Fine Music Magazine June 2018

JUNE 2018

THE QUEEN OF THE VIOLIN

MAGAZINE

Tchaikovsky’s Music and Love

AWAKENING THE SLUMBERING GOUNOD Celebrating his 200th Anniversary

ROSSINI HONOURED IN PESARO The Opening of Teatro Rossini

LAMENT FOR JERUSALEM Tavener’s Unifying Music

UNMISSABLE CONCERTS THIS JUNE

Anne-Sophie Mutter plays Tchaikovsky The “queen of the violin” returns to Sydney to perform Tchaikovsky’s Violin Concerto.

David Robertson conductor ∙ Anne-Sophie Mutter violin PRESENTED BY PREMIER PARTNER CREDIT SUISSE

14, 15 & 16 JUN, 8PM Sydney Opera House

SSO Percussion Stars

Verdi’s Requiem

A Night at the Speakeasy Rhapsody in Blue

Bring together the SSO percussionists, an amazing array of instruments, a world of cultures and you have a fascinating and thrilling musical journey! Featuring sounds from West Africa, Japan, Hungary and more.

Don’t miss the opportunity to hear Verdi’s electrifying and beautiful showpiece.

Knock three times and tell them George sent you! Then enter the shady world of the 1920s speakeasy for an evening of moonshine and martinis in a transformed concert hall.

SSO Percussionists TEA & SYMPHONY

15 JUN, 11AM

Oleg Caetani conductor ∙ Angel Blue soprano Catherine Carby mezzo-soprano Diego Torre tenor ∙ Jérôme Varnier bass Sydney Philharmonia Choirs

21 JUN, 6.30PM / 23 JUN, 2PM 25 JUN, 7PM

Guy Noble conductor and compere

29 & 30 JUN, 8PM Sydney Opera House

Sydney Opera House

Sydney Opera House

sydneysymphony.com Call (02) 8215 4600 (9am–5pm Mon–Fri) Booking fees of $5-$8.95 may apply depending on method of booking.

Tickets also available at:

sydneyoperahouse.com 9250 7777

CONTENTS

FROM THE CHAIR

VOL 45 No 6 2 4 5 6 7

9

11

12 43 44

45 46 47

48 49 50 51

‘The Queen of the Violin’ Rossini Honoured in Pesaro Awakening the Slumbering Gounod Wagner’s Mature Comic Opera ‘His Lowsy Crew of Forreign Fidlers’ The Well-Travelled Singing Master Donor Profile: Michael Field The Creator of Mefistofele Lament for Jerusalem A Global Success Story Program Guide and Composer List Musical Families What’s on: Sydney and Surrounds Ambient CD Review Michael Tsalka, Keyboard Specialist Classical CD reviews A Memorable Meeting A Jazz Legend Departs Jazz CD Reviews The New Jazz Standard Thaxted’s Famous Musician Dedication, Care and Constancy: Sheila Catzel

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YEARS 1974 - 2014

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Distribution Coordinator: Sissy Stewart Art Direction: Liza-Jane Smith liza@designcampaign.com.au Honorary Patron: Prof. Dame Marie Bashir AD CVO Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Subscribe to Fine Music Magazine: visit www.finemusicfm.com or Richard Tognetti AO email friends@finemusicfm.com Emerging Artists Patron: Toby Thatcher Cover image: Anne-Sophie Mutter. Photo credit not provided.

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‘THE QUEEN OF THE VIOLIN’ NICKY GLUCH EQUATES TCHAIKOVSKY’S MUSIC WITH LOVE

Anne-Sophie Mutter. Photo credit: Stefan Hoderath Love and all it represents is the inspiration for so much music. Along with poetry, perhaps love is best captured in music. While listening to the balcony pas de deux from Prokofiev’s ballet Romeo and Juliet, one is thrust into the world of youthful infatuation. The strings soar and sigh as the lovers run into a passionate embrace.

Tchaikovsky’s pas de deux from The Nutcracker has a rather different tone: the Sugar Plum Fairy is no teenager but a mature woman with a lasting love. The music for the dance with her prince possibly represents our own wishes.

Love is universal but its traditions and symbols differ across the globe. We associate France 2

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with romance and Spain with passion. Russia, in the most clichéd sense, is love with a tragic edge. Anna Karenina and Dr Zhivago are tales so arduous and so real, yet they are tinged with pain. Even Pushkin died for love, fighting a battle with his wife’s suspected lover. He left to the world the lines: “I love you and I still do / And for a while the feelings may remain / But let my love no longer trouble you / I do not wish to cause you any pain.”

the stage has always been the fitting place for passion. Dancers and singers can make palpable the extremes of emotion. Tragedy becomes a shared experience when everyone weeps for Giselle or Mimi, but what about music without enactment? Surely there are some pieces which grip audiences with as much intensity as an opera aria? It might be argued that Tchaikovsky’s Violin Concerto is one of them.

A century or so after Pushkin, the lyric songwriters picked up on these themes and filled the radio waves with the sound of a broken heart. In the classical music world,

Admittedly, strings do have a unique way of entering into our hearts. It has often been posited that this has something to do with their makeup. Just as our hearts are made of cords,

so strings operate in a similar way. Baroque instruments, with their gut strings, have an undeniable parallel with the animal body. Is it thus any wonder that Elgar’s and Dvorák’s cello concertos, and Sibelius’ Violin Concerto, are such beloved and oft-repeated repertoire, or that people request string quartets at weddings and funerals?

Tchaikovsky’s Violin Concerto, however, brings with it the added quality of a composer who wrote for the stage. In his work, perhaps the violin is not a violin at all but more like a prima ballerina or danseur executing leaps and turns. In June, it will be performed by not just any dancer but the ‘queen’ herself (as the SSO proclaim her) when Anne-Sophie Mutter joins David Robertson and the Sydney Symphony Orchestra.

As with ballerinas, Mutter’s dedication to her art began at an early age. Growing up near the German-Swiss border, Mutter learned from students of Carl Flesch who, she explains, instilled in her the idea that sonority has an analytical dimension and that it can be modified physically as much as by interpretation. After winning several prizes, she was exempted from school so that she could dedicate herself full time to the violin.

Herbert von Karajan became a mentor and advocate, and when Mutter was 13 he invited her to perform with the Berlin Philharmonic.

A year later, Mutter debuted with the English Chamber Orchestra under Daniel Barenboim.

Testament to Mutter’s personality and unique quality as a musician, these debuts became long-standing collaborations: in Karajan’s case, throughout his life, and with Barenboim, until today.

Both Mutter’s performing and recording debuts were with Mozart’s violin concertos. Despite both of them being child prodigies, there is something about Mozart’s music (to say nothing of its complexity) which makes it fitting for younger players. Age and life experience cannot but imbue itself into the psychology of music. Teachers will often tell their students that they are not ready for a particular piece or composer, although youth will rail against this. This is something we should respect as it is what makes music so utterly complex and transcendental.

When Mutter recorded Tchaikovsky’s Violin Concerto with Karajan, it was with a sentiment different to the one she will bring to Sydney.

Thinking just of love, it is an emotion which cannot but vary with age. Indeed, it can change from day to day with life’s fluctuations.

Revisiting things one loved in one’s youth can be a rewarding, or at least an enlightening, experience as the difference in perception can say so much about how one has grown, or changed or developed. There is not one way to love something, just as there is not a correct way to play a piece of music.

This variance is the reason we cherish live performance, even of pieces often heard. In our age we are blessed with recordings for that time when we want to hear something in a way which is specific to our own recollection or connection.

Tchaikovsky’s Violin Concerto was the product of both illfated and illicit love. After his disastrous marriage to Antonina Miliukova, Tchaikovsky sank into a deep depression and fled Anne-Sophie Mutter. Photo credit: Stefan Hoderath to Switzerland to recover. There he tried to work on his Piano sonata in G the work and it made its way into the repertoire. major but found it too onerous. Fortunately, his In this manner, Mutter has much in common composition student, the violinist Iosif Kotek, with Halíř. Although she will be playing a familiar was in Germany studying with Joseph Joachim work in Sydney, her concert schedule reflects and made the journey west to join his teacher. her commitment to contemporary repertoire.

Playing works for violin and piano, Tchaikovsky Mutter has had a long-standing friendship with found a new inspiration. Musically, it is Edouard Lalo’s Symphonie espagnole (a violin the composer Penderecki and will be touring concerto by any other name) which is thought the world with his music in honour of his 85th to have inspired Tchaikovsky’s own work, but year. Once married to, and still close with, the personally Tchaikovsky’s tender relationship composer and conductor André Previn, Mutter with Kotek must have had its influence as well. recently premiered his The fifth season for Although Kotek assisted Tchaikovsky in the violin and piano to celebrate 125 years since preparation of the solo part, the composer the founding of Carnegie Hall. decided not to dedicate the work to his friend.

It is thought that Tchaikovsky feared the nature EVENT of his relationship with Kotek would come to ANNE-SOPHIE MUTTER PLAYS light. In turn, Kotek refused to premiere it, TCHAIKOVSKY Tchaikovsky: Violin concerto in D, op 35 claiming fears that it would damage his career.

Vasily Kalinnikov: Symphony no 1 in G minor Tchaikovsky, however, was undeterred.

Anne-Sophie Mutter, violin He published the work with a dedication to Sydney SO/David Robertson Leopold Auer, whom he hoped would happily perform it. Alas, Auer was flummoxed by the VENUE Sydney Opera House score, or so he said. As it is with so many great love stories, there is only so much subtext DATES which is ever revealed to the audience.

Thursday 14 June at 8pm Friday 15 June at 8pm It is impossible now to imagine that the piece Saturday 16 June at 8pm was ever unpopular. Indeed, the movie Le Concert is almost an ode to the work, constructed around a tale of love and loss.

Eventually, Karel Halíř (who later premiered Sibelius’ revised Violin Concerto) championed

BOOKINGS Sydney Symphony website or Sydney Opera House June 2018

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ROSSINI HONOURED IN PESARO

ELAINE SIVERSEN RECOUNTS THE MAGPIE’S TALE stealing a silver spoon but who is saved when it is found that the magpie has taken it to its nest. It is based on a true story in which a young woman was actually put to death for the bird’s ‘crime’, a story which Rossini’s audience would have known well. Parts of the overture evoke the subject of the opera: the devilishly clever, thieving magpie.

Teatro Rossini, Pesaro In the late 18th century, the town of Pesaro on the Adriatic coast of Italy was part of the Papal States. In this town lived Giuseppe, an inspector of slaughterhouses who also played the horn, and his wife Anna, a baker’s daughter who was a singer. Apart from their musical talents, the family was unremarkable until, in 1792, ‘a star was born’.

In that year Giuseppe and Anna had a son, Gioachino Antonio Rossini, who became the most famed and popular opera composer of the 19th century. His first opera La cambiale di matrimonio was produced when he was just 18. He composed 39 operas in all, amongst them La gazza ladra (The thieving magpie) which premiered at La Scala, Milan, in May 1817, just three months after Gioachino turned 20.

Pesaro, founded in 184 BC by the Romans on an earlier Roman site, was conquered by various invaders until finally peace came and the town thrived. In 1818, although the Rossini family had moved to Bologna, their now-famous son was invited back to Pesaro to conduct La gazza ladra on 10 June as the opening performance for the town’s new theatre, Teatro Nuova.

The theatre seats 860, with an auditorium designed in the classic horseshoe shape with four tiers of boxes plus the gallery. As Rossini’s fame grew, the city fathers decided to share in some of the glory and in 1854 4

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renamed the theatre Teatro Rossini. Damage from an earthquake and other problems has seen the theatre undergo various closures, repairs and renovations. After one renovation in 1980, the first Rossini Opera Festival took place and has become an annual event.

The house in which Rossini was born is situated on a street now called Via Rossini. It is a museum dedicated to the composer and includes prints, portraits and his spinet. The museum, the street name, Teatro Rossini and the Festival are Pesaro’s lasting tribute to this prolific and brilliant opera composer.

Not only was Rossini prolific, he composed very quickly. He often boasted about the small number of days he took to write an opera. La gazza ladra was no exception. The story is told that when the premiere at La Scala was approaching, the producer locked Rossini in a room to ensure that he wrote the overture in time. As Rossini completed each page of manuscript he would throw it out of the window to a copyist who then copied the orchestral parts.

The opera itself is called a melodrama or opera semiseria: comic elements are sometimes overshadowed by darker tones.

The overture with its snare drums gives ominous glimpses of this. It’s very dramatic but the opera also has melodies ranging from silky lyricism to frolicsome virtuosity.

It tells of a young woman facing death for

Rossini became known as one of music’s greatest members of the reuse-andrecycle school. Like Handel, another great recycler, he didn’t want to waste great melodies and often used the same overture for different operas. This often happened with his early operas but the Overture to La gazza ladra is atypical in that its themes are linked to the opera to follow.

Rovi Staff, writing for AllMusic says: “The special care he took with this one shows not just in the links between overture and staged scenes, but in the vividness and excitement of the whole … It features a parade of effects and lovely themes, including an especially famous one introduced by an oboe, that anticipate the characters and action to come, and then, following a spectacular crescendo, reworks several of these themes in a mini-development section.” It’s no wonder that this overture is popular as an opener to a symphonic concert.

In World of Opera (WDAV Classical Public Radio in USA) we read: “La gazza ladra sustains such a fine balance between funny and tragic that it’s often confoundingly difficult to pin down … It could be we’re so accustomed to Rossini’s operas being either hilarious comedies or tragic dramas … However the opera is defined, it hardly takes a primer to identify with its rich story of tender romance, unjust persecution, shared outrage and ultimate vindication … the music throughout sustains the same level of brilliance established in the overture that gets it all started”.

To celebrate the 10 June 1818 performance to open the new theatre in Pesaro, La gazza ladra will be heard in At the Opera at 8pm on 13 June.

AWAKENING A SLUMBERING GOUNOD DAVID GARRETT RECALLS AN AMBIVALENT FIGURE When Australia’s Nellie Melba visited the ageing Charles Gounod to study her parts in his operas, she flattered herself that she aroused Gounod’s interest.

He said to the young and handsomely attractive Melba, “But you know, Juliette was very forward (était une affrontée): it was she who proposed to Romeo”. Gounod was coaching her in her title role in Roméo et Juliette. Was he hoping that Melba might behave the same way towards him? After all, he did have a reputation, forgotten after his death, as a philandering Frenchman.

Gounod spared Melba one of his sermons about Art, which for him was a priesthood (as his disciple Bizet somewhat maliciously reported him as saying). This ‘unfrocked priest’, according to Irish writer George Moore who knew him in Paris, was ‘a base soul who went about pouring a kind of bath water melody down the back of every woman he met’. If, however, Gounod has fallen from his pedestal, it is not Charles Gounod because he was immoral or because his operas were X-rated. of setting French words to music. French June 2018 marks the 200th anniversary of the listeners, consciously or not, find his prosody, birth of the composer of Faust (1859), which his handling of verse in music, natural and in the late 19th century was the most popular idiomatic. Saint-Saëns said that Gounod of all operas. Gounod has claims to be the lets his melody ‘grow naturally out of the most representative and influential French declamation’. He replaced the conventional composer of the 19th century. Yet he tends to pomposity of grand opera with a more be thought of nowadays as a very Victorian intimate and poetic approach: ‘… the people figure. What do most people remember of in Faust sang naturally. They were familiar in Gounod’s music? Perhaps the Funeral march their actions. They did not strike flamboyant of a marionette, although as theme music attitudes’ (from James Harding’s highly for Alfred Hitchcock Presents rather than ‘by readable biography Gounod).

Gounod’. More likely the Jewel song from Faust, sung by ‘Bianca Castafiore’, in a longrunning gag in the comic strip Tintin, a sign of Faust’s once overwhelming popularity. Surely THE Ave Maria, which is only half Gounod, a tune he applied ‘like icing’ on top of Bach’s C major Prelude from The well-tempered Clavier.

Gounod’s naturalness may be even more obvious in his often delightful songs, such as the Serenade on a poem by Victor Hugo. Hugo may be Gounod’s counterpart in literature, or perhaps it’s Tennyson. All three, even when at their least convincing with little to say, come across as masters of language.

So Gounod is an ambivalent figure, somewhat neglected nowadays, whose once high standing may seem puzzling. It has been said that in every French composer there slumbers a hidden Gounod. Is this praise? Yes, on the whole, largely because of Gounod’s way

Gounod wrote very effectively for singers, and many of his best tunes stick in the mind.

“Melody alone counts in music”, declared Gounod. “Music-loving audiences … prefer works to have clarity and ideas that go right to the heart.” Some people find Gounod’s lyricism

too sugary, but more share Saint-Saëns’ view (although they could not express it so well) that Gounod’s writing is impeccably elegant, but that this elegance covers a groundbed of vulgarity, a popular, plebeian element, applying a muscular counterweight to the nervous element whose preponderance might otherwise be a danger: ‘it is the antidote to affectation’.

Gounod’s admiration and deep study of the music of Palestrina, of Mozart, of Mendelssohn gave a distinction to his style which, in his best music, prevented the musician in him from lapsing into bathos or sentimentality.

The man Gounod, on the other hand, lapsed often.

The ‘nervous element’ overwhelmed him, bringing on periodic breakdowns. At these points of crisis Gounod wondered once again whether he should have followed his youthful ambition to enter the church. Throughout his career he wrote church music, including Masses, a Requiem and oratorios.

At its best Gounod’s church music is worthy of the admirer of Palestrina, yet it gives most pleasure where he allows free rein to his tuneful and entertaining gifts, as in the Messe solennelle de Ste. Cécile (1855).

There is pleasure to be had from Gounod’s music in many genres: I suggest Roméo et Juliette makes a better introduction to his operas than Faust, then you could move on to Mireille (1864), charming and sun-drenched, based on Mistral’s Provençal poem. Try some songs, and instrumental music: the Petite symphonie for wind instruments, a delightful confection by an admirer of Mozart, with a very French accent. These represent the composer who said, “France is essentially the country of precision, neatness and taste”, and “… whether in the concert hall or in the theatre, everything is based on melody … the unique secret of our art”. This is the Gounod worth celebrating on his 200th anniversary.

Look for the Gounod 200 logo on celebratory programs on 17, 20, 21, 26 and 27 June.

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WAGNER’S MATURE COMIC OPERA

COLLEEN CHESTERMAN DISCUSSES THE MASTERSINGERS In 1845 Wagner was at a crisis point. He had held a number of music-related positions: choir master or music director in Würzburg, Magdeburg and Riga; writer and arranger in Paris; and court conductor in Dresden. He had made a disastrous marriage to a young actress and, after the couple accumulated enormous debts in Riga, he and his wife had fled to London.

By this time he had written four Hans Sachs in The Mastersingers operas, Die Feen, Das Liebesverbot (staged for only one night), Rienzi and Der for composition and performance of songs, fliegende Holländer. As well, he was planning and the marker’s use of chalk and a slate to Tannhäuser and the first two operas of The note any divergences from the rules. This, he Ring of the Nibelung. However, his financial, claimed, was his inspiration for the opera Die marital and artistic situation had caused him Meistersinger von Nürnberg as also was his to suffer profound depression and doctors visit as a young man to the beautiful city with suggested that he cease all creative work and its twisting streets and handsome homes. It undertake the cure at Marienbad. was during this visit that his drunken mocking of a singer led to a riot in the streets.

He took with him Gervinus’ A History of German Literature and was stimulated by Die Meistersinger von Nürnberg premiered the description of the 16th century poet Hans in Munich on 21 June 1868, the climax of 20 Sachs and his involvement in a Mastersingers’ years of work on his only mature comic opera. group. In his autobiography, Mein Leben, After the first inspiration in 1845, Wagner next Wagner outlined his fascination with their rules focused on the opera in 1861 following a visit

to Nuremberg. Encouragement came from his second wife Cosima, and significant financial assistance from King Ludwig of Bavaria. This first performance in Munich, with Wagner monitoring stage design and direction, was a renowned success. Within a year it was performed in numerous German cities and Vienna and the creation of the German Empire in 1871 increased its significance.

Other European audiences responded positively and a New York production came in 1886.

After World War II numerous stagings emerged, from the traditional German town setting to Wieland Wagner’s abstract settings.

In 2017 Australian Jewish director Barrie Kosky set the first act in Wagner’s home, Wahnfried, with the mastersingers wearing Wagner masks. Ending with a Nuremberg Trial setting, this production was greeted with tumultuous applause.

To celebrate the sesquicentenary of the opera’s premiere, it will be broadcast in At the Opera on Wednesday 6 June at 8pm.

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One of Canada’s most exciting young pianists makes a welcome return to Sydney. Avan Yu achieved international recognition when he triumphed at the Sydney International Piano Competition in 2012 and has since establish a stellar international career.

‘HIS LOWSY CREW OF FORREIGN FIDLERS’ PAUL ROPER LOOKS AT ATHALIA, HANDEL’S OXFORD ORATORIO To prepare, we broadcast Athalia this month.

Why Oxford? The work was commissioned for a revived degree-conferring ceremony, the ‘Publick Act’, and it is assumed that the university intended to award Handel a doctorate (just as it was to do for Haydn exactly 50 years later). Unlike Haydn, Handel did not end up accepting Athalia expelled from the temple – by Antonio Coypel his honour. The only clue to his Such was the unflattering assessment by a reasoning comes in a letter, in 1744, where reactionary local scholar, Thomas Hearne, he says it was ‘because I was overwhelmingly of the performing company which Handel busy’, perhaps from counting his money, as brought to Oxford for the premiere of his a contemporary estimated his profit from oratorio Athalia, in July 1733. This proved the Oxford performances at a staggering not just intemperate but also (unwittingly) 2000 pounds. Regardless, Athalia is the only innumerate: of all Handel’s publicly Handel oratorio which can still be performed performed dramatic works to that time, in the venue at which it premiered (the famous Athalia had probably the highest proportion Sheldonian Theatre). of English-born singers among its soloists. The libretto is by Samuel Humphreys, Handel’s Ever alive to the theatrical possibilities of collaborator from earlier that year on Deborah Handel oratorios, Pinchgut Opera is staging (1733). Humphreys in turn drew from French Athalia as its winter production; Hearne’s playwright Jean Racine (Athalie, 1691), nuanced criticism is unlikely to be repeated. also the source of Handel’s Esther (c1720).

Athalia, an Israelite queen who has switched allegiance to the foreign god Baal, foresees her assassination, by a boy, for deserting Jehovah. Joad, high priest of the temple, and his wife have fostered a boy, Joas, who is (unknowingly) the true heir to the throne. Athalia sees Joas and suspects him; Joad foretells the fall of Athalia. She orders Joas arrested but her confidants abandon her and the people sing of the victory of Jehovah over Baal.

Compared to its predecessors, Athalia displays much deeper characterisation (including of the less warlike participants, but also of the proud and vengeful title role), a more nuanced use of the chorus (to contrast the character of the Baalites and the Hebrews) and a skilful deployment of solo and choral numbers to depict a sequence of action which takes place within a single day. Handel provides stage directions in places, clearly authorising dramatic performance. The overall effect of these features motivated Handel scholar Winton Dean to proclaim Athalia as ‘the first great English oratorio’.

You can hear Athalia on Saturday 9 June at 3pm.

THE WELL-TRAVELLED SINGING MASTER LAURA-JAY MATHISON TRACES THE LIFE OF NICCOLÒ PORPORA

Called ‘the greatest teacher of singing among composers, and the greatest composer among teachers of singing’, Niccolò (or Nicola) Porpora was a leading figure in the advancement of the Neapolitan musical style which captivated European audiences from the mid-1720s. An almost exact contemporary of Domenico Scarlatti, Johann Sebastian Bach, Handel and Vivaldi, Porpora was born in Naples in 1686 and went on to become an in-demand composer and vocal pedagogue, travelling extensively throughout Europe.

At the time of Porpora’s graduation from the Poveri di Gesù Cristo (which he attended from the age of 10), the Naples opera scene was dominated by Alessandro Scarlatti.

Porpora’s first operas were performed there: Agrippina (1708), Flavio Anicio Olibrio (1711) and Basilio re d’oriente (1713), but it was not until 1720 with the serenata Angelica (his first collaboration with the librettist Metastasio) that he established his reputation in Italy. This work also marked the debut of Porpora’s pupil, the 15-year-old castrato Farinelli (Carlo Broschi).

Between 1715 and 1721, Porpora served as a teacher of singing and composition at the Conservatorio di Sant’Onofrio in Naples, and

besides Farinelli had several famous pupils including Caffarelli and Salimbeni. Another student, Domenico Corri, recorded some of Porpora’s vocal teaching methods in an 1810 treatise.

From 1725 to 1733 Porpora taught at the Venice Ospedale degli Incurabili (hospital for the incurables) before travelling to London as chief composer to the Opera of the Nobility, formed in competition to Handel’s opera company. While he was there, he wrote five operas or oratorios among them Polifemo, Davide e Bersabea and Ifigenia in Aulide, all with roles for Farinelli. When both companies closed, Porpora left England in 1736 and returned to Naples where he produced several comic operas. After this he wrote opera seria for Venice, Naples, Vienna, London and Dresden. In Vienna, he taught the young Joseph Haydn, who became his valet and keyboard accompanist in exchange for composition lessons.

In the following decades, Porpora continued to move throughout Europe. He became singing teacher in 1747 to the Electoral Princess of Saxony, Maria Antonia Walpurgis in Dresden and, after a brief post as Kapellmeister,

Niccolò Porpora returned to Naples in 1759. He died there in poverty 250 years ago in 1768.

Porpora’s output consisted primarily of vocal music including more than 40 operas.

Described by later authors as ‘the father of recitative’, he was famed for his ability to set the Italian language to music and for his florid but elegant melodic lines.

Listen to works of Porpora and his contemporaries in Baroque and Before on Friday 29 June at 10pm.

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FINE MUSIC 102.5

THE MUSIC L VER’S STATION Created by music lovers, for music lovers.

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DONOR PROFILE: MICHAEL FIELD “From my early teens, I was aware of the unusually strong effect classical music had on me. I recall requesting LPs as the only presents I ever wanted to receive on birthdays. I was equally drawn to medicine and music, but I took the path which allowed me to practise in a profession I loved while keeping music as my source of recreation and relaxation. My working life was in medical education and practice (a specialist in renal disease) at Sydney University and Royal North Shore Hospital. I’ve been retired from that for some years, although I still contribute to medical school development in the AsiaPacific region through affiliation with the World Health Organization.”

Michael’s love of music has been more in listening than in performing although he sang in choirs and played the flute (including with the Australian Doctors Orchestra). Music was in the background of his whole working life and is now a major part of his retirement.

When asked what Fine Music 102.5 means to him, Michael replied: “I was an early subscriber to the new FM station 2MBSFM as a medical student in the 1970s, and

always admired the range of music it broadcast and the professionalism of its largely volunteer workforce. So it was a no-brainer for me to join up as a volunteer as soon as my very heavy work hours subsided in the early phase of retirement and I’ve increased my involvement since then. Fine Music is central to my ongoing enjoyment of classical music and has given me an outlet to share this passion with a wider listening audience as well as with new friends and colleagues at the station.”

Michael Field As a programmer and presenter, says: “It doesn’t take long working at the Michael’s knowledge and love of music is evident particularly in Recent station to realise that there are considerable Releases where he provides critical review. costs involved in keeping a radio station on He has also created a series of programs air despite the volunteer basis of most of explaining the impact on him of some great its workforce. It’s clear that past and recent works. He’s given talks in the Enjoy, Learn, donations from very generous supporters Discuss series and has contributed to Fine have been crucial in allowing the station to Music’s youth programs. He has been a Board continue its strong broadcast presence in Director and is currently a member of the Sydney and beyond, and I feel that in adding Presenters Committee. to that support I can show my appreciation and As a regular donor to Fine Music, Michael thanks for what is being achieved.”

THE CREATOR OF MEFISTOFELE CATHERINE PEAKE REVEALS A MULTI-TALENTED MAN Poet, journalist, novelist, essayist, librettist, friend and collaborator of Giuseppe Verdi, Arrigo Boito (1842-1918) was also a composer. His most frequently performed work is the opera Mefistofele, but he is better known as an opera librettist, in particular for Verdi. This month marks the 100th anniversary of Boito’s death.

Born in Italy, Boito studied at the Milan Conservatory and early on developed his talents in both music and writing. He became a member of the Scapigliatura (the Italian equivalent of bohemian) artistic movement along with his brother, architect and writer Camillo Boito. These young writers, painters and musicians rebelled against earlier Italian styles and were intent on developing exciting new work based on ideas flowing from France and Germany. This rejection included the work of Verdi, who was 30 years older than Boito.

The friction created between Boito and Verdi was only resolved when they later collaborated on Verdi’s last operas.

Boito first worked with Verdi on the secular cantata Hymn of the nations for which he wrote the text. Many years later, Boito produced the librettos for Verdi’s operas Otello

(after Shakespeare’s Othello) and Falstaff (Shakespeare’s The Merry Wives of Windsor and Henry IV). He also revised the libretto of Verdi’s earlier opera Simon Boccanegra.

Boito wrote the libretto for his own opera Mefistofele, which was based on Goethe’s Faust, and under the pseudonym Tobia Gorrio (an anagram of his own name) wrote essays and the libretto for Amilcare Ponchielli’s La Gioconda.

Boito became director of the Parma Conservatory in 1889, holding the post until 1897. His Symphony in A minor was unpublished in his lifetime and he left an unfinished opera, Nerone. The opera, completed by Arturo Toscanini and Vincenzo Tommasini, premiered in 1924 at La Scala.

Boito’s opera Mefistofele had two premieres, the first in 1868 at La Scala with Boito conducting. Riots broke out during the performance due in part to its perceived ‘Wagnerism’ and the police closed it after two performances. He reworked the opera, changing Faust from a baritone to a tenor and significantly reducing its duration. Its second debut in 1875 in Bologna was a success, and

Arrigo Boito in 1881 it returned to La Scala.

The opera caught the attention of world-famous singers, and in 1902 Enrico Caruso included two of its arias in his first recording session.

Despite its shaky beginning, Mefistofele has continued to be performed and recorded since that second successful premiere.

Boito’s music and librettos will be celebrated on Sunday 10 June at 2pm.

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fineMusic 102.5

LAMENT FOR JERUSALEM KATY ROGERS-DAVIES DISCOVERS UNIFYING MUSIC Jerusalem is one of the oldest cities in the world.

Over the course of its long history it has been captured and reclaimed over 40 times, and completely destroyed at least twice. Sitting at the very heart of the Middle East, Jerusalem has been named as the scene of numerous significant events which took place during the foundation of the three major Abrahamic religions: Judaism, Christianity and Islam.

In his Lament for Jerusalem John Tavener takes texts from these three historic faiths and weaves them into a choral masterpiece.

The simple structure is intended to reflect the purity of a seven-stanza love song. Whilst the chorus conveys the words of God, the instrumentation includes nods towards more abstract concepts: flutes, oboes and strings represent love, while tubular bells and Tibetan temple bowls emulate the sounds of religious rituals from each faith.

Although the three religions are seemingly dissimilar, Tavener combines elements from

each throughout every stanza, forming a cohesive whole. The three religions’ mutual admiration for Jerusalem has been the cause of much controversy and conflict over the course of the city’s rich history, but Tavener’s work seeks to remind us that the basic values of Christianity, Judaism and Islam are more alike than may at first be apparent.

Music inspired by religion is nothing new.

For hundreds of years, composers have found inspiration in a higher deity, and have created some of the world’s most recognised music for the purpose of worship. The remainder of this Sunday Special explores some other classical works inspired by the three Abrahamic religions acknowledged in Tavener’s Lament for Jerusalem. The program opens with an Australian work. Nigel Westlake and Lior Attar’s Compassion is in a similar vein to Tavener’s work, drawing on a collection of ancient texts. Attar and Westlake took inspiration from a collection of scriptures from Islam and Judaism, all written on the unifying theme of compassion. This is followed

Ancient Jerusalem

by Prokofiev’s Overture on Hebrew themes, which sprang from a small notebook of Jewish folksongs given to Prokofiev upon his arrival in New York in 1918.

Finally, before hearing Tavener’s work in full, the program touches briefly upon J.S. Bach’s St Matthew Passion. Jesus’ Lament over Jerusalem from the gospel of St Matthew was used as the basis for the Christian component of Tavener’s work.

So sit back and enjoy a melting pot of music inspired by these three fascinating faiths in Sunday Special at 3pm on Sunday 17 June.

A GLOBAL SUCCESS STORY PAUL COOKE REVEALS A FORGOTTEN OPERETTA ‘... the most charming entertainment ever witnessed in Sydney’ (from Her Majesty’s Theatre advertisement in The Daily Telegraph, 11 April 1899).

America and Australia, where he composed a dance number for the show Cinder-Ellen up-too-late. Back in London he continued composing, and in 1893 produced his first full score, A Gaiety girl. In the next ten years it was followed by An artist’s model, The geisha and others.

On 28 April 1899 Edwin Stephen Rouse, squire of Rouse Hill House, performed a song from The geisha as part of a fundraiser for the local church. This operetta had just finished its Sydney season of about ten weeks at Her Majesty’s Theatre.

We are used nowadays to talk about globalism and immediacy, but they are nothing new. The geisha premiered in London in 1896 and ran for 760 performances, more than The Mikado; it was also performed successfully in New York in 1896, in Berlin, Vienna and Budapest in 1897, and in Paris and Melbourne in 1898, and taken up enthusiastically in many provincial cities. In 1897 Robert Baden-Powell, later to found the scouting movement, appeared as the comic Chinese character Wun-Hi in Simla, the summer capital of British India. In 1899 Anton Chekhov attended the premiere in the Russian resort town of Yalta and its influence can be detected in his story The Lady with the Dog and his play Three Sisters. Consider the amount of time and materials consumed in the productions of scores, piano arrangements

Early score of The geisha

and translations in those early years.

Who composed The geisha, and what may account for its enormous success? Sidney Jones was born in 1861 in London. His father was a military bandmaster and conductor and Sidney followed in his footsteps, giving piano lessons, playing clarinet and conducting touring musical shows. He was musical director for the Gaiety Theatre’s 1891 tour of

The geisha tapped into the public fascination with the oriental, following not only The Mikado a decade earlier but possibly also Messager’s 1893 opera, Madame Chrysanthème. It was regarded as a ‘musical play’. The songs, settings, costumes and dialogue were all important, but so, too, were the story and the score. It was weightier than musical comedies of the period but lighter and brighter than Gilbert and Sullivan’s comic operas; it was technically accomplished and showed some familiarity with Japanese music. Ultimately Jones couldn’t compete with the even more tuneful confections of his Edwardian successors, although The geisha remained popular in Europe.

Delight in the music of The geisha in Operetta in the Afternoon on Saturday 2 June at 3pm.

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Friday 1 JUNE 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen Zimbalist, E. Sarasateana (arr. 1947; transcr.

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

Naxos 8.557391 16 Milhaud, D. Saudades do Brasil: dance suite, op 67 (1921; transcr. Kuisma). Markus Leoson, mar; Niklas Sivelöv, pf.

Caprice CAP 21743 12 Fauré, G. Violin sonata no 1 in A, op 13 (1875-76; transcr. Langevin). Robert Langevin, fl; Jonathan Feldman, pf.

Avie AV2213 25 Bach, J.S. Organ prelude and fugue in A minor, BWV543 (transcr. Liszt). Artur Pizarro, pf.

Collins 14982 8 Balakirev, M. Symphonic poem: Tamara (1867-82; transcr.). Aurora Piano Quartet.

Naxos 8.557717D 19 10:30 CONCERT HALL Prepared by Di Cox Respighi, O. Suite: The birds (1927). London SO/István Kertész.

Decca 478 6420 20 Strauss, R. Oboe concerto in D (1946).

Heinz Holliger, ob; New Philharmonia O/Edo de Waart.

Newton 8802066 26 Schumann, R. Symphony no 1 in B flat, op 38, Spring (1841; orch. Mahler). Bergen PO/ Aldo Ceccato.

BIS CD-361 34 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MICHAEL TSALKA AND FRIENDS Prepared by Catherine Peake Ries, F. Fantasy in E flat, op 49 (pub 1813).

Michael Tsalka, fp.

Naxos 8.573628 18

12

Kats-Chernin, E. Re-inventions; based on two-part inventions of J.S. Bach (1720-23; transcr. for recorders and harpsichord 2004).

Alicia Crossley, rec; Diana Weston, hpd.

Thoroughbass 20130731 23

Martinu, B. Concerto for two pianos, percussion and orchestra (1943). Janine Reding, pf; Henry Piette, pf; French NO/ Rafael Kubelík.

Olympia OCD 270 23

14:00 FRENCH CHAMBER Prepared by Gael Golla

22:00 BAROQUE AND BEFORE The English public concert Prepared by Susan Foulcher

Charpentier, M-A. Sonata à 8. Ricercar Consort.

Ricercar RIC 037011 18 Poulenc, F. Oboe sonata, À la mémoire de Serge Prokofiev (1962). François Leleux, ob; Emmanuel Strosser, pf.

Harmonia Mundi HMN 911556 14 Jolivet, A. Serenade (1956). Groningen Guitar Duo. Ottavo OTR C49135 12 Debussy, C. Sonata for flute, viola and harp (1915). Ursula Holliger, hp; members of Die Kammermusiker Zürich.

Claves 50-280 17 Bozza, E. Trois pièces. Triton Trombone Quartet.

BIS CD-604 11 Ravel, M. Tzigane, concert rhapsody (1924).

Gil Shaham, vn; Gerhard Oppitz, pf.

DG 429 729-2 10 Ibert, J. Trois pièces brèves (1930). Berlin Philharmonic Wind Quintet.

BIS CD-536 7 Honegger, A. String quartet no 3 (1936-37).

Quatuor Ludwig.

Timpani 1C1011 18 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 Mozart, W. Oboe concerto in C, K314 (1778).

Katharina Arfken, ob; Freiburg Baroque O/ Petra Müllejans.

Harmonia Mundi HMC 901946 20

Mageau, M. Variations on Scarborough Fair.

Thoroughbass/Diana Weston.

Wirripang Wirr 068 7

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

Teldec 4509-90858-2 49

Escande, P. Caprichio. Michael Tsalka, hpd; Diana Weston, hpd.

Wirripang WIRR087 6

Diamond, D. Rounds for string orchestra (1944). Seattle SO/Gerard Schwarz.

Delos DE 3189 14

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

Poglietti, A. Balletti in C. John Foster, tpt; Matthew Manchester, tpt; Anna MacDonald, vn; Australian Baroque Brass; Sydney Consort.

Tubicium Records TR61903 5 Albinoni, T. Concerto in G, op 9 no 6.

Anthony Robson, ob; Catherine Latham, ob; Collegium Musicum 90/Simon Standage.

Chandos CHAN 0602 9 Carbonelli, G. Sonata no 6 in A (pub. 1729).

Illyria Consort.

Delphian DCD34194 15 Dieupart, C. Suite no 1 in A (1701). Masahiro Arita, fl; Kiyomi Suga, fl; Masako Hirao, bass viol; Yasunori Imamura, theorbo; Chiyoko Arita, hpd.

Denon CO-75957/8 16 Marais, M. L’abyrinthe, from Suite in foreign taste (pub. 1717). Jordi Savall, va da gamba; Hopkinson Smith, theorbo; Ton Koopman, hpd.

Alia Vox AVSA 9872 A/E 12 Vivaldi, A. Gelosia, tu già rendi l’alma mia, from Ottone in Villa (1718). Emma Kirkby, sop; Brandenburg Consort/Roy Goodman.

Hyperion CDA66745 3 Corelli, A. Concerto grosso in G minor, op 6 no 8, Fatto per la notte di Natale (1712).

Collegium Musicum 90/Simon Standage.

Chandos CHAN 0634 15 Carbonelli, G. Sonata no 2 in D minor (pub.

1729). Illyria Consort.

Delphian DCD34194 9 Visée, R. de Les sylvains de Couperin.

Hopkinson Smith, theorbo.

LP Astrée AS 38 7 Woodcock, R. Violin concerto no 2 in A. Dan Laurin, rec; Van Wassenaer O/Makoto Akatsu, vn & dir.

BIS CD-985 8 Telemann, G. Concerto for three trumpets, two oboes, timpani, strings and basso continuo. Otto Sauter, tpt; Franz Wagnermeyer, tpt; Kenji Tamiya, tpt; Palatinate CO, Mannheim/Nicol Matt.

Brilliant Classics 94104 10

Saturday 2 JUNE 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE 20th century 1916-2000 Prepared by Paul Cooke Korngold, E. Overture: Sursum corda, op 13 (1920). Bruckner O, Linz/Caspar Richter.

ASV DCA 1074 19 Pärt, A. Fratres for eight cellos (1977). I Fiamminghi/Rudolf Werthen.

Telarc 80387 10 Rubbra, E. Improvisations on virginal pieces

by Giles Farnaby, op 50 (1939). Bournemouth Sinfonietta/Hans-Hubert Schönzeler.

Chandos CHAN 6599 15 Williamson, M. Sonata no 3 (1958). Antony Gray, pf.

ABC 472 902-2 12 MacMillan, J. The world’s ransoming (1996).

Christine Pendrill, cora; BBC Scottish SO/ Osmo Vänskä.

BIS CD-989 21 10:30 SMALL FORCES Prepared by Frank Morrison Danzi, F. Quintet in G, op 67 no 1 (1824).

Berlin Philharmonic Wind Quintet.

BIS CD-532 17 Turina, J. Piano quartet in A minor, op 67 (1931). Nash Ensemble.

Hyperion CDA67889 16 Mozart, W. Quintet no 2 in C minor, K406 (1788). William Primrose, va; Griller String Quartet.

Vanguard OVC 8025 71 20 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Verdi, G. Grand march, from Aïda (1871).

Allentown Band/Ronald Demkee.

AMP 23173B 5 Warr, J. Little Lisa. GUS (Footwear) Band/ Stanley Boddington.

LP Columbia SCX 3455 3 Bernstein, L. Somewhere, from West Side story. Summit Brass.

Summit DCD 138 4 Sullivan, A. Excerpts from Iolanthe. Black Dyke Mills Band/Roy Newsome.

LP Astor GGS 837 8

San Pedro, L. Festival march. Tokyo Kosei Wind O. Denon 32 CG 1629 4

17:30 STAGING MUSIC Prepared by Angela Cockburn Adaptations: The taming of the shrew

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

18:00 SOCIETY SPOT Folk Federation of NSW

13:00 FAVOURITE CLASSICS Prepared by Ron Walledge

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

Beethoven, L. Overture to Leonore no 3, op 72a (1806). New York PO/Leonard Bernstein.

CBS MK 42222 13 Mozart, W. Clarinet concerto in A, K622 (1791). Dieter Klöcker, cl; Salzburg Mozarteum O/Leopold Hager.

Teldec 8.44056 27 Mahler, G. Symphony no 5 in C sharp minor (1901-02). Berlin PO/Simon Rattle.

EMI 5 57385 2 1:08 15:00 OPERETTA IN THE AFTERNOON Prepared by Paul Cooke Jones, S. The geisha. Japanese musical play in two acts. Libretto by Owen Hall; lyrics by Harry Greenbank. First performed London, 1896.

O MIMOSA SAN: Lilian Watson, sop REGINALD FAIRFAX: Christopher Maltman, bar MISS MOLLY SEAMORE: Sarah Walker, mezz WUN-HI: Richard Suart, bar JULIETTE DIAMANT: Sarah Vivian, sop Helios CDH55245 1:17 Synopsis at finemusicfm.com/Opera Planquette, R. Overture to Les cloches de Corneville (1866). New Philharmonia O/ Richard Bonynge.

Decca 466 431-2 5 German, E. Excerpts from Merrie England (1902). June Bronhill, sop; William McAlpine, ten; Peter Glossop, bar; Leslie Fyson, bar; Eric Wilson-Hyde, bass; Williams Singers; O/ Michael Collins.

EMI CDCFPSD4796 14 Monkton, L. Moonstruck; The pipes of Pan; Soldiers in the park. Marilyn Hill Smith, sop; Southern FO/Robin White.

Chandos FBCD 2005 10 Sullivan, A. Excerpts from Trial by jury (1866). Rebecca Evans, sop; Pamela Helen Stephen, mezz; Barry Banks, ten; Peter Savidge, bar; Gareth Rhys-Davies, bar; Richard Suart, bass; Donald Adams, bass; Welsh National Opera Ch & O/Charles Mackerras.

Telarc 2CD-80404 31

20:00 INFLUENCES AND CONNECTIONS Niels Gade Prepared by Paul Cooke Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Sydney SO/Stuart Challender.

ABC 446 279-2 10 Gade, N. Symphony no 1 in C minor, op 5 (1840-42). Danish National RSO/Dmitri Kitaienko.

Chandos CHAN 9422 36 Mendelssohn, Fanny. Sonata in G minor (1843). Béatrice Rauchs, pf.

BIS CD-885 17 Hartmann, J.P.E. Praeludium (1844). Daniele Ruggieri, fl; Andrea Toschi, org.

Brilliant Classics 95011 4 Gade, N. Sonata no 3 in B flat, op 59 (1855).

Christina Åstrand, vn; Per Sale, pf.

Dacapo 8.226066 22 Grieg, E. Gade, from Lyric pieces bk 6, op 57 (1893). Eva Knardahl, pf.

BIS CD-105 3 Nielsen, C. Little suite, op 1 (1888/89).

Danish National RSO/Ulf Schirme.

Decca 452 486-2 16 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Dvorák, A. Legends, op 59 (1881). Scottish CO/José Serebrier.

ASV DCA 765 42 Scharwenka, X. Two legends, op 5 (1886).

Seta Tanyel, pf.

Collins 14742 11 Glazunov, A. Karelian legend, op 99 (1912).

Moscow SO/Igor Golovschin.

Naxos 8.553839 22 Herzogenberg, H. Legends for viola and piano, op 62 (1890). Zaslav Duo. Music & Arts 1087(2) 13 Rimsky-Korsakov, N. Symphonic suite from Legend of the invisible city of Kitezh (1905).

Moscow SO/Igor Golovchin.

Naxos 8.553513 23 June2018

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Sunday 3 JUNE 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Di Cox Haydn, M. Offertorium pro festo SS. Innocentium (1787). Éva Marton, sop; Katalin Szökefalvy, sop; Zsuza Németh, cont; Györ Girls’ Choir & PO/Miklós Szabó.

Hungaroton HCD 11678-2 7 Bach, C.P.E. Magnificat in D, Wq215 (1749).

Anita Kyle, sop; Ashlyn Tymms, mezz; Richard Butler, ten; Simon Lobelson, bass; Sydney University Graduate Choir & O/ Christopher Bowen.

SUGC recording 45 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Grétry, A-E-M. Overture to Le magnifique (1773). English CO/Richard Bonynge.

Decca 466 434-2 10 Dittersdorf, C. Sinfonia concertante. Petr Pribyol, va; Jakub Waldmann, db; South Bohemia Chamber PO/Ondrej Kukal.

Campion RRCD 1342 20 Wagenseil, G. Symphony in B flat (c1764).

L’Orfeo Baroque O/Michi Gaig. cpo 999 450-2 16 Hertel, J. Double concerto in E flat. Maurice Bourge, ob; Maurice André, tpt; Württemberg CO/Jörg Faerber.

EMI CMS 7 69880 2 18 Boccherini, L. String quintet in F, op 41 no 2 (1788). Ensemble Explorations.

Harmonia Mundi HMC 901894 21 Gluck, C. Ballet: Alessandro. Musica Antiqua Köln/Reinhard Goebel.

Archiv 479 1045 24

Bach, J.S. Prelude and fugue in C sharp, BWV848 (1722). Richard Egarr, hpd.

Harmonia Mundi HMU 907431 4 Bowen, Y. Romance in D flat (1900; arr.

1904). Lawrence Power, va; Simon CrawfordPhillips, pf.

Hyperion CDA67651-52 6

Burrell, D. Magnificat; Nunc dimittis. Choir of New College, Oxford; Christopher Glynn, org; Edward Higginbottom, cond.

Priory PRCD596 8 Liszt, F. The Lord’s prayer. Taipei Male Choir/ Frieder Bernius.

Carus 2.602/99 4 18:00 THE VIOLIN, THE PIANO AND THE RECORDER Prepared by Mariko Yata

Chopin, F. Prelude in D flat, op 28 no 15, Raindrop (1836-39). Roger Woodward, pf.

Warner Music 450990318-2 4

Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720). Sophie Rowel, vn.

Fine Music concert recording 15

Saint-Saëns, C. Romance in D flat, op 37 (1871). Clara Nováková, fl; Paris Orchestral Ensemble/Jean-Jacques Kantorow.

EMI 7 54913 2 5

Liszt, F. Sonata in B minor (1852-53). Paul Lewis, pf.

Harmonia Mundi HMX 2908456.57 30

Dohnányi, E. String quartet no 2 in D flat, op 15 (1906). Kodály Quartet.

Hungaroton HCD 11853 26 Beach, A. Ballad in D flat, op 6. Virginia Eskin, pf.

Koch 3-7254-2 8 Dvorák, A. Silent woods, op 68 no 5 (1893).

Li-Wei Qin, vc; Singapore SO/Lan Shui.

Decca 889 8529 6 Shostakovich, D. Prelude and fugue in D flat, op 87 no 15 (1951). Calefax Reed Quintet.

MDG 619 1185-2 4 Chaminade, C. Meditation in D flat, op 76 no 6, from Six romances without words (pub.

1893). Ray Lemond, pf.

Fine Music concert recording 6 Myaskovsky, N. Symphony no 25 in D flat, op 69 (1946/49). Russian Federation SO/ Evgeny Svetlanov.

Warner Classics 69689-8 35

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

17:00 HOSANNA Prepared by Stephen Matthews

13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia

Muhly, N. The spirit of the Lord is upon me.

Ben Michaels, vc; Peter Harrison, org. 5

14:00 WHEN IRISH EYES ARE SMILING Prepared by Randolph Magri-Overend

Britten, B. Introduction; Birth; Devotion, from Saint Nicholas, op 42 (1948). Choir of King’s College, Cambridge; Britten Sinfonia/Stephen Cleobury.

King’s College KGS0003 13

Stanford, C. Villiers Irish rhapsody no 4, op 141, The fisherman of Loch Neagh (1913).

Ulster O/Vernon Handley.

Chandos CHAN 7002 18

14

15:00 SUNDAY SPECIAL Master key: D flat Prepared by James Nightingale

Grieg, E. Come Holy Ghost. 1

Choir of Clare College, Cambridge/Graham Ross (2 above) Harmonia Mundi HMU907623

Harty, H. Variations on a Dublin air (1912).

Ralph Holmes, vn; Ulster O/Bryden Thomson.

Chandos CHAN 7035 16

Telemann, G. Cantata for Pentecost: Daran ist erschienen. Collegium Vocale Siegen; Hannoversche Hofkapelle/Ulrich Stotzel.

Hanssler 98.624 18

Gardner, S. Never... Never... Never... (c2008). RTÉ National SO/Gerhard Markson.

RTÉ lyric CD141 20

Esenvalds, E. The Lamb. Schola Cantorum Reykavicensis/Hordur Askelsson.

BIS BIS-CD 2200 3

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

Eyck, J. Variations on Doen Daphne d’over schoone Maeght. Frans Brüggen, rec.

LP Telefunken SMA 25073 9 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Bach, W.F. Harpsichord concerto in F. Harmonices Mundi/Claudio Astronio.

Brilliant Classics 9407 19 Telemann, G. Overture in D. Freiburg Baroque O/Gottfried von der Goltz.

DHM 88985433232-16 22 Crusell, B. Sinfonia concertante in B. Academy of St Martin in the Fields/Iona Brown.

EMI 7 47981 0 26 Rossini, G. Introduction, theme and variations in B flat for clarinet and orchestra.

Württemberg CO/Jorg Faerber.

EMI 9 73576 2 11 20:30 NEW HORIZONS Prepared by Calogero Panvino Glass, P. Études, bk 1 nos 1, 3, 5 and 7.

Sally Whitwell, pf.

ABC 481 6592 31 Boulez, P. Messagesquisse, for solo cello and six cellos (1976-77). Jean-Guihen Queyras, vc; Ensemble de Violoncelles de Paris/Pierre Boulez.

ABC 477 6351 9 Glass, P. Étude, bk 2 no 3. Sally Whitwell, pf.

ABC 481 6592 4 Boulez, P. Anthèmes 2. Hae-Sun Kang, vn; Andrew Gerzso, elec.

ABC 4776351 20 Dove, J. Quintet (2009). Charles Owen, pf; Sacconi Quartet.

Signum SIGCD487 21 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 4 JUNE

Yondani Butt 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: 1849 Prepared by Di Cox Nicolai, O. Overture to The merry wives of Windsor (1849). Tasmanian SO/Sebastian Lang-Lessing.

ABC 476 773-6 8 Lalo, E. Piano trio no 1 in C minor, op 7 (1849). Trio Henry.

Pierre Verany PV 794031 21 Liszt, F. Symphonic tone poem no 2: Tasso (1849/50-51). London PO/Bernard Haitink.

Philips 438 751-2 21 Schumann, R. Three romances, op 94 (1849). David Nuttall, ob; Larry Sitsky, pf.

Tall Poppies TP041 15 Bottesini, G. Fantasia on La sonnambula (1849). Thomas Martin, db; Anthony Halstead, pf.

ASV DCA 1052 9 Meyerbeer, G. Roi du ciel, from Le prophète (1849). Ben Heppner, ten; London Voices; London SO/Myung-Whun Chung.

DG 471 372-2 4 10:30 CONCERT HALL Prepared by Paul Hopwood Berlioz, H. Overture: King Lear, op 4 (1831).

Polish State PO/Kenneth Jean.

Naxos 8.550231 15 Hummel, J. Trumpet concerto in E (1803).

Håkan Hardenberger, tpt; Academy of St Martin in the Fields/Neville Marriner.

Philips 420 203-2 18 Goldmark, K. Rustic wedding symphony, op 26 (1877). Royal PO/Yondani Butt.

ASV DCA 791 47

Piers Lane 12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell Bach, J. Christian Sextet in C for oboe, two horns, violin, cello and keyboard. English Concert.

Archiv 423 385-2 17 Onslow, G. Variations on God save the King, from String quartet in G minor, op 9 no 1.

Coull String Quartet.

ASV DCA 808 10 Britten, B. Two insect pieces (1935).

François Leleux, ob; Emmanuel Strosser, pf.

Harmonia Mundi HMN 911556 5 Arne, T. Trio sonata in D, op 3 no 5 (pub.

1757). Utako Ikeda, fl; Catherine Weiss, vn; Mark Caudle, vc; Paul Nicholson, hpd.

Amon Ra SAR 42 8 Elgar, E. Quintet in A minor, op 84 (1918-19).

Piers Lane, pf; Goldner String Quartet.

Hyperion CDA67857 39

Moritz Moszkowski 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Strauss, J. II Overture to The queen’s lace handkerchief. Vienna PO/Riccardo Muti.

DG 474 900-2 8 Moszkowski, M. Piano concerto in E, op 59 (1898). Piers Lane, pf; BBC Scottish SO/ Jerzy Maksymiuk.

Hyperion CDA66452 37 Ippolitov-Ivanov, M. Symphony no 1 in E minor, op 46 (1908). Singapore SO/Choo Hoey.

Marco Polo 8.220217 36 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

CONTINUING PROGRAM SERIES Rossini 150: At the Opera, La gazza ladra (The thieving magpie) prepared by Colleen Chesterman: Wednesday 13 at 8pm Sunday Special, Master Key prepared by Anne Irish and James Nightingale: Sunday 3 at 3pm Musical Families prepared by Jennifer Foong: Tuesday 5, 19 at 2pm Sunday Special, Simply Shostakovich prepared by Paolo Hooke: Sunday 10 at 3pm Died for Love: At the Opera, Roméo et Juliette (Gounod) prepared by Elaine Siversen: Wednesday 27 at 8pm Program not to be missed Showcasing Australian Artists, The Marais project recorded by Peter Bell: Thursday 7 at 8pm June2018

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Tuesday 5 JUNE 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Randolph Magri-Overend Beethoven, L. Sonata no 1 in F minor, op 2 no 1 (1795). Stephen Kovacevich, pf.

EMI 5 62700 2 15 Mozart, W. Sonata in D, K448 (1781). Radu Lupu, pf.

Sony MK 39511 22 Bach, J.S. Suite no 5 in G, BWV816, French (1724-25).

DG 479 6565 17 Murray Perahia, pf (2 above) Chopin, F. Nocturne no 17 in B, op 62 no 1.

Philips 456 880-2 8 Debussy, C. Songs of Bilitis (1914; arr.

Lenski). Emmanuel Pahud, fl.

EMI 5 56982 2 16 Stephen Kovacevich pf (2 above) 10:30 CONCERT HALL Prepared by Heather Sykes Glinka, M. Dances in Naina’s castle, from Ruslan and Ludmila (1842). USSR SO/ Yevgeny Svetlanov.

Melodiya SUCD 10-00166 15 Mozart, W. Double concerto in C, K299 (1778). Beara Kaminska, hp; Joanna Kontowicz, fl; Lódz CO/Zdzislaw Szostak.

Brilliant Classics 99512 28 d’Indy, V. Symphonie italienne in A minor.

Iceland SO/Rumon Gamba.

Chandos CHAN 10660 37 12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands 13:00 UNUSUAL STRINGS Prepared by Gael Golla Bach, J.S. Prelude, fugue and allegro in E flat, BWV998 (1735-45). Jakob Lindberg, lute.

BIS CD-587/588 13 Giuliani, M. Grand duo concertant, op 85.

Craig Ogden, gui; Alison Stephens, mand.

Chandos CHAN 9780 6 16

Georg Anton Benda Anon. As att noone Dulcina rested. Ellen Hargis, sop; Paul O’Dette, lute, cittern; King’s Noyse/David Douglass.

Harmonia Mundi HMU 907101 6 Albéniz, I. Asturias. Jacob Wielgosz, domra, gui; Sydney Balalaika O/Victor Serghie.

Sydney Balalaika Orchestra recording 7 Scarlatti, D. Sonata in D minor, Kk413.

Agnes Szakály, cimbalom; Rózsa Farkás, cimbalom.

Hungaroton HCD 31571 3 Shankar, R. Raga piloo (1968). Yehudi Menuhin, vn; Ravi Shankar, sitar; Kamala Chakravarti, tanpura; Alla Rakha, tabla.

Warner Classics 5 86555 2 15 14:00 MUSICAL FAMILIES The Bendas Prepared by Jennifer Foong Philidor, F-A. Overture to The sorcerer (1764). Prague CO/Christian Benda.

Naxos 8.557593/94 9 Benda, G. Trio sonata in E. David Oistrakh, vn; Igor Oistrakh, vn; Vladimir Yampolsky, pf.

DG 463 616-2 15 Bach, C.P.E. Sinfonia in B minor, Wq182 no 5 (1773). Capella Istropolitana/Christian Benda.

Naxos 8.553285 11 Boccherini, L. Sonata in F minor. Christian Benda, vc; Sebastian Benda, fp.

Naxos 8.554324 13 Benda, G. Harpsichord concerto in C (1779).

Antonin Novák, vn; Vojtech Jouza, vn; Karel Spelina, va; Frantisek Sláma, vc; Frantisek Posta, db; Josef Hála, hpd.

Supraphon 11 1001-2 15 Martin, F. Danse de la peur (1935). Paul Badura-Skoda, pf; Sebastian Benda, pf; Swiss-Italian RO/Christian Benda.

ASV DCA 1082 13

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

Alfred Hill Benda, G. The memory (c1780). Emma Kirkby, sop; Timothy Roberts, fp.

Hyperion CDA66649 3 Benda, F. Flute sonata in F (arr. Munclinger).

Jean-Pierre Rampal, fl; Viktorie Svihlikova, hpd.

Supraphon SU 3648-2 9 Benda, G. Sinfonia no 8 in D. Prague CO. Naxos 8.553409 7 Benda, J. Jr Violin concerto in G. Josef Suk, vn; Suk CO. Naxos 8.553902 10 Christian Benda, cond (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Weber, C.M. Trio in G minor, op 63 (1819).

Geoffrey Collins, fl; David Pereira, vc; David Bollard, pf.

Fine Music concert recording 19 Hill, A. Quartet no 11 in D minor (1935).

Australian String Quartet.

Marco Polo 8.223746 18 Beethoven, L. Quartet no 3 in C, WoO36 (1785). Renaud Capuçon, vn; Lida Chen, va; Gautier Capuçon, vc; Martha Argerich, pf.

EMI 3 58472 2 18 Mussorgsky, M. Pictures at an exhibition.

Alice Sara Ott, pf.

DG 479 0088 35 Onslow, G. Wind quintet in F, op 81 no 3.

Stalder Quintet.

Jecklin 554-2 21

Wednesday 6 JUNE

Hans Gál 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 Elaine Siversen Kreutzer, C. Trio. Hans Rudolf Stalder, cl; Elmar Schmid, cl; Dorothea Jappe, va.

Jecklin 587-2 22 Overture to Das Nachtlager von Granada (1834). Leipzig RSO/Zeljko Straka.

Berlin Classics 0300249BC 10 The mill-wheel. Elen Xanthoudakis, sop; Jason Xanthoudakis, cl; Clemens Leske, pf.

Move MCD 472 5 Fantasia in B flat. Albrecht Holder, bn; Stuttgart PO/Nicolás Pasquet.

Naxos 8.553456 11 Grand septet in E flat for clarinet, horn and string quintet, op 62. Nash Ensemble.

LP CRD 1090 32 10:30 CONCERT HALL Prepared by Sheila Catzel Beethoven, L. Symphony no 8 in F, op 93 (1812). Tasmanian SO/David Porcelijn.

ABC 461 920-2 24 Schumann, C. Piano concerto in A minor, op 7 (1835-36). Veronica Jochum, pf; Bamberg SO/Joseph Silverstein.

Pro Arte CDD 395 21 Gál, H. Symphony no 4, op 105, Sinfonia concertante (1974). Diane Clark, fl; Sally Harrop, cl; David Le Page, vn; Christopher Allan, vc; O of the Swan/Kenneth Woods.

Avie AV2231 37

Anatol Ugorski,

Dietrich Fischer-Dieskau

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

Minuets I and II, from Serenade no 1 in D, op 11 (1858). Queensland SO/Patrick Thomas.

ABC 476 4565 4

13:00 THE CELLO, THE GLASS HARP, THE PIANO Prepared by Mariko Yata Bach, J.S. Suite no 1 in G, BWV1007 (1720).

Alfred Hornung, vc.

Oz Classique AH 2336696 21

Lied aus dem Gedicht Ivan; In der Fremde; Lied, from Six songs, op 3 (1853). Dietrich Fischer-Dieskau, bar; Daniel Barenboim, pf.

DG 447 501-2 5 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

Masek, V. Theme and variations. Bruno Hoffmann, glass hp.

LP Fono FSM 53233 8

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

Rachmaninov, S. Sonata no 2 in B flat minor, op 36 (1913/31). Vladimir Ashkenazy, pf.

Decca 478 2826 25

20:00 AT THE OPERA Prepared by Colleen Chesterman

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 BRAHMS EXPLORED Part 1 Prepared by Michael Morton-Evans Brahms, J. Scherzo in E flat minor, op 4 (1851). Claudio Arrau, pf.

Philips 432 302-2 9 Sonatas: no 1 in C, op 1; no 2 in F sharp minor, op 2 (1852-53). Anatol Ugorski, pf.

DG 479 1965 12 Trio in B, op 8 (1853/89). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI 7 54725 2 6 Piano concerto no 1 in D minor, op 15, mvt 3 (1854-59). Alfred Brendel, pf; Berlin PO/ Claudio Abbado.

Philips 456 733-2 13

1868

A Sesquicentenary Event Wagner, R. The mastersingers of Nuremberg. Opera in three acts. Libretto by the composer. First performed Munich, 1868.

HANS SACHS: Dietrich Fischer-Dieskau, bass-bar VEIT POGNER: Peter Lagger, bass WALTHER VON STOLZING: Plácido Domingo, ten EVA POGNER: Catarina Ligendza, sop MAGDALENE: Christa Ludwig, mezz SIXTUS BECKMESSER: Roland Hermann, bar DAVID: Horst R. Laubenthal, ten Berlin Opera Ch & O/Eugen Jochum.

DG 415 278-2 4:00 Synopsis at finemusicfm.com/Opera

A glass harp is a musical instrument made of upright wine glasses. It is played by running moistened or chalked fingers around the rim of the glasses.

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Thursday 7 JUNE Khachaturian, A. Suite no 1 from Spartacus (1943). St Petersburg State SO/André Anichanov.

Naxos 8.550801 26 Albéniz, I. Rapsodia española, op 70 (1911; arr. C.Halffter). Alicia de Larrocha, pf; London PO/Rafael Frühbeck de Burgos.

Decca 433 905-2 18 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Tasmanian SO/Sebastian LangLessing.

ABC 476 3623 28 Emanuel Ax 0:15 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Paul Cooke Bottesini, G. Gran duo concertante (1880).

Edgar Meyer, db; Saint Paul CO/Hugh Wolff.

Sony SK 60956 14 Rachmaninov, S. O, cease thy singing, maiden fair, op 4 no 4 (1893). Nathan Gunn, bar; Jeremy Denk, pf.

Sony 88697 527162 4 Bernstein, L. Suite from West Side story (1960; arr. Brown). Philharmonia O/David Zinman.

Sony SK 89358 19 Joshua Bell, vn (3 above) Piazzolla, A. Café 1930, from Histoire du tango (1986). Nestor Marconi, band.

Sony SK 63122 8 Sharav, B. Legend of Herlen (2000).

Khongorzul Ganbaata, voice; Silk Road Ensemble.

CSO Resound CSOR 901 801 11 Britten, B. Sonata in C, op 65 (1961).

Emanuel Ax, pf.

CBS MK 44980 22 Yo-Yo Ma, vc (3 above) 10:30 CONCERT HALL Prepared by Brian Drummond Rossini, G. Overture to The Italian girl in Algiers (1816). Philharmonia O/Carlo Maria Giulini.

EMI 5 62802 2 8 18

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 DREAMS AND DREAMERS Prepared by Rex Burgess O’Carolan, T. Carolan’s dream. Harp Consort/ Andrew Lawrence-King.

DHM 05472 77375 2 19 Haydn, J. String quartet in F, Hob.III:48, Dream (1787). Salomon Quartet.

Hyperion CDA66822 20 Ries, F. The dream, op 49 (1813). Susan Kagan, pf.

Naxos 8.572204 19 Milhaud, D. Jacob’s dreams, op 294 (1949).

Soloists of the New PO. Erato ECD 88254 20 Sculthorpe, P. Cello dreaming (1998). EmmaJane Murphy, vc; Australian CO/Richard Tognetti.

Chandos CHAN 10063 16 Takemitsu, T. Dreamtime (1981).

Bournemouth SO/Marin Alsop.

Naxos 8.557760 15 15:00 ROMANTIC FAVOURITES Prepared by Yvonne Laki Rossini, G. Overture to Semiramide (1823).

Philharmonia O/Carlo Maria Giulini.

EMI 5 62802 2 13 Fauré, G. Sonata no 2 in G minor, op 117 (1918). Alban Gerhardt, vc; Cecile Licad, pf.

Hyperion CDA67872 18 Saint-Saëns, C. Piano concerto no 2 in G minor, op 22 (1868). Benjamin Grosvenor, pf; Royal Liverpool PO/James Judd.

Decca 478 3527 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem

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

19:00 A NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Part 1: The Marais Project Recorded for FINE MUSIC by Peter Bell Roman, J. Sonata no 1 for flute and continuo. 13 Caix d’Hervelois, L. de Suite in D minor for viola da gamba and continuo, from Pièces de viole, bk 1. 8 Marais, M. Suite no 2 in G minor for flute, violin and continuo, from Pièces en trio. 15 Kats-Chernin, E. Revolving doors (arr.

Andersson). 4 Trad. Swedish folk music selection (arr.

Andersson). 11 Marais Project (all above) Part 2: Early French songs Songs of Attaingnant, Sermisy, Bataille, Fégueux and Moulinié. Rosemary Signorelli, sop; Tommie Andersson, lute.

Fine Music concert recording 22 21:30 THE SYLPHS Chopin, F. Les sylphides (arr. Douglas 1909).

Philharmonia O/Robert Irving.

EMI CDM 1 66427 2 28 22:00 MUSICAL PORTRAITS Hamlet Prepared by Rex Burgess Tchaikovsky, P. Hamlet, fantasy overture after Shakespeare, op 67 (1888). Vienna PO/ Lorin Maazel.

Decca 480 6617 17 Prokofiev, S. Music for Hamlet, op 77 (193738). Elena Def-Donskaya, sop; Sergei Balkov, bar; USSR Ministry of Culture SO/Amin Khachaturian.

Consonance 81-5005 23 Shostakovich, D. Suite from Hamlet, op 116a (1963-64). Belgian RSO/José Serebrier.

RCA Victor RD 87763 30 Walton, W. Hamlet, a Shakespeare scenario (1947; arr. Palmer). Catherine Bott, sop; John Gielgud, narr; Academy of St Martin in the Fields/Neville Marriner.

Chandos CHAN 8842 39

With a horse and a guide, blind 17th century harper Turlough O’Carolan travelled Ireland composing songs for patrons.

Friday 8 JUNE 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Barret, R. Fantasy on Donizetti’s Lucrezia Borgia (arr. Price). Bert Lucarelli, ob; Manhattan String Quartet.

Price-Less D 21062 10 Bartók, B. Ten pieces from For children (1908-09; arr. Maros). Il Quartettone.

Giulia GS 201013 10 Tchaikovsky, P. Capriccio italien, op 45 (1880; arr. Langer). Aurora Piano Quartet.

Naxos 8.557717D 13 Berthélémy, F-C. Fantaisie brillante on Meyerbeer’s L’africaine (arr. Price). Bert Lucarelli, ob; Manhattan String Quartet.

Price-Less D 21062 10 Mozart, W. Piano concerto no 12 in A, K414 (1782; arr. Mozart). Rachel Valler, pf; Hazelwood Quartet.

Fine Music concert recording 27 Lennon-McCartney Eleanor Rigby; Michelle; Yesterday (arr.). Offra Harnoy, vc; Orford String Quartet. 8 10:30 CONCERT HALL Prepared by Denis Patterson Salieri, A. Overture to Les Horaces (1786).

Philharmonia O/Pietro Spada, pf & dir.

ASV DCA 955 5 Bizet, G. Suite from Carmen (1875). Royal Opera House O/Alexander Gibson.

Decca 480 6620 24 Schubert, F. Symphony no 9 in C, D944, Great (1825-28). Scottish CO/Charles Mackerras.

Telarc CD-80502 55

Chausson, E. Poème, op 25 (1896). Philippe Graffin, vn; Pascal Devoyon, pf; Chilingirian Quartet.

Hyperion CDA67028 15 14:00 ITALIAN PILGRIMAGE Prepared by Frank Morrison Liszt, F. Sonnet 104 of Petrarch, from Years of pilgrimage, second year, Italy (1867-77).

Jorge Bolet, pf.

Decca 425 689-2 7 Tchaikovsky, P. Capriccio italien, op 45 (1880). London SO/Gennady Rozhdestvensky.

IMP PCD 875 17 Massenet, J. Toi! Vous! ... N’est-ce plus ma main, from Manon (1864). Anna Netrebko, sop; Rolando Villazón, ten; Dresden Staatskapelle/Nicola Luisotti.

DG 477 6457 8 Liszt, F. Sposalizio, from Years of pilgrimage, second year, Italy. Alfred Brendel, pf.

Philips 420 169-2 7 Debussy, C. Symphonic suite: Spring (1887).

Paris O/Daniel Barenboim.

DG 435 069-2 18 Stravinsky, I. Italian suite (1932). Torleif Thedéen, vc; Roland Pöntinen, pf.

BIS 336 19 Wagner, R. Amfortas! Die Wunde!, from Parsifal (1882). Margarete Joswig, mezz; Jonas Kaufmann, ten; Mahler CO/Claudio Abbado.

Decca 478 1463 9

22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Erlebach, P. Die Liebe Gottes ist ausgegossen. Dorothée Mields, sop; Margaret Hunter, sop; Alexander Schneider, alto; Andreas Post, ten; Matthias Vieweg, bass; Les Amis de Philippe/ Ludger Rémy. cpo 777 346-2 13 Anon. Excerpts from The Berlin gamba book.

Dietmar Berger, bass viol.

Naxos 8.573392 9 Böhm, G. Praeludium in G minor. John O’Donnell, hpd.

Melba MR301143 7 Baron, E. Concerto in D minor. Dorothee Oberlinger, rec; Axel Wolf, lute.

DHM 88875134062 8 Fasch, J. Overture in G minor. Members of English Concert/Trevor Pinnock.

Archiv 449 210-2 23

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps

Förster, C. Horn concerto in E flat. Barry Tuckwell, hn; Academy of St Martin in the Fields/Neville Marriner.

EMI 5 69395 2 12

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Katy Rogers-Davies

13:00 CONTRASTS Prepared by Ron Walledge

Lutoslawski, W. Symphony no 3 (1972-83).

Los Angeles PO/Esa-Pekka Salonen.

Sony SK66280 31

Schubert, F. Wanderer fantasy, D760 (1822; orch. Liszt). Jorge Bolet, pf; London PO/ Georg Solti.

Decca 425 689-2 22

Khachaturian, A. Suite from Gayaneh (193942). Philharmonia O/Aram Khachaturian.

EMI CDC 5 55035 2 31

Elgar, E. Overture: In the South, Alassio, op 50 (1903). Royal PO/Andrew Litton.

Virgin VC 7 90727-2 21

12:00 A JAZZ HOUR with Barry O’Sullivan

Bax, A. Festival overture (1909/18). London PO/Bryden Thomson.

Chandos CHAN 8586 16

Aram Khachaturian

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

ABC 481 4413 42 Fauré, G. Pavane, op 50 (1887). SBS Youth O/Matthew Krel.

Young Music Endeavours YME 1 7

Graupner, C. Overture in D for two flutes, two violins, viola and harpsichord. Das Kleine Konzert/Hermann Max. cpo 999 592-2 29 Fasch, J. Sonata à 4 in B flat. Ricercar Consort.

Ricercar RIC 049027 7

Baroque composer Philipp Heinrich Erlebach is little known today possibly because most of his numerous compositions were destroyed in a fire with only 70 of them (about 7 percent) surviving.

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Saturday 9 JUNE Dvorák, A. Humoresque. Arthur Grumiaux, vn. 3

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

Isador Goodman, pf; Melbourne SO/Patrick Thomas (2 above) Philips 420 849-2

9:05 PERIODS AND THEIR PEOPLE 20th century 1916-2000 Prepared by Robert Small

Rodgers, R. Excerpts from I remember Mama (1979). Sally Ann Howes, George Hearn, George S. Irving, Patricia Routledge, voices; original London cast.

Jay Records JAY 1361 20

Ravel, M. Sonata (1920-22). Kristian Winther, vn; Michelle Wood, vc.

Melba MR 301115 23

Arthur Honegger

Tippett, M. Concerto for double string orchestra (1938-39). Scottish CO/Michael Tippett.

Virgin VC 7 90701-2 25

Bach, J. Christian Piano concerto in C, op 1 no 5 (pub. 1763). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus.

Philips 438 712-2 8

Copland, A. Suite: Appalachian Spring (194344). Melbourne SO/Benjamin Northey.

ABC 481 0863 25

Coates, E. London Bridge (1934). London PO/Barry Wordsworth.

Lyrita SRCD.213 5

Poulenc, F. Un soir de neige (1944). I Fagiolini/Robert Hollingsworth.

Decca 478 9394 5

Haydn, J. Symphony in D, Hob.I:104, London (1795). Hanover Band/Roy Goodman.

Nimbus NI 7024 26

10:30 SMALL FORCES Prepared by Paul Hopwood

15:00 ATHALIA

Beethoven, L. Trio in E flat for clarinet, cello and piano, op 38 (1802-03). Trio d’Amsterdam.

Koch 3-7015-2 HI 38 Bach, J.S. Sonata in D, BWV1028 (bef. 1741).

Pierre Fournier, vc; Zuzanna Ruzickova, hpd.

Erato 2292-45738-2 14 11:30 ON PARADE Prepared by Robert Small Reed, H. La fiesta mexicana (1949). 22 Perkins, F. Fandango (1952; arr. Werle). 4 Dallas Wind Symphony/Howard Dunn (2 above) Reference RR-38 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 IN LONDON TOWN Prepared by Stephen Wilson Elgar, E. Overture: Cockaigne, op 40, In London town (1901). London PO/Adrian Boult.

First Hand Records FHR06 14 20

Rósza, M. Spellbound concerto (1945). 8

Handel, G. Oratorio: Athalia, HWV52 (1733).

Joan Sutherland, sop; Emma Kirkby, sop; Aled Jones, treb; James Bowman, ct; Anthony Rolfe Johnson, ten; David Thomas, bass; Choir of New College, Oxford; Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 417 126-2 2:02 Handel, G. Concerto no 3 in F for two wind bands and strings, HWV334 (1746-47).

English Concert/Trevor Pinnock.

Archiv 479 1932 18 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Kids: Lullaby

20:00 INFLUENCES AND CONNECTIONS Arthur Honegger Prepared by Rex Burgess d’Indy, V. Souvenirs, op 62 (1906).

Strasbourg PO/Theodor Guschlbauer.

Auvidis V4686 20 Honegger, A. Sonata (1912). Dong-Suk Kang, vn; Pascal Devoyon, pf.

Timpani IC1008 25 Various. Ballet: The marriage on the Eiffel Tower (c 1921). Philharmonia O/Geoffrey Simon.

Chandos CHAN 8356 21 Satie, E. Quatre préludes (1893). Reinbert de Leeuw, pf.

Philips 454 048-2 16 Honegger, A. Symphony no 4, Deliciae basilienses (1946). Bournemouth Sinfonietta/ Tamás Vásáry.

Chandos CHAN 8993 27 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Weber, C.M. Clarinet quintet in B flat, op 34 (1811-15). Omega Ensemble. 26 MacDowell, E. Sea pieces, op 55 (1898).

Robin Ruys, pf. 21

18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame

Brahms, J. Quintet in F minor, op 34 (186164). Lucinda Collins, pf; Australian String Quartet. 45

Willan, H. Five preludes (1950); Prelude on Aberystwyth (1956); Introduction; Passacaglia; Fugue (1916); Epilogue. Patrick Wedd, org.

Naxos 8.557375 47

Mozart, W. Divertimento in D, K251 (1776).

Josef Hanic, ob; Robert Johnson, hn; Casey Rippon, hn; Marina Marsden, vn; Jennifer Curl, va; Andrew Raciti, db. 22 Fine Music concert recordings (all above)

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Rodgers, R. Excerpts from The sound of music (1949). June Bronhill, sop; Rosina Raisbeck, sop; Peter Graves, Beryl Cheers, voices.

HMV LP/OCSD 7580 18

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

Johann Christian Bach’s opus 1 keyboard concertos were written for harpsichord and strings and published in London in 1763. He is noted for influencing the concertos of the young Mozart.

Sunday 10 JUNE 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Robert Small Josquin Desprez. Miserere mei, Deus (1503-04). Cinquecento Renaissance Vokal.

Hyperion CDA67959 15 Caldara, A. Cantata: Sempre mi torna in mente. Max Emanuel Cencic, ct; Ornamente 99/Karsten Erik Ose. Capriccio 67 124 14 Mendelssohn, F. Psalm 42: Wie der Hirsch schreit nach frischem Wasser, op 42 (1837).

Eiddwen Harrhy, sop; Hervé Lamy, ten; Peter Kooy, bar; La Chappelle Royale; Collegium Vocale; Paris Orchestral Ensemble; Leo van Doeselaar, org; Philippe Herreweghe, cond.

Harmonia Mundi 901272 24 10:00 THE CLASSICAL ERA Prepared by Di Cox Salieri, A. Overture to La locandiera (1773).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9877 7 Kalliwoda, J. Oboe concertino in F, op 110 (1844). Diana Doherty, ob; Queensland SO/ Werner Andreas Albert.

ABC 456 681-2 16 Wranitzky, P. Symphony in D, op 16 no 3 (pub. 1792). Munich CO/Howard Griffiths.

Sony 88875127122 19 Saint-Georges, J. String quartet no 1 in C, op 1 no 1 (1773). Juilliard Quartet.

LP CBS SBR 235692 9 Mozart, W. Sonata in D, K448 (1781). Robert Chamberlain, pf; Darryl Coote, pf.

Move MCD 046 19 Beethoven, L. Calm sea and prosperous voyage, op 112 (1815). Ambrosian Singers; London SO/Michael Tilson Thomas.

CBS MK 76404 9 Boccherini, L. String quintet in C, op 60 no 1 (pub. 1801). Ensemble 415.

Harmonia Mundi HMC 901402 21 Haydn, J. Sinfonia, from La vera costanza, Hob.Ia:15 (1778-85). Haydn Sinfonietta/ Vienna/Manfred Huss.

Schwann 3-1484-2 8 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide

14:00 ARRIGO BOITO, COMPOSER AND LIBRETTIST Prepared by Elaine Siversen

Crossing the bar; There is an old belief. Choir of Jesus College, Cambridge/Mark Williams.

Signum SIGCD328 7

Verdi, G. Hymn of the nations (1862).

Francesco Meli, ten; Turin Regional Theatre Ch & O/Gianandrea Noseda.

Chandos CHAN 10659 13

Hear my words, O ye people. Choir of King’s College, Cambridge; Douglas Tang, org; Stephen Cleobury, cond.

King’s College KGS0004 15

Boito, A. Faust’s aria: Dai campi, dai prati; Giunto sul passo estremo, from Mefistofele (1868). Raymón Vargas, ten; Budapest SO/ Riccardo Frizza.

Capriccio C5165 5 L’altra notto in fondo, from Mefistofele. Anna Netrebko, sop; St Cecilia National Academy O/ Antonio Pappano.

DG 479 5015 7 Ponchielli, A. Cielo e mar, from La Gioconda (1876). Richard Margison, ten; Canadian Opera Company O/Richard Bradshaw.

CBC SMCD 5158 5 Verdi, G. Già nella notte densa, from Otello (1887). Joan Sutherland, sop; Luciano Pavarotti, ten; New York City Opera O/Richard Bonynge.

Decca 478 2826 10 Ehi! paggio ... L’onore, from Falstaff (1893).

Bryn Terfel, bass-bar; Metropolitan Opera O/ James Levine.

DG 477 6686 5 Ninfe! Elfi! Silfi! Doridi! Sirene! from Falstaff.

Mirella Freni, sop; Liva Ligabue, sop; RCA Italiana Opera Ch & O/Georg Solti.

Decca 460 805-2 6 15:00 SUNDAY SPECIAL Simply Shostakovich Prepared by Paolo Hooke Shostakovich, D. Sonata in D minor, op 40 (1934). Mstislav Rostropovich, vc; Dimitri Shostakovich, pf.

EMI 5 72295 2 4 26 Symphony no 7 in C, op 60, Leningrad (1941).

Chicago SO/Leonard Bernstein.

DG 477 7587 1:25 17:00 HOSANNA Prepared by Jeremy Hall Parry, H. I was glad. Choir of Westminster Abbey; Onyx Brass; Daniel Cook, org; James O’Donnell, cond.

Hyperion CDA68089 7 Psalm 64. Choir of St John’s, Elora; Michael Bloss, org; Noel Edison, cond.

Naxos 8.554823 4 Dear Lord and Father of mankind (arr.

Chambers). Choir of Westminster Abbey; Onyx Brass; Daniel Cook, org; James O’Donnell, cond.

Hyperion CDA68089 4 Evening service in D. Choir of St George’s Chapel, Windsor; Roger Judd, org; Christopher Robinson, cond.

Hyperion CDA66273 12

18:00 FRENCH CHAMBER MUSIC Prepared by Paul Cooke Jacquet de la Guerre, E-C. Sonata no 4 in G minor. Bernadette Charbonnier, baroque vn; Catherine Giardelli, baroque vn, Claire Giardelli, baroque vc; Georges Guillard, hpd.

Arion ARN 268012 9 Debussy, C. Three pieces (transcr. Noon).

Linda Chesis, fl; Sara Cutler, hp; New World String Quartet.

IMP MCD 23 14 Onslow, G. String quartet in B flat, op 4 no 1.

Mandelring Quartet. cpo 999 329-2 19 Canteloube, J. Rustiques (1946). Jan De Maeyer, ob; Nestor Janssens, cl; Luc Loubry, bn.

Discover International DICD 920181 12 19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello Beethoven, L. Overture to Egmont, op 84 (1810). Sydney SO/Willem van Otterloo.

LP RCA VRL4 0190 9 Glass, P. Cello concerto. Julian Lloyd Webber, vc; Royal Liverpool PO/Gerard Schwarz.

Orange Mountain Music 0014 31 Franck, C. Symphony in D minor (1887-88).

French NO/Leonard Bernstein.

DG 478 6971 42 20:30 NEW HORIZONS Prepared by James Nightingale Moore, K. Spin bird (2008). Saskia Lankhoorn, pf.

ECM New Series 2344 481 0963 3 Smalley, R. Piano concerto (1985). Roger Smalley, pf; West Australian SO/Diego Masson.

Vox Australis VAST003-2 26 Boyd, A. Cycle of love (1981). Hartley Newnham, ct; Geoffrey Collins, fl; Susan Blake, vc; Nicholas Routley, pf.

MBS 21 15 Boulez, P. Sur incises (1996-98). Members of Ensemble Intercontemporain/Pierre Boulez.

ABC 477 6351 37 22:00 AFTER HOURS JAZZ with Kevin Jones June2018

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Monday 11 JUNE 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: 1891 Prepared by Raj Gopalakrishnan Tchaikovsky, P. The Voyevoda, op 78, symphonic ballad after Mickiewicz (1890-91).

Royal Liverpool PO/Vasily Petrenko.

Naxos 8.570568 11 Vaughan Williams, R. Summum bonum (1891). Nicky Spence, ten; William Vann, pf.

Albion Records ALBCD 029 3

Bach, J.S. Concerto in D minor, BWV1060.

Gudrun Schamke, ob; Sydney Bach O/Alan Holley.

Fine Music concert recording 13 Mozart, W. Sonata no 21 in E minor, K304 (1778). Albert Landa, pf.

Fine Music tape archive 12 Bach, J.S. Double concerto in D minor, BWV1043. Miwako Abe, vn; Sydney Bach O/ Alan Holley. 15 Haydn, J. String quartet in B flat, Hob.III:78, Sunrise (1796-97). Semyon Kobets, vn; Anne -Louise Comerford, va; Georg Pedersen, vc.

22 Fine Music concert recordings (2 above)

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

Janácek, L. Suite for orchestra, op 3 (1891).

Brno State PO/Frantisek Jílek.

Supraphon 11 1521-2 031 14

David Saffir, vn (all above)

Grieg, E. Lyric pieces, bk 5, op 54 (1891).

Leif Ove Andsnes, pf.

Virgin VC 7 59300 2 23

Bernstein, L. Overture to Candide (1956/88).

New York PO/Leonard Bernstein.

CBS MYK 44773 4

Mascagni, P. Prelude to L’amico Fritz (1891).

St Cecilia Academy O/Myung-Whun Chung.

DG 471 566-2 4

Stravinsky, I. Le sacré du printemps (191113). Rotterdam PO/Valery Gergiev.

Radio Netherlands RPHO2008-1 34

Brahms, J. Trio in A minor, op 114 (1891).

Nigel Westlake, cl; Julian Smiles, vc; David Bollard, pf.

Fine Music concert recording 24

Grainger, P. Tribute to Foster (1913/31).

Monteverdi Choir; English Country Gardiner O/John Eliot Gardiner.

Philips 446 657-2 11

10:30 CONCERT HALL Prepared by Derek Parker

Elgar, E. Variations on an orginal theme, op 36, Enigma (1899). Melbourne SO/Charles Mackerras.

ABC 476 3224 31

Claudio Arrau, pf (3 above)

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field

Debussy, C. L’isle joyeuse (1903-04).

ABC 432 700-2 6

Respighi, O. Suite: Rossiniana (1925). New York CO/Salvatore di Vittorio.

Naxos 8.572332 23 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 Taneyev, S. Symphony no 2 in B flat (187578). Russian State SO/Valery Polyansky.

Chandos CHAN 9998 36 12:00 SWING SESSIONS with John Buchanan 13:00 AUSTRALIAN VIRTUOSO David Saffir, violin Prepared by Albert Gormley Janácek, L. Sonata (1914/21). Albert Landa, pf.

Fine Music tape archive 18 22

Tuesday 12 JUNE

14:30 MUSICAL MERRY-GO-ROUND Prepared by Fulton Myers

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

Brahms’ Trio in A minor for clarinet, cello and piano is one of four chamber works composed by Johannes Brahms featuring the clarinet as a primary instrument. It was written for clarinettist Richard Mühlfeld after the composer heard him play a Weber clarinet work.

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

9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Frank Morrison Schubert, F. Moment musical in A flat, D780 no 2 (1823-28).

EMI 1 66445 2 7 Chopin, F. Andante spianato in G and grande polonaise brilliante in E flat, op 22 (1834).

London PO/Eliahu Inbal.

DG 477 8445 15 Beethoven, L. Sonata no 26 in E flat, op 81a, Les adieux (1809-10).

Philips 416 146-2 18 Bartók, B. Six Rumanian dances (1915; arr.

Székely). Dene Olding, vn.

Fine Music concert recording 5

Smetana, B. Piano trio in G minor, op 15 (1855). Richard Tognetti, vn; Julian Smiles, vc.

Fine Music concert recording 27 Kathryn Selby, pf (3 above) 10:30 CONCERT HALL Prepared by Rebecca Zhong Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). London SO/ André Previn.

EMI CDM 1 66433 2 12 Korngold, E. Violin concerto in D, op 35 (1945). Philippe Quint, vn; Mineria SO/Carlos Miguel Prieto.

Naxos 8.570791 24 Holst, G. The planets, op 32 (1916) London Choral Society; BBC SO/Adrian Boult.

BBC Music BBC MM359 47

Tuesday 12 JUNE

Robert Muczynski

Nigel Westlake

12:00 JAZZ RHYTHM with Jeannie McInnes

Westlake, N. Invocations: concerto for bass clarinet and chamber orchestra (1994). Nigel Westlake, cl; Alison Lazaroff-Somssich, vn; Tasmanian SO/David Porcelijn.

ABC 462 017-2 21

13:00 AMERICAN CHAMBER MUSIC Prepared by Gael Golla Muczynski, R. Wind quintet, op 45 (1985).

Stanford Woodwind Quintet.

Naxos 8.559001 12 Korngold, E. Suite from Much ado about nothing, op 11 (1920). Gil Shaham, vn; André Previn, pf.

DG 439 886-2 13 Gershwin, G. Prelude no 2 (1926; arr.

Cappucio). Chicago Saxophone Quartet.

Centaur CRC 2086 4 Stravinsky, I. Suite italienne (1932). Tatjana Vassilieva, vc; Yumiko Urabe, pf.

Naxos 8.555762 17

Schumann, R. Symphony no 1 in B flat, op 38, Spring (1841; orch. Mahler). Bergen PO/ Aldo Ceccato.

BIS CD-361 34 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 SYDNEY SYMPHONY 2018 Produced by Andrew Bukenya

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps

Copland, A. Quartet (1950). Charles Rex, vn; Rebecca Young, va; Alan Stepansky, vc; Israela Margalit, pf.

EMI 5 55405 2 20

22:00 CHAMBER SOIRÉE Prepared by Rex Burgess

Westlake, N. Excerpts from Missa Solis: Requiem for Eli (2000/09). Liam Crisanti, treb; Melbourne Symphony Ch & O/Nigel Westlake.

ABC 476 5057 18 Barber, S. Adagio for strings, op 11 (1938).

Melbourne SO/Jorge Mester.

ABC 438 611-2 8

Johann Christoph Friedrich Bach 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 Stephen Matthews Bach, J.C.F. Symphony in B flat (c1792).

Neues Bachisches Collegium Musicum, Leipzig/Burkhard Glaetzner.

Brilliant Classics 94780 24 Excerpts from dramatic cantata, Cassandra.

Das Kleine Konzert/Hermann Max. cpo 999 593-2 14 Sinfonia in E flat. Werner Ehrhardt, cond.

Capriccio C8007 10

Castelnuovo-Tedesco, M. Sonatina, op 205 (1965). William Bennett, fl; Simon Wynberg, gui.

ASