTS, DATES AND VENUES 2019 SEASON, In Celebration, Sundays 3pm, City Recital Hall 24 March: Madness & Confrontation Mozart and Beethoven Soloists: Jacqueline Porter, David Greco, Nicole Van Bruggen 12 May: Mannheim Rocket J. Stamitz, Richter and Mozart Soloist: Rachael Beesley 18 August: New Constellations Mendelssohn and Brahms Guest director and violinist: Jakob Lehmann 2019 EDUCATIONAL SERIES, Voyage of Musical Discovery 6.30pm, City Recital Hall Wednesday 27 March: Phrasing & Form with Lior Tuesday 14 May: Cultural & Historical Contexts with Jane Rutter Monday 19 August: Dynamics & Expressive Techniques with The Idea of North

FEBRUARY 2019

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HINDEMITH AND THE VIOLA JAMES NIGHTINGALE INVESTIGATES THE COMPOSER’S MUSE German composer, Paul Hindemith, left a lasting legacy of music for the viola. In 1919, he issued his opus 11, a set of six solo sonatas for strings. Two of these sonatas were for Hindemith’s own instrument, the viola.

Hindemith was to write three sonatas for viola and piano as well as four sonatas for solo viola. The viola was also a focus of his concertante works, which include entries in his Kammermusik and Konzertmusik series alongside Der Schwanendreher and Trauermusik. These works were premiered with the composer as soloist, and are all well loved by violists today. Hindemith was famous also for giving the premiere performance of William Walton’s Viola concerto after the intended soloist, Lionel Tertis, pulled out.

In addition to performances as a viola soloist, Hindemith toured throughout Europe with the Amar Quartet. This quartet was one of the first professional chamber ensembles at a time when both the phonograph and radio were

Paul Hindemith

very new forms for disseminating music. The Amar Quartet made many records, mostly of single movements from works that we now consider to be the chamber music canon; but in the 1920s much of this music was yet to have an impact upon the wider public. Owing to his part in championing the string quartet at this time Hindemith is considered a pioneer of the recording industry.

Hindemith’s musical training began with the violin. Before the First World War; he had a career as second violinist with the Rebner Quartet and as leader of the Frankfurt Opera Orchestra. In September 1917 he was conscripted into the army and served in Alsace and Flanders. Hindemith has claimed that it was only through good luck that he survived the grenade attacks and chaos at the front. After the armistice he returned to life as a musician and the opus 11 sonatas of 1919 demonstrate a composer of craft and inventiveness with a clear affinity with the violin and viola.

Hindemith: violist and composer, will feature both of the opus 11 viola sonatas as well as Kammermusik no 5, Trauermusik, Walton’s Viola concerto and Mozart’s Prussian string quartet, known to have been performed by the Amar Quartet.

You can hear these works in Sunday Special at 3pm on 3 February.

REMEMBERING ERNEST ANSERMET MAUREEN MEERS FOLLOWS A CONDUCTING CAREER Ernest Ansermet was an artist engagé who had a profound influence on the cultural life of the Suisse romande of Switzerland, an area encompassing several FrenchSwiss cantons. He was truly a man to be remembered on the occasion of the 50th anniversary of his death on 20 February 1969.

Born in 1883 in Vevey, Switzerland, Ansermet began his career as a professor of mathematics at Lausanne University from 1906 until 1915. During this time he turned his attention to conducting, initially at the Casino in Montreux, then studied music with Alexandre Dénéréaz and composition with Ernest Bloch.

He abandoned teaching to become conductor Ernest Ansermet for Diaghilev’s Ballets Russes until 1923, first travelling through France (where he principal conductor until 1967. He travelled with met Debussy and Ravel), then in the United the orchestra widely in Europe and America, States, Italy, Spain and Argentina. This gained gaining a reputation for accurate performances him recognition worldwide. Then he met of difficult modern music. He made the first Stravinsky, who was exiled in Switzerland recordings of works such as Stravinsky’s during World War I, which was the beginning 1929 Capriccio for piano and orchestra, with of his lifelong association with Russian music. the composer as pianist. However, Ansermet disapproved of Stravinsky’s practice of revising In 1918 Ansermet founded the Orchestre de his compositions and, when recording them, la Suisse Romande, where he remained as he always worked from the original score.

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After World War II, Ansermet and his orchestra rose to international prominence through their long-term recordings with the Decca label.

From then until his death, he recorded most of his repertoire, very often two or three times.

His interpretations were widely admired as being clear and authoritative despite, perhaps, not always reaching the highest international standards.

In 1954 Ansermet and the Suisse Romande Orchestra recorded Tchaikovsky’s complete ballet, The nutcracker, for Decca, the first of Europe’s commercial stereophonic recordings on LP. His last recording of Stravinsky’s The firebird, made in London in 1968 with the New Philharmonia Orchestra, included a recording of the rehearsal that Decca issued as a memorial tribute to him. Another late recording, this time with the Suisse Romande Orchestra, was devoted to Magnard’s Symphony no 3 and Lalo’s Scherzo. It was also a tribute to Ernest Ansermet and to the orchestra that he had founded and led for so many years.

Remembering Ernest Ansermet can be heard at 1pm on Saturday 2 February.

‘MY SOUL DOTH MAGNIFY THE LORD’ NICKY GLUCH DELVES INTO A MODERN CHORAL WORK As someone with a fondness for sacred music, one of the things I value most about having lived in Israel is that I was seeing the sites where religious events, both Jewish and Christian, took place.

When it comes to ‘The Visitation’ (Mary’s meeting with her cousin Elizabeth) my association is personal, as for a time I lived on the stairway that led to the church honouring that very occasion.

Musically, ‘The Visitation’ is remembered through the Magnificat, a canticle from The Gospel according to Luke recounting the song sung by Mary on hearing Elizabeth’s prophecy that Mary would bear a ‘most holy Son’. Elizabeth was soon to give birth to a son, known later as John the Baptist, who would foretell the coming of Mary’s son as the Messiah. Mary’s song, in a style derived from Hebraic Psalms, is in the first person: her praise to God for having looked favourably upon her. Its theme is God’s equilibrating of the world, The Visitation by Philippe de Champaigne (1643-48) the hungry being fed and the rich, not in need, being sent away. In this way, it hearing, is the multi-movement work of J.S. anticipates the role that Jesus himself would Bach. Bach’s Magnificat was written shortly after his appointment as Thomaskantor later fulfil. in Leipzig, either for the July Feast of the Over the almost 2000 years between Mary Visitation or for Christmas 1732. The reason proclaiming these words and John Rutter for the uncertainty is that two forms of the producing his extended choral setting, work exist today, one simply setting the song Christianity morphed and evolved. Different text and another with four additional verses to traditions were established, from the Roman celebrate the Weihnacht (Christmas) feast.

Catholic (where Magnificat forms part of Vespers) to the Anglican (Evensong) and It is the idea of interspersions that Rutter Eastern Orthodox (Sunday Matins). The borrowed from Bach, his texts chosen to role of Mary became more or less important, enhance the Marian sentiment. After the first depending on where Christianity was practised movement, a joyful setting of the first three song lines, comes Of a Rose, a lovely Rose, around the globe. a tranquil and flowing movement based on a The Marian tradition, as it is known, is 15th century English poem. Rutter emphasises particularly important to Roman Catholicism both the change in language and the poem’s and, relevant to this work, to the Christian temporal origin by casting this movement tradition of Latin America. It was the latter that in Dorian mode (as opposed to the major inspired Rutter in the writing of his work for he tonalities of the other sections). wished to capture the ‘jubilant celebrations of Mary in Hispanic cultures’ thus making use of Changing the mood once more, Rutter’s Latin-American melodies to produce what he third movement is majestic and sets a single Magnificat line, Quia fecit mihi magna qui terms a ‘fiesta’. potens est, et sanctum nomen ejus (Because Although settings of the Magnificat are He who is mighty has done great things for numerous, most are shorter works. Indeed me, and holy is His name). Playing off the word that is why Rutter’s other primary influence, sanctum, Rutter intersperses the words of the although it may not be apparent on first Sanctus from the Ordinary of the Mass thus

leaving no doubt as to the movement’s theme.

The fourth, fifth and sixth movements provide a mirrored set. In the fourth movement, the soloist proclaims Et misericordia ejus a progenie in progenies timentibus eum (and his mercy [continues] from generation to generation for those who fear him), her words repeated by the chorus.

As the latter develop this idea, the soloist recalls the words and music of the opening, thus juxtaposing God’s magnificence with his mercy.

The fifth movement is for chorus and the only one in 4/4 time (the others are predominantly in 3/4 time, a nod, perhaps, to the Holy Trinity and creating the dance/fiesta feel). Its energy is contrasted with the calmness of the sixth movement, Esurientes implevit bonis et divites dimisit inanes (The hungry he has filled with good things, and the rich he has sent away empty), which is sung by the soloist and completes the canticle text.

There is, however, one last movement.

As is standard practice in the Catholic and Anglican tradition, the song is capped by the ‘Little Doxology’, Glory to the Father, and to the Son, and to the Holy Ghost, but given the rather patriarchal nature of this tradition Rutter intersperses words of the Sancta Maria. For this is what Rutter does so well. He makes sacred music both contemporary and accessible, praising God through tunes that could be from musical theatre, delighting always in the possibility of joy.

Does it help that Rutter, although highly spiritual, is not religious? Perhaps. The more fervent might be wary of blurring such boundaries. But that, in many ways, is what makes Rutter so timely. This is an age that often sits uncomfortably with religion and I have sometimes feared that great works may be lost as the tradition wanes. Through Rutter’s work, however, one might be tempted to step back in time to discover how Bach’s version sounds, thus appreciating what makes Rutter’s so new: two steps of a staircase leading to somewhere magnificent!

You can hear several works by John Rutter, including the Magnificat, along with music of Britten, Brewer (a short Magnificat), Fauré and Vaughan Williams in Sunday Special at 3pm on 10 February.

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A FORGOTTEN VIRTUOSO ELAINE SIVERSEN EXPLORES A BIZARRE LIFE an abbey. Born 350 years ago on 2 February 1669, he was a child prodigy, influenced by his father and two uncles who were all prominent organists. An undocumented story tells how the young Louis, aged 14, was offered a prestigious post as organist of Nevers Cathedral. By the age of 20 he was in Paris and, apart from a three-year sojourn in Germany where he played for several electors and the Emperor, he remained there until his death in 1732.

For the historically minded Francophile, the name Louis Marchand is that of Napoleon’s valet and trusted friend. Few would associate this name with the French Baroque organist, harpsichordist and composer. Because so few of his compositions have survived, he is little known today, but he was one of the best-known virtuosos of his time. Several of his organ compositions have been praised as classic works of the French organ school, and contemporary accounts lavishly praised his keyboard accomplishments. They also mention his bizarre life.

In this age, where sensational stories are the essence of the tabloids, Louis Marchand’s life would be eagerly followed. He had an arrogant personality and his life was filled with scandals. These were widely publicised and discussed during his lifetime, and even after his death. Numerous anecdotes and rumours are recounted, some well documented, others apocryphal: several defamation attempts against other musicians, beating his wife (who later divorced him) and insulting King Louis XIV by mentioning his large ears. It is said that after Marchand’s wife left him, the king ordered

Louis Marchand

half of the composer’s salary to be paid to her.

Marchand, playing for a Mass, broke off in the middle and told the king, ‘If my wife gets half my salary, she may play half the service’.

Despite this, Marchand, as well as working at the French court, held posts as organist of various Parisian churches, a convent and

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Although Marchand was often compared to the great François Couperin, it was said that he had a more natural and spontaneous musicianship. Jean-Philippe Rameau was an admirer as was Johann Sebastian Bach, who played Marchand’s harpsichord suites ‘ingeniously and from memory’. Among Marchand’s pupils was the organist and composer, Louis-Claude Daquin, famous for his organ Noëls.

Music of Louis Marchand and his contemporaries can be heard in Baroque and Before on Friday 15 February at 10pm.

WHAT DID CLARA THINK? STEPHEN MATTHEWS FINDS A FRIENDLY CRITIC Johannes Brahms and Clara Schumann had a lifelong connection.

Some think that this connection was grounded in a respect for, and love of, her husband’s compositions.

Robert Schumann had been Brahms’ great mentor and friend and had accepted him as a member of the family. Brahms found it intoxicating to be around creative people who had imagination and a presence far beyond anyone he had ever known.

As a piano virtuoso and accomplished composer, Clara was well placed to join Brahms in his intensely passionate creative life. He wrote to her, “I regret every word I write to you which does not speak of love”. It has been suggested that the only reason Brahms and Clara never married after Robert’s death was that Brahms needed the spiritual tug of undecided romance to stimulate his creativity.

As far as we can tell, that might also have been the case with Clara; the texts of her songs are mostly ‘highRomantic’, many dealing with love Clara Schumann and loss. It also seems that Brahms (probably selectively) destroyed many of the later, Brahms was able to play the complete letters they had exchanged. symphony for her. “… it does not seem to me to compare with other works of his … I miss It’s fascinating though to speculate to what the sweeping melodies,” she said. At least extent Clara inspired Brahms’ compositions. one musicologist believed that what Brahms “Can’t you remove the spell you have over achieved in his 50-minute C minor Symphony me?” he wrote as he commenced working on rivals Wagner’s achievement in his 12 hours his first symphony. Then, as he finished parts of The Ring. Does Brahms’ First Symphony of it, he took them to Clara. In September really rival The Ring, or does it consist of 1876, at her summer house in Baden-Baden, melodies that ‘seem … rather thin’? he played the outer movements on a piano.

Clara expressed tentative approval, “These Brahms’ Variations on a theme by Haydn two [movements] are grand, full of life and of were a sensation when first performed in thought from end to end; only certain of the Vienna in 1873, but the members of the melodies seem to me rather thin”. A month Gewandhaus Orchestra in Leipzig took a different view. For them, playing a work by a living composer was an act of condescension. At the end of 1874 Brahms went to Leipzig for a week of performances of his music, and the city began to warm to him.

The concert at the Gewandhaus included the Haydn Variations and Amalie Joachim sang the Alto rhapsody. Clara was in the audience and described those sitting around her as ‘calm but receptive’ and the orchestra ‘spirited’. For her, the music had once again raised her spirits above the miseries of life.

“The variations are too wonderful,” Johannes Brahms she wrote.

Brahms’ motive for writing his Concerto in A minor for violin, cello and orchestra is clear. He wrote to Clara that he had what he called ‘an amusing idea’ to compose a concerto for violin and cello. He wanted another showpiece for Robert Hausmann, the cellist for whom he had written his Cello sonata no 2. He was, however, a bit uneasy about it, because he and the violinist Joseph Joachim (for whom he had written other violin works) had been estranged for 10 years.

However, on the completion of the concerto, Joachim accepted the invitation to perform and it was rehearsed at Clara’s summer house in Baden-Baden. The 1887 premiere took place in Cologne with Joachim and Hausmann as soloists, and Brahms conducting. After the performance Brahms told a friend: “Now I know what has been missing in my life for the past few years … it was the sound of Joachim’s violin.” Clara had a pessimistic opinion, writing in her diary: “I do not believe the concerto has any future … nowhere does it have the warmth and freshness which are so often to be found in his [Brahms’] works.”

While Clara was dedicated to maintaining Robert’s legacy, she always remained one of Brahms’ closest friends. From his early 20s when he ‘sowed his wild oats’ until his later years as a crusty old bachelor protective of his feelings, Brahms never forgot the years when he was hopelessly in love, and suddenly famous thanks to the Schumanns. Brahms died from pancreatic cancer in 1897, the year after Clara died. It is said that he couldn’t go on living without his muse. Clara was, at the very least, an emotional anchor for much of Brahms’ creative life. Was it a mutually dependant creative relationship, or a ‘love story in symphony and song’?

Clara’s surviving comments about Brahms’ compositions can occasionally appear to be at odds with the views of others, including those of concertgoers of the day. In three programs we will feature a selection of Brahms’ works and Clara’s comments about them.

See if you agree or disagree with Clara’s views by listening to these programs at 2pm on 7 and 21 February and 7 March.

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JAI COURTNEY GEOFFREY RUSH DAVID GULPILIL

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HUGH JACKMAN AS GARY HART IN AN ABSORBING POLITICAL DRAMA

EMILY BLUNT, BEN WISHAW & EMILY MORTIMER.

MARY POPPINS RETURNS NOW SHOWING

MARGOT ROBBIE, SAOIRSE RONAN & GUY PEARCE

MARY QUEEN OF SCOTS NOW SHOWING

FELICITY JONES OUTSTANDING AS RUTH BADER GINSBURG.

THE FRONT RUNNER

ON THE BASIS OF SEX

NOW SHOWING

NOW SHOWING

VIGGO MORTENSON MAHERSHALA ALI

A DARK COMEDY SET IN 18TH CENTURY COURT INTRIGUE. RACHEL WEISZ, EMMA STONE & OLIVIA COLMAN

THE FAVOURITE NOW SHOWING

JAMES MCAVOY BRUCE WILLIS, SAMUEL L JACKSON

GLASS JANUARY 17

CLINT EASTWOOD STARS/ DIRECTS WITH BRADLEY COOPER

GREEN BOOK

THE MULE

NOW SHOWING

NOW SHOWING

“A DREAM PORTRAIT OF VAN GOGH BY WILLEM DAFOE” TIME.

JOHN C.REILLY & STEVE COOGAN AS THE FAMOUS COMEDY TEAM.

AT ETERNITY’S GATE

STAN AND OLLIE

FROM FEB 14

FROM FEB 21

Friday 1 February Beethoven, L. Symphony no 4 in B flat, op 60 (1806). CO of Europe/Nikolaus Harnoncourt.

Teldec 2292-46452-2 34

Mozart, W. Symphony no 35 in D, K385, Haffner (1782). Academy of Ancient Music/ Christopher Hogwood.

L’Oiseau-Lyre 421 085-2 22

12:00 A JAZZ HOUR with Barry O’Sullivan

22:00 BAROQUE AND BEFORE Plucked and bowed Prepared by Susan Foulcher

13:00 CHAMBER MOZART Prepared by Paul Hopwood

Gabriel Pierné

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen Chabrier, E. Fête polonaise, from Le roi malgré lui (1887; transcr. Patterson).

President’s Own United States Marine Band/ Michael Colburn.

Altissimo ALT63132 8 Pierné, G. Violin sonata, op 36 (1900; transcr.

Langevin). Robert Langevin, fl; Jonathan Feldman, pf.

Avie AV2213 22 Charpentier, M-A. Salve Regina (c1675; trancr. Lambert). Gulbenkian Foundation of Lisbon Symphony Ch & O/Michel Corboz.

Erato 2292-45083-2 8 Saint-Saëns, C. Adagio, from Symphony no 3, op 78 (1886; transcr.). Robert Delcamp, org.

Naxos 8.557285 11 Milhaud, D. Saudades do Brasil: dance suite, op 67 (1921; transcr. Kuisma). Markus Leoson, mar; Niklas Sivelöv, pf.

Caprice CAP 21743 12 Ravel, M. Le tombeau de Couperin (1913-17; transcr. Walter). Claire Désert, pf; Moraguès Quintet.

Le Chant du Monde LDC2781116 17 10:30 CONCERT HALL Prepared by Paul Cooke Stenhammar, W. Symphonic overture: Excelsior! op 13 (1896). Gothenburg SO/ Neeme Järvi.

DG 445 857-2 13 Beach, A. Piano concerto in C sharp minor, op 45 (1897-99). Danny Driver, pf; BBC Scottish SO/Rebecca Miller.

Hyperion CDA68130 35

Mozart, W. Clarinet quintet in A, K581 (1789).

Members of Vienna Octet.

Decca 417 643-2 28 Sonata in D for two pianos, K448 (1781).

Christoph Eschenbach, pf; Justus Frantz, pf.

DG 435 042-2 24 14:00 MUSIC FROM ELLIS ISLAND Part 3 Prepared by Frank Morrison Schubert, F. Impromptu in B flat, D935 no 3 (1827). Lili Kraus, pf.

Vanguard 08 4068 71 11 Castelnuovo-Tedesco, M. Guitar concerto in D, op 99 (1939). Alirio Diaz, gui; I Solisti di Zagreb/Antonio Janigro.

Vanguard 08 9003 72 19 Prokofiev, S. Scythian suite, op 20 (1915).

Los Angeles PO/André Previn.

Philips 420 934-2 20 Beethoven, L. Sonata no 21 in C, op 53, Waldstein (1803-04). Artur Schnabel, pf.

EMI CHS 7 63765 2 24 Stravinsky, I. Four Norwegian moods (1942).

Bergen PO/Dmitri Kitaienko.

Virgin 5 61322 2 10 Kodály, Z. Variations on a Hungarian folksong, The peacock (1938-39). Chicago SO/Antal Dorati.

Mercury 478 5092 25 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small Villa-Lobos, H. Bachianas brasileiras no 2 (1930). Jena PO/David Montgomery.

Arte Nova 74321 54465 2 23 Walton, W. Cello concerto (1956). Li-Wei Qin, vc; London PO/Zhang Yi. ABC 481 1243 31 Strauss, R. Thus spake Zarathustra, op 30 (1895-96). Melbourne SO/Andrew Davis.

ABC 481 1122 34

Hildegard of Bingen. Responsorium: Ave, Maria, o auctrix vitae, from De Sancta Maria.

Per-Sonat.

Christophorus CHR 77376 8 Anon. Constantia; Non na el so amante.

Andrew Lawrence-King, medieval hp.

Hyperion CDS44253 6 La seconde estampie royal; Danse royal I. Roy Whelden, fiddle; Shira Kammem, vielle; Roy Whelden, vielle; Kit Higginson, psaltery; Cheryl Ann Fulton, hp; Peter Maund, perc.

Nonesuch 979 240-2 6 Trad. Mariam matrem. Renaissance Players/ Winsome Evans.

Tall Poppies TP229 8 Niewerth, H. Allemande, courante, sarabande. Tommie Andersson, lute.

Musica Rediviva MRCD 003 6 Anon. La mañana de San Juan; O gelosia de amanti. Sara Stowe, sop; Matthew Spring, vihuela.

Chandos CHAN 0546 7 Sanz, G. Españoletas; Clarines y trompetas; Pavanas; Folias. Barry Mason, baroque gui.

Amon Ra SAR 45 10 Marais, M. Les voix humaines II.63, from Deuxième livre (pub. 1701). Jordi Savall, va da gamba; Hopkinson Smith, theorbo; Anne Gallet, hpd.

Alia Vox AVSA 9872 A/E 5 Bach, J.S. Sonata no 6 in G, BWV1019 (bef. 1725). Elizabeth Wallfisch, vn; Paul Nicholson, hpd.

Hyperion CDD22025 12 Dowland, J. Mr John Langton’s pavan; Mr George Whitehead his alman; The Earle of Essex galiard; The King of Denmark’s galiard.

Jacob Heringman, lute; Rose Consort of Viols.

Naxos 8.553326 9 Alfonso X, el Sabio O que pola Virgen lexia, from Cantigas de Santa Maria. Renaissance Players/Winsome Evans.

Celestial Harmonies 13091-2 8 Purcell, H. Three fantazias à 4 (1680).

Fretwork.

Virgin VC 5 45062 2 11 Schein, J. Suite no 2 in D minor, from Banchetto musicale (pub. 1617). Hespèrion XX/Jordi Savall.

Erato 5 62028 2 8 FEBRUARY 2019

9

Saturday 2 February 14:30 CHAMBER MOZART Prepared by Paul Hopwood Mozart, W. Keyboard trio in G, K496 (1786).

Borodin Trio.

Chandos CHAN 8536/7 28 15:00 SATURDAY MATINEE Mendelssohn’s St Paul Prepared by Elaine Siversen

Marc-André Hamelin

Frank Martin

0:00 CLASSIC-ALL THROUGH THE NIGHT

11:30 ON PARADE Music that’s band Prepared by Owen Fisher

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 THE PIANO ALONE Prepared by Mariko Yata Brahms, J. Three intermezzi, op 117 (1892).

Marc-André Hamelin, pf.

Hyperion CDA67471/2 16 Friedman, I. Menuetto in D, after Mozart’s Divertimento, K334. Stephen Hough, pf.

Hyperion CDA67598 5 Rachmaninov, S. Piano sonata no 2 in B flat minor, op 36 (1913). Leslie Howard, pf.

Melba MR301127 28

Sousa, J.P. Marching with Sousa. WilliamsFairey Engineering Band.

Delta 60357 4 Copland, A. Hoe-down, from Rodeo. Summit Brass.

Summit DCD 171 3 Verdi, G. Miserere, from La traviata. Mark Lawrence, bar; David Hickman, cornet; American Serenade Band/Henry Charles Smith.

Summit DCD 114 3

10:00 MUSIC OF THE DANCE Prepared by Gerald Holder

Brown, N. Singin’ in the rain (1952). Tredegar Town Band/Nicholas Childs.

EMI 5 21452-2 4

German, E. Shepherd’s dance, from Henry VIII (1891). Northern Sinfonia/Richard Hickox.

EMI CDC 7 49933 2 4

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Howarth, E. English dances. Stockholm Philharmonic Brass Ensemble.

BIS CD-223 10

13:00 ERNEST ANSERMET REMEMBERED Prepared by Maureen Meers

Alwyn, W. Elizabethan dances (1956-57).

Royal Liverpool PO/David Lloyd-Jones.

Naxos 8.570144 18 Quilter, R. Three English dances, op 11 (1910). Northern Sinfonia/Richard Hickox.

EMI CDC 7 49933 2 7 Holborne, A. Three Elizabethan dances (pub. 1599). Atlantic Brass Quintet.

Summit DCD 119 4 Britten, B. Choral dances, from Gloriana, op 53 (1953). Ian Partridge, ten; The Sixteeen; Helen Tunstall, hp; Harry Christophers, cond.

Collins 12862 12 Ballet: Plymouth town (1931). BBC SO/Grant Lewellyn.

Decca 478 5364 27 10

Caillet, L. Memories of Stephen Foster.

Allentown Band/Ronald Demkee.

AMP 28229 10

Stravinsky, I. Capriccio (1929). Igor Stravinsky, pf; Straram Concerts O. LP Seraphim 60183 17 Martin, F. Petite symphonie concertante (1945).

Decca 430 003-2 20 Lalo, E. Overture to Le roi d’Ys (1875).

Decca 425 083-2 12 Debussy, C. Rondes de printemps, from Images (1905-12).

Decca 478 2826 8 Falla, M. de Excerpts from The threecornered hat (1919). Teresa Berganza, mezz.

Decca 417 771-2 22 Suisse Romande O (4 above) Ernest Ansermet, cond (all above)

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

Mendelssohn, F. Oratorio: St Paul, op 36. Anita Kyle, sop; Maria Timofeyeva, cont; Andrew Goodwin, ten; David Hidden, bass; Sydney University Graduate Ch & O/ Christopher Bowen.

SUGC recording 1:55 Prelude and fugue in C minor, op 37 no 1 (1837). Douglas Lawrence, org.

Move MD 3340 9 Sonata in A, op 65 no 3 (1844). Michael Dudman, org.

Walsingham 3 WAL 8023 2 10 17:30 STAGING MUSIC Prepared by Angela Cockburn Shakespeare: last four plays 18:00 SOCIETY SPOT Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Hitchcock music: Part 1 Prepared by Adam Bowen Beaver - Levy. The thirty-nine steps (1935).

Silva Screen FilmCD 159 4 Levy - Williams. The lady vanishes (1938).

Silva Screen FilmCD 320 3 City of Prague PO/Paul Bateman (2 above) Waxman, F. Rebecca (1940). Royal Scottish NO/Joel McNeely.

Varese-Sarabande 302 066 160 2 10 Rozsa, M. The dream sequence; The mountain lodge, from Spellbound (1945).

National PO/Charles Gerhardt.

RCA Victor GD80911 6 Spellbound theme (1945). London Festival Ch & O/Stanley Black.

ABC 471 768-2 5 Webb, R. Notorious (1946). Utah SO/Charles Ketcham.

Varese-Sarabande VCD 47225 6 Waxman, F. The Paradine case (1947).

Queensland SO/Richard Mills.

Varese-Sarabande 704.320 12 Lucas, L. Stage fright (1950). Jaroslava Eliosova, pf; City of Prague PO/Paul Bateman.

Silva Screen 159 5 “The power of classical music turns my words into fire.” ― A.D. Posey

Sunday 3 February

Saturday 2 February

Anne Sofie von Otter

Barbara Bonney

Monica Huggett

20:00 THE WORD TRANSFORMED Prepared by Paul Cooke

0:00 CLASSIC-ALL THROUGH THE NIGHT

Rode, P. Violin concerto no 8 in E minor, op 13 (1803-04). Friedemann Eichhorn, vn; Jena PO/Nicolás Pasquet.

Naxos 8.573054 18

Holst, G. Overture: Walt Whitman, op 7 (1899). Ulster O/JoAnn Falletta.

Naxos 8.572914 7 Tchaikovsky, P. Paraphrase on themes from Eugene Onegin (1879; arr. Pabst). Shura Cherkassky, pf.

Decca 433 654-2 13 Warren, E. Along the western shore (1941-47; orch. 1942-54). Royal Scottish NO/Ronald Corp.

Dutton Epoch CDLX 7235 12 Zemlinsky, A. Six songs to poems by Maurice Maeterlinck (1910-13). Anne Sofie von Otter, mezz; North German RSO/John Eliot Gardiner.

DG 439 928-2 20 Loeffler, C. The death of Tintagiles (1897/1901). Jennie Hansen, va d’amore; Indianapolis SO/John Nelson.

New World NW332-2 23 Dvorák, A. Cypresses (1887). Lindsay String Quartet.

ASV DCA 749 32 22:00 SATURDAY NIGHT AT HOME Prepared by Adam Bowen Fiorenza, N. Cello concerto in F (1728).

Catherine Jones, vc; Van Diemens Band.

ABC 481 6359 16 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Staatskapelle Berlin/Otmar Suitner.

Denon 38C37-7040 44 Debussy, C. La mer (1903-05). St Cecilia Academy O/Leonard Bernstein.

DG 429 728-2 26 Vaughan Williams, R. The lark ascending (1914). Dimity Hall, vn; Sinfonia Australis/ Antony Walker.

ABC 482 2433 17 Kelly, F. Elegy: In memorium Rupert Brooke (1915). Tasmanian SO/Johannes Fritzsch.

ABC 482 2433 9

6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSIC SACRA Prepared by Brian Drummond Monteverdi, C. Gloria à 7 voci, from Selva morale e spirituale (pub. 1640). Les Arts Florissants/William Christie.

Harmonia Mundi HMA 1901316/18 13 Mozart, W. Missa solemnis in C, K337 (1780). Barbara Bonney, sop; Elisabeth von Magnus, cont; Uwe Heilmann, ten; Gilles Cachemaille, bass; Arnold Schoenberg Choir; Concentus Musicus, Vienna/Nikolaus Harnoncourt.

Teldec 4509-90494-2 22 Schubert, F. Psalm 92, D953 (1828). Jennifer Adams-Barbaro, sop; Judith Harris, mezz; Neil MacKenzie, ten; Stephen Charlesworth, bar; Geoffrey Davidson, cantor; BBC Singers/ Jane Glover.

Collins 14992 6 Handel, G. Coronation anthem: My heart is inditing, HWV261. Elizabeth Vaughan, sop; Alexander Young, ten; Forbes Robinson, bass; Choir of King’s College, Cambridge; Academy of St Martin in the Fields/David Willcocks.

Decca 421 150-2 13 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Cherubini, L. Overture to Lodoïska (1791).

San Remo SO/Piero Bellugi.

Naxos 8.557908 11 Le Suer, J-F. March in G; Motets: Tu es Petrus; Unxerunt Salomonem (1804). Brass Ensemble Guy Touvron; St Petersburg Capella O/Vladislav Chernushenko.

Koch 3-1208-2 11 Reicha, A. 18 Variations and a fantasy on Mozart’s Se vuol ballare, op 51 (1804). JeanPierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc.

Sony SK 44568 17

Jadin, H. String quartet, op 4 no 1 (1798).

Rasumovsky Quartet.

ASV GAU 151 11 Kreutzer, R. Grand quintet in C (1790-99).

Sarah Francis, ob; Allegri String Quartet.

Hyperion CDA66143 15 Gossec, F-J. Symphonie à 17 parties in F (1809). Concerto Cologne/Werner Ehrhardt.

Capriccio C8019 24 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson A 20-part series based on his comprehensive book on the development of jazz in Australia 13:00 WORLD MUSIC: Whirled Wide with Anna Tranter Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 FRENCH BAROQUE Prepared by Rex Burgess Charpentier, M-A. Ballet music from Médée (1693). Les Arts Florissants/William Christie.

Erato 3984-26129-2 9 Leclair, J-M. Violin sonata in D, op 9 no 6 (pub. 1743). Monica Huggett, vn; Christophe Coin, bass viol; Christopher Hogwood, hpd.

L’Oiseau-Lyre 436 185-2 15 Jacquet de la Guerre, E-C. Cantata no 4: Jonas (1708). Judith Nelson, sop; Bay Area Women’s PO/JoAnn Falletta.

Newport Classic NCD 60102 19 Aubert, J. Concerto grosso no 4 in E minor, op 26, Le carillon (1739). Collegium Musicum 90/Simon Standage.

Chandos CHAN 0577 11 FEBRUARY 2019

11

Sunday 3 February

Monday 4 February

15:00 SUNDAY SPECIAL Hindemith: violist and composer Prepared by James Nightingale

Hindemith, P. Kammermusik no 5, op 36 no 4 (1924-25). Konstanty Kulka, vn; Kim Kashkashian, va; Norbert Blume, va d’amore; Lynn Harrell, vc; Ronald Brautigam, pf; Leo van Doeselaar, org; Royal Concertgebouw O/ Riccardo Chailly.

Decca 433 816 2 19 Viola sonata, op 11 no 5 (1919). Nobuko Imai, va.

BIS CD-571 19 Mozart, W. String quartet no 21 in D, K575, Prussian no 1 (1789). Australian Ensemble.

Fine Music concert recording 21 Hindemith, P. Trauermusik (1936). Brett Dean, va; Queensland SO/Werner Andreas Albert. cpo 999 492-2 8 Walton, W. Viola concerto (1929). Nobuko Imai, va; BBC Welsh NO/Tadaaki Otaka.

BBC Music MM295 25 Hindemith, P. Viola sonata, op 11 no 4 (1919). Heinrich Koll, va; Madoka Inui, pf.

Naxos 8.557606 16 17:00 HOSANNA Prepared by Stephen Matthews Hymns: Dear Lord and Father of mankind; There is a green hill far away; O praise ye the Lord. Choir of Liverpool Cathedral; Ian Tracey, org; David Poulter, cond.

Priory PRCD 1180 10 Telemann, G. Cantata no 6 for Epiphany.

Harmonischer Gottesdienst.

Capriccio 49-498 15 Ryba, J. Preludium in B. Michal Novenko, org.

Rosa RDO760 4 Anon. Medieval Armenian hymn: Good tidings to you, Mary. Coro Vox Eterna/Anna Hamre.

Delos DE 3521 5 Bach, J.S. Der lieben Sonne Licht und Pracht, BWV446 (pub 1736). Klaus Mertens, bar; Wouter Moller, vc. cpo 999 407-2 3 Schütz, H. Magnificat. Hilliard Ensemble; Hannover Boys Choir; London Baroque/Heinz Hennig.

Warner 5054197719028 8 Hymns: The Lord’s my shepherd; Guide me O Thou great Jehovah. Huddersfield Choral Society/Wyn Morris.

Decca 452 252-2 6 12

Kristjan Järvi

Stephen Hough

18:00 SMALL FORCES Prepared by Di Cox

0:00 CLASSIC-ALL THROUGH THE NIGHT

Weber, C.M. Clarinet quintet in B flat, op 34 (1815). Dieter Klöcker, cl; members of Consortium Classicum.

Orfeo C314 941 A 27 Dvorák, A. Bagatelle, op 47 no 1 (1878).

Rudolph Firkusny, pf; Juilliard String Quartet.

CBS M2YK45672 3 Haydn, J. String quartet in G minor, op 74 no 3 (1793). Schuppanzigh Quartet.

Accent ACC 24223 24 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Verdi, G. Overture to Nabucco. La Scala PO/ Riccardo Muti.

Sony 88985465182 7 Haydn, J. Cello concerto no 1 in C. Jacqueline du Pré, vc; English CO/Daniel Barenboim.

Warner 0 91937 2 26 Brahms, J. Hungarian dance no 1 in G minor.

Royal Concertgebouw O/Bernard Haitink.

Decca 4782365 DC7 3 Vaughan Williams, R. Symphony no 5 in D (1938-43). London PO/Bernard Haitink.

Warner 9 84762 2 43 20:30 NEW HORIZONS Prepared by Calogera Panvino Lachenmann, H. Concertini (2005).

Klangforum Wien/Johannes Kalitzke.

Kairos 0012652KAI 37 Reich, S. The desert music (1982-84).

Chorus Sine Nomine; Tonkünstler O/Kristjan Järvi.

Chandos CHSA 5091 46 22:00 AFTER HOURS JAZZ with Kevin Jones “Music is the only noise for which one is obliged to pay.” — Alexandre Dumas

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

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1810 Prepared by Frank Morrison Cherubini, L. Overture to The crescendo (1810). Tuscan O/Donato Renzetti.

Europa 350-221 12 Hummel, J. Mandolin sonata in C, op 35 (1810). Dorina Frati, mand; Stefano Fiuzzi, pf.

Dynamic CDS 128 17 Wesley, S. Excerpt from In exitu Israel (1810). Choir of Gonville and Caius College, Cambridge/Geoffrey Webber.

ASV GAU 157 6 Rossini, G. Variations in C (1810). Frank van den Brink, cl; European CO per Musica/Julian Reynolds.

Globe GLO 6014 13 Meyerbeer, G. Bei labbri che amore (1810).

Sivan Rotem, sop; Jonathan Zak, pf.

Naxos 8.572367 4 Weber, C.M. Overture to Silvana (1810). New Zealand SO/Antoni Witt.

Naxos 8.570296 6 Beethoven, L. String quartet in F minor, op 95, Serioso (1810-11). Emerson String Quartet.

DG 423 398-2 20 10:30 CONCERT HALL Prepared by Stephen Wilson Respighi, O. Suite: The birds (1927).

Bournemouth Sinfonietta/Tamás Vásáry.

Chandos CHAN 8913 20 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 27

Tuesday 5 February

Monday 4 February Schubert, F. Symphony no 2 in B flat, D125 (1815). Royal Concertgebouw O/Nikolaus Harnoncourt.

Teldec 4509-91184-2 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 THE SEA Prepared by Stephen Wilson Weber, C.M. Ocean! Thou mighty monster, from Oberon (1825-26). Joan Sutherland, sop; London SO/Richard Bonynge.

Decca 480 4670 8 Glazunov, A. Fantasy: The sea, op 28 (1889). Moscow SO/Igor Golovchin.

Naxos 8.553512 22 Elgar, E. Sea pictures, op 37 (1899).

Elizabeth Campbell, mezz; Adelaide SO/ Nicholas Braithwaite.

ABC 476 796-6 24 Ciurlionis, M. The sea (1903-07). Slovak PO/ Juozas Domarkas.

Marco Polo 8.223323 27 14:30 A CLASSICAL SELECTION Prepared by Paul Hopwood Danzi, F. Horn sonata in E minor, op 44 (pub.

1814). Michael Thompson, hn; Philip Fowke, pf.

Naxos 8.554694 22 Mozart, W. Clarinet quintet in E flat, K452 (1784). George Pieterson, cl; Han de Vries, ob; Brian Pollard, bn; Vicente Zarzo, hn; Radu Lupu, pf.

Decca 414 291-2 25 Schubert, F. Piano trio in B flat, D898 (1827).

Beaux Arts Trio.

Philips 438 700-2 35 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Celeste Haworth 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 Lithuanian composer Mikalojus Ciurlionis was also a symbolist writer of poems and novels and, as a painter, was one of the pioneers of abstract art. He wrote about 400 pieces of music in the Romantic tradition.

William Lawes

Malcolm Williamson

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ RHYTHM with Jeannie McInnes

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Debussy, C. La boîte à joujoux (1913). Noël Lee, pf.

Auvidis V 4440 26 Lawes, W. Sonata no 8 in D for violin and continuo. Sigiswald Kuijken, vn; Wieland Kuijken, bass viol; Gustav Leonhardt, org.

RCA GD 71954 11 Bach, C.P.E. Flute quartet no 1 in A minor, Wq93 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp.

L’Oiseau-Lyre 433 189-2 15 Britten, B. Canticle I: My beloved is mine, op 40 (1947). Peter Pears, ten; Benjamin Britten, pf.

Decca 478 5364 7 Schmitt, F. Three rhapsodies for piano, op 53 (1903-04). Invencia Piano Duo. Grand Piano GP730X 22 10:30 CONCERT HALL Prepared by Rex Burgess Debussy, C. La mer (1903-05). St Cecilia Academy O/Leonard Bernstein.

DG 429 728-2 26 Delius, F. Cello concerto (1920-21).

Jacqueline du Pré, vc; Royal PO/Malcolm Sargent.

EMI CZS 5 68132 2 25 Haydn, J. Symphony in E flat, Hob.I:103, Drumroll (1785). Collegium Musicum 90/ Richard Hickox.

Chandos CHAN 0655 30

An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands 13:00 ALL AROUND THE WORLD Prepared by Paul Cooke d’Indy, V. Diptyque méditerranéen, op 87 (1926). Iceland SO/Rumon Gamba.

Chandos CHAN 10585 16 Williamson, M. Sydney, from Travel diaries for piano. Antony Gray, pf.

ABC 472 902-2 10 Ysaÿe, E. String quartet, London (arr. J. Ysaÿe). Kryptos Quartet.

Etcetera KTC 4034 14 Grofé, F. Mississippi suite (1925). Hollywood Bowl SO/Felix Slatkin.

EMI 5 74117 2 13 14:00 MUSICAL FAMILIES The Brown siblings Prepared by Jennifer Foong Mozart, L. Sinfonia da caccia. Hermann Baumann, hn; Radovan Vlatkovic, hn; Timothy Brown, hn; Nicholas Hill, hn.

Philips 416 815-2 11 Sammartini, G. Recorder concerto in F. Michala Petri, rec.

Philips 400 075-2 12 Academy of St Martin in the Fields/Iona Brown (2 above) Schumann, R. Berg’ und Burgen schaun herunter, from Liederkreis, op 24 (1840). Toby Spence, ten; Ian Brown, pf.

Hyperion CDA66930 4 Britten, B. Lachrymae, op 48a (1976). Lars Anders Tomter, va; Norwegian CO/Iona Brown.

Decca 478 5364 16 Taffanel, P. Andante pastoral et scherzettino for flute. Susan Milan, fl.

Chandos CHAN 8609 6 FEBRUARY 2019

13

Tuesday 5 February

Wednesday 6 February

Schubert, F. Der Hirt auf dem Felsen, D965 (1828). Felicity Lott, sop; Michael Collins, cl.

IMP PCD 868 12 Ian Brown, pf (2 above) Geminiani, F. Concerto grosso in D minor, op 7 no 2 (pub. 1746). Malcolm Latchem, vn; Stephen Shingles, va; Denis Vigay, vc; Ian Watson, hpd; Iona Brown, vn & dir.

ASV DCA 724 9 Vaughan Williams, R. The lark ascending (1914/20). Iona Brown, vn; Neville Marriner, cond.

Decca 460 357-2 16 Academy of St Martin in the Fields (2 above) Saint-Saëns, C. Septet in E flat, op 65 (1881). Paul Archibald, tpt; Marcia Crayford, vn; Jeremy Williams, vn; Roger Chase, va; Christopher van Kampen, vc; Rodney Slatford, db, Ian Brown, pf.

Virgin VC 7 90751-2 18 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Haydn, J. Keyboard sonata no 62 in E flat, Hob.XVI:52 (1794-95). Mikhail Pletnev, pf.

Virgin 5 45254 2 23 Beethoven, L. String quintet in C, op 29 (1802). Pinchas Zukerman, va; Tokyo String Quartet.

RCA 661 284-2 34 Arne, T. Trio sonata in E minor, op 3 no 7 (pub. 1757). Utako Ikeda, fl; Catherine Weiss, vn; Mark Caudle, vc; Paul Nicholson, hpd.

Amon Ra SAR 42 12 Mozart, W. Divertimento in D, K334 (1779).

Robert Johnson, hn; Ben Jacks, hn; Hazelwood Quartet.

Fine Music concert recording 42 Poet Siegfried Sassoon said of George Meredith’s poem The Lark Ascending that ‘one has only to read the poem a few times to become aware of its perfection’. Part of the second verse reads: ‘And ever winging up and up / Our valley is his golden cup / And he the wine which overflows / to lift us with him as he goes’. This poem inspired Vaughan Williams’ soaring ‘pastoral romance’ of the same name.

14

Edward German

Erich Korngold

0:00 CONTEMPORARY COLLECTIVE

13:00 SNOWFALL Prepared by Stephen Wilson

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Frank Morrison Suk, J. Symphonic poem: Prague, op 26 (1904). BBC SO/Jirí Belohlávek.

Chandos CHSA 5109 25 Song of love, from Six piano pieces, op 7 no 1 (1891-93). Risto Lauriala, pf.

Naxos 8.553762 8 Ten songs, op 15 (1899). Prague Chamber Choir; Marian Lapsansky, pf; Daniel Buranovsky, pf; Josef Pancík, cond.

Chandos CHAN 9257 18 A child’s Christmas dream lullaby, op 33 (1910-12). Margaret Fingerhut, pf.

Chandos CHAN 9026/7 3 String quartet no 1 in B flat, op 11 (1896). Suk Quartet.

CRD 3472 27 10:30 CONCERT HALL Prepared by Elaine Siversen Elgar, E. Suite from King Arthur (1923).

Bournemouth Sinfonietta/George Hurst.

Chandos CHAN 6582 23 Alwyn, W. Harp concerto, Lyra angelica (1954). Suzanne Willison, hp; Royal Liverpool PO/David Lloyd Jones.

Naxos 8.557647 28 German, E. Symphony no 2 in A minor, Norwich (1893). National SO of Ireland/ Andrew Penny.

Marco Polo 8.223726 32 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations

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

Ysaÿe, E. Snow of yesteryear, op 23 (arr. J. Ysaÿe). Rudolph Werthen, vn; Belgian RT CO/Edgard Doneux.

LP EMI 4C 161-9589/90 10 Elgar, E. The snow, op 26 no 1 (1894).

Liverpool Philharmonic Choir; Royal Liverpool PO/Charles Groves.

EMI CDC 7 47511 2 6 Korngold, E. Excerpts from The snowman (1908; orch. Zemlinsky 1910). Peter Manning, vn; BBC PO/Matthias Bamert.

Chandos CHAN 9631 23 Rimsky-Korsakov, N. Suite from the opera, The snow maiden (1898). USSR SO; USSR Bolshoi TO/Yevgeny Svetlanov.

Gramzapis GCD 00185 13 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 HISTORY OF THE ORCHESTRA Part 5 Prepared by Michael Morton-Evans Haydn, J. Symphony in B flat, Hob.I:102 (1794). Capella Istropolitana/Barry Wordsworth.

Naxos 8.550382 26 Beethoven, L. Symphony no 1 in C, op 21, mvt 1 (1800). Berlin PO/Herbert von Karajan.

DG 429 037-2 9 Strauss, R. A hero’s life, op 40, mvt 3 (189798). Sydney SO/Edo de Waart.

ABC 476 595-7 13 Haydn, J. Symphony in D, Hob.I:104, London, mvt 3 (1795). London Classical Players/Roger Norrington.

EMI CDC 5 55002 2 5

Wednesday 6 February

Lorna Windsor

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by Elaine Siversen Mozart, W. Ascanio in Alba, K111. Pastoral opera in two acts. Libretto by Giuseppe Parini. First performed Milan, 1771.

VENERE (VENUS): Lorna Windsor, sop ASCANIO: Michael Chance, ct SILVIA: Jill Feldman, sop ACESTE: Howard Milner, ten Paris-Sorbonne Choir; Concerto Armonico, Budapest/Jacques Grimbert.

Naxos 8.660040-1 2:39 Synopsis at finemusicfm.com/Opera 23:00 MOUNTAIN IDYLL Prepared by Derek Parker Novák, V. In the Tatra mountains, op 26 (1902). Royal Liverpool PO/Libor Pesek.

Virgin 5 45251 2 16 Delius, F. On the mountains (1889-91/92).

Bergen PO/Andrew Davis.

Chandos CHSA 5131 14 Holland, W. Blue mountains rhapsody (2002). Emlyn Lewis-Jones, vn; Mathew Clarke, pf.

W&C Holland 0420 216316 9 Berwald, F. Reminiscence of the Norwegian mountains (1842). Gävle SO/Petri Sakari.

Naxos 8.555370 9 Shostakovich, D. Waltz, from Golden mountains, op 30 (pub. 1959). Russian PO/ Thomas Sanderling.

DG 477 6111 5 “Classical music is the best, and cheapest, mind-altering drug in the world.” ― Kamand Kojouri

Thursday 7 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore

13:00 THE SPIRIT OF BOHEMIA Prepared by Stephen Matthews

9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Chris Blower

Vanhal, J. Symphony in G. City of London Sinfonia/Andrew Wilkinson.

Naxos 8.554138 19

Czerny, C. Variations on a theme by Rode, op 33 (1830). Melvyn Tan, pf.

Oryx ONYX 4156 10

Zelenka, J. Capriccio no 1 in D. Radio Bremen O/Jürgen Sonnentheil. cpo 999 629-2 16

Mendelssohn, Fanny. Lieder, op 9: no 10, Verlust; no 12, Die Nonne; no 7, Sehnsucht (1846). Barbara Bonney, sop; Geoffrey Parsons, pf.

Teldec 2292-44946-2 6

14:00 WHAT DID CLARA THINK? Part 1 Prepared by Stephen Matthews

Dauprat, L. Sonata, op 9 no 10 (1830). Sören Hermansson, hn; Erica Goodman, hp.

BIS CD-648 17 Fibich, Z. Piano trio in F minor (1872).

Smetana Trio.

Supraphon SU 3927-2 16 Pfitzner, H. Lieder, op 4 nos 1 to 4 (1888-89).

Andreas Schmidt, bar; Rudolf Jansen, pf. cpo 999 364-2 10 Paganini, N. Trio in D for violin, cello and guitar (1833). Jean-Jacques Kantorow, vn; Mari Fujiwara, vc; Anthea Gifford, gui.

Denon CO 77069 21 10:30 CONCERT HALL Prepared by Anne Irish Nielsen, C. Rhapsody overture: An imaginary journey to the Faroe Islands (1927). Danish NSO/Thomas Dausgaard.

Da Capo 6.220518 10 Rachmaninov, S. Piano concerto no 2 in C minor, op 18 (1901). Leif Ove Andsnes, pf; Berlin PO/Antonio Pappano.

EMI 4 74813 2 33 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Tasmanian SO/David Porcelijn.

ABC 461 919-2 39 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

Stamitz, J. Piano trio no 1 in B, op 8.

Stephan Schardt, vn; Michael Behringer, hpd.

MD+G 903 1862-6 14

Brahms, J. Piano trio no 1 in B, op 8.

Gutman Trio.

Brilliant Classics 94381 35 Excerpts from Rinaldo, op 50 (1863-68).

Prague Philharmonic Ch; Czech PO/Giuseppi Sinopoli.

DG 479 4220 24 Piano quartet no 2 in A, op 26. Isabelle Faust, vn; Bruno Gluranna, va; Alain Meunier, vc; Derek Han, pf.

Brilliant Classics 94381 45 How lovely is Thy dwelling place, from An English Requiem. Choir of King’s College, London/Joseph Fort.

DG 479 4220 6 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Madilina Tresca Liszt, F. I cannot find peace, S270a no 1. Kiri Te Kanawa, sop; Roger Vignoles, pf.

Decca 478 6419 6 Balakirev, M. Symphonic poem: Tamara (1867-82; transcr.). Aurora Piano Quartet.

Naxos 8.557717D 19 Berlioz, H. Night of intoxication and infinite ecstasy, from The Trojans (1856-58).

Françoise Pollet, sop; Gary Lakes, ten; Montreal SO/Charles Dutoit.

ABC 480 6412 8

CONTINUING AND NEW PROGRAM SERIES Music from Ellis Island prepared by Frank Morrison: Fridays 1, 15 at 2pm A History of Jazz in Australia prepared by Bruce Johnson: Sundays 3, 17 at 12 noon Musical Families prepared by Jennifer Foong: Tuesdays 5, 19 at 2pm Evenings with the Orchestra, Music from the New World prepared by David Brett: Friday 15 at 8pm Come to the Opera prepared by Derek Parker: Saturday 16 at 1pm New: What did Clara Think? prepared by Stephen Matthews: Thursdays 7, 21 at 2pm New: Sunday Special, Rarities from the Russian Archives prepared by Paolo Hooke: Sunday 17 at 3pm FEBRUARY 2019

15

Friday 8 February

Thursday 7 February

13:00 CHAMBER BEETHOVEN Prepared by Paul Hopwood Beethoven, L. Piano sonata no 15 in D, op 28, Pastorale (1801). András Schiff, pf.

ECM 476 5875 25 String quartet in A, op 18 no 5 (1800). New Budapest Quartet.

Hyperion CDA66403 29 14:00 BRITISH SYMPHONISTS Prepared by Ron Walledge

Georg Muffat

Joaquin Rodrigo

Liszt, F. Die Trauergondel, S134 (1882-85).

Steven Isserlis, vc; Thomas Adès, pf.

Hyperion CDA67948 8

0:00 CONTEMPORARY COLLECTIVE

Berlioz, H. The burning flame of love, from The damnation of Faust, op 24 (1845-46).

Yvonne Minton, mezz; Paris O/Daniel Barenboim.

ABC 470 241-2 10 Tchaikovsky, P. Manfred symphony, op 58 (1885). Vienna PO/Lorin Maazel.

Decca 480 6617 55 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by James Nightingale Lyadov, A. The enchanted lake, op 62 (1909). Queensland SO/Vladimir Verbitsky.

ABC 476 3510 9 Corea, C. Children’s songs suite (1984; arr. Stewart). Nick Russoniello, sax; Acacia Quartet. www.nickrussoniello.com.au 9 Bellman, C. From Fredmans epistlar and sänger (1790-91; arr. Andersson). Pascal Herrington, ten; Marais Project.

Fine Music concert recording 10 Schubert, F. Magnificat in C, D486 (1815).

Sydney University Graduate Choir & O/ Christopher Bowen.

SUGC recording 10 Muffat, G. Sonata no 5 in G (pub. 1682).

Tasmanian Symphony Chamber Players/ Geoffrey Lancaster.

ABC 456 667-2 21 Brahms, J. Variations on a theme by Schumann, op 23, for piano duet (1861).

Stephen Emmerson, Bernard Lanskey, pf.

Tall Poppies TP154 17 Williamson, M. Piano concerto no 3 in E flat (1962). Malcolm Williamson, pf; London PO/ Leonard Dommett.

Lyrita SRCD.280 32

16

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Stephen Wilson Scarlatti, D. Ballet: The good-humoured ladies (arr. Tommasini). English CO/Richard Bonynge.

ABC 482 1059 12 Dvorák, A. Allegro, from Cello concerto in B minor, op 104 (1894-95; arr.). Benett Tsai, vc; Joshua Tsai, pf.

3MBS concert recording 12 Rodrigo, J. Concierto de Aranjuez (1939; transcr. 1974). Gwyneth Wentink, hp; Asturias SO/Maximiano Valdés.

Naxos 8.555843 23 Dohnányi, E. Variations on a nursery song, op 25. Zoltán Kocsis, pf; Budapest FO/Iván Fischer.

Philips 456 874-2 23 Liszt, F. Adelaïde, by Beethoven (transcr.

1839). Leslie Howard, pf.

Hyperion CDS44567 8 10:30 CONCERT HALL Prepared by Paul Hopwood Berlioz, H. Overture: Roman carnival, op 9 (1844). Sydney SO/Willem van Otterloo.

ABC 442 377-2 9 Respighi, O. Rossiniana: Suite for orchestra, after Rossini (1925). Ottorino Respighi CO/ Salvatore di Vittorio.

Naxos 8.572332 23 Liszt, F. A Dante symphony (1857). Berlin Radio Women’s Choir; Berlin PO/Daniel Barenboim.

Teldec 9031-77340-2 50 12:00 A JAZZ HOUR with Barry O’Sullivan

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

Bax, A. The garden of Fand (1916). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.557599 17 Violin concerto (1938). Lydia Mordkovitch, vn; London PO/Bryden Thomson.

Chandos CHAN 9003 35 Symphonic poem: Tintagel (1919). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.557599 15 Symphony no 2 in E minor (1926). London PO/Bryden Thomson.

Chandos CHAN 8906/10 42 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Lost, discarded, unfinished, forbidden Prepared by Katy Rogers-Davies Beethoven, L. Overture to Leonore, op 72 no 2 (1804-05). Nicolaus Esterházy Sinfonia/ Béla Drahos.

Naxos 8.553431 15 Mussorgsky, M. Prelude to Khovanshchina (1872-80; orch Shostakovich). Vienna PO/ Valery Gergiev.

Philips 468 526-2 6 Shostakovich, D. Suite from Katerina Ismailova, op 114 (1934/63). Royal Scottish NO/Neeme Järvi.

Chandos CHAN 7000/1 17 Sibelius, J. Four orchestral fragments (193057). Lahti SO/Okko Kamu.

BIS BIS-2065 3 Bartók, B. The miraculous Mandarin, op 19 (1919-26). Melbourne SO/Hiroyuki Iwaki.

Virgin VC 7 91106-2 30 Mahler, G. Blumine (1884). Sydney SO/ Vladimir Ashkenazy.

SSO 201001 7 Sibelius, J. Finlandia, op 26 (1899-1900).

Finnish RSO/Jukka-Pekka Saraste.

RCA RD87765 9 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). Royal

Saturday 9 February

Friday 8 February

Alessandro Scarlatti

Frédéric Chopin

Joseph Lanner

Concertgebouw O/Eugene Ormandy.

Radio Netherlands RCO 05001 22

0:00 CLASSIC-ALL THROUGH THE NIGHT

Osborne, D. Regeneration waltz. Raga Dolls Salon O/David Osborne.

ABC 476 690-7 9

22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Scarlatti, D. Concerto grosso no 1 in A (1744; arr. Avison). Academy of St Martin in the Fields/Neville Marriner.

Philips 438 806-2 13 Keyboard sonata in D, Kk491. Murray Perahia, pf.

Sony SK 62785 5 Stabat Mater dolorosa. Parsons Affayre/ Warren Trevelyan-Jones.

Fine Music concert recording 23 Scarlatti, A. Two fugues in D minor. Rinaldo Alessandrini, hpd.

Arcana A3 3 Cantata pastorale (1716). Miriam Allen, sop; James Sanderson, ct; Chacona/Rosalind Halton.

ABC 476 617-0 16 Recorder concerto in A minor. Clas Perhrsson, rec; Drottningholm Baroque Ensemble.

BIS CD-8 11 Sonata in A minor for recorder, two violins and continuo. Frans Brüggen, rec; Nikolaus Harnoncourt, vn; Anner Bijlsma, baroque vc; Gustav Leonhardt, org.

LP Telefunken SMA 25073 12 Scarlatti, D. Sonata, Kk90 (arr.). Ensemble Claudiana/Luca Pianca. naïve OP 30549 11 Keyboard sonata in A, Kk537. Murray Perahia, pf.

Sony SK 62785 3 Scarlatti, A. Fair lady called Grace (1690s).

James Sanderson, ct; Hans-Dieter Michatz, rec; Chacona/Rosalind Halton.

ABC 476 617-0 12 “All the good music has already been written by people with wigs and stuff.”

— Frank Zappa

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 THE PIANO ALONE Prepared by Anne Irish Liszt, F. Transcendental étude no 8 in C minor, Wilde Jagd (1851). Michele Campanella, pf.

Nuova Era 6736 5 Nielsen, C. Five piano pieces, op 3 (c1890).

Elisabeth Westenholz, pf.

BIS CD-167/168 7 Chopin, F. Piano sonata no 2 in B flat minor, op 35, Funeral march (1839). Vladimir Ashkenazy, pf.

Decca 448 123-2 25 10:00 MUSIC OF THE DANCE Prepared by Paul Cooke Bantock, G. Russian scenes (1899). CzechoSlovak State PO/Adrian Leaper.

Naxos 8.555473 14 Locke, M. Suite no 4 in E minor, from Consort for two parts (arr. Crabb, Lacey). Genevieve Lacey, rec; James Crabb, accordion.

ABC 481 1874 11 Madetoja, L. Suite from the ballet Okon Fuoko, op 58a (1930). Iceland SO/Petri Sakari.

Chandos CHAN 9036 14 Rameau, J-P. Excerpts from Les fêtes d’hébé (1733). Les Arts Florissants/William Christie.

Archiv 477 8610 13 Piazzolla, A. Le grand tango (1982; arr.

Gubaidulina, Kremer, Sakharov; ed. Duo Sol).

Miki Tsunoda, vn; Caroline Almonte, pf.

ABC 476 087-2 7 Sor, F. Eight small pieces for guitar, op 24 (c1795). Adam Holzman, gui.

Naxos 8.553340 11

11:30 ON PARADE Prepared by Robert Small Grainger, P. Molly on the shore (1920). 4 Kelly, T. A Wexford rhapsody (1954). 7 Brase, W. Irish dance no 2. 5 Potter, A. Finnegan’s Wake; The Blackthorn wattle (1957). 8 Band of the Irish Defence Forces/Mark Armstrong (all above) RTE CD157 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 MAN-MADE Palaces Prepared by Angela Cockburn Foster, G. The winter palace 1916-18, from The pearl of Dubai suite (2010-11). Novaya Rossia SO/Zaurbek Gugkaev.

Quartz QTZ 2091 17 Lanner, J. Waltz: Die Schönbrunner, op 200 (1842). Concentus Musicus Vienna/Nikolaus Harnoncourt.

Sony 88697914112 9 Lambert, C. Ruin of the Ku-Su palace, from Eight poems by Li-Po (1926-29). Yvonne Kenny, sop; Malcolm Martineau, pf.

Etcetera KTC 1140 1 Tárrega, F. Recuerdos de la Alhambra, op 29. John Williams, gui.

Sony 88697529852 4 Fraser-Simson, H. Christopher Robin at Buckingham Palace. Ann Stephens, voice; New Mayfair O/Clifford Greenwood.

ABC 476 5053 2 FEBRUARY 2019

17

Sunday 10 February

Saturday 9 February Schmitt, F. Le palais hanté, op 49 (1900-04).

Buffalo PO/JoAnn Falletta.

Naxos 8.573521 14 Verdi, G. Au palais des fées, from Don Carlos (1867). Marina Lodygensky, sop; Magdalena Kozená, mezz; Choir of Musiciens du Louvre; Mahler CO/Marc Minkowski.

DG 474 214-2 4 15:00 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Kálmán, E. Countess Maritza. Operetta in three acts. Libretto by Julius Brammer and Alfred Grünwald. First performed Vienna, 1924.

COUNT TASSILO: Ramon Remedios, ten COUNTESS MARITZA: Marilyn Hill Smith, sop LISA: Laureen Livingstone, sop KOLOMAN ZSUPÁN: Tudor Davies, ten New Sadlers Wells Opera O/Barry Wordsworth.

TER 1051 1:02 Synopsis at finemusicfm.com/Opera Romberg, S. The New Moon. Operetta in two acts. Libretto by Oscar Hammerstein II, Frank Mandel and Lawrence Schwab. First performed Philadelphia, 1928.

ROBERT MISSION: Kyle Gonyea, ten MONSIEUR BEAUNOIR: Jonathon Reardon, bar MARIANNE BEAUNOIR: Maureen Francis, sop VICOMPTE RIBAUD: Chuck McMahon, voice CAPTAIN GEORGE DUVAL: David Craig Starkey, voice Media Theatre for the Performing Arts Ch & O/Eric R. Lofstrom.

Indre Classics IND90152 58 Synopsis at finemusicfm.com/Opera 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Chorus: Military men 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 Tesori, J. Excerpts from Thoroughly modern Millie. Sutton Foster, David Greel, voices; members of original Broadway cast.

RCA Victor 09026 63959-2 19 Rodgers, R. Excerpts from The sound of music (1959). June Bronhill, Rosina Raisbeck, Beryl Cheers, voices; members of 1962 Australian cast.

Private recording 12 Gershwin, G. Excerpts from Lady be good (1924). Danny Gardner, Patti Murin, Tommy Tune, voices; members of Encore cast.

Ghostlight Records 8-4491 18 18

Tamara Anna Cislowska

Juan Arriaga

20:00 THE WORD TRANSFORMED Prepared by Krystal Li

0:00 CLASSIC-ALL THROUGH THE NIGHT

Glinka, M. Travelling song (1836). Piotr Glouboky, bass; Ilya Scheps, pf.

Le Chant du Monde LDC 288 037

6:00 SUNDAY MORNING MUSIC with Robert Small 2

Liszt, F. Vallée d’Obermann, from Album d’un voyageur, bk 1 (1834-38). Leslie Howard, pf.

Hyperion CDS44507 14 Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Vienna PO/Christoph von Dohnányi.

Decca 460 239-2 12 Meale, R. Come then, from Voss. Soloists; Opera Australia Ch; Sydney SO/Stuart Challender.

ABC 462 006-2 4 Wagner, R. Overture to The flying Dutchman (1841). Chicago SO/Daniel Barenboim.

Teldec 4509-99595-2 11 Koechlin, C. Excerpts from The Persian hours, op 65 (1913-19). Tamara Anna Cislowska, pf.

Artworks AW010 17 Vaughan Williams, R. Songs of travel (1904). John Shirley-Quirk, bass-bar; Viola Tunnard, pf.

Heritage HTGCD 283/4 25 Shore, H. Excerpts from The Hobbit, an unexpected journey. London PO/Howard Shore.

Decca 371 5565 17 22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Tchaikovsky, P. String sextet in D minor, op 70, Souvenir of Florence (1891). Members of Omega Ensemble.

Fine Music concert recording 36 Haydn, J. Symphony in E flat, Hob.I:103, Drumroll (1795). Vienna CO/Ernst Märzendorfer.

Musical Heritage Society OR H-201-249 29 Tchaikovsky, P. Piano trio in A minor, op 50, In memory of a great artist (1881-82).

Oistrakh Trio.

Brilliant Classics 9272 49

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

9:00 MUSICA SACRA Prepared by Elaine Siversen Schmitt, F. Psalm 47: O clap your hands, all ye people (1904). Susan Bullock, sop; São Paulo Ch & SO/Yan Pascal Tortelier.

Chandos CHSA 5090 29 Vivaldi, A. Psalm 111: Beatus vir, RV795.

Namur Chamber Choir; Les Agrémens/ Leonardo Garcia Alarcón.

Ambronay AMY029 26 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Molique, B. Concertino in G minor (1829).

Diana Doherty, ob; Queensland SO/Werner Andreas Albert.

ABC 456 681-2 15 Schubert, F. Prometheus, D674 (1819; arr.

Reger). Michael Lewis, bar; Adelaide SO/ David Porcelijn.

ABC 456 362-2 5 Giuliani, M. Guitar concerto in A, op 30 (1808). Eduardo Fernández, gui; English CO/ George Malcolm.

Decca 455 364-2 23 Arriaga, J. String quartet no 1 in D minor (1821-22). Chilingirian Quartet.

CRD 33123 30 Corfe, J. Lady Anne Bothwell’s lament (1791). Invocation/Timothy Roberts.

Hyperion CDA66740

2

Frøhlich, J. Symphony in E flat, op 33 (1833). Danish National RSO/Christopher Hogwood.

Chandos CHAN 9609 34 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

Sunday 10 February

Benjamin Britten

John Rutter

Antonio Rosetti

13:00 WORLD MUSIC: Whirled Wide with Carole Garland

Vaughan Williams, R. Easter, from Five mystical songs (1911). Sarah Walker, mezz; Henry Herford, bar; Guildford Choral Society; Philharmonia O/Hilary Davan Wetton.

Hyperion CDA66306 5

Mozart, W. Horn quintet in E flat, K407 (1782). Anneke Scott, hn; Ironwood.

ABC 481 1244 20

Rutter, J. Te Deum (1988). St Albans Cathedral Choirs; Ensemble DeChorum; Tim Winpenny, org; Andrew Lucas, cond.

Naxos 8.572653 8

Nielsen, C. Suite from Maskarade (1906).

Gothenburg SO/Neeme Järvi.

DG 447 757-2 13

14:00 A STUDY OF DOUBLE REEDS The cor anglais Prepared by Peter Poole Chabrier, E. Lamento. Jean-Marc Jordan, cora; Monte Carlo PO/Hervé Niquet.

Naxos 8.554248 8 Alwyn, W. Autumn legend (1954). Rachel Pankhurst, cora; Royal Liverpool PO/David Lloyd-Jones.

Naxos 8.570704 11 Bax, A. Elegy, from Concertante (1948-49).

Gillian Callow, cora.

Chandos CHAN 9879 9

Suite antique for flute, strings and harpsichord (1979). Arco Baleno.

Etcetera KTC 1372 16 A Gaelic blessing (1978). Cambridge Singers; City of London Sinfonia/John Rutter.

UCJ 178 540-0 2

Britten, B. Suite on English folk tunes: A time there was, op 90 (1974). Peter Walden, cora; City of Birmingham SO/Simon Rattle.

Decca 478 5364 15

Magnificat (1990). Elizabeth Cragg, sop; St Albans Cathedral Choirs; Ensemble DeChorum; Tim Winpenny, org; Andrew Lucas, cond.

Naxos 8.572653 39

Brumby, C. Scena (1988). Barry Davis, cora; Queensland SO/Richard Mills.

ABC 442 374-2 9

17:00 HOSANNA Prepared by Meg Matthews

15:00 SUNDAY SPECIAL Magnificat Prepared by Brian Drummond Britten, B. Libera me, from War Requiem, op 66 (1961). Heather Harper, sop; Philip Langridge, ten; John Shirley-Quirk, bass-bar; Choristers of St Paul’s Cathedral; Roderick Elms, org; London Symphony Ch, CO & SO/Richard Hickox.

Chandos CHAN 10568(2) 18 Brewer, H. Magnificat anima mea Dominum; Nunc dimittis, from Evening canticles in D (1927). Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Hyperion CDA66249 7 Rutter, J. Shepherd’s pipe carol (1963).

UCJ 178 540-0 3 Fauré, G. Cantique de Jean Racine, op 11 (1865; orch. Rutter). John Scott, org.

Collegium COLCD 101 7 Cambridge Singers; City of London Sinfonia/ John Rutter (2 above)

Hymns: Thine be the glory; Rejoice the Lord is King; O praise ye the Lord. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA 68013 8 Bach, J.S. Letzte Stunde, brich herein, from Cantata, BWV31 (1715). Soloist from Vienna Boys’ Choir; Concentus Musicus of Vienna/ Nikolaus Harnoncourt.

Teldec 4509-93705-2 4 Handel, G. Jubilate for the Peace of Utrecht, HWV279. 16 Boyce, W. Anthem: Lord, Thou hast been our refuge (1755). 23 Soloists and Choir of St Paul’s Cathedral; Parley of Instruments/John Scott (2 above) Hyperion CDA 67009 18:00 SMALL FORCES Prepared by Paul Hopwood Berwald, F. String quartet in G minor (1818).

Chilingirian Quartet.

CRD 3361 33

19:00 SUNDAY NIGHT CONCERT Prepared by Chris Blower

Rosetti, A. Concerto in A flat for two horns and orchestra. Zdenek Tylsar, hn; Bedrich Tylsar, hn; Capella Istropolitana/Frantisek Vajnar.

Naxos 8.550459 21 Schubert, F. String quartet in D minor, D810, Death and the maiden (1826; arr. Mahler). I Musici de Montréal/Yuli Turovsky.

Chandos CHAN 8928 49 20:30 NEW HORIZONS Prepared by James Nightingale Moran, R. Music from The towers of the moon (1992). Balanescu Quartet.

Argo 436 565-2 16 Okamoto, K. Little suite (2007). Michael Kieran Harvey, pf.

Move MD 3319 16 Laitman, L. I never saw another butterfly (1995-96). Maureen McKay, sop; Laura DeLuca, cl.

Naxos 8.570119 17 Smalley, R. Music for an imaginary ballet.

Chris Tanner, perc.

Tall Poppies TP256 12 Constant, M. Saxophone concertante (197879). Claude Delangle, sax; Nancy SO/Jerome Kaltenbach.

Erato 4509-94815-2 19 22:00 AFTER HOURS JAZZ with Kevin Jones “Jazz will endure just as long as people hear it through their feet instead of their brains.”

— John Philip Sousa FEBRUARY 2019

19

Monday 11 February

Tuesday 12 February

0:00 CLASSIC-ALL THROUGH THE NIGHT

0:00 CONTEMPORARY COLLECTIVE

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

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 A year in retrospect: 1897 Prepared by Madilina Tresca

9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Melissa Evans

Dvorák, A. Symphonic poem: The hero’s song, op 111 (1897). Scottish NO/Neeme Järvi.

Chandos CHAN 8597 21 Chausson, E. Poem, op 25 (1896). Lydia Mordkovitch, vn; Marina Gusak-Grin, pf.

Chandos CHAN 10612 X 14 Busoni, F. Comedy overture, op 38 (1897/1904). London SO/Charles Mackerras.

Carlton Classics 15656 91372 7 Bachelet, A. Chère nuit (1897). Alice Coote, mezz; Graham Johnson, pf.

Hyperion CDA67962 5 Satie, E. Pièces froides (1897). Roland Pöntinen, pf.

BIS CD-317 13 Sibelius, J. Cantata for the university degree ceremony of 1897, op 23 (1897). Jubilate Choir/Astrid Riska.

BIS CD-998 19 10:30 CONCERT HALL Prepared by Derek Parker Walton, W. Overture: Scapino (1950).

London PO/Bryden Thomson.

Chandos CHAN 8968 9 Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). Polish FO/Krystian Zimerman, pf & dir.

DG 477 8445 46 Handel, G. Music for the royal fireworks, HWV351 (1749). Le Concert des Nations/ Jordi Savall.

Astrée E 8512 23 12:00 SWING SESSIONS with John Buchanan 13:00 JUILLIARD ALUMNI Prepared by Brian Drummond Herrmann, B. Concerto macabre, from Hangover Square (1944/72). David Buechner, pf; New Zealand SO/James Sedares.

Koch 3-7225-2 H1 11 Beethoven, L. Romance no 2 in F, op 50 (c1798). Pinchas Zukerman, vn; London PO/ Daniel Barenboim.

DG 429 179-2 10

Beethoven, L. Piano sonata no 14 in C sharp minor, op 27 no 2, Moonlight (1801). András Schiff, pf.

ECM Records 476 5875 14 Itzhak Perlman

Bellini, V. Casta diva, from Norma (1831). Renée Fleming, sop; London PO/Charles Mackerras.

Decca 467 049-2 8 Beethoven, L. Piano trio in E flat, WoO38 (1791). Susie Park, vn; Timo-Veikko Valve, vc; Kathryn Selby, pf.

Fine Music concert recording 15 Williams, J. Suite: Close encounters of the third kind, from E.T. (1982). Boston Pops O/ John Williams.

Decca 478 9244 10 Liszt, F. Petrarch sonnet no 123 (183839/61). Van Cliburn, pf.

LP RCA ARL1 1173 7 Schwarz, G. Above and beyond (2012).

President’s Own United States Marine Band/ Gerard Schwarz.

Naxos 8.573121 9 14:30 THE SOARING VIOLIN Prepared by Mariko Yata Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720). Sophie Rowell, vn.

Fine Music concert recording 15 Beethoven, L. Violin sonata no 5 in F, op 24, Spring (1800-01). Itzhak Perlman, vn; Vladimir Ashkenazy, pf.

Decca 421 453-2 24 Pavlova, A. Monolog (2002). Yaroslav Krasnikov, vn; Moscow PO/Rossen Milanov.

Naxos 8.557674 6 Khachaturian, A. Violin concerto in D minor (1940). Lydia Mordkovitch, vn; Scottish NO/ Neeme Järvi.

Chandos CHAN 8918 37 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 19:00 JAZZ PULSE with Chris Wetherall

Arban, J-B. Variations on The carnival of 20:00 STORMY MONDAY Venice (arr. Hunsberger). Wynton Marsalis, with Austin Harrison and Garth Sundberg cornet; Eastman Wind Ensemble/Donald 22:00 THE AUSTRALIAN JAZZ SCENE Hunsberger.

CBS MK 42137 8 with Susan Gai Dowling and Peter Nelson 20 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Gershwin, G. Rhapsody in blue (1924).

Columbia SO/Leonard Bernstein.

CBS MYK 42611 16 Scarlatti, A. Toccata in G. Rinaldo Alessandrini, hpd.

Arcana A3 8 Liszt, F. Fantasy and fugue on the theme BACH (1871). Leslie Howard, pf.

Hyperion CDS44516 11 Bach, J.S. Prelude and fugue in D minor, BWV539 (aft. 1723). Hans Fagius, org.

BIS CD-343/44 6 Chopin, F. Nocturne in E flat, op 9 no 2 (1831). Daniel Barenboim, pf.

DG 415 117-2 5 Mozart, W. Piano quartet in G minor, K478 (1785). Menuhin Festival Piano Quartet.

Mediaphon MED 72.117 25 10:30 CONCERT HALL Prepared by Stephen Wilson Respighi, O. Suite: The birds (1927).

Bournemouth Sinfonietta/Tamás Vásáry.

Chandos CHAN 8913 20 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 27 Schubert, F. Symphony no 2 in B flat, D125 (1815). Royal Concertgebouw O/Nikolaus Harnoncourt.

Teldec 4509-91184-2 34 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 RHAPSODIES IN MUSIC Prepared by Randolph Magri-Overend Gershwin, G. Rhapsody in blue (1924). Larry Adler, harmonica; Bernard Walz, pf.

ABC 481 4053 9 Enescu, G. Rumanian rhapsody in A, op 11 no 1 (1901). BBC PO/Gennady Rozhdestvensky.

Chandos CHAN 9633 13 Dvorák, A. Slavonic rhapsody, op 45 no 3 (1878). Detroit SO/Antal Dorati.

Decca 476 2453 13

Tuesday 12 February

Wednesday 13 February

Stanford, C. Villiers Irish rhapsody no 4 in A minor, op 141, The fisherman of Loch Neagh and what he saw (1914). Ulster O/Vernon Handley.

Chandos CHAN 6525 18 14:00 CLASSICAL FAVOURITES Prepared by Randolph Magri-Overend Elgar, E. Overture: Cockaigne, op 40, In London town (1901). London SO/André Previn.

Philips 464 359-2 15 Mahler, G. Kindertotenlieder (1901). Janet Baker, sop; Israel PO/Leonard Bernstein.

Sony 88697943332 29 Britten, B. Variations and fugue on a theme of Purcell, op 34, The young person’s guide to the orchestra (1946). London PO/Adrian Boult.

First Hand Records FHR06 20 Mahler, G. Symphony no 1 in D, Titan (1888/93/96-98). Bavarian RSO/Rafael Kubelik.

DG 477 8825 50 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 SYDNEY SYMPHONY 2019 Produced by Andrew Bukenya What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Albinoni, T. Concerto in A, San Marco.

Maurice André, tpt; Paris Clarinet Sextet.

Decca 478 4664 6 Ravel, M. Violin sonata no 2 in G (1923-27).

Alina Ibragimova, vn; Cédric Tiberghien, pf.

Hyperion CDA67820 18 Rimsky-Korsakov, N. Quintet in B flat for winds and piano (1876). Leopold Wlach, cl; Hans Reznicek, fl; Karl Öhlberger, bn; Gottfried von Freiberg, hn; Roland Raupenstrauch, pf.

Westminster RC 8808678121735 30 Haydn, J. String quartet in E flat, op 33 no 2, Joke (1781). Kodály Quartet.

Naxos 8.550788 17 Schubert, F. Piano trio in E flat, D929 (1827).

Susie Park, vn; Timo-Veikko Valve, vc; Kathryn Selby, pf.

Fine Music concert recording 41 “Music expresses that which cannot be put into words.” — Victor Hugo

Giovanni Paisiello

Jésus López-Cobos

0:00 CONTEMPORARY COLLECTIVE

13:00 MUSICAL POSTCARD Prepared by Nicky Gluch

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Rex Burgess Paisiello, G. Overture to Nina (1789). Haydn Philharmonia/Ezio Rojatti.

Nuova Era 6726 6 Keyboard concerto no 1 in C (1780-83).

Pietro Spada, pf; Saint Cecilia CO. Brilliant Classics 94224 24 Il mio ben quando verrà; O sia la pazza per amore, from Nina (1789). Mojca Erdmann, sop; La Cetra Baroque O/Andrea Marcon.

DG 477 8979 7 Mandolin concerto in E flat. Anna Torge, mand; Cologne Academy/Michael Alexander Willens.

Ars Produktion ARS 38 092 16 Te Deum. St Petersburg Capella Soloists, Ch & O; Brass Ensemble Guy Touvron/Vladislav Chernushenko.

Koch 3-1208-2 28 10:30 CONCERT HALL Prepared by James Nightingale Mozart, W. Four interludes from Thamos, King of Egypt, K345 (1773-76). London SO/ Peter Maag.

Decca 466 500-2 18 Dohnányi, E. Variations on a nursery song, op 25. Zoltán Kocsis, pf; Budapest FO/Iván Fischer.

Philips 456 874-2 23 Glass, P. Symphony no 1 (1992). Brooklyn PO/Dennis Russell Davies.

Point Music 438 150-2 42 12:00 JAZZ SKETCHES with Robert Vale

Telemann, G. Quartet no 1 in D, from Paris quartets, Nouveaux quatuors en six suites (pub. 1738). Musica ad Rhenum.

Brilliant Classics 94104 17 Beethoven, L. Music, love and wine (1817).

Catrin Wyn Davies, sop; John Mark Ainsley, ten; Thomas Allen, bar; Elizabeth Layton, vn; Ursula Smith, vc; Malcolm Martineau, pf.

DG 477 5128 2 Lekeu, G. Adagio (1891). Kremlin CO/Misha Rachlevsky.

Claves 50-9325 10 Richter, M. Autumn, after Vivaldi’s The four seasons (2012). Daniel Hope, vn; Konzerthaus CO/André de Ridder.

DG 481 0044 11 Finzi, G. Fear no more the heat o’ the sun, from Let us garlands bring, op 18 (1929).

Bryn Terfel, bass-bar; Malcolm Martineau, pf.

DG 445 946-2 6 Grieg, E. Solveig’s song, from Peer Gynt suite no 2, op 55 (1874-75). Raphael Wallfisch, vc; London PO/Vernon Handley.

ASV DCA 1176 5 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 HISTORY OF THE ORCHESTRA Part 6 Prepared by Michael Morton-Evans Berlioz, H. Overture: Roman carnival, op 9 (1844). Philharmonia O/Herbert von Karajan.

EMI CDM 1 66434 2 9 Brahms, J. Horn trio in E flat, op 40, mvt 4 (1865). Members of Nash Ensemble. crd 3489 6 Mahler, G. Symphony no 3 in D minor, mvt 1 (1893-96). Michelle DeYoung, mezz; Women of May Festival Ch; Cincinnati College Conservatory of Music Children’s Ch; Cincinnati SO/Jésus López-Cobos.

Telarc 80481 32 FEBRUARY 2019

21

Wednesday 13 February

Thursday 14 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Chris Blower Giuliani, M. Grand overture, op 61 (1814).

Slava Grigoryan, gui.

ABC 472 224-2 10

Johann Fux

Beethoven, L. An die ferne Geliebte, op 98 (1815). Peter Schreier, ten; András Schiff, pf.

Decca 444 817-2 13

Ich bin der Welt abhanden gekommen (1901; arr Holten 2010). Johan Reuter, bar; Flemish Radio Choir/Bo Holten.

Dacapo 8.226062 8

Glière, R. Eight pieces, op 39, for violin and cello (1909). Eleonora Turovsky, vn; Yuli Turovsky, vc.

Chandos CHAN 8652 17

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

Klughardt, A. Schilflieder, op 28 (1873).

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

Decca 478 3564 19

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by James Nightingale Fux, J. Dafne in Lauro. Opera in one act.

Libretto by Pietro Pariati. First performed Vienna, 1714.

DIANA: Mielke van der Sluis, sop DAFNE: Lina Akerlund, sop APOLLO: Gérard Lesne, alt AMORE: Silvia Piccollo, sop MERCURIO: Martin Klietmann, ten La Capella Vocal Ensemble; Clemencic Consort/René Clemencic.

Nuova Era 6930/31 2:01 Synopsis at finemusicfm.com/Opera Haydn, J. Nocturne no 2 in F for winds and strings, Hob.II:26 (c1790). Members of Haydn Sinfonietta/Manfred Huss.

BIS CD-1796/98 11 22:30 A CLASSICAL SELECTION Prepared by Paul Hopwood Arriaga, J. String quartet no 2 in A (1821-22).

Chilingirian Quartet.

CRD 33123 29 Hummel, J. Piano sonata in F sharp minor, op 81 (1819). Pavel Gililov, pf.

Orfeo C 252 931 A 29 Haydn, J. Piano trio in A flat, Hob. XV:14 (1789). Yuuko Shiokawa, vn; Boris Pergamentchikov, vc; András Schiff, pf.

Decca 444 862-2 21

22

Foote, A. Piano trio no 2 in B flat (1907-08).

Arden Trio.

Marco Polo 8.225117 21 10:30 CONCERT HALL Prepared by Elaine Siversen Ciurlionis, M. In the forest (1900). Slovak PO/Juozas Domarkas.

Marco Polo 8.223323 15 Nielsen, C. Clarinet concerto, op 57 (1928).

Kevin Banks, cl; Bournemouth SO/Kees Bakels.

Naxos 8.554189 25 Wagner, R. The ring without words (1850-76; arr. Leinsdorf). Sydney Youth O/Alexander Briger.

Fine Music concert recording 43 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 A FRENCH ROMANTIC CAVALCADE Prepared by Rex Burgess Berlioz, H. Overture: Waverley, op 1 (182728). Montreal SO/Charles Dutoit.

Decca 452 480-2 10 Alkan, C-V. Grand duo concertante in F sharp minor, op 21 (1840). Dong-Suk Kang, vn; Olivier Gardon, pf.

Timpani IC 1013 21 Saint-Saëns, C. Orchestral suite in D, op 49 (1863). Paris Orchestral Ensemble/JeanJacques Kantorow.

EMI CDC 7 54913 2 19

Chausson, E. Poème de l’amour et de la mer, op 19 (1882). Lauris Elms, cont; Sydney SO/Robert Pikler.

ABC 446 279-2 25 FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Werner Andreas Albert

Hahn, R. Berceuses (1904). Leslie Howard, Mattia Ometto, pf.

Melba MR 301148-49 11 Debussy, C. Khamma (1912; orch. C. Koechlin 1913). Stuttgart RSO/Heinz Holliger.

SWR Music 19046 22 15:00 A STUDY OF DOUBLE REEDS Diana Doherty performs Prepared by Peter Poole Bach, J. Christian Andante, from Sinfonia concertante in E flat (1774). Anna McDonald, vn; Alice Evans, vn; Sinfonia Australis/Mark Summerbell.

ABC 481 0116 5 Hummel, J. Introduction, theme and variations in F, op 102 (1824). Queensland SO/Werner Andreas Albert.

ABC 456 681-2 14 Schumann, R. Drei Fantasiestücke, op 73 (1849; arr.). Ben Martin, pf.

Fine Music concert recording 11 Rachmaninov, S. Vocalise, op 34 no 12 (1912/15). Sinfonia Australis/Mark Summerbell.

ABC 481 0116 6 Vine, C. Oboe concerto (1996). Tasmanian SO/Ola Rudner.

ABC 476 226-7 17 Diana Doherty, ob (all above) 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 THE WORLD OF A SYMPHONY Prepared by Brian Drummond Strauss, J. II Czech polka, op 13 (1845).

CSSR State PO/Alfred Walter.

Marco Polo 8.223202 4 Bruch, M. Kol nidrei, adagio on Hebrew melodies, op 47 (1881). John Gould, va; Merran McLaren, pf.

Fine Music tape archive 8

Friday 15 February

Thursday 14 February

Kurt Weill

Adolf Schulz-Evler

Franz Schmidt

Schubert, F. Marche militaire in D, D733 no 1 (1818). Nina Walker, Adrian Farmer, pf.

Nimbus NI 5485 6

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

Mozart, W. Concerto in C for flute, harp and orchestra, K299 (1778). Julius Baker, fl; Hubert Jelinek, hp; Zagreb Soloists/Antonio Janigro.

Vanguard OVC 5011 30

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

Schmidt, F. Symphony no 3 in A (1927-28).

Chicago SO/Neeme Järvi.

Chandos CHAN 9000 42

Auric, G. Euridice’s complaint, after Gluck (1949). Vera Raskova, fl; Slovak RSO/ Adriano.

Marco Polo 8.225066 3

12:00 A JAZZ HOUR with Barry O’Sullivan

Wagner, R. Overture to Tannhäuser (1845).

Munich PO/Hans Knappertsbusch.

DG 479 1148 16 Mahler, G. Songs of a wayfarer (1884).

Hidenori Komatsu, bar; Hanover RPO/Cord Garben.

Naxos 8.554164 16 Symphony no 1 in D (1884-88/93-96).

Chicago SO/Carlo Maria Giulini.

EMI 5 85974 2 57 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Paul Cooke Handel, G. Trio sonata in G, op 5 no 4 (c1737-78). Ironwood.

ABC 476 4997 13 Parker, K. Four musical sketches (1928). Ian Munro, pf.

Tall Poppies TP058 12 Bach, J.S. Double violin concerto in D minor, BWV1043. Miwako Abe, vn: David Saffir, vn; Sydney Bach O/Alan Holley.

Fine Music concert recording 15 Weill, K. Ballad of the pleasant life; September song; The girls of Bordeaux; Canon song; Ballad of Mack the Knife; There’ll be life, love and laughter; Tschaikowsky; Instead of (arr.). Peter Coleman-Wright, bar; Benjamin Burton, pf; Nexas Quartet.

ABC 576 2204 22 Mozart, W. String quartet no 22 in B flat, K589, Prussian no 2 (1790). Goldner String Quartet.

Fine Music concert recording 23 Shostakovich, D. Cello sonata, op 40 (1934). Catherine Hewgill, vc; Vladimir Ashkenazy, pf.

Decca 481 6562 27

Schulz-Evler, A. Arabesques on Johann Strauss’s By the beautiful Blue Danube.

Benjamin Grosvenor, pf.

Decca 478 5334 10 Glinka, M. Serenade on themes from Donizetti’s opera Anna Bolena (1832).

Alexander Petrov, bn; Igor Makarov, hn; Andrei Kevorkov, va; Erik Pozdeev, vc; Rustem Gabdulin, db; NataliaTsekhivskaya, hp; Leonid Ogrinchuk, pf.

Olympia MKM 76 20 Finzi, G. Amen from Lo, the full, final sacrifice, op 26 (1946; arr. Mealor); Come away, come away, Death (1928-42; arr.

Mealor). Amy Dickson, sax; Aurora O/ Nicholas Collon.

Decca 478 9357 6 Mahler, G. Songs of a wayfarer (1884; arr.

Schoenberg 1920). Clare Gormley, sop; Jeffrey Black, bar; Sydney Soloists/John Harding.

ABC 461 827-2 16 Prokofiev, S. Suite from Romeo and Juliet (1938; arr. Lindberg). Christian Lindberg, tb; Roland Pöntinen, pf.

BIS CD-478 23 10:30 CONCERT HALL Prepared by Stephen Wilson Glinka, M. Spanish overture no 1: Capriccio brillante on the jota aragonesa (1845).

Armenian PO/Loris Tjeknavorian.

ASV DCA 1075 9

13:00 IN CONCERT: GALA Prepared by Albert Gormley Strauss, J. II Overture to Die Fledermaus (1874). Vienna SO/Willi Boskovsky.

EMI CDM 1 66422 2 8 Voices of spring, op 410 (1883). Natalie Dessay, sop; Berlin SO/Michael Schönwandt.

EMI 5 56565 2 9 Mozart, W. Excerpts from The marriage of Figaro, K492 (1786; transcr. Wendt).

Melbourne Windpower/Richard Runnels.

Move MD 3110 16 Strauss, J. II An der schönen, blauen Donau, op 314 (1867). Vienna PO/Claudio Abbado.

DG 431 628-2 9 Lehár, F. Overture to The merry widow (1905). Zurich Tonhalle O/Franz Lehár.

Naxos 8.110857 8 14:00 MUSIC FROM ELLIS ISLAND Part 4 Prepared by Frank Morrison Prokofiev, S. Violin concerto no 2 in G minor, op 63 (1935). Jascha Heifetz, vn; Boston SO/ Serge Koussevitsky.

Naxos 8.110942 26 Weill, K. Surabaya Johnny, from Happy End; Die Moritat von Mackie Messer, from Die Dreigroschenoper. Ute Lemper, voice; Vogler Quartet; Stefan Malzew, cl, pf, accordion.

ArkivMusic 30009 10 Chopin, F. Cello sonata in G minor, op 65 FEBRUARY 2019

23

Friday 15 February

Saturday 16 February 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 THE PIANO ALONE Prepared by Paul Cooke Chopin, F. Berceuse in D flat, op 57 (184344). Maria João Pires, pf.

DG 457 585-2 5

Gerard Schwarz

Reinhard Goebel

(1845-46). János Starker, vc; György Sebök, pf.

Mercury 478 5092 24

Campra, A. Suite from Tancrède (1702). La Grande Écurie et La Chambre du Roy/JeanClaude Malgoire.

LP CBS SBR 235988 11

Bartók, B. Improvisations on Hungarian peasant songs, op 20 (1920). György Sándor, pf.

Sony SK 68 277 10

Marchand, L. Suite in G minor, from Pièces de clavecin, bk 2 (1703). Ketil Haugsand, hpd.

Simax PSC 1007 13

Bartók, B. Concerto for orchestra (1943).

Seattle SO/Gerard Schwarz.

Delos DE 3095 37

Bach, J.S. Toccata and fugue in F, BWV540 (1712-17). Michel Chapuis, org.

LP Telefunken BC-25101-T/1-2 14

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti

Rameau, J-P. Cantata: Les amants trahis (1721). John Elwes, ten; Gregory Reinhart, bass-bar; Ageet Swiestra, vc; Marianne Müller, va da gamba; Yannick le Gaillard, hpd.

Le Chant du Monde LDC 278 774 21

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Music from the New World: American Influences Prepared by David Brett Ives, C. A Symphony: New England holidays (1909). Fred Spector, jews hp; Chicago Symphony Ch & O/Michael Tilson Thomas.

CBS MK 42381 41 Copland, A. Suite: Appalachian Spring (1943-44). Melbourne SO/Benjamin Northey.

ABC 481 0863 25 Gershwin, G. Rhapsody in blue (1924; orch.

Grofé 1926/42). Benjamin Grosvenor, pf; Royal Liverpool PO/James Judd.

Decca 478 3527 15 Harris, R. Symphony no 3 (1938). Colorado SO/Marin Alsop.

Naxos 8.559227 18 Ives, C. Variations on America (c1891; orch.

Schuman). Los Angeles PO/Zubin Mehta.

Decca 475 7470 7 22:00 BAROQUE AND BEFORE Louis Marchand and contemporaries Prepared by Elaine Siversen Marchand, L. Organ pieces, bk 5 (1702).

Gillian Weir, org.

Argo 460 185-2 12 24

Daquin, L-C. Noël étranger; Noël en dialogue, duo, trio. Michel Chapuis, org.

LP Telefunken SAWT 9596-A 3 Couperin, F. The Spanish, from The nations (1726). Musica Antiqua Cologne/Reinhard Goebel.

LP DG 410 901-1 28 In our country, Roy Harris is the least known of the composers in Evenings with the Orchestra yet he was a major composer of the mid to late 20th century.

His legacy lives on in the music of his students, most notably in William Schuman. He himself was largely selftaught although he had some lessons with Arthur Bliss (in California) and took part in Nadia Boulanger’s masterclasses in Paris in the 1920s. Owing to her influence he began a lifelong study of Renaissance music. His usual mode of composition, with long singing lines and resonant modal harmonies, is ultimately based on Renaissance polyphony and he used antiphonal effects brilliantly in large orchestral works. He wrote a fugue into his Symphony no 3 and a passacaglia into his Seventh Symphony.

Other music was influenced by American folk music and some jazz rhythms.

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

Vierne, L. Preludes, op 36 (1914-15). Tamara Atschba, pf.

Gramola 99040 19 Weber, C.M. Sonata no 4 in E minor, op 70 (1819-22). Stephanie McCallum, pf.

ABC 462 763-2 24 10:00 MUSIC OF THE DANCE Prepared by Chris Blower Charpentier, M-A. Ballet music from Médée (1693). Les Arts Florissants/William Christie.

Erato 3984-26129-2 9 Rossini, G. Ballet music from William Tell (1829). Monte Carlo National Opera O. Philips 422 843-2 18 Donizetti, G. Ballet music from La favorite (1840). Philharmonia O. Philips 422 844-2 19 Verdi, G. Ballet music from Jerusalem (1847).

Monte Carlo National Opera O. Philips 422 846-2 24 Antonio de Almeida, cond (3 above) Holst, G. Ballet music from The perfect fool, op 39 (1918-22). BBC NO of Wales/Richard Hickox.

Chandos CHSA 5069 12 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Smetana, B. Dance of the comedians, from The bartered bride. Allentown Band/Ronald Demkee.

AMP 97188 5 Elgar, E. Hymn tune (arr. Michael Forsyth).

Parramatta City Brass Band/Jonathon Gatt.

Sweet Spirit T9 6 Barnes. P. Goodbye, Dolly Gray. Band of the Coldstream Guards.

Bridge 100-063-2 1 Khachaturian, A. Adagio, from Spartacus.

National Band of New Zealand.

Ray-Jon CDR 0045 5 Meacham, F. March: American patrol.

Allentown Band/Ronald Demkee.

AMP 21198 4 12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Saturday 16 February

Sunday 17 February

13:00 COME TO THE OPERA Prepared by Derek Parker Are you an opera fan? If not, why not?

Together the story and the song make for great entertainment as well as great art.

Derek Parker tells the story of Mozart’s The marriage of Figaro, and plays some of the music that makes it a great opera.

14:30 ROMANTIC PIANO Prepared by Marilyn Schock Tchaikovsky, P. Theme and variations in F, op 19 no 6 (1873). Andrei Gavrilov, pf.

Philips 456 787-2 11 Liszt, F. Spanish rhapsody (1863). Evgeny Kissin, pf.

Philips 456 871-2 14 15:00 SATURDAY MATINEE Undine Henze, H. Ballet: Undine. Peter Donohoe, pf; London Sinfonietta/Oliver Knussen.

DG 453 467-2 1:42 Debussy, C. Images for orchestra (1905-12).

St Cecilia Academy O/Leonard Bernstein.

DG 429 728-2 38 17:30 STAGING MUSIC Prepared by Angela Cockburn Julius Caesar 18:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie Pärt, A. Spiegel im Spiegel (1978). Laura Metcalf, vc; Rupert Boyd, gui.

Sono Luminus DSL-92217 8 Brouwer, L. La espiral eterna (1971). Elena Papandreou, gui.

Naxos 8.554553 8 Houghton, P. Wave radiance (2002). Duo Agostino. www.agostinomusic.com 7 Glass, P. Fourth knee play, from Einstein on the beach (1976). David Leisner, gui.

Azica ACD-71218 13 Reich, S. Electric counterpoint (1987). Youth Guitar O/David Tanenbaum, gui & dir.

Bayer CAD 800879 15 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Between the wars 20:00 THE WORD TRANSFORMED Prepared by James Nightingale Ariosti, A. Cantata no 1: La rosa, from The flowering and fading of love (1723-24).

Musica Solare.

Naxos 8.557573 10

Takashi Yoshimatsu

Carlos Kleiber

Britten, B. Five flower songs, op 47 (1950).

The Sixteen/Harry Christophers.

Collins 12862 10

0:00 CLASSIC-ALL THROUGH THE NIGHT

Schubert, F. The flowers’ pain, D751 (1821); The language of flowers, D519 (c1818).

Felicity Lott, sop; Graham Johnson, pf.

Hyperion CDJ33019 6 The miller’s flowers, no 9; Withered flowers, no 18, from Die schöne Müllerin, D795 (1823). Ian Bostridge, ten; Mitsuko Uchida, pf.

EMI 5 57827 2 7 Edwards, R. Flower songs (1986-87). Song Company and friends/Roland Peelman.

Tall Poppies TP064 11 Wesley-Smith, M. Alice in the garden of live flowers (2006). Seven Harp Ensemble.

Tall Poppies TP204 6 Boyd, A. Goldfish through summer rain (1978). Geoffrey Collins, fl; David Miller, pf.

Tall Poppies TP127 5 Glass, P. String quartet no 3, Mishima (1985).

Kronos Quartet.

Nonesuch 7559-79356-2 15 Stravinsky, I. Three Japanese lyrics (1913).

Susan Narucki, sop; Twentieth Century Classics Ensemble/Robert Craft.

Naxos 8.557505 4 Yoshimatsu, T. Piano concerto, op 67, Memo Flora (1997). Kyoko Tabe, pf; Manchester Camerata/Sachio Fujioka.

Chandos CHAN 9652 32 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Reicha, A. Wind quintet in E flat, op 88 no 2 (1817). Michael Thompson Wind Quintet.

Naxos 8.550432 32 Tchaikovsky, P. Suite no 4 in G, op 61, Mozartiana (1887). Detroit SO/Neeme Järvi.

Chandos CHAN 9514 25 Schubert, F. String quintet in C, D956 (1828). Dene Olding, vn; Dimity Hall, vn; Irena Morozova, va; Julian Smiles, vc; David Pereira, vc.

Tall Poppies TP011 58

6:00 SUNDAY MORNING MUSIC 9:00 MUSICA SACRA Prepared by Rex Burgess Hasse, J. Chori angelici laetantes (c1740).

Bernarda Fink, mezz; Musica Antiqua Cologne/Reinhard Goebel.

Archiv 453 435-2 17 Monteverdi, C. Missa in illo tempore (pub.

1610). Huelgas Ensemble/Paul Van Nevel.

DHM 88875143482 37 10:00 THE CLASSICAL ERA Prepared by Ron Walledge Boccherini, L. Guitar quintet no 4 in D, Fandango (1798). Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Decca 478 5669 17 Mozart, W. Divertimento no 10 in F, K247, Lodron night music (1776). Camerata Bern.

Novalis 150 040-2 29 Beethoven, L. Piano trio in B flat, op 97, Archduke (1810-11). Beaux Arts Trio.

Philips 438 948-2 37 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). Vienna PO/Carlos Kleiber.

DG 477 5324 25 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson 13:00 WORLD MUSIC: Whirled Wide with Orli Zahava 14:00 MAN-MADE Gates Prepared by Angela Cockburn Mussorgsky, M. The great gate at Kiev, from Pictures at an exhibition (1874; orch. Ravel).

Royal Liverpool PO/Charles Mackerras.

Virgin VC 7 91174-2 5 Grieg, E. At the cloister gate, op 20 (1871).

Solveig Kringelborn, sop; Ingebjørg Kosmo, mezz; Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 10 FEBRUARY 2019

25

Sunday 17 February Adams, J. China gates (1977). Peter Waters, pf.

Tall Poppies TP108 5 Finzi, G. At middle-field gate in February.

Bejun Mehta, ct; Julius Drake, pf.

Harmonia Mundi HMC 902093 3 Wesley-Smith, M. Seven widows at the gates of Sugarno (2008). Patsy Radic, cont; Martin Wesley-Smith, ten; Tegan Peemoeller, hp; Thirsty Night Singers; Seven Harp Ensemble.

Tall Poppies TP204 10 Yamada, K. Symphonic poem: The dark gate (1913). Ulster O/Takuo Yuasa.

Naxos 8.555350 11 Handel, G. Open ye gates of hell, from The resurrection, HWV47 (1708). Cecilia Bartoli, sop; Les Musiciens du Louvre/Marc Minkowski.

ABC 442 9812 5 15:00 SUNDAY SPECIAL Rarities from the Russian archives Prepared by Paolo Hooke Silvestrov, V. Symphony no 5 (1980-82).

Kiev Conservatoire SO/Roman Kofman.

Melodiya/BMG 74321 49959 2 47 Boiko, R. Symphony no 2 (1978). USSR SO/ Yevgeny Svetlanov.

Russian Disc RD 11 045 21 Popov, G. Symphony no 1, op 7 (1928-34).

Moscow State SO/Gennady Provatorov.

Olympia OCD 576 42 17:00 HOSANNA Prepared by Richard Munge Hymns: Faithful Shepherd lead me; Ye holy angels bright. Paul Chapman, ten; Maurice Bevan, bass; Choir of St Paul’s Cathedral; Christopher Dearnley, org; English Brass Ensemble/John Scott.

Helios CDH 55036 6 Alcock, W. Magnificat and nunc dimittis in A. Boy choristers and Lay vicars of Salisbury Cathedral; John Challenger, org; David Halls, cond.

Priory PRCD 1118 8 Blow, J. Anthem: O give thanks unto the Lord. Choir of Winchester Cathedral; Parley of Instruments/David Hill.

Hyperion CDD 22055 14 Bach, J.S. Anthem: Jesu, joy of man’s desiring. 6 Harwood, B. Anthem: O how glorious is the kingdom. 7 Choir of St George’s Chapel, Windsor; Roger Judd, org; Timothy Byram-Wigfield, cond (2 above) Delphian DCD 34048 Hymns: Glorious things of You are spoken; Love divine. Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3032 6 26

Monday 18 February

Widor, C-M. Toccata, from Symphony no 5 in F, op 42. Ashley Grote, org.

Priory PRCD 1153 6 18:00 SMALL FORCES Prepared by Adam Bowen Respighi, O. Ancient airs and dances, suite no 1 (1917; arr.). Alliage Quintet.

Sony 19075818372 14 Boccherini, L. String quintet, op 37 no 7 (1798-99). Academy of St Martin in the Fields Chamber Ensemble.

Decca 421 637-2 20 Mozart, W. Excerpts from The marriage of Figaro (1791; arr. Wendt). Winds of Berlin PO. Orfeo C238911A 14 Mahler, G. Fantasy on Frère Jacques (1888).

London Double Bass Sound.

Cala 0110 6 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Bartók, B. Dance suite (1923). Chicago SO/ Pierre Boulez.

DG 445 825-2 17 Richter, F. Trumpet concerto in D (c1760).

Håkan Hardenberger, tpt; London PO/Elgar Howarth.

Philips 426 311-2 14 Tchaikovsky, P. Symphony no 5 in E minor, op 64 (1888). London PO/Mstislav Rostropovich.

EMI 5 65709 2 52 20:30 NEW HORIZONS Prepared by Nev Dorrington Zawadzki, S. Between the dusk of a summer night (2017). Budapest SO. 39 Piano works vols 1 and 2. 45 Sebastian Zawadzki, pf (2 above) Awal Digital B07Z SPJ 44 Preisner, Z. Soundtrack from Valley of shadows. Lisa Gerrard, sop; Warsaw PO. Preisner Productions 4 22:00 AFTER HOURS JAZZ with Kevin Jones Buda and Pest, on opposite banks of the Danube River, were separate cities until their unification in 1873 as the capital city of Hungary and, until 1918, as co-capital of the Austro-Hungarian Empire. In 1923 Béla Bartók composed the Dance suite to celebrate the 50th anniversary of the union of the two cities. It includes Arabic, Wallachian and Hungarian melodies in its five dances and concludes with an amalgamation of the thematic sketches.

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

Franz Liszt

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: 1861 Prepared by Rex Burgess Liszt, F. Two episodes from Lenau’s Faust (1861). BBC Scottish SO/Ilan Volkov.

Hyperion CDA67856 28 Bruckner, A. Ave Maria (1861). John Alldis Choir/John Alldis.

Decca 425 075-2 4 Vieuxtemps, H. Violin concerto no 5 in A minor, op 37 (1861). Itzhak Perlman, vn; Paris O/Daniel Barenboim.

EMI CDC 7 47165 2 21 Barbieri, F. Don Quixote (1861). Fernando Cobo, ten; Madrid Comunidad Ch & O/José Ramón Encinar.

Naxos 8.570260 10 Alkan, C-V. Sonatine, op 61 (1861). MarcAndré Hamelin, pf.

Hyperion CDA20794 18 10:30 CONCERT HALL Prepared by Elaine Siversen Rameau, J-P. Orchestral suite, from Naïs (1749). Philharmonia Baroque O/Nicholas McGegan.

Harmonia Mundi HMU 907121 37 Glière, R. Concerto for coloratura soprano and orchestra (1942-43; arr. Yu for oboe).

Australia Pro Arte CO/Jeffrey Crellin, ob & dir.

Move MD 3312 14 Beethoven, L. Symphony no 2 in D, op 36 (1801-02). Sydney Bach O/Alan Holley.

Fine Music concert recording 31 12:00 SWING SESSIONS with John Buchanan

Monday 18 February

Tuesday 19 February Mosonyi, M. Symphony no 1 in D (1844).

Slovak State RSO/Robert Stankovsky.

Marco Polo 8.223539 35 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 NO STRINGS ATTACHED Vaughan Williams, R. Variations for brass band. John Foster Black Dyke Mills Band/ Geoffrey Brand.

Chandos CHAN 4510 12

Paavo Berglund

Karl Davidov

13:00 GYPSY Prepared by Stephen Wilson

0:00 CONTEMPORARY COLLECTIVE

Kats-Chernin, E. Gypsy ramble (1996).

Streeton Trio. www.streetontrio.com 11 Rachmaninov, S. Capriccio on gypsy themes, op 12 (1894). Queensland SO/ Vladimir Verbitsky.

ABC 476 3510 20 Trad. Gypsy reel from Foldal. Ensemble Polaris.

Ensemble Polaris BBR001 6 Brahms, J. Memories of Russia: six fantasies on Russian and gypsy melodies (bef. 1852).

Alfons Kontarsky, Aloys Kontarsky, pf.

DG 479 1965 19 Falla, M. de Ballet: Love the magician, Andalusian gypsy scenes (1915). Gloria Lane, mezz; BBC SO/Leopold Stokowski.

BBC BBCL 4005-2 24 14:00 RUSSIAN SUITES Prepared by Rex Burgess Arensky, A. Suite no 1 in G minor, op 7 (1885). USSR SO/Yevgeny Svetlanov.

Melodiya Mel 10 00148 33 Rimsky-Korsakov, N. Suite from Le coq d’or (1907). Bournemouth SO/Paavo Berglund.

EMI CDM 1 66428 2 26 Kabalevsky, D. Suite from Colas Breugnon, op 24a (1938). Moscow SO/Vasily Jelvakov.

Naxos 8.553411 21 Prokofiev, S. Suite from The stone flower, op 118 (1954). Scottish NO/Neeme Järvi.

Chandos CHAN 8806 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Celeste Haworth 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

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Frank Morrison Soler, A. Concerto no 1 in C for two clavichords. Bernard Brauchli, clvd; Esteban Elizondo, clvd.

Titanic Ti-152 8 Schubert, F. Impromptu no 3 in B flat, D935 (1827). Mitsuko Uchida, pf.

Philips 475 6282 12 Galuppi, B. Sonata no 2 in A, from A pastime at the harpsichord (1781). Jörg Ewald Dähler, hpd.

Claves 50-603 7 Hyde, M. Trio in G for flute, clarinet and piano (1948). Christine Draeger, fl; Anne Brisk, cl; James Muir, pf.

Walsingham 2WAL8036-2 11 Elgar, E. Pomp and circumstance march in G, op 39 no 4 (1907). Christopher Herrick, org.

Hyperion CDA66676 6 Albéniz, I. Autumn waltz, op 170 (c1890).

Alberto Guinovart, pf.

Harmonia Mundi HMI 987007 13 Turina, J. Piano trio no 1, op 35 (1927).

Beaux Arts Trio.

Philips 446 684-2 22 10:30 CONCERT HALL Prepared by Frank Morrison Strauss, R. Suite from Der Rosenkavalier (1911). Vienna PO/André Previn.

DG 437 790-2 22 Davidov, K. Cello concerto no 2 in A minor, op 14 (1863). Alexander Ziumbrovsky, vc; I Musici de Montréal/Yuli Turovsky.

Chandos CHAN 9622 26

Hovhaness, A. Requiem and resurrection for brass choir and percussion, op 224 (1968). North Jersey Wind Symphony/Alan Hovhaness.

Crystal Records CD805 15 Previn, A. Triolet for brass (1984). Philip Jones Brass Ensemble.

Chandos CHAN 8490 19 Stanhope, D. Three folksongs for brass quintet (c1973). Members of Sydney Brass.

Tall Poppies TP199 7 14:00 MUSICAL FAMILIES The Isserlis siblings Prepared by Jennifer Foong Bach, J.S. Cello suite no 2 in D minor, BWV1008 (c1720). Steven Isserlis, vc.

Hyperion CDA67541/2 17 Locatelli, P. Violin concerto in G, op 4 no 9 (pub. 1735). Raglan Baroque Players/ Elizabeth Wallfisch, vn & dir.

Hyperion CDA67041/2 8 Muffat, G. Sonata no 3 in A (pub.1682).

Parley of Instruments/Roy Goodman.

Helios CDH55191 9 Mozart, W. Giunse alfin il momento ...

Deh vieni, non tardar, o gioia bella, from The marriage of Figaro, K492 (1786).

Magdalena Kozená, mezz; O of the Age of Enlightenment/Simon Rattle.

DG 477 6272 4 Pergolesi, G. Sinfonia in F. Elizabeth Wallfisch, vn; Raglan Baroque Players/ Nicholas Kraemer.

Hyperion CDA67230 7 Vivaldi, A. Concerto in C for recorder, oboe, violins and continuo, RV87. Rachel Isserlis, vn; Chandos Baroque Players.

Hyperion CDA66309 8 Bloch, E. Schelomo: Hebraic rhapsody for cello and large orchestra (1915-16). Steven Isserlis, vc; London SO/Richard Hickox.

Virgin 5 61125 2 22 Monteverdi, C. Ballet: De la bellezza (1608).

Monteverdi Choir; English Baroque Soloists/ John Eliot Gardiner.

Erato 2292-45984-2 9 FEBRUARY 2019

27

Tuesday 19 February

Ernest Bloch

Nikolaus Harnoncourt

Paul Lewis

Schumann, R. Violin sonata no 3 in A minor (1853; arr. Isserlis). Steven Isserlis, vc; Dénes Varjon, pf.

Hyperion CDA67661 20

0:00 CONTEMPORARY COLLECTIVE

Rutter, J. Beatles concerto for two pianos and orchestra (1979). Peter Rostal, pf; Paul Schaefer, pf; Royal PO/John Rutter. ucj 476 124-2 24

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Locatelli, P. Violin sonata in D minor, op 6 no 12 (1737). Locatelli Trio.

Hyperion CDA66363 13 Beethoven, L. Cello sonata no 2 in G minor, op 5 no 2 (1796). Zoe Knighton, vc; Amir Farid, pf.

Move MD3356 27 Borodin, A. Piano quintet in C minor (1862).

Ilona Prunyi, pf; New Budapest String Quartet.

Marco Polo 8.223172 23 Dvorák, A. String sextet in A, op 48 (1878).

Boston Symphony Chamber Players. apex 7559 79679 2 32 Roussel, A. Trio for flute, viola and cello, op 40 (1929). Members of Czech Nonet.

Praga Da Camera PRD 350 018 15 The 20-year-old Beethoven embarked on a concert tour which took him to Berlin between May and July 1796. While there, he began composing a number of his important early works including the two cello sonatas of opus 5 which he dedicated to the King of Prussia, Friedrich Wilhelm II, a fine amateur cellist.

The grateful monarch gave the young composer a gold snuff box filled with French 20-franc gold pieces (louis d’or).

28

Wednesday 20 February

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 Muffat, G. Suite III: Illustres primitiae, from Florilegium secundum (pub. 1698). Academy of Ancient Music/Christopher Hogwood.

LP L’Oiseau-Lyre DSLO 591 13 Toccata no 3 in A minor (1690). René Saorgin, org.

Harmonia Mundi HMX 2908250.79 5

Dvorák, A. Symphony no 5 in F, op 76 (1875). Scottish NO/Neeme Järvi.

Chandos CHAN 8552 40 12:00 JAZZ SKETCHES with Robert Vale 13:00 CHAMBER BEETHOVEN Prepared by Paul Hopwood Beethoven, L. String quintet in C, op 29 (1802). Pinchas Zukerman, va; Tokyo String Quartet.

RCA 661 284-2 34

Sonata per violino e basso. London Baroque/ Charles Medlam.

Harmonia Mundi HMA 1901220 10

Piano sonata no 12 in A flat, op 26, Funeral march (1801). Paul Lewis, pf.

Harmonia Mundi HMC 901906/08 21

Sonata no 4 in E minor (pub.1682). Parley of Instruments/Roy Goodman.

Helios CDH55191 7

14:00 IN CONVERSATION with Michael Morton-Evans

Chaconne in G. Musica Antiqua Cologne/ Reinhard Goebel.

Archiv 453 418-2 16 Passacaglia in G minor, from Apparatus musico-organisticus (1690). Andreas Staier, hpd.

Harmonia Mundi HMC 902143 8 Concerto I: Bona nova from Exquisitioris harmoniae instrumentalis gravi-jucundae (1689). Concentus Musicus Vienna/Nikolaus Harnoncourt.

Archiv 479 1045 10 Delirium amoris, concerto grosso in E minor.

Cantilena/Adrian Shepherd.

Chandos CHAN 8448/9 7 10:30 CONCERT HALL Prepared by Michael Field Parry, H. An English suite (1921). English String O/William Boughton.

Nimbus NI 5366 19

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

15:00 HISTORY OF THE ORCHESTRA Part 7 Prepared by Michael Morton-Evans Berlioz, H. Royal hunt and storm, from The Trojans (1856-58). City of Birmingham SO/ Louis Frémaux.

EMI CDM 1 66434 2 9 Tchaikovsky, P. Fatum, op 77 (1868). SO of Russia/Veronika Dudarova.

Olympia OCD 512 A&B 18 Spohr, L. Overture to Jessonda, op 63 (1822). Berlin RSO/Christian Fröhlich. cpo 999 093-2 8 Strauss, R. Burleske in D minor (1885-86).

Marc-André Hamelin, pf; Berlin RSO/Ilan Volkov.

Hyperion CDA67635 19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Thursday 21 February

Wednesday 20 February

Elena Xanthoudakis

Mischa Elman

Clemens Krauss

20:00 AT THE OPERA Prepared by Camille Mercep

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Haydn, J. L’anima dell filosofo, ossia Orpheo ed Euridice. Opera in five acts. Libretto by Carlo Francesco Badini. First performed Florence, 1951.

EURIDICE/GENIO: Elena Xanthoudakis, sop ORFEO: Andrew Goodwin, ten CREONTE: Derek Welton, bass-bar PLUTONE: Craig Everingham, bar Cantillation; O of the Antipodes/Antony Walker.

Pinchgut live PG 001 1:59

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

Synopsis at finemusicfm.com/Opera Overture to Il mondo della luna, Hob.XXVIII:7 (1777). Tasmanian SO/Ola Rudner.

ABC 472 447-2 4 Gluck, C. Dance of the blessed spirits, from Orpheus and Eurydice (1762). Australian Brandenburg O/Paul Dyer.

ABC 434 720-2 7 22:30 MI AMOR Prepared by Mariko Yata Fibich, Z. Souvenirs, op 41 nos 127, 134, 135, 139, 143, 146, 149, 154, 158 and 161 (1892-93). William Howard, pf.

Chandos CHAN 9381 15 Britten, B. Seven sonnets of Michelangelo, op 22 (1940). Peter Pears, ten; Benjamin Britten, pf.

Decca 478 5364 17 Chopin, F. Waltz in A flat, op 69 no 1, Farewell. Vladimir Ashkenazy, pf.

Decca 478 5644 4 Janácek, L. String quartet no 2, Intimate letters (1928). Sydney String Quartet.

Fine Music concert recording 25 Beethoven, L. Piano trio no 8 in B flat, WoO39 (1792-95). Beaux Arts Trio.

Philips 438 948-2 7 Mahler, G. Adagietto, from Symphony no 5 in C sharp minor (1901-02). Berlin PO/Herbert von Karajan.

DG 479 0540 12

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Madilina Tresca Haydn, J. The happy trio, Hob.XXX1a:243 (1801). Lorna Anderson, sop; Jamie MacDougall, ten; Haydn Trio Eisenstadt.

Brilliant Classics 92542 4 Tellefsen, T. Four mazurkas, op 3. Hubert Rutkowski, pf.

Naxos 8.572344 9 Kalliwoda, J. Morceau de salon, op 228.

Colin Bradbury, cl; Oliver Davies, pf.

ASV DCA 701 9 Glazunov, A. Prelude and two mazurkas, op 25 (1888). Stephen Coombs, pf.

Hyperion CDA66866 15 Rachmaninov, S. Two salon pieces, op 6 (1893). Mikhail Tsinman, vn; Viktor Yampolsky, pf.

Hyperion CDA67178 10 Soler, A. Sonata no 57 in G minor. Gilbert Rowland, hpd.

Naxos 8.553464 5 Chopin, F. Sonata, op 58 (1844). Sylvia Torán, pf.

Quicksilva QS 6142 23 10:30 CONCERT HALL Prepared by Stephen Wilson Veracini, F. Overture no 3 in B flat (c1716).

Accademia I Filarmonici/Alberto Martini.

Naxos 8.553412 13 Khachaturian, A. Violin concerto in D minor (1940). Mischa Elman, vn; Vienna State Opera O/Vladimir Golschmann.

Vanguard OVC 8035 38 Gounod, C. Symphony no 2 in E flat (1856).

Academy of St Martin in the Fields/Neville Marriner.

Philips 462 125-2 31

13:00 THE TRIO SONATA IN 18TH CENTURY EUROPE Prepared by Stephen Matthews Vivaldi, A. Folia, op 1 no 12 (1709). 9 Porpora, N. Trio sonata, op 2 no 111 (1736). 11 Bach, J.C.F. Trio sonata in F. 9 Telemann, G. Trio sonata in G. 9 Handel, G. Trio sonata in G minor (1730). 11 London Baroque (all above) BIS 9050 14:00 WHAT DID CLARA THINK? Part 2 Prepared by Stephen Matthews Brahms, J. Rhapsody for contralto, male chorus and orchestra, op 53. London Philharmonic Ch & O/Clemens Krauss.

Decca 475 6060 D C 10 16 Triumphlied, op 55. Wolfgang Brendel, bar; Prague Philharmonic Ch; Czech PO/Giuseppi Sinopoli.

DG 479 4220 24 Variations on a theme by Haydn. London PO/ Wolfgang Sawallisch.

Warner 5 00913 2 4 19 Symphony no 1 in C minor, op 68. Giuseppi Verdi SO of Milan/John Axelrod.

Telarc TEL-34659-02 51 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 THE WORLD OF A SYMPHONY Prepared by Krystal Li Debussy, C. Images II (1907). Claude Helffer, pf.

Harmonia Mundi HMA 190954 13 Myaskovsky, N. Silence, symphonic poem after Edgar Allen Poe, op 9 (1909). Russian Federation SO/Yevgeny Svetlanov.

Warner Classics 69689-8 21 FEBRUARY 2019

29

Thursday 21 February

Friday 22 February

Mahler, G. Das irdische Leben in B flat minor, from Des Knaben Wunderhorn (1892-93).

Jessye Norman, sop; Irwin Gage, pf.

Philips 426 642-2 3 Liszt, F. Totentanz (1849). Joseph Banowetz, pf; Slovak RSO/Oliver Dohnányi.

Naxos 8.557930-31 16 Tchaikovsky, P. Suite from The Queen of Spades (1890; arr. Lindberg). Christian Lindberg, tb; Roland Pöntinen, pf.

BIS CD-478 17 Rachmaninov, S. The bells, choral symphony, op 35 (1913). Suzanne Murphy, sop; Keith Lewis, ten; David Wilson-Johnson, bar; Scottish National Ch & O/Neeme Järvi.

Chandos CHAN 8476 37 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Frank Morrison Mozart, W. String quartet no 16 in E flat, K428 (1783). Australian String Quartet.

Fine Music tape archive 25 Ravel, M. Sonatine (1905). Ffrancon Davies, pf.

Fine Music tape archive 11 Bracanin, P. Cinque partite. Brisbane Baroque Trio.

Jade JADCD 1030 11 Carr-Boyd, A. Home thoughts from abroad (1987). Sue Elliott, mezz; Macquarie Baroque Players.

Jade JADCD 1028 7 Glanville-Hicks, P. Harp sonata (1952).

Marshall McGuire, hp.

Tall Poppies TP071 10 Saint-Saëns, C. Romance, op 37 (1871).

Geoffrey Collins, fl; Stephanie McCallum, pf.

Fine Music tape archive 6 Weber, C.M. Und ob die Wolke sie verhülle, from Der Freischütz (1821). Joan Sutherland, sop; Nelson Cooke, vc; London SO/Richard Bonynge.

Decca 448 594-2 6 Holland, D. String quartet (1996). Orpheus String Quartet.

Jade JADCD 1068 29 Among Rachmaninov’s favourites of his own compositions was his symphony, The bells, considered by many to be his secular choral masterpiece. The text is from the poem of the same name by Edgar Allan Poe, freely translated by the symbolist poet Konstantin Balmont.

A notable feature of the symphony is the frequent use of the Gregorian melody Dies irae (Day of wrath). The dedicatee of the symphony was Dutch conductor Willem Mengelberg and the Concertgebouw Orchestra of Amsterdam.

30

Giuseppe Tartini

Sara Macliver

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

12:00 A JAZZ HOUR with Barry O’Sullivan

9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Silversen Zimbalist, E. Sarasateana (arr. 1947; transcr.

Primrose). Roberto Diaz, va; Robert Koenig, pf.

Naxos 8.557391 16 Liszt, F. Hungarian march after Schubert (transcr. c1879). Leslie Howard, pf.

Hyperion CDS44574 7 Shostakovich, D. Passacaglia, from Lady Macbeth of Mtsensk, op 29 (1934; transcr.

Shostakovich). Alexander Naoumenko, db; Hervé Désarbre, org.

Le Chant du Monde LDC 7781124 8 Tartini, G. Violin sonata in G minor, The devil’s trill (pub.1734; arr. Kreisler). Sydney SO; James Ehnes, vn & dir.

Sydney Symphony SSO201601 17 Borodin, A. Polovtsian dances, from Prince Igor (1887; arr. Gassot, Pepin). Sabine Meyer, cl; Alliage Quintet.

Sony 88875190972 12 Debussy, C. Khamma, dance legend (1912; transcr.). Jean-Efflam Bavouzet, pf.

Chandos CHAN 10545 20 10:30 CONCERT HALL Prepared by Paul Hopwood Wagner, R. Overture to Tannhäuser (1845).

Chicago SO/Georg Solti.

Decca 417 752-2 15 Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). Jorge Bolet, pf; Montreal SO/ Charles Dutoit.

Decca 425 859-2 43 Dittersdorf, C. Symphony no 3 in G, Actaeon transformed into a stag (pub. 1767). Failoni O/Hanspeter Gmür.

Naxos 8.553368 23

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

13:00 MAN-MADE Bridges Prepared by Angela Cockburn Alford, K. Colonel Bogey, from The bridge on the River Kwai. Grimethorpe Colliery U.K. Coal Band.

RCA 74321 88393 2 3 Askill, M. The bridge. Southern Crossings.

Spiral Scratch 0007 3 Canteloube, J. On Mirabel Bridge, from Songs of the Auvergne (1923-30). Sara Macliver, sop; Queensland O/Brett Kelly.

ABC 476 570-3 4 Coates, E. London Bridge (1934). London PO/Barry Wordsworth.

Lyrita SRCD.213 5 Grainger, P. London Bridge, after Gardiner (1935). Sylvia Hosking, db; Mark Knoop, harmonium; Woof.

Move MD 3222 3 Simon, P. Bridge over troubled water (arr.

Hazell). Jane Fjeldsted, cont; Mormon Tabernacle Choir/Jerold Ottley.

ABC 480 7778 6 Martinu, B. Small suite, from Comedy on the bridge (1935). Brno State PO/Frantisek Jilek.

LP Supraphon 1110 1620 G 6 Williamson, M. The bridge that Van Gogh painted and the French Camargue (1975).

Antony Gray, pf.

ABC 472 902-2 9 Puccini, G. O mio babbino caro, from Gianni Schicchi (1918). Yvonne Kenny, sop; Melbourne SO/Vladimir Kamirski.

ABC 442 509-2 2 Ellington, E. Chelsea Bridge (arr. Elkjer).

Center City Brass Quintet.

Chandos CHAN 4554 5

Friday 22 February

Saturday 23 February 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 THE PIANO ALONE Prepared by Katy Rogers-Davies Hummel, J. Études nos 23 and 24 (1833).

Marie Louise Boehm, pf.

LP Turnabout TV 334 562 3

Peter Maag

Antonio Soler

Mozart, W. Piano sonata no 18 in D, K576, Trumpet (1789). Martha Argerich, pf.

DG 479 5978 14

14:00 BRITISH SYMPHONISTS Prepared by Ron Walledge

Gennady Rozhdestvensky.

LP Melodiya C10-10453-4 20

Walton, W. Suite from The Battle of Britain (1969). Academy of St Martin in the Fields/ Neville Marriner.

Chandos CHAN 8870 11

Mendelssohn, F. When Israel came out of Egypt, op 51 (1839). Gulbenkian Ch & O/ Michel Corboz.

Erato 4509-94359-2 13

Liszt, F. Piano sonata in B minor (1853).

Stephanie Mc Callum, pf.

ABC 472 763-2 31

Ballet: The wise virgins, after J.S. Bach (1943). Concert Arts O/Robert Irving.

EMI 5 65911 2 21

Arensky, A. Suite from Egyptian nights, op 50a (1902). USSR RSO/Boris Demchenko.

Melodiya MEL 45002-2 20

Cello concerto (1957). Raphael Wallfisch, vc; London PO/Bryden Thomson.

Chandos CHAN 8959 30

22:00 BAROQUE AND BEFORE From Spain and Portugal Prepared by Elaine Siversen

Symphony no 1 in B flat minor (1931-35).

London SO/Colin Davis.

LSO Live LS00681 46

Escobar, P. de Salve Regina. Members of the Hilliard Ensemble.

Virgin 5 61394 2 10

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

Seixas, C. Sinfonia in B flat. Algarve O/Alvaro Cassuto.

Naxos 8.557207 8

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Morales, C. de Missa, Mille regretz, for the Feast of St Isidore of Seville (c1545). Gabrieli Consort and Gabrieli Players/Paul McCreesh.

Archiv 449143-2 1:16

20:00 EVENINGS WITH THE ORCHESTRA In Egypt Prepared by Di Cox Strauss, J. II Egyptian march, op 335 (1869).

CSSR State PO/Alfred Walter.

Naxos 8.554525 4 Mozart, W. Four interludes, from Thamos, King of Egypt, K345 (1773-76). London SO/ Peter Maag.

Decca 466 500-2 18 Handel, G. Va tacito e nascosto, from Julius Caesar in Egypt, HWV17 (1724). David Daniels, ct; O of the Age of Enlightenment/ Roger Norrington.

Virgin 5 45326 2 6 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Magda Tagliaferro, pf, Lamoureux Concerts O/Jean Fournet.

Philips 438 959-2 29 Prokofiev, S. Suite from Egyptian nights, op 61 (1938). Leningrad Philharmonic SO/

Soler, A. Fandango in D minor. Jacques Ogg, hpd.

Globe GLO 5060 15 In 1846 the 11-year-old Camille SaintSaëns made his debut as pianist at the Salle Pleyel in Paris. Fifty years later, he performed his Piano concerto no 5 in F, op 103 in a Jubilee Concert to celebrate that debut. It had been 20 years since he had composed his previous piano concerto. The Fifth Concerto is known as the Egyptian, mainly because he composed it in the Egyptian temple town of Luxor during one of his frequent visits in the winter season. As well as music of the Middle East being prominent, influences from Java and Spain are displayed in the work making it a most exotic piece of music. Saint-Saëns, however, thought of it as depicting a sea voyage.

10:00 MUSIC OF THE DANCE Prepared by Chris Blower Prokofiev, S. Waltz suite, op 110 (1946).

Mikhail Chernykhovsky, vn; USSR R&T Large SO/Gennady Rozhdestvensky.

Consonance 81-5005 28 Mills, R. Seaside dances. Queensland SO/ Richard Mills.

ABC 432 251-2 24 Alwyn, W. Elizabethan dances (1956-57).

Royal Liverpool PO/David Lloyd-Jones.

Naxos 8.570144 18 Borodin, A. Polovtsian dances, from Prince Igor (1890). Berlin PO/Herbert von Karajan.

DG 474 617-2 12 11:30 ON PARADE Band goes classical Elgar, E. Pomp and circumstance march in D, op 39 no 1 (1901; arr. Wills). Arthur Wills, org; Cambridge Co-operative Band/David Read.

Helios CDH88005 5 Puccini, G. Nessun dorma, from Turandot (1920-24; compl. Alfano 1926; arr.). Hawthorn Band/Ken MacDonald.

Walsingham WAL 9000-2 3 Mendelssohn, F. Military overture. WilliamsFairey Engineering Band.

Delta 60357 8 Tchaikovsky, P. Marche slave (arr. Phillips).

Sellers Engineering Band/Phillip McCann.

Chandos CHAN 4527 7 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 FEBRUARY 2019

31

Saturday 23 February

Alwyn Mellor

Lucille Norman, Gordon MacRae

Ross Pople

14:00 CONSIDERING CZERNY Prepared by Georgina Sierra

& O/Joseph Batten.

Naxos 8.110317-18 36

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

Martin Jones, pf.

Nimbus NI 5872/3 5

17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn

Sviridov, G. Three poems by Alexander Pushkin. Glinka A Cappella Choir of Leningrad/Vladimir Chernushenko.

LP Melodiya C10 18857-8 5

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

Helios CDH55074 11

Children in fairy tale and fantasy 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes

Rondoletto concertant, op 149 (1828). PeterLukas Graf, fl; Zsuzsanna Sirokay, pf.

Jecklin 577-2 10

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Grand nocturne brilliant, op 95 (c1826).

Rosemary Tuck, pf; European CO/Richard Bonynge.

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

Virgin 7 59304 2 7 15:00 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Sullivan, A. The Yeomen of the Guard.

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

First performed London, 1888.

COLONEL FAIRFAX: Neill Archer, ten WILFRED SHADBOLT: Donald Maxwell, bass PHOEBE MERYLL: Pamela Helen Stephen, sop LEONARD MERYLL: Peter Hoare, ten SERGEANT MERYLL: Donald Adams, bass ELSIE MAYNARD: Alwny Mellor, sop JACK POINT: Richard Suart, bass DAME CARRUTHERS: Felicity Palmer, sop Welsh National Opera Ch & O/Charles Mackerras.

Telarc 2CD-80404 1:30 Synopsis at finemusicfm.com/Opera Suite no 1 from Victoria and Merrie England (1897). Royal PO/Royston Nash.

Decca 468 810-2 11 Excerpts from The gondoliers (1889).

Columbia Light Opera Company soloists, Ch 32

Romberg, S. Excerpts from The New Moon (1928). 17 Friml, R. Excerpts from The vagabond king (1925). 14 Vintage Music 85686 75497 (2 above) Romberg, R. Excerpts from The desert song (1929).

Hallmark mcps 707902 21 Gordon MacRae, Lucille Norman, voices (all above) 20:00 THE WORD TRANSFORMED Prepared by Elaine Siversen Sviridov, G. Five choruses to lyrics by Russian poets (1958). Vasilii Timonin, ten; Glinka A Cappella Choir of Leningrad/Vladimir Chernushenko.

LP Melodiya C10 18857-8 21 Balakirev, M. Symphonic poem: Tamara (1882). Philharmonia O/Yevgeny Svetlanov.

Hyperion CDA66586 22

Bax, A. Suite from Tamara (1911; orch.

Parlett). BBC PO/Martyn Brabbins.

Chandos CHAN 9879 23 Prokofiev, S. Symphonic suite from the opera, Semyon Koto, op 81bis (1939).

Scottish NO/Neeme Järvi.

Chandos CHAN 8803 37 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Liszt, F. Symphonic poem: Les préludes (1848). Vienna PO/Giuseppe Sinopoli.

DG 478 4234 16 Beethoven, L. Violin sonata no 9 in A, op 47, Kreutzer (1802-03). David Oistrakh, vn; Frida Bauer, pf.

Brilliant Classics 8402 31 Piazzolla, A. Concerto for bandoneon, strings and percussion (1979). Pablo Mainetti, band; Teatre Lliure CO/Josep Pons.

Harmonia Mundi HMC 901595 21 Schmitt, F. Feuillets de voyage for piano four hands, op 26 bk1 (1903-13). Invencia Piano Duo. Grand Piano GP730X 12 Mendelssohn, F. String symphony no 8 in D (1821). London FO/Ross Pople.

Hyperion CDS44081/3 29

Balakirev’s symphonic poem, Tamara, is based on verses by the Romantic poet Mikhail Lermontov. The work, composed in his middle years, was Balakirev’s most forwardlooking and influential work up to that time. Rimsky-Korsakov borrowed a theme from the introduction and used it as the recurring motif in Scheherazade, and this evocative introduction to Tamara was inspirational for Debussy.

Princess Tamara lives in an ancient tower on a crag in the Caucasus Mountains above the River Terek where it roars through a gorge. The music begins like a roaring river but becomes sinuous as Tamara lures male travellers to spend the night with her. Frenzied music depicts the lover being hurled from the battlements to the river below in the morning.

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

Sunday 24 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Di Cox Mozart, W. Mass no 2 in D minor, K65 (1769). Helen Donath, sop; Annette Markert, cont; Uwe Heilmann, ten; Andreas Schmidt, bass; Leipzig Radio Choir; Michael-Christfried Winkler, org; Leipzig RSO/Herbert Kegel.

Philips 422 264-2 15 Haydn, M. Vespers for the Feast of the holy innocents (1793). Krisztina Laki, sop; Adrienne Csengery, sop; Zsuzsa Németh, cont; Györ Girls’ Ch; Gabor Trajtler, org; Györ PO/Miklós Szabó.

LP Budapest FX 12301 39 10:00 THE CLASSICAL ERA Prepared by Denis Patterson Nicolai, O. Sonata no 1 in F for two horns (1833-37). Roger Montgomery, hn; Christopher Larkin, hn.

Hyperion CDA67119 16 Boyce, W. Symphony in D minor, op 2 no 8 (bef. 1758). Academy of Ancient Music/ Christopher Hogwood.

Decca 473 081-2 11 Tartini, G. Violin sonata in G minor, The devil’s trill (pub.1734; arr. Kreisler). James Ehnes, vn; Andrew Armstrong, pf.

Sydney Symphony SSO201601 17 Arne, T. Trio sonata no 7 in E minor (1757).

Collegium Musicum 90.

Chandos CHAN 0666 13 Spontini, G. Caro oggetto, from La vestale (1807). Maria Callas, sop; La Scala TO/Tullio Serafin.

EMI 5 67701 2 4 Weber, C.M. Grand duo concertante, op 48 (1816). Michael Collins, cl; Piers Lane, pf.

Chandos CHAN 10615 19 Mendelssohn, F. Symphony no 5 in D minor, op 107, Reformation (1832). Tasmanian SO/ Sebastian Lang-Lessing.

ABC 476 3623 30 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 ADAGIOS Prepared by Randolph Magri-Overend Bruckner, A. Adagio (1876). New PO of Westphalia/Johannes Wildner.

Naxos 8.555928/9 18 Respighi, O. Adagio con variazioni for cello and orchestra (1921). Andrea Noferini, vc; Rome SO/Francesco La Vecchia.

Brilliant Classics 94394 13

Mozart, W. Adagio and rondo in C for glass armonica, flute, oboe, viola and cello, K617 (1791). Marc Grauwels, fl; Dennis James, glass armonica; Brussels Virtuosi.

Hyperion CDA66392 13 Barber, S. Adagio for strings, op 11a (1936).

Australian CO/Richard Tognetti.

Sony SK 48252 9 15:00 SUNDAY SPECIAL German father, Japanese mother Prepared by Jennifer Foong Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Freddy Kempf, pf.

BIS SACD-1810 18 Telemann, G. Violin concerto in A, The frogs.

Midori Seiler, vn; Akademie für Alte Musik Berlin/Stephan Mai. Harmonia Mundi HMX 2908601.30 13 Beethoven, L. Rondo a capriccio in G, op 129, Rage over a lost penny. Alice Sara Ott, pf.

DG 4779291 6 Schubert, F. Violin sonata no 2 in A minor, D385 (1816). Midori Seiler, vn; Jos van Immerseel, pf.

Harmonia Mundi ZZT060501 20 Schumann, R. Arabesque in C, op 18 (1838).

Freddy Kempf, pf.

BIS CD-960 6 Janácek, L. Concertino for piano and chamber ensemble (1925). Lawrence Dobell, cl; Peter Moore, bn; Darryl Poulsen, hn; Mayumi Seiler, vn; Lorna Cummings, vn; Caroline Henbest, va; Jean-Bernard Marie, pf.

Fine Music tape archive 16 Berg, A. Violin concerto: To the memory of an angel (1935). Arabella Steinbacher, vn; West German RSO/Andris Nelsons.

Orfeo C778091A 27 17:00 HOSANNA Prepared by Jeremy Hall Hymns: All praise to Thee; O Thou who camest from above; I heard the voice of Jesus say. Choir of St James, King Street; David Drury, org; Peter Ellis, cond. 8 Vierne, L. Messe solennelle, op 16. Choir of St John’s College, Cambridge; Edward Picton-Tubervill, Joseph Wicks, org; Andrew Nethsingha, cond.

Chandos CHAN 10842 21 Duruflé, M. Quatre motets sur des thèmes grégoriens, op 10. Choir of Trinity College, Cambridge/Richard Marlow.

Chandos CHAN 10357 8 Hassler, H. O sacrum convivium. Choir of Westminster Cathedral/James O’Donnell.

Hyperion CDA66688 5 Hymn: Be Thou my vision. Choir of St James, King Street; Peter Ellis, org; David Drury, cond. 5

Dupré, M. Placare Christe servulis. John Scott, org.

Hyperion SPCC2000 2 18:00 SMALL FORCES Prepared by Frank Morrison Sibelius, J. Four pieces, op 115 (1929). NilsErik Sparf, vn; Bengt Forsberg, pf.

BIS CD-625 10 Mozart, W. Quintet in E flat for piano and winds, K452 (1784). Derek Wickens, ob; Robert Hill, cl; Martin Gatt, bn; Barry Tuckwell, hn; John Ogdon, pf.

Decca 421 393-2 23 Berwald, F. String quartet in A minor (1849).

Frydén String Quartet.

Caprice CAP 21334 20 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Liszt, F. Symphonic poem no 7: Festlänge (1851). London PO/Bernard Haitink.

Philips 438 751-2 20 Barber, S. The capricorn concerto, op 21 (1944). Louise Ditullio, fl; Allan Vogel, ob; Anthony Plog, tpt; Pacific SO/Keith Clark.

Varèse-Sarabande VCD 47211 18 Duparc, H. Phidylé (1882); La vie antérieure (1884). Bernadette Greevy, mezz; Ulster O/ Yan Pascal Tortelier.

Chandos CHAN 8735 10 Nielsen, C. Symphony no 2, op 16, The four temperaments (1901-2). Danish RSO/Herbert Blomstedt.

EMI 5 74188 2 34 20:30 NEW HORIZONS Prepared by Brian Drummond Brumby, C. Oboe concertino (1986). Barry Davis, ob; Queensland SO/Wilfred Lehmann.

Australian Music Ctr OZM 1002 17 Kats-Chernin, E. Clocks (1993). Sydney Alpha Ensemble/David Stanhope.

ABC 456 468-2 21 Corigliano, J. The red violin caprices (2002).

Philippe Quint, vn.

Naxos 8.559364 10 Tavener, J. Song for Athene (1993). Choir of Westminster Abbey/Martin Neary.

Sony SK 66613 7 Cockcroft, B. Rock me (2007). Nick Russoniello, sax; Acacia Quartet. www.nickrussoniello.com.au 28Aug2014 7 Mills, R. Fantastic pantomimes (1987).

Gerhard Mallon, fl; Anthony Camden, ob; Paul Dean, cl; Neil Crellin, hn; Geoffrey Spiller, tpt; Queensland SO/Richard Mills.

ABC 432 251-2 17 22:00 AFTER HOURS JAZZ with Kevin Jones FEBRUARY 2019

33

Monday 25 February Walton, W. Viola concerto in A minor (192829/36/61). Nigel Kennedy, va; Royal PO/ André Previn.

EMI 5 62813 2 26 Borodin, A. Symphony no 1 in E flat (186267). Seattle SO/Gerard Schwarz.

Naxos 8.572786 34 12:00 SWING SESSIONS with John Buchanan 13:00 AFTERNOON DELIGHTS Prepared by Randolph Magri-Overend Maurice Ravel

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: 1912 Prepared by Derek Parker Delius, F. On hearing the first cuckoo of Spring (1912). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.578281-82 6 Vaughan Williams, R. Fantasia on Greensleeves (1912). Tasmanian SO/David Stanhope.

ABC 481 2424 5 Rachmaninov, S. Vocalise, op 34 no 4 (1912). Natalie Dessay, sop; Berlin SO/ Michael Schønwandt.

Virgin 363332 2 9 5 Debussy, C. Jeux for two pianos (1912-13).

Jean-Efflam Bavouzet, pf; François-Frédéric Guy, pf.

Chandos CHAN 10863 17 Ravel, M. Suite no 2 from Daphnis et Chloé (1912). Detroit SO/Paul Paray.

Mercury 478 5092 16 Villa-Lobos, H. Children’s suite no 1 (1912).

Debora Halász, pf.

BIS CD-912 11 Kálmán, E. Dorfkinder, from Der Zigeunerprimás (c1912). Slovak RSO/Richard Bonynge.

Naxos 8.660105-06 7 Butterworth, G. Six songs from A Shropshire lad (1912). Benjamin Luxon, bar; David Wilson, pf.

London 430 368-2 15 10:30 CONCERT HALL Prepared by Derek Parker Elgar, E. Overture: In the South, op 50, Alassio (1903). Royal PO/Andrew Litton.

Virgin VC 7 90727-2 21 34

Lehár, F. Overture to The Count of Luxembourg (1909). Studio 2 Concert O/ Vilem Tausky.

EMI 5 75996 2 8 Vaughan Williams, R. The running set (1933). Royal Liverpool PO/James Judd.

Naxos 8.572304 7 Walton, W. Sonata for string orchestra (1972). Scottish Ensemble.

Wigmore Hall Live WHLive0021 29 Strauss, J. II Tales from the Vienna Woods, op 325 (1868). Strauss FO/Ondrej Lenárd.

Naxos 8.578041-42 12 14:00 MUSICAL ADVENTURES Prepared by Randolph Magri-Overend Liszt, F. Mephisto waltz no 2 (1881). Berlin PO/Herbert von Karajan.

DG 474 617-2 11 Massenet, J. Le carillon (1892). National PO/ Richard Bonynge.

Decca 478 4749 37 Bernstein, L. Symphonic dances from West Side story (1961; transcr. Lavender 2007).

Lone Star Wind O/Eugene Migliaro Corporon.

Naxos 8.572837 23 Beethoven, L. Symphony no 7 in A, op 92 (1811-12). Vienna PO/Claudio Abbado.

Decca 478 5365 42 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Massenet’s ballet Le carillon tells of a Flemish clockmaker with a deadline to repair the church carillon. If he fails, he will be imprisoned and lose his fiancée.

Rival suitors try to ensure his failure.

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

Tuesday 26 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Jennifer Foong Bach, J.S. Concerto in F for two recorders, BWV1057 (c1738). Nadja Schubert, rec; Eva Morsbach, rec; Robert Hill, hpd; Cologne CO/ Helmut Müller-Bruhl.

Naxos 8.553505 15 Jadin, H. Piano sonata in D, op 5 no 2.

Andreas Staier, pf.

MBF 1108 12 Purcell, H. Incassum, Lesbia, rogas. Anne Sofie von Otter, sop; Markus Möllenbeck, vc; Christian Rieger, org.

Archiv 457617-2 7 Westhoff, J. Violin sonata in A, La guerra (pub. 1682). Reinhard Goebel, vn; Jaap ter Linden, bass viol; Konrad Junghänel, theorbo; Henk Bouman, hpd.

Archiv 437 089-2 12 Krufft, N. Der Abend. Christoph Prégardien, ten.

Teldec 3984-21473-2 4 Bach, C.P.E. Flute sonata in G, Wq133 (1786). Wilbert Hazelzet, fl.

DHM GD 77052 7 Andreas Staier, fp (2 above) Beethoven, L. Violin sonata no 4 in A minor, op 23 (1800-01). Daniel Sepec, vn; Andreas Staier, pf.

Harmonia Mundi HMC 901919 20 10:30 CONCERT HALL Prepared by Michael Field Thomson, V. Suite from The plow that broke the plains (1936). Symphony of the Air/ Leopold Stokowski.

Vanguard OVC 8013 14 Dvorák, A. Violin concerto in A minor, op 53 (1880). Ruggerio Ricci, vn; London SO/ Malcolm Sargent.

Decca 455 957-2 32 Parry, H. Symphony no 2 in F, Cambridge.

London PO/Matthias Bamert.

Chandos CHAN 8961 38 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 CHAMBER BEETHOVEN Prepared by Paul Hopwood Beethoven, L. Quintet in E flat for winds and piano, op 16 (1796). Lothar Koch, ob; Karl Leister, cl; Günter Piesk, bn; Gerd Seifert, hn; Jörg Demus, pf.

DG 439 852-2 26

Tuesday 26 February Piano trio no 1 in E flat, op 1 no 1 (1794-95).

Members of Australia Ensemble.

Fine Music tape archive 27 14:00 THOMAS BEECHAM CONDUCTS Prepared by Stephen Wilson Handel, G. The gods go a’begging (arr.

1928).

EMI CDM 7 63374 2 19 Mozart, W. Martern aller Arten, from The abduction from the seraglio, K384 (1782).

Lois Marshall, sop.

CBC Records PSCD 2001 9 Bassoon concerto in B flat, K191 (1774).

Gwydion Brooke, bn.

EMI CDC 7 47864 2 18 Delius, F. The song of the high hills (1911).

Freda Hart, sop; Leslie Jones, ten; Luton Choral Society.

Naxos 8.110982/83 25 Royal PO (all above) Franck, C. Symphony in D minor (1887-88).

French National RO. EMI 5 62948 2 39 Thomas Beecham, cond (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Tartini, G. Violin sonata in B flat, op 5 no 6 (pub. 1747). Locatelli Trio.

Hyperion CDA66485 21 Bridge, F. Phantasie quartet in F sharp minor (1910). Maggini Quartet.

Naxos 8.553718 11 Buxtehude, D. Cantata: Jesu, meine Freude, BuxWV60. Emma Kirkby, sop; Suzie LeBlanc, sop; Peter Harvey, bass; Purcell Quartet.

Chandos CHAN 0691 13 Bliss, A. Oboe quintet (1927). Nicholas Daniel, ob; Maggini Quartet.

Naxos 8.555931 22 Mendelssohn, F. String octet in E flat, op 20 (1825). Vienna Octet.

Decca 478 2826 33 Richter, M. Dream 8, Late and soon, from Sleep (2013-15). Grace Davidson, sop; Max Richter, pf, org, synthesisers, elec; American Contemporary Music Ensemble.

DG 479 5258 12 An oratorio is like a cantata but only more so. — David W. Barber

Wednesday 27 February 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 Adam Bowen Rózsa, M. North Hungarian peasant songs and dances, op 5 (1929). Philippe Quint, vn; William Wolfram, pf.

Naxos 8.570190 9 Spellbound concerto (1945). Philip Fowke, pf; RTE Concert O/Proinnsias O Duinn.

Naxos 8.578005-06 12 Duo, op 7 (1931). Philippe Quint, vn; William Wolfram, pf.

Naxos 8.570190 18 Music from Ben Hur (1959). MGM Studio O/ Miklós Rózsa.

Sony 88697638382 13 Andante for string orchestra (1950/92). Berlin SO/Isaiah Jackson.

Koch 3 7152-2H1 9 Music from Providence (1977). O/Miklós Rózsa.

CAM CSE 085 13 Toccata capricciosa (1976). Mark Kosower, vc.

Naxos 8.570570 8 10:30 CONCERT HALL Prepared by Di Cox Fauré, G. Masques et bergamasques, op 112 (1919). Australian CO/Christopher Hogwood.

Fine Music tape archive 14 Mozart, W. Piano concerto no 9 in E flat, K271, Jeunehomme (1777). Alfred Brendel, pf; I Solisti di Zagreb/Antonio Janigro.

Vanguard OVC 4015 34 Spohr, L. Symphony no 3 in C minor, op 78 (1828). Swiss Italian O/Howard Shelley.

Hyperion CDA67788 30 12:00 JAZZ SKETCHES with Robert Vale 13:00 CHAMBER MOZART Prepared by Paul Hopwood Mozart, W. String quintet no 3 in C, K515 (1787).

William Primrose, va; Griller String Quartet.

Vanguard OVC 8025 71 33 Divertimento in D for two horns, bassoon, violin, viola and double bass, K205 (1773). John Cran, bn; Robert Johnson, hn; Casey Rippon, hn; Marina Marsden, vn; Jennifer Curl, va; Andrew Raciti, db.

Fine Music concert recording 18 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 HISTORY OF THE ORCHESTRA Part 8 Prepared by Michael Morton-Evans Wagner, R. Imperial march (1871). Hong Kong PO/Varujan Kojian.

LP Marco Polo 6.220114 9

Lanner, J. Court ball dances, op 161. Vienna PO/Riccardo Muti.

DG 474 900-2 9 Schoenberg, A. Overture to Gurrelieder (1900-03; orch. 1910-11). Philharmonia O/ Robert Craft.

Naxos 8.557518-19 7 Strauss, R. Excerpts from An alpine symphony (1911-15). Staatskapelle Weimar/ Antoni Wit. Naxos 8.557811 13 Prokofiev, S. Symphony no 1 in D, op 25, Classical, mvt 4 (1917). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00042 4 Stravinsky, I. Psalm 39, from Symphony of Psalms (1930/48). Simon Joly Chorale; Philharmonia O/Robert Craft.

Naxos 8.557504 4 Britten, B. Dies irae, from Sinfonia da requiem, op 20 (1940). London SO/Steuart Bedford.

Naxos 8.557196 5 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by James Nightingale Lully, J-B. Atys. Opera in five acts. Libretto by Philippe Quinault. First performed Paris, 1676.

TYS: Guy de Mey, ten CYBÈLE: Guillemette Laurens, mezz SANGARIDE: Agnès Mellon, sop CÉLÉNUS: Jean-François Gardeil, bar Les Arts Florissants/William Christie.

Harmonia Mundi HMX 2908250.79 2:51 Synopsis at finemusicfm.com/Opera Pleyel, I. String quartet in B flat, op 2 no 5 (1784). Enso Quartet.

Naxos 8.557497 18 23:30 MUSIC TAKING FLIGHT Prepared by Georgina Sierra Messiaen, O. Prélude no 1, La colombe (1928-29). Peter Hill, pf.

Delphian DCD34141 2 Schumann, R. Papillons, op 2 (1829-31).

Nelson Freire, pf.

Decca 473 902 2 13 Grieg, E. Schmetterling, op 43 no 1, from Lyrische Stücke, op 43 no 1 (1864-67). David Helfgott, pf.

EMI CDC 7 54135 2 2 Chopin, F. Étude in G Flat, from 12 Études, op 25 no 9 (1832-36). Vlado Perlemuter, pf.

Nimbus NI 5095 1 Messiaen, O. Le merle noir (1951). Juliette Hurel, fl; Hélène Couvert, pf. naïve V 4925 5 FEBRUARY 2019

35

Thursday 28 February Respighi, O. Suite: The birds (1927). BBC PO/Patrick Thomas.

Carlton Classics 15656 91372 18 Hovhaness, A. And God created great whales, op 229 no 1 (1970). Philharmonia O/ David Amos.

Crystal Classics CD810 13 Saint-Saëns, C. The carnival of the animals.

Peter Schickele, narr; Ralph Markham, Kenneth Broadway, pf; Atlanta SO/Yoel Levi.

Telarc CD 80350 28 Mikhail Pletnev

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Frank Morrison Haydn, J. Keyboard sonata no 33 in C minor, Hob.XVI:20 (1771). Mikhail Pletnev, pf.

Virgin 5 45254 2 18 Bizet, G. Les adieux de l’hôtesse arabe (1866). Felicity Lott, sop; Graham Johnson, pf.

Harmonia Mundi HMC 901138 5 Grieg, E. Allegro molto, from Norwegian dances for piano four hands, op 35 (1881).

Eva Knardahl, Kjell Ingebretsen, pf.

BIS CD-113 6 Schumann, R. Fantasy piece for clarinet and piano, op 73 (1849). Michael Sim, cl; Amadeus Webersinke, pf.

Berlin 0012862BC 11 Beethoven, L. Das Liedschen von der Ruhe, op 52 no 3 (1793). Stephan Genz, bar; Roger Vignoles, pf.

Hyperion CDA67055 5 Debussy, C. Cello sonata (1915). Paul Tortelier, vc; Jean Hubeau, pf.

Erato 2292-45738-2 11

German, E. Incidental music to Romeo and Juliet (1895). Czecho-Slovak RSO/Adrian Leaper.

Naxos 8.554711 14 Reicha, A. Symphony in F (1808). Beethoven Academie/Jan Caeyers.

Audivis-Valois V 4834 36 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 EARLY SYDNEY CONTEMPORARIES Delany, J. Overture to Captain Cook (1888).

Adelaide SO/Carl Pini.

LP ABC AC 1036 9 Ave Maria (c1905). Jennifer Bates, sop; Choir of St Mary’s Cathedral; Sydney Conservatorium Chorale/David Russell.

Walsingham WAL 8010-2 3 Wiegand, A. Storm idyll no 2 (c1894). Robert Ampt, org.

Fine Music concert recording 17 Delany, J. Mass in A flat (c1892). Jennifer Bates, sop; Elizabeth Campbell, mezz; David Hamilton, ten; Michael Hissey, bass-bar; Choir of St Mary’s Cathedral; Jubilee Choir; Sydney Conservatorium Choir; Sydney Conservatorium Chorale; Jubilee O/David Russell.

Walsingham WAL 8010-2 54

Mendelssohn, F. Piano quartet in F minor, op 2 (1823). Domus.

Virgin VC 7 91183-2 22

14:30 ALL CREATURES GREAT AND SMALL Prepared by Randolph Magri-Overend

10:30 CONCERT HALL Prepared by Chris Blower

Shostakovich, D. Five pieces from The Gadfly, op 97 (1955; arr. Borisovsky).

Lawrence Power, va; Simon CrawfordPhillips, pf.

Hyperion CDA67865 17

Deutscher, A. Dance of the Solent mermaids (2014). Israel PO/Roni Porat.

Private recording 8 Shore, H. Cello concerto: Mythic gardens (2012). Sophie Shao, vc; 21st Century CO/ Ludwig Wicki.

Sony 88985348732 24 36

Robert Ampt

Schumann, R. Die Löwenbraut, op 31 no 1 (1840). Simon Keenlyside, bar; Graham Johnson, pf.

Hyperion CDJ33102 8

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

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 THE WORLD OF A SYMPHONY Prepared by Paul Cooke Dvorák, A. Suite in A, op 98b, American (1895). Prague Philharmonia/Jakub Hrusa.

Supraphon SU 3882-2 23 MacDowell, E. Woodland sketches, op 51 (1896). James Barbagallo, pf.

Marco Polo 8.223631 19 Chadwick, G. String quartet no 4 in E minor (1896). Portland String Quartet.

Northeastern NR 234 CD 28 Beach, A. Symphony in E minor, op 32, Gaelic (1896). Detroit SO/Neeme Järvi.

Chandos CHAN 8958 41 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Elaine Silversen Beethoven, L. Cello sonata no 3 in A, op 69 (1807-08). Zoe Knighton, vc; Amir Farid, pf.

Move MD3356 28 Verdi, G. Willow aria: She wept singing in the lonely land, from Otello (1887). Joan Carden, sop; Sydney SO/Eric Clapham.

ABC 480 8207 12 Dvorák, A. Piano quintet no 2 in A, op 81 (1887). Piers Lane, pf; Goldner String Quartet.

Hyperion CDA67805 39 Abbott, C. Blue Mountain airs: Suite no 7, Mount Wilson; Suite no 11, Mount York. Janet Webb, fl; Ulpia Erdos, hp. 12 Albéniz, I. Suite: España, op 165 (pub.

1890). Ray Lemond, pf. 17 Fine Music concert recordings (2 above) Peter Schickele wrote much of his music as the fictional P.D.Q. Bach. These recordings earned him four consecutive wins for Grammy Award for Best Comedy Album from 1990 to 1993.

The following composers have works of at least five minutes on the February dates listed Abbott, C. 1916-1944 28 Adams, J. b1947 17 Albéniz, I. 1860-1909 19,28 Albinoni, T. 1671-1751 12 Alcock, W. 1861-1947 17 Alfonso X, el Sabio 1221-1284 1 Alkan, C-V. 1813-1888 14,18 Alwyn, W. 1905-1985 2,6,10,23 Arban, J-B. 1825-1889 11 Arensky, A. 1861-1906 18,22 Ariosti, A. 1666-c1729 16 Arne, T. 1710-1778 5,24 Arriaga, J. 1806-1826 10,13 Aubert, J. 1689-1753 3

Buxtehude, D. 1637-1707 26

Geminiani, F. 1687-1762 5 German, E. 1862-1936 6,28 Gershwin, G. 1898-1937 Caillet, L. 1891-1985 2 9,12,15 Campra, A. 1660-1744 15 Giuliani, M. 1781-1829 Carr-Boyd, A. b1938 21 10,14 Castelnuovo-Tedesco, M. Glanville-Hicks, P. 1912-1990 1895-1968 1 Chabrier, E. 1841-1894 1,10 21 Chadwick, G. 1854-1931 28 Glass, P. b1937 13,16 Charpentier, M-A. 1635-1704 Glazunov, A. 1865-1936 4,21 1,3,16 Glière, R. 1875-1976 14,18 Chausson, E. 1855-1899 Glinka, M. 1804-1857 15 11,14 Cherubini, L. 1760-1842 3,4 Gluck, C. 1714-1787 20 Chopin, F. 1810-1849 9,11, Gossec, F-J. 1734-1829 3 Gounod, C. 1818-1893 21 15,16,21,22 Ciurlionis, M. 1875-1911 4,14 Grieg, E. 1843-1907 17,28 Bach, C.P.E. 1714-1788 Cockcroft, B. 1933-2001 24 Grofé, F. 1892-1972 5 5,26 Bach, J.C.F. 1732-1795 21 Constant, M. 1925-2004 10 Hahn, R. 1875-1947 14 Bach, J.S. 1685-1750 1,11, Copland, A. 1900-1990 15 Handel, G. 1685-1759 3,10, Corea, C. b1941 7 12,14,15,17,19,26 11,14,21,22,26 Corigliano, J. b1938 24 Balakirev, M. Harris, R. 1898-1979 15 Couperin, F. 1668-1733 15 1837-1910 7,23 Harwood, B. 1859-1949 17 Czerny, C. 1791-1857 7 Bantock, G. 1868-1946 9 Hasse, J. 1699-1783 17 Barber, S. 1910-1981 24 Hassler, H. 1562-1612 24 d’Indy, V. 1851-1931 5 Barbieri, F. 1823-1894 18 Haydn, J. 1732-1809 Danzi, F. 1763-1826 4 Bartók, B. 1881-1945 3,5,6,9,12,13,20,28 Dauprat, L. 1781-1861 7 8,15,17 Haydn, M. 1737-1806 24 Davidov, K. 1838-1889 19 Bax, A. 1883-1953 8,10,23 Debussy, C. 1862-1918 Henze, H. 1926-2012 16 Beach, A. 1867-1944 1,28 Herrmann, B. 1911-1975 11 2,5,14,16,21,22,25,28 Beethoven, L. 1770-1827 Hildegard of Bingen.

Delany, J. 1852-1907 28 1,2,4,5,6,7,8,11,12,14,17,18, Delius, F. 1862-1934 1098-1179 1 19,20,23,24,25,26,28 Hindemith, P. 1895-1963 3 5,6,25,26 Bellini, V. 1801-1835 11 Holland, D. 1913-2000 21 Deutscher, A. b2005 28 Bellman, C. 1740-1795 7 Dittersdorf, C. 1739-1799 22 Holland, W. b1927 6 Berg, A. 1885-1935 24 Holst, G. 1874-1934 2,16 Dohnányi, E. 1877-1960 Berlioz, H. 1803-1869 Houghton, P. b1954 16 8,13 7,8,13,14,20 Donizetti, G. 1797-1848 16 Hovhaness, A. 1911-2000 Bernstein, L. 1918-1990 25 Dowland, J. c1563-1626 1 19,28 Berwald, F. 1796-1868 6,10, Duparc, H. 1848-1933 24 Howarth, E. b1935 2 24 Hummel, J. 1778-1837 Duruflé, M. 1902-1986 24 Bizet, G. 1838-1875 28 4,13,14 Dvorák, A. 1841-1904 Bliss, A. 1891-1975 26 Hyde, M. 1913-2005 19 2,8,11,12,19,20,26,28 Bloch, E. 1880-1959 19 Ives, C. 1874-1954 15 Edwards, R. b1943 16 Blow, J. 1649-1708 17 Jacquet de la Guerre, E-C. Boccherini, L. 1743-1805 17 Elgar, E. 1857-1934 4,6,12,16,19,23,25 c1666-1729 3 Boiko, R. 1931-2002 17 Jadin, H. 1769-1802 3,26 Borodin, A. 1833-1887 19,22, Ellington, E. 1899-1974 22 Enescu, G. 1881-1955 12 Janácek, L. 1854-1928 23,25 Boyce, W. 1711-1779 10,24 Escobar, P. de c1465-c1535 20,24 22 Boyd, A. b1946 16 Kabalevsky, D. 1904-1987 18

Laitman, L. b1955 10 Lalo, E. 1823-1892 2 Lanner, J. 1801-1843 9,27 Lawes, W. 1602-1645 5 Le Suer, J-F. 1760-1837 3 Leclair, J-M. 1697-1764 3 Lehár, F. 1870-1948 15,25 Lekeu, G. 1870-1894 13 Liszt, F. 1811-1886 7,8,9,11, 12,16,18,21,22,23,24,25 Locatelli, P. 1695-1764 19 Locke, M. c1621-1677 9 Loeffler, C. 1861-1935 2 Lully, J-B. 1632-1687 27 Lyadov, A. 1855-1914 7 MacDowell, E. 1860-1908 28 Madetoja, L. 1887-1947 9 Mahler, G. 1860-1911 8,12, 13,14,15,17,20 Marais, M. 1656-1728 1 Marchand, L. 1669-1732 15 Martin, F. 1890-1974 2 Martinu, B. 1890-1959 22 Mendelssohn, F. 1809-1847 2,9,22,23,24,26,28 Mendelssohn, Fanny.

1805-1847 7 Messiaen, O. 1908-1992 27 Milhaud, D. 1892-1974 1 Mills, R. b1949 23,24 Molique, B. 1802-1869 10 Monteverdi, C. 1567-1643 3, 17,19 Morales, C. de c1500-1553 22 Moran, R. b1937 10 Mosonyi, M. 1815-1870 19 Mozart, L. 1719-1787 5 Mozart, W. 1756-1791 1,2,3, 4,5,6,10,12,13,14,15,17,21,22, 23,24,26,27 Muffat, G. 1653-1704 7,19,20 Mussorgsky, M. 1839-1881 8,17 Myaskovsky, N. 1881-1950 21

Porpora, N. 1686-1768 21 Potter, A. 1918-1980 9 Previn, A. b1929 19 Prokofiev, S. 1891-1953 1,15, 18,22,23 Purcell, H. 1659-1695 1,26

Stenhammar, W. 1871-1927 1 Strauss, J. II 1825-1899 15,25 Strauss, R. 1864-1949 1,6, 19,20,27 Stravinsky, I. 1882-1971 1,2 Quilter, R. 1877-1953 2 Suk, J. 1874-1935 6 Rachmaninov, S. 1873-1943 Sullivan, A. 1842-1900 23 2,7,14,18,21,24,25 Sviridov, G. 1915-1998 23 Rameau, J-P. 1683-1764 9, Taffanel, P. 1844-1908 5 15,18 Tartini, G. 1692-1770 Ravel, M. 1875-1937 1,12, 22,24,26 21,25 Tavener, J. 1944-2013 24 Reich, S. b1936 3,16 Reicha, A. 1770-1836 3,16,28 Tchaikovsky, P. 1840-1893 Respighi, O. 1879-1936 4,8, 2,7,9,16,17,20,21,23 Telemann, G. 1681-1767 3, 12,17,24,28 13,21,24 Richter, F. 1709-1789 17 Tellefsen, T. 1823-1874 21 Richter, M. b1966 13,26 Tesori, J. 20th c 9 Rimsky-Korsakov, N. Thomson, V. 1896-1989 26 1844-1908 6,12,18 Turina, J. 1882-1949 19 Rode, P. 1774-1830 3 Rodgers, R. 1902-1979 9 Vanhal, J. 1739-1813 7 Rodrigo, J. 1901-1999 8 Vaughan Williams, R. Romberg, S. 1887-1951 9,23 1872-1958 2,3,5,9,19,25 Rosetti, A. c1750-1792 10 Veracini, F. 1690-1768 21 Rossini, G. 1792-1868 4,16 Verdi, G. 1813-1901 3,16,28 Roussel, A. 1869-1937 19 Vierne, L. 1870-1937 16,24 Rozsa, M. 1907-1995 2,27 Vieuxtemps, H. 1820-1881 Rutter, J. b1945 10,20 18 Saint-Saëns, C. 1835-1921 Villa-Lobos, H. 1887-1959 1,25 1,4,5,12,14,21,22,28 Sammartini, G. 1693-1750 5 Vine, C. b1954 14 Vivaldi, A. 1678-1741 Sanz, G. 1640-1710 1 10,19,21 Satie, E. 1866-1925 11 Scarlatti, A. 1659-1725 8,12 Wagner, R. 1813-1883 9,14, 22,27 Scarlatti, D. 1685-1757 8

Schein, J. 1586-1630 1 Schmidt, F. 1874-1939 15 Schmitt, F. 1870-1958 5,9,10,23 Schoenberg, A. 1874-1951 27 Schubert, F. 1797-1828 1,3,4, 5,7,8,10,12,14,16,17,19,24 Nicolai, O. 1810-1849 24 Schulz-Evler, A. 1854-1905 15 Nielsen, C. 1865-1931 Schumann, R. 1810-1856 7,9,10,14,24 14,19,24,27,28 Niewerth, H. d 1699 1 Schütz, H. 1585-1672 3 Novák, V. 1870-1949 6 Schwarz, G. b1947 11 Seixas, C. 1704-1742 22 Okamoto, K. 20th c 10 th Shore, H. b1946 9,28 Osborne, D. 20 c 9 Bracanin, P. b1942 21 Falla, M. de 1876-1946 2,18 Kalliwoda, J. 1801-1866 21 Shostakovich, D. 1906-1975 Brahms, J. 1833-1897 Fauré, G. 1845-1924 10,27 Kálmán, E. 1882-1953 9,25 Paganini, N. 1782-1840 7 6,8,14,22,28 2,7,13,18,21 Fibich, Z. 1850-1900 7,20 Kats-Chernin, E. b1957 18,24 Paisiello, G. 1740-1816 13 Sibelius, J. 1865-1957 8,11,24 Brewer, H. 1865-1928 10 Finzi, G. 1901-1956 13,15 Kelly, F. 1881-1916 2 Parker, K. 1888-c1960s 14 Silvestrov, V. b1937 17 Bridge, F. 1879-1941 26 Fiorenza, N. 1700-1764 2 Kelly, T. 1917-1985 9 Parry, H. 1848-1918 20,26 Simon, P. b1941 22 Britten, B. 1913-1976 2,5,10, Foote, A. 1853-1937 14 Khachaturian, A. 1903-1978 Pärt, A. b1935 16 Smalley, R. b1943 10 12,16,20,27 Foster, G. b1945 9 11,16,21 Pavlova, A. b1952 11 Soler, A. 1729-1783 19,22 Brouwer, L. b1939 16 Franck, C. 1822-1890 26 Klughardt, A. 1847-1902 14 Pergolesi, G. 1710-1736 19 Sor, F. 1778-1839 9 Bruch, M. 1838-1920 14 Friedman, I. 1882-1948 2 Kodály, Z. 1882-1967 1 Pfitzner, H. 1869-1949 7 Spohr, L. 1784-1859 20,27 Bruckner, A. 1824-1896 24 Friml, R. 1879-1972 23 Koechlin, C. 1867-1950 9 Piazzolla, A. 1922-1992 9,23 Stamitz, J. 1717-1757 7 Brumby, C. 1933-2018 10,24 Frøhlich, J. 1806-1860 10 Korngold, E. 1897-1957 6 Pierné, G. 1863-1937 1 Stanford, C. Villiers 1852-1924 Busoni, F. 1866-1924 11 Fux, J. 1660-1741 13 Kreutzer, R. 1766-1831 3 Pleyel, I. 1757-1831 27 12 Butterworth, G. 1885-1916 25 Popov, G. 1904-1972 17 Galuppi, B. 1706-1785 19 Lachenmann, H. b1935 3 Stanhope, D. b1951 19

Walton, W. 1902-1983 1,3,11,22,25 Warren, E. 1893-1981 2 Waxman, F. 1906-1962 2 Webb, R. 1888-1982 2 Weber, C.M. 1786-1826 3,4, 16,21,24 Weill, K. 1900-1950 14,15 Wesley-Smith, M. b1945 16,17 Wesley, S. 1766-1837 4 Westhoff, J. 1656-1705 26 Widor, C-M. 1844-1937 17 Wiegand, A. 1849-1904 28 Williams, J. b1932 11 Williamson, M. 1931-2003 5,7,22 Yamada, K. 1886-1965 17 Yoshimatsu, T. b1953 16 Ysaÿe, E. 1858-1931 5,6 Zawadzki, S. b1991 17 Zelenka, J. 1679-1745 7 Zemlinsky, A. 1871-1942 2 Zimbalist, E. 1890-1985 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 Television Symphony NO: National Orchestra NSO: National Symphony Orchestra SO: Symphony Orchestra Orchestra PO: Philharmonic Orchestra TO: Theatre Orchestra alto: male alto RO: Radio Orchestra ban: bandoneon RSO: Radio Symphony

bar: baritone bshn: basset horn bass: bass bn: bassoon bass bar: bass baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

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

mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder

sax: saxophone sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin

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RARITIES FROM THE RUSSIAN ARCHIVES PAOLO HOOKE DISCUSSES LITTLE-KNOWN SYMPHONIES The Symphony no 1 of Gavriil Popov (19041972) is another revelation. It’s an astonishing work sharing similarities with, and said to have provided inspiration for, Shostakovich’s Symphony no 4. Popov’s work was premiered in March 1935, just months before the full onslaught of Stalin’s Terror and the Pravda editorial against Shostakovich.

“I must write what pleases me and not what others like, not (to quote an apt saying) what the age dictates to me … I must seek beauty,” says the Ukrainian composer Valentin Silvestrov, who was born in Kiev in 1937. He describes his Symphony no 5 (composed in 1980-82) as a ‘post-symphony’. The one-movement work appears unassuming at first but is actually a skilfully structured edifice of sound that eschews the traditional dramatic development of a symphony. There is undoubtedly an affinity with the music of Gustav Mahler.

Silvestrov’s Symphony is one of three to be presented in the first program of a three-part series (in February, April and June) showcasing some of the rarer Russian symphonies.

Another relatively unknown composer who sought beauty is Rostislav Boiko (19312002), whose unashamedly romantic tone was influenced by Tchaikovsky. He dedicated his Symphony no 2, written in 1978, to his birthplace, Leningrad, and its people. “It was evoked by reminiscences about this great city and is dedicated to the memory of my parents and all those who defended the

Rostislav Boiko

city during the war and helped to restore it afterwards,” he said. The composer recounts that in monstrous conditions during the siege of Leningrad, people were disregarding their own suffering to protect beauty. “During the first quarter of 1943, the sick, famished people took out 80 tons of broken glass from the Hermitage alone!” The symphony is a lyrical ode to Leningrad, with a pure and songful character.

The Symphony was subsequently banned by the Leningrad authorities as ‘reflecting the ideology of … classes hostile to us’ and was described as ‘formalist’ and ‘ideologically alien to the Soviet order’. However, since Stalinist repression had not yet reached its peak, the ban was overturned. The Symphony was rehabilitated but remained unplayed, being regarded as a political ‘hot potato’.

It’s a disgrace that the narrow-mindedness of the Soviet era saw Popov’s Symphony languish in obscurity. Tragic and turbulent, this is an unforgettable symphony of immense expressive power.

This three-part series, to be broadcast in February, April and June, will be heard in Sunday Special beginning on 17 February at 3pm.

EARLY SYDNEY’S LEADING CONDUCTOR ELAINE SIVERSEN FOLLOWS THE CAREER OF JOHN DELANY Dame Nellie Melba made her Sydney debut singing under the direction of John Delany, whose greatest contribution to Australian music was as a conductor, a field in which he excelled. His finest achievements with the baton included conducting the massed choirs in Centennial Park for the inauguration of the Commonwealth in 1901 and conducting at the State concert attended by the Duke of York.

Delany conducted the Australian premiere of Elgar’s oratorio The dream of Interior of St Mary’s Cathedral with organ Gerontius in Sydney Town Hall in 1903, to mark the golden jubilee of the ordination of Born in 1852, John Albert Delany was brought the Catholic Archbishop of Sydney, Patrick to New South Wales as an infant. His journalist Moran. Author E.J. Lea-Scarlett wrote that father established a newspaper in Newcastle this premiere ‘showed both his skill and where the young Delany had his first musical boldness in attempting so elaborate a work tuition. Later he studied music with William demanding unusually large orchestral and Cordner, organist of St Mary’s Cathedral in choral resources when its few performances Sydney. He played the violin in the Victoria in England had met with hostile criticism’. Theatre Orchestra and, at the age of 20, was The performance elicited enthusiastic cheers appointed choirmaster at the Cathedral. Two from the audience, and Elgar’s cable of years later he became the organist. After five congratulations, addressed simply as ‘Delany years he left to join the Lyster Opera Company – Sydney’, was delivered the next morning. in Melbourne as chorus master.

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In 1882, Delany was called back to St Mary’s as musical director for the three-day celebration of the opening of the northern end of the Cathedral for which he composed his famous Triduum march. In 1886 he became musical director of St Mary’s where he raised the choral standards. He began presenting concert performances of Masses which were very popular and it is said that the polished performances were due to his extensive operatic experience. He also composed a cantata, Captain Cook, as well as many motets.

Lea-Scarlett notes that Delany ‘had great personal charm and was a witty and engaging conversationalist’. Delany died on 11 May 1907 and was buried in Waverley Cemetery.

His monument is engraved with a theme from one of his two Masses composed when he was musical director at St Mary’s Cathedral.

In Early Sydney Contemporaries you can hear music of John Delany and of his contemporary, the Sydney City Organist Auguste Wiegand, at 1pm on 28 February.

COMPOSERS CONSCIOUS OF TRADITION PAUL COOKE LOOKS AT TWO MAJOR COMPOSITIONS

Undine, water sprite

Hans Werner Henze is regarded as an ‘abundantly gifted’ composer, unusual for his ‘prodigality of invention’ and his ‘deliberate cultivation of standard genres’. He was for a long time associated with the post-World War II avant-garde. It is a reputation that is perhaps based more on his left-wing political views than on his actual compositions, and indeed he was taken to task by some contemporaries for not being abrasive or critical or ‘chaotic’ enough in his music. He explored serialism but was not enslaved by it. He built on the experiences of Stravinsky and Hindemith: from the former, rhythmic drive and neo-classicism; from the latter, an awareness and exploration of the possibilities of classical forms such as the symphony.

Undine is a water sprite who must marry a mortal in order to gain a soul even though it means the death of the mortal. The ballet of that name, adapted from a novel by Friedrich de la Motte-Fouqué, was commissioned

by Frederick Ashton as the first full-length ballet score for the emerging Royal Ballet, and was the only full-length ballet that he choreographed to original music. It was first performed at Covent Garden in 1958, with Margot Fonteyn in the title role in its debut and in most of its performances until its removal from the repertoire in 1966 although it has since been revived on numerous occasions.

At the time, critical praise tended to be for Fonteyn’s performance: one critic described Undine as a ‘concerto’ for Fonteyn; Henze himself wrote: “… [the] crown of the creation,

the radiant centre of the whole ballet, was Margot ...

From her first appearance Margot is the fragile vessel of Ashton’s fragile poetry. A movement of her body, an upward glance, a port des bras, a floating above a cantilena - already the portrait of the unearthly being that is Ondine is complete.” Henze’s music, by contrast, tended to be disliked. What was regarded at the time as eclectic and derivative, however, can be seen with distance and perspective as paying homage to and extending the tradition of classical dance music. Reviewing the 50th anniversary production in London, the Telegraph suggested that the ballet could have seemed ‘twee’ if accompanied by traditionally ‘pretty’ music, but that Henze ‘delivered a score that not only has saltwater coursing through its veins, but one that’s also packed with still-surprising darkness and discord’.

Despite his left-wing views, Henze lived in considerable personal comfort. More than a century earlier, Felix Mendelssohn defied the archetype of the Romantic composer and lived a life that was domestically tranquil and gave him the opportunity to pursue his chosen career. But whereas Henze felt able in his later years to compose light, delightful works such as his Symphony no 8, inspired by Shakespeare’s A midsummer night’s dream, Mendelssohn was under pressure from his father to leave behind his youthful ‘elfin’ manner (exemplified by the Octet and the Overture to A midsummer night’s dream) and compose something ‘graver’. He did so, but did not complete it before his father’s death.

Paulus was composed between early 1834 and the northern spring of 1836, and was Mendelssohn’s first oratorio. It was very popular during his lifetime and led to the commissioning of the even more successful Elijah. Paulus is based on the story of Saul of Tarsus, who at first opposed the followers of Jesus; he experienced a vision while travelling to Damascus and converted to Christianity,

becoming Paul the Apostle and one of the first major Christian missionaries and theologians.

Like St Paul, Mendelssohn’s father was a Jew who converted to Christianity: the oratorio was perhaps both an allegory of Mendelssohn’s family history and a profession of his own religious faith wherein intolerance and fanaticism are to be deplored.

Although Mendelssohn is regarded as a Romantic composer familiar with and inspired by literature and philosophy, his musical influences go back much further. Many of his compositions display the traditional form and elegance and melodic grace of Mozart, but in Paulus, those influences reach back to the Baroque examples of Handel and Bach. After its British premiere, Mendelssohn commented that ‘If I could once write a chorus equal to Handel’s, I should be content’. Mendelssohn championed Handel’s music and studied his oratorios closely; his writing in the dramatic choruses was influenced by him, as was his depiction of the voice of God by using four women’s voices. Mendelssohn had also conducted Bach’s St Matthew Passion in 1829, probably its first performance since that composer’s death in 1750 and crucial in the revival of his music thereafter; the use in Paulus of choral settings of familiar chorale tunes as commentaries on the story, and as structural elements in the composition, comes from Bach. His father’s exhortation to compose something ‘graver’ saw Mendelssohn become probably his generation’s major composer of sacred music, a worthy heir to Haydn, Mozart and Beethoven.

St Paul The Apostle by Bartolomeo Montagna

These works can be heard in Saturday Matinee at 3pm; Paulus on 2 February and Undine on 16 February.

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WHAT’S ON IN MUSIC AUSTRALIAN ROMANTIC & CLASSICAL ORCHESTRA Madness & Confrontation: Sunday 24 March 3pm Mannheim Rocket: Sun 12 May 3pm New Constellations: Sunday 18 August 3pm City Recital Hall, Angel Place, Sydney Bookings: 02 8256 2222 or cityrecitalhall.com Tickets: $25 - $95 Further information: arco.org.au Details of all concerts may be found in an article on pages 2 and 3 with a listing of events.

These concerts revisit the formation of the orchestra, discover historical background to the symphony, and explore new perspectives in large-scale chamber music. To achieve optimal enjoyment of the season, all three concerts are recommended.

The series titled In Celebration features hand-picked internationally respected musicians, directors and soloists, including director and violinist Rachael Beesley, guest director Jakob Lehmann, soprano Jacqueline Porter, baritone David Greco and basset clarinettist Nicole van Bruggen.

Madness & Confrontation commemorates the formation of the Australian Romantic & Classical Orchestra while Mannheim Rocket is a flashback to the establishment of the Classical symphony by Mannheim School experts Franz Xaver Richter and Johann

Stamitz. New Constellations fast-forwards to the 19th century with Mendelssohn’s String Octet and Brahms’ Serenade for nonet, both shining examples of chamber music written with symphonic dimensions.

Details of the orchestra’s educational programs, the Young Mannheim Symphonists and the Voyage of Musical Discovery concert series, are discussed in the article but more details can be found at arco.org.au.

world will perform across ten days, including five who will be making their Australian debut.

AUSTRALIAN FESTIVAL OF CHAMBER MUSIC Townsville, North Queensland 26 July – 4 August 2019 Information and bookings: afcm.com.au

The Festival program features an abundance of music, from the 13th century to the present day, and it includes five world and five Australian premieres.

There is something for everyone including the morning Concert Conversations, evening concerts and concerts on Orpheus Island and Magnetic Island.

Tickets and holiday packages will be on sale from 25 February.

AFCM Friends can purchase Gold Subscriptions now.

Experience the finest classical music in a tropical winter paradise at the Australian Festival of Chamber Music this July and August. Over 40 musicians from around the

This is the unique combination of fine music, winter warmth and friendly atmosphere that makes this Festival so special.

ENJOY, LEARN, DISCUSS Bizet’s Women: Models for Carmen (with an Australian connection) Presenter: David Garrett Fine Music Centre 72-76 Chandos St, St Leonards Sunday 17 February, 2.30pm Bookings: 9439 4777 or finemusicfm.com 40

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Carmen is fickle and a law unto herself in regard to love. So is another of Bizet’s heroines, the woman of Arles (L’arlésienne).

Women known to Bizet may have given him the idea for his musical characterisations.

David Garrett is on their track and is including an Australian connection!

MYTHS AND LEGENDS LAURA-JAY MATHISON CONNECTS RARE AND BEAUTIFUL OPERAS Ever since Giovanni de’ Bardi and the Florentine Camerata sought to revive Greek music and drama in the 1580s (leading to the composition of the earliest operas) mythology and music have been inextricably intertwined.

Mozart’s Ascanio in Alba is set in the mythological country of Alba. It differs from the story found in Virgil’s Aeneid, in which Ascanius (King of the ancient city of Alba Longa) set off a war between the Trojans and the Latins by wounding the pet stag of Silvia, the daughter of the Apollo Pursuing Daphne by Pietro Bianchi royal herdsman.

The opera was commissioned by Empress Maria Theresa for the wedding of her son, Archduke Ferdinand Karl, to Maria Beatrice d’Este on 15 October 1771, when Mozart was just 14. As an allegory of the state wedding, Venus, the Roman goddess representing love, fertility and victory, stands for Empress Maria Theresa and Ascanio for the young archduke.

Maria Beatrice is personified by the nymph Silvia, who has to pass a test as the future bride of the king to prove her virtue. After various confusions, the lovers find each other and are destined to rule side by side.

L’anima del filosofo, ossia Orfeo ed Euridice was written to inaugurate the reopening of the King’s Theatre in the London’s Haymarket in 1791. It took the Orpheus story as its subject matter, not as it had been adapted by Gluck three decades earlier, but rather based on Ovid; thus this work is very different from other operatic settings of the myth. Haydn wrote: “The new opera … is entitled Orfeo …

It is supposed to be entirely different from that of Gluck … [it] is supposed to contain many choruses, ballets and a lot of big changes of scenery…”

Johann Joseph Fux’s chamber opera, Dafne in Lauro (1714), also has Habsburg connections and was written to celebrate the birthday of Holy Roman Emperor Charles VI. The work belongs to the festa teatrale genre in which librettists used mythological or allegorical themes to exalt members of the Habsburg family and to celebrate their splendour at particular festive occasions. Fux had also worked under the previous two Emperors and dedicated his 1725 theoretical treatise, Gradus ad Parnassum, to Charles VI.

Haydn had travelled to London that year after the death of his patron, Prince Nikolaus Esterházy. His contract called for the composition of six symphonies and an opera. The libretto

One King who was much more accommodating was Louis XIV of France. Jean-Baptiste Lully spent most of his life in his employ as surintendant de la musique de la chambre du roi (Superintendent of the Royal Music). Much of Lully’s musical output was written to celebrate Louis’ reign.

Atys (1676) is a tragédie en musique, in a prologue and five acts with a libretto by Philippe Quinault based on Ovid’s Fasti. It was first performed by Lully’s Académie Royale de Musique for the royal court. In Quinault’s libretto, Cybele’s rival for the love of Atys (Attis, a pre-Hellenic god) is the nymph Sangaride, to whom Atys has declared his affections. At the end of the opera, Cybele causes Atys to kill Sangaride in a frenzy, and then to stab himself fatally. Before Atys can die, Cybele transforms him into a pine tree.

The opera gave symbolic representation to a love triangle that was then being played out in the king’s own household. “Word has it,” wrote one courtier, “that the King recognises himself in this Atys, apathetic to love, that Cybele strongly resembles the Queen, and Sangaride Mme. de Maintenon” (who eventually became the King’s second wife).

Dafne is a female nymph in Greco-Roman mythology who is transformed into a laurel tree to escape the pursuits of the god Apollo. In Fux’s exultation of Charles VI, the final chorus heralds him as the ‘Austrian Jove’ and the opera includes other mythological characters, including the goddess Diana, and the gods Mercury and Cupid.

During his lifetime, Joseph Haydn was lauded by many as the ‘Orpheus of his age’ and so it is perhaps fitting that he, among many composers of the Enlightenment, chose the story of Orpheus and Eurydice as the subject matter for his final opera.

of this opera, by Carlo Francesco Badini, ends with Orpheus’s body being torn apart and carried off to Lesbos. Owing to rival theatre patronage by George III and the Prince of Wales, the King refused a licence to the King’s Theatre manager and banned the opera from performance.

Subsequently, Haydn stopped work on it and large gaps exist where arias would most certainly have been performed, resulting in several loose ends in the story. Although it remained unperformed until 1951, it nevertheless contains some of Haydn’s finest music.

The Greek and Roman myths that so fascinated these Baroque and Classical composers continued to be inspiration for countless later composers including Richard Strauss, Stravinsky, Offenbach and Philip Glass.

Statue of Atys

These operas will be broadcast on Wednesdays in February at 8pm: Mozart’s Ascanio in Alba (6), Fux’s Dafne in Lauro (13), Haydn’s L’anima del filosofo, ossia Orfeo ed Euridice (20) and Lully’s Atys (27).

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MUSICAL FAMILIES ELIZABETH HILL CELEBRATES BROTHERS AND SISTERS Soloists. As well as touring extensively, she appears regularly as a soloist and chamber musician. Rachel is also a founder member of the Orchestra of the Age of Enlightenment, with whom she has played as principal second violin. Rachel studied with Jaroslav Vanecek and the former leader of the Concertgebouw Orchestra, Hermann Krebbers. With a keen interest in period instruments she has worked with all the major English groups in this field, as well as with the Amsterdam Baroque Orchestra and other European ensembles.

Steven Isserlis

Steven Isserlis’s musical destiny was decided long ago. He is distantly related to Felix Mendelssohn, and his grandfather, the Russian pianist and composer, Julius Isserlis, was one of 12 eminent musicians allowed abroad by Lenin after the Russian Revolution.

“The intention was to spread the word about what a wonderful place the Soviet Union was,” says Isserlis, “but as none of them ever went back, it didn’t do the USSR much good.”

Unlike Steven Isserlis who has no inclination to step up onto the podium, Iona Brown was one of the few women in the 20th century who made the successful transition from bow to baton. Her mother, at the age of 16, marched into Broadcasting House to demand an audition with the BBC Symphony Orchestra ‘because I’ve heard they take women’. Iona was similarly unconcerned about storming into a man’s world. She acknowledged that life as a female conductor was not always plain sailing: “There were many occasions when I thought: I wish I was a man because, if I was, those particular rehearsals would have been very different.”

Steven’s sister Annette teaches historical performance on baroque and classical viola at the Royal College of Music. She was a founder member of the Orchestra of the Age of Enlightenment, and for many years was principal viola for the English Baroque 42

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Ian Brown

Iona was instantly recognisable for her energetic and commanding stage presence, and a rare personal expressiveness in performance. Her leadership qualities, which Neville Marriner had spotted so many years before, were positive and precise. “Iona personified the essence of the Academy’s style of music-making,” he wrote in The Guardian.

With his father an amateur violinist, his mother a pianist and his sisters playing viola and violin, the family needed a cellist. Although this choice was not his own, he says that he would not change it now; but he would have liked 32 Beethoven sonatas! He prefers to use gut strings, which give his remarkable sound a ‘burnished, soulful timbre’ rather than the harsher quality of metal strings.

Isserlis enjoys a uniquely varied career as a soloist, chamber musician, educator, author and broadcaster. He has a strong interest in historical performance, working with many period-instrument orchestras and giving recitals with harpsichord and fortepiano. He is also a keen exponent of contemporary music and has premiered many new works.

However, his career was slow to take off.

When his formal music studies were over, he says it took 11 years for the phone to ring. It was only after giving the first performance of John Tavener’s cello concerto The protecting veil in 1989 that he began to be noticed.

In her later years rheumatoid arthritis caused her to turn increasingly to conducting. She gave her final concert with the London Philharmonic in May 2002, on the day that she received a diagnosis of cancer. She died in June 2004 at the age of 63.

Iona Brown

Iona’s parents fostered an environment that enabled their children to become professional musicians (her father was a pianist and organist, and her mother a violinist in the Bournemouth Symphony Orchestra). Iona had her first violin lesson at five and later studied in Rome, Brussels, Vienna and Paris, where she was a student of Henryk Szeryng. She soon became a central figure in British music through playing with, and then directing, the Academy of St Martin in the Fields. She also became Artistic Director of the Norwegian and Los Angeles Chamber Orchestras, and was guest conductor of the City of Birmingham Symphony Orchestra.

Her brother Ian is a versatile pianist whose career embraces solo playing, chamber music and conducting. Since making his conducting debut at the Barbican he has worked with major orchestras in Britain and in Europe and is Music Director of the Henley Symphony Orchestra, one of the leading English amateur orchestras. As a chamber musician he has a long association with the Nash Ensemble (the resident chamber ensemble at Wigmore Hall) which has built up a reputation as one of Britain’s finest and most adventurous chamber groups. He is in great demand as a duo partner and has played with world-class artists including Mstislav Rostropovich, Henryk Szeryng, James Galway and Maxim Vengerov and, in 2018 he toured Australia with Steven Isserlis.

Listen to these musicians in Musical Families at 2pm on Tuesdays 5 and 19 February.

BIZARRE BAROQUE ROSS HAYES DESCRIBES THE WEIRD AND WONDERFUL I’ve always regarded Baroque music as being genteel and refined. It was only when I heard Jean-Féry Rebel’s Le chaos from Les élémens that I changed my mind. Although they were originally composed and performed separately, Le chaos later became the introduction to the dance suite Les élémens and they are now published and performed together. Les élémens was Rebel’s last composition and his most ambitious and striking work. Dedicated to the Prince of Carignan, one of Rebel’s powerful patrons, this work is a ten-movement choreographed tone poem depicting the formation of earth’s elements (earth, water, fire and air) from cosmic chaos. Le chaos begins with an unheard of dissonance, sustaining all seven notes of the D minor scale in one harsh chord. Then, after a short silence, we hear the formation of elements pulsating into existence.

Written near the turn of the 18th century, it is a piece of music that sounds so modern and is way ahead of its time; very bizarre.

Having heard my first example of bizarreness in Baroque music, I thought there must be more out there, and thus I began my search for more examples.

The next work I came across is also from a Frenchman, Marin Marais: Le tableau de l’opération de la taille. This was bizarre Baroque program music, a development of the madrigalism of the Renaissance with

Jean-Féry Rebel

the Baroque just taking it to greater lengths. The notations in the score are to be read aloud during performance (originally in French but also performed in English). The depiction is quite detailed as we view the instruments, see the patient descending into the apparatus, and witness the shivering of the patient; very graphic and most certainly not genteel and refined.

Now to the German baroque composer Heinrich Biber and his Die liederliche Gesellschaft von allerley Humor (The Profligate Society of Common Humour) from Battalia.

In this piece, the orchestra plays in eight different keys simultaneously to depict drunkenness (or, as some interpret the program, the multiplicity of troops in the army). You could Farinelli by Jacopo Amigoni (c1755) easily imagine it as both. It requires great concentration from the musicians to tune afterwards diminished in the same manner out of the cacophony around them. to a mere point, that it was applauded for full five minutes. After this he set off with such John Dowland is next on my list of baroque brilliancy and rapidity of execution that it was bizarreness with his My Lord Chamberlain, his difficult for the violins of those days to keep galliard. This piece allows the possibility of an pace with him.” The composer Johann Quantz intimate embrace between the two lute (or in said of him: “Farinelli had a penetrating, full, modern times, guitar) players, who must sit rich, bright and well-modulated soprano voice, one upon the other’s lap with each playing on with a range at that time from the A below the same instrument. This one has to be seen middle C to the D two octaves above middle to be believed!

C ... His intonation was pure, his trill beautiful, The final bizarre aspect of his breath control extraordinary and his throat baroque for you to ponder is very agile, so that he performed the widest the use of castrati singers in intervals quickly and with the greatest ease baroque operas. Probably the and certainty. Passagework and all kinds of most famous castrato was melismas were of no difficulty to him. In the the marvellous Italian singer, invention of free ornamentation in adagio he Farinelli (Carlo Broschi). He was was very fertile.” a highly skilled performer, much praised for the beauty of his All of that is great and, if the experts are to be sound, the breadth of his range, believed, very beautiful but the reality is quite the purity of his intonation and bizarre. In 17th and 18th century Italy, about his breath control and agility. 4,000 boys were castrated each year, from the It has been recorded that the age of eight upwards, with the aim of making range of his voice covered more a fortune as opera singers and soloists with than three and a half octaves. choirs in churches and royal palaces. Poor Some accounts of his life state families would have a son castrated in the that he could produce 250 notes hope that he would become a good enough in a single breath and sustain a castrato to earn the family money. The chances of this happening were somewhere near 1 in note for more than a minute.

50 or 1 in 100. The chances of his becoming According to the music a Farinelli (or a Cafarelli) were closer to 1 in historian, Charles Burney: 1,000 or 1 in 10,000. Bizarre!

“When Farinelli came to London in 1734, the first note he sung This was part of the December Enjoy, Learn, was taken with such delicacy, Discuss talk given by Ross, with musical swelled by minute degrees to examples. You’ll find the 2019 series brochure such an amazing volume, and with this magazine.

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JAZZ CD REVIEWS LA FENICE Keith Jarrett ECM 2601

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This double album presents Keith Jarrett’s July 2006 concert at the La Fenice Theatre in Venice. It finds him channelling his inspiration into a suite of eight spontaneously created pieces referencing everything from the blues to atonality. From the first flurry of notes, it is a consistently captivating journey. Part I is technically impressive, even if emotionally chilly. The catchy themes of Parts III and IV are mesmerising and, between Parts VI and VII, Jarrett surprisingly, but very touchingly, segues into The sun whose rays from the Gilbert and Sullivan operetta The Mikado.

The second disc has encores: the traditional My wild Irish rose, previously recorded by Jarrett on the album The Melody at Night, with You, and the timeless standard Stella by starlight which, along with Gary Peacock and Jack DeJohnette, appeared on the albums

MØSTER!

States of Minds Hubro Music LC49093

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While the music world is embracing the vinyl LP once again, this double album was reviewed on two CDs, and yet there is still some unexplainable appeal that two LPlength discs bring to this listener over a single 80-minute disc. The Norwegian saxophonist Kjetil Møster has said he is seeking to place the artistic style and intensity of his hero John Coltrane in a modern context, so with 20-minute-plus epic pieces such as Brainwave entrainment and Life wobble he is surely on that committed journey. Møster is a genuine multi-instrumentalist who has played guitar in experimental rock bands and, like Miles’ 1970s output, immerses his horn underneath heavy guitar and electronica.

Life wobble has a 22-minute prevailing heart beat pulse that allows other synthesised textures and guitar to evolve around it

PAS DE DEUX

Tom Noonan Wizard Tone Records

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Melbourne-based saxophonist Tom Noonan is an emerging composer and saxophonist who graduated from the Victorian College of Arts with first class honours. He has studied with Julian Wilson, Ian Whitehurst, Jamie Oehlers and Tim Wilson and is clearly becoming a force to be reckoned with on the alto saxophone along with his talents as a composer. This rather mysterious but at the same time commanding debut, was partially inspired by the social philosopher, Erich Fromm’s The Art of Loving, opulently reflected in the frequent interactions between Noonan on alto and tenor saxophonist Jason McMahon or guitarist Nicholas Pennington. The album title also suggests the interaction not only of two lovers but of two dancers. These interactions are given rise by the ‘call and response’ passages embedded in the ensemble arrangements and the space to freely improvise.

Standards Live and Yesterdays. The concert ends with a tender version of Jarrett’s tune Blossom, first heard on the 1974 Belonging album. This is where La Fenice falls short; much has been previously explored and, although beautifully played, has been heard before and at times seems predictable.

However, the release of the Venice concert is timely. The 62nd International Festival of Contemporary Music of the Venice Biennale honoured Jarrett with its Golden Lion for Lifetime Achievement, the first time that a jazz musician has received this award. Previously it has only been given to contemporary non-jazz composers. There is more than one way to be a contemporary composer as Keith Jarrett eloquently illustrates on La Fenice, shaping his musical structures in real time.

Barry O’Sullivan resembling intergalactic electromagnetic waves until Møster himself emerges like a duck out of a waterbird habitat. Once Kenneth Kapstad’s snare drum takes the beat to double, then triple time, the scene overloads to a point that something’s got to give. It’s at this boiling point where the music devolves into an incessant and highly hypnotic groove led by the saxophonist trading blows with Hans Magnus Ryan’s white hot guitar. This highly experimental music simultaneously draws upon rock traditions overlayed by improvised jazz. The concept is brought to life through the lens of a futuristic visionary, guiding the listener to the possibilities of how traditional instrumentation can interact artistically with electronics.

Frank Presley There are four originals by Noonan, the shadowy Chris, and the post-boppers Nic and Mel. The moody Alex that also features the wordless vocals of either Lauren Henderson or Chloe Elizabeth somehow conjure harmonies associated with Miles Davis’ late 1960s ‘Nefertiti’ period. They are followed by George which is a brief poem taken from Lord Byron’s Don Juan and the final track which is another burning post-bop composition penned by guitarist Nicholas Pennington.

The recording made at Wizard Tone studios in Adelaide is perfectly balanced by Angus Mason on drums and Lyndon Gray playing double bass. Aficianados of the LP-length recording will also enjoy it coming in at a touch over 34 minutes in total.

Frank Presley

TORMÉ AND SINATRA: CONSUMMATE ARTISTS KEVIN JONES GIVES AN OVERVIEW OF A RECENT BOOK vocalist-orchestrator team, you might feel like you’re hearing the same song eight times in a row but here it felt like a complete experience.

This concept was the key element which helped the great songs endure.”

Mel Tormé and Frank Sinatra

Tormé was the ultimate in cool with a lightly swinging but melodic sound inspired by the 1950s Capitol label recordings by the Gerry Mulligan Ten-Tette with its unique instrumentation of five brass (two trumpets, trombone, french horn and tuba), three reeds (two baritones and an alto), bass and drums.

The 1956 LP Mel Tormé Sings Fred Astaire with the Marty Paich Dek-Tette showcased the genius of Tormé and Paich.

On The lady is a tramp, from a Tormé-Paich album from 1955, Tormé scats four-bar breaks with legendary alto saxophonist Art Pepper, trumpeter Don Fagerquist and trombonist Bob Enevoldsen. Will Friedwald writes: “Mel’s version is in a class by itself. It sounds like one of the more up-tempo instrumentals by Shorty Rogers and his Giants. He had no peer as a scat singer.”

In 1946 New York disc jockey Fred Robbins dubbed him ‘The Velvet Fog’. Tormé was not impressed, but the title fitted him like a glove. His controlled vibrato, clear diction and harmonically rich voice enabled him to shape the melody with the freedom which Ellington did in his extended works and Rodgers and Hammerstein with their Broadway musicals.

Sinatra called him the supreme vocal technician with an ‘extraordinary voice that elevated the popular song into an art form’.

Bing Crosby, asked to name his favourite jazz musicians shortly before his death, chose only one vocalist, Tormé. Yet Tormé never considered himself to be a jazz singer.

Instead, he described himself as a jazzoriented vocalist who could swing the lyrics like an instrumentalist. Nat King Cole, a great jazz pianist, was the only other singer besides Tormé at ease with the rhythmic language of jazz. Both were supreme balladeers.

Tormé had no peer in either the field of pop or jazz. He was the ultimate singers’ singer, having reached the Olympian heights with

three masterpieces: Lulu’s back in town (1956), Tormé Sings Fred Astaire (1956) and the superlative Swings Shubert Alley (1960).

He was at his best before a live audience where he could outswing any other singer.

He was the greatest, and his legacy ensures the continuing vitality of The Great American Songbook.

As was Sinatra who, for five years from 1945 in albums with his musical director Axel Stordahl, took the art of the ballad to its greatest heights as ‘The Voice’. Quoting Friedwald: “What made The Voice so remarkable is Sinatra and Stordahl’s use of a classical-style chamber music group with a rhythm section plus occasional classical woodwinds like oboes and flutes, combining the sounds of a jazz group at its most intimate with that of a classical ensemble at its most personable.”

Sinatra would complete five albums between 1947 and 1950 during his Columbia period: Songs by Sinatra, Christmas Songs

by Sinatra, Frankly Sentimental, Dedicated to You, and Sing and Dance with Frank Sinatra.

Friedwald again: “The Voice was the purest on his original Columbia albums. Sinatra made sure the arrangements, mainly by Stordahl, flowed seamlessly. In the hands of a lesser

But it was also time for Sinatra to reinvent himself by becoming, to quote Metronome magazine, a ‘hoary-chested jazz singer’. The signs were there on Swing and Dance with Frank Sinatra when he was backed by a big band made up of former Benny Goodman sidemen. Sinatra and band leader Nelson Riddle combined the elements of swing while retaining the feelings of romance. With the beat, the heart became an instrument of rhythm as much as emotion. Sinatra would outline the arrangement to Riddle but rarely told him what to do. Riddle integrated strings into the jazz ensemble more successfully than any other orchestrator. Sinatra said: “Nelson had a fresh approach to orchestrations, a kind of sophisticated sound. I made myself fit in with what he was doing.” For his part Riddle always insisted he had specifically tailored his work for Sinatra.

On Songs for Swingin’ Lovers and Swing Easy, strings were used as part of the background, recalling Sy Oliver’s arrangements for Tommy Dorsey, when rhythmic fills by brass and reeds generated excitement. Like Ellington, Riddle had his key musicians engage in an ongoing dialogue with Sinatra. On both these and In the Wee Small Hours and Only the Lonely, the dynamics are amazingly consistent, from song to song and album to album.

I can only agree with Friedwald when he writes: “May the music never end.”

Amen to that!

Will Friedwald is the leading authority on The Great American Songbook. He has written about music for the Wall Street Journal, New York Sun and Vanity Fair as well as liner notes for more than 500 CDs. His nine books include Stardust Melodies and Sinatra! The Song Is You. The Great Jazz and Pop Vocal Albums was released in November 2017.

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Mel Tormé, Frank Sinatra and many other great jazz vocalists can be heard regularly in After Hours, on Sundays at 10pm.

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AWARD-WINNING ANNA STEPHENS CATHERINE PEAKE INTRODUCES A YOUNG VIRTUOSO Anna says that she has a favourite composer in Debussy and finds his melodies, and those of other composers such as Poulenc, particularly rewarding. “There are interpretational challenges involved in finding the melodic thread in Debussy’s music, which can be so beautiful.” She also enjoys performing Baroque music and, in particular, the journey to find the right interpretation.

For Anna Stephens, her career choice was a toss-up between dentistry and opera singing.

She chose singing, and the 22-year-old soprano is candid about the choice she made, admitting that ‘opera singing is a high-risk/high reward choice’. She adds that as a singer she never knows what’s coming next but when it does come it’s a very special experience to be part of a production. Recently Anna won the State Finals of the Young Virtuoso Award, held

by Fine Music 102.5, and progressed to the national finals in Brisbane.

Anna sees opera singing as the combination of singing and acting, and likes to approach a performance in a roughly 50/50 proportion of the two aspects. “The acting component of opera is very important although it is perhaps not taught as much as the singing aspect. I think it is the display of deep emotion that can move people when they hear opera; human emotions that we can all relate to, to some extent.”

This point was highlighted during her time as a student at the Guildhall School of Music and

Anna Stephens

Drama in London when she was inspired by a performance of soprano Sonya Yoncheva at Covent Garden, taking the role of Norma in a production of Bellini’s Norma. “Yoncheva had a beautiful voice, amazing acting, the entire package.”

Anna spent much of 2018 singing the role of Pamina in Opera Australia’s schools tour of Mozart’s The magic flute. She says that the entire experience was amazing, and one of the highlights was seeing the faces of the children on hearing the Queen of the Night aria. She has also recently toured Abu Dhabi with The 7 Sopranos, and played Najade (a nymph) in Strauss’s Ariadne auf Naxos conducted by Simone Young in a production of the Lisa Gasteen School in collaboration with Ensemble Q. Anna will take part this year in a new eightmonth tour of Opera Australia’s schools production, and she hopes to travel overseas in 2020.

LISTENING TO ‘NEW’ MUSIC Conductor Toby Thatcher is Fine Music’s Emerging Artists Patron.

This is an extract from his Fine Music blog.

We have a problem. By we, I mean performing musicians, particularly those of us who border on the evangelical in our belief regarding the importance of contemporary music. Our problem: we are obsessed with abstraction.

For some time I’ve been thinking about how a standard audience hears new music. How do they engage with something as perceivably foreign to their life experience as avantgarde musical language? Why should they endeavour to find a way to engage? And most strikingly, why do they traditionally struggle, when the genre is so richly colourful?

Historically speaking, we live in a period where audiences are less familiar with the evolution of musical styles. Of course I’m aware of geography as a defining element regarding this familiarity (or lack thereof), with audiences closer to the birthplace of our art at a significant advantage.

The roots of our art-form grow from European origins, and thus European audiences represent a part of a constant relationship 46

FEBRUARY 2019

Perhaps contemporary music shouldn’t be heard, it should be listened to. And listened to with a purpose, with a method. To quote Charles Rosen, the eminent musicologist: ‘To appreciate a new and difficult style … takes an act of will, a decision to experience it again’.

Toby Thatcher

between artist and consumer. These audiences are familiar with the path of change, have protested, acquiesced, and embraced over and over again. In such communities the general and unquestioned belief is that this journey is of ultimate importance to their world. The pride of a local culture, of that culture’s presence on the world stage and the importance of supporting it, intermingled with the audience’s understood and accepted duty to ‘give it a go’, ensures that contemporary music thrives. Not all of us, however, have grown up under such conditions.

Perhaps the mode with which all of us can experiment (particularly those who tell themselves that contemporary music, all of it, is simply not for them) is to remember that it is a voice engaging with our world, this one that we all share. It is the manifestation of someone, who loves something (music) you also love, analysing questions with which you engage and which you quite possibly haven’t yet found the answers to of your own volition.

That the world contains beauty as defined differently from our own should not be surprising, the exploration in various modes around its value and beauty is a constant and vital discussion.

‘New music’ can be heard in New Horizons every Sunday at 8.30pm.

EMBRACING MUSIC, TRAVEL AND DOGS PAMELA NEWLING TALKS TO JILL WAGSTAFF Jill’s warmth and love of life is found to be instantly engaging during a first conversation with her. Her connection with Fine Music began with a flick of the radio dial to find ‘some worthwhile classical music’.

Petersburg, and an all-Mozart concert at the Musikverein in Vienna.

Other favourites on the musical agenda are the Russian composers such as Mussorgsky, Tchaikovsky and Stravinsky. Jill is also keen on the harp with Marshall McGuire and Alice Giles among her favourite performers.

Not only did Jill find wonderful music, she responded to an on-air advertisement for volunteers for the reception desk. Although it was a year until a vacancy became available, Jill took up a receptionist role in 2011, working on Saturdays from 3-6pm, which she has done ever since.

She found the phone was very quiet on a Saturday so she asked if there was something she could do to be more useful. After training, Jill started on data entry for the programs, which requires great attention to detail. She always finds it interesting seeing the programs other volunteers prepare and particularly enjoys meeting and greeting the volunteers and visitors to the station.

Jill has been a classical music fan since her 20s and says that in her travels she has come to appreciate many different composers and

Jill Wagstaff with her Volunteer Recognition Award

types of music, such as traditional panpipes, the sounds of Armik and the guitar music of South America.

With a very keen interest in travel, Jill enjoys at least one trip each year to parts of the world that she hasn’t explored previously. Musical highlights during her travels include seeing Swan Lake at the Mariinsky Theatre in St

Now retired, Jill previously worked in corporate positions in retail buying and managed her own small business in hospitality. She continues to operate a small business minding small dogs in her own home, caring for up to five dogs at a time, for people who are travelling or for busy professionals who entrust her to organise grooming or veterinary trips.

In June this year, the Board of Fine Music awarded Jill a Volunteer Recognition Award ‘for her great willingness to fill in vacancies on reception and for her always courteous manner and friendly face welcoming people to the station. Jill also contributes significantly as part of the Guide Entry team’. “This award”, says Jill, “was a completely unexpected and delightful surprise.”

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; Roger Doyle, Peter Kurti, Jayson McBride, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; Jazz: Barry O’Sullivan; Technical: Stephen Wilson; Library: Rex Burgess; Volunteers: Cynthia Kaye; Finance: Peter Poole; Work Health and Safety: Angela Cockburn; Emerging Artists: Rebecca Beare

PROGRAMMERS AND PRESENTERS FOR FEBRUARY Charles Barton, Peter Bell, Nina Beretin, Dan Bickel, Chris Blower, Adam Bowen, David Brett, John Buchanan, Andrew Bukenya, Rex Burgess, Lloyd Capps, Vince Carnovale, Lyn Chong, Andrew Clark, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Melissa Evans, Michael Field, Richard Fielding, Troy Fil. Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Roger Fyfe, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Albert Gormley, Andrew Grahame, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Bruce Johnson, Kevin Jones, Sue Jowell, David Knapp, Peter Kurti, Ray Levis, Krystal Li, Christina MacGuinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, Sue McCreadie, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Heather Middleton, John Milce, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Marilyn Schock, Debbie Scholem, Jon Shapiro, Georgina Sierra, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Rob Thomas, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Ron Walledge, Brendan Walsh, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka PROGRAM SUB-EDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, Ana Ferreira, Noelene Guillemot, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Rex Burgess, John Clayton, Di Cox, Helen Dignan, Lynden Dziedzic, Peter Goldner, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Andrew Treloar, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Access Manager: Sophie McCulloch; Community Engagement Manager: Mona Omar; Production Coordinator: Joe Goddard; Administration Assistant: Krystal Li FEBRUARY 2019

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FINE MUSIC PATRONS

Fine Music Honour Roll

Dr Alison Burrell, Mr Paul de Leuil, Ms Rose Gibb, Mrs Rose Varga, Mrs Norma Walledge, Mr Colin Webb, Mr Barry Willoughby

Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 1

Mr David Branscomb, Mr David Clark, Ms Prudence Davenport, Prof C E Deer AM, Mr John Fairfax AO, Mr Richard Farago, Mr Heinz Gager, Mr Michael and Mrs Rochelle Goot, Mr Paul Hopwood, Ms Sue Jowell, Mr Gerhard Koller, Dr Peter Krinks, Mr R J Lamble AO, Mr Ian K Lloyd, Mrs Meryll Macarthur, Mr M F Madigan, Mrs E M McKinnon, Mr Michael Morton-Evans OAM, Mr Ken Nielsen, Mrs Monica Olave, Dr Robert Osborn, Ms Susan Ping Kee, Mr J A Roberts, Ms Catherine Ruff, Mrs Ruth A Staples, Mrs Valerie Stoney, Mrs Margaret Suthers, Mrs Marie Thompson, Mr Richard Thompson, Mr Larry Turner, Dr Pye Twaddell, Mr Richard Wilkins, Ms Caroline Wilkinson, Mr Alastair Wilson, Dr Paul Wormell, Mr Peter Zipkis, Anonymous 15

Platinum Patrons ($25,000 – $49,999)

Bronze Patrons ($250 – $499)

Fine Music Guardians

Mr Geoffrey Anderson, Mr David Bell, Mr David Brett, Mrs Halina Brett, Mr Ron Burgess, Mr Lloyd Capps, Ms Marilyn Endlein, Mr Bruce M Graham, Mr James Hunter, Ms Maureen Meers, Mr Glenn Morrison, Mr Derek Parker, Dr Neil A Radford, Mr Gregory Lewis Sachs, Ms Elaine Siversen, Mr Bruce M Smith, Mr Anthony Tenney, Mr Ron Walledge, Mr Ken Weatherley, Mr John Xuereb

Titanium Patrons ($50,000 and above)

Family Frank Foundation, Mr Michael Ahrens, Prof Clive Kessler, Mr Ron Walledge, Mr Cameron Williams, Anonymous 1

Diamond Patrons ($10,000 – $24,999)

Mr Robert O Albert AO, Mr J D O Burns, Mrs Patricia McAlary, Anonymous 5

Ruby Patrons ($5,000 – $9,999)

Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Bernard Coles QC, Mrs Dorothy Curtis, Hon Mr Justice David Davies SC, Mr Francis Frank, Ms Jill Hickson Wran, Dr Janice Hirshorn, Mr Peter & Dr Linda Kurti, Mr Ian & Mrs Pam McGaw, Mrs Judith McKernan, Ms Nola Nettheim, Mr John Selby, Mr Anthony C Strachan, Mr Stephen and Mrs Therese Wilson, Anonymous 4

Emerald Patrons ($2,500 – $4,999)

Mrs Halina Brett, Mr Lloyd & Mrs Mary Jo Capps, Mrs Lorna Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Mrs Freda Hugenberger, Dr Peter Ingle, Mr Ian Juniper, Mr D & Mrs R Keech, Ms Jeannie McInnes, Ms Maureen Meers, Dr Andrew Mitterdorfer, Dr W J Poate, Mr Jude Rushbrooke, Mrs Joyce Sproat, Ms Wendy Trevor-Jones, Ms Ann Whyte, Yim Family Foundation, Anonymous 3

Gold Patrons ($1,000 – $2,499)

NOTES FROM THE EDITOR

Mrs Di Cox, Ms Jennifer Dowling, Mr Ray McDonald, Ms Alice Roberts, Mr Anthony G Whealy QC, Anonymous 5

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Silver Patrons ($500 – $999)

Ms Lily Bao, Mr John Bell, Mr Harold John Benyon OAM, Mrs Susan Berger, Mrs Patricia and Mr Geoffrey Biggers, Mrs Marion Blin, Mr Christopher Blower, Mr Claus Blunck, Mr Stephen Booth, Mr Geoffery Brennan, Mr Barrie Brockwell, The Hon John P Bryson QC, Mrs A Buchner, Ms Deanne Castronini, Ms Mary Choate, Mr Dom Cottam & Ms Kanako Imamura, Mrs T Cox, Prof S J Dain, Mrs Marie Digby, Dr David Dixon, Hon J R Dunford QC, Mr Andrew Dziedzic, In Memory of David W Allen, Mr Paul Evans, Ms Elizabeth Evatt, Mr William G Fleming, Mrs Kathy Freedman, Dr David Gorman, Ms Diana Ruth Hanaor, Mr Geoffrey Hogbin, Mr Paul Jackson, Dr David Jeremy, Ms Ruth Jeremy, Mrs Barbara Johnson, Mr Bill and Mrs Eva Johnstone, Hon Mr Justice D Kirby, Mr Nicholas Korner, Mrs Sarah Lawrence, Mrs Jennifer Lewis, Mr Geoffery Magney, Mrs M A Marsh, Dr Jim Masselos, Mr Philip Maxwell, Dr D S Maynard, Mrs Shirley Ann McEwin, Ms Alison Meldrum, Mr Simon Moore, Mr Donald Nairn, Mr Pieter Oomens, Mr Julius Opit, Dr Gordon H Packham, Mr Trevor Parkin, Mr Denis Patterson, Mr Peter Poole, Mr Mike Price, Dr Brian Quinn, Dr Neil A Radford, Mr Gwynn Roberts, Dr Gideon Schoombie, Dr Michael Shellshear, Ms Wei Mah So, Mr J Stevenson and Ms J McInnes, Ms Kathryn Tiffen, Mr Kevin James Vaughan, Mr Richard Williamson, Mrs Robin Yabsley, Anonymous 27

It’s a bumper crop of articles in this month’s magazine with extra pages to spare because of a 28day Program Guide. This has given us the opportunity to point out more of our excellent programs including two new series: What did Clara Think? and Rarities from the Russian Archives. While many of the special programs each month are initiatives of the Programming Committee, Elaine Siversen these two are the inspiration of the programmers, Stephen Matthews and Paolo Hooke.

One of the joys of programming for Fine Music 102.5 is the opportunity to let one’s imagination follow an idea into creating a program. It’s something that I have enjoyed for over 33 years as a programmer and continue to do every time I sit down to create

FEBRUARY 2019

a program. A unique feature of Fine Music 102.5 is the number of programmers who contribute to each month’s programming.

There are two different kinds of programming. One is the series of domain programs with a single title covering a period of time during the day or night but programmed by a number of different programmers working to a set of guidelines. Within this framework there is still the opportunity to create a theme. The other type is that which springs entirely from the imagination. Sometimes a certain piece of music inspires a programmer to use that as the basis of a program. Sometimes an idea comes ‘out of the blue’ as a program title leading to a search for music related to the title.

Other ideas come from the lives of composers, from historical musical events, sometimes from a book.

This is the rich tapestry that makes Fine Music 102.5 so unique.

Elaine Siversen

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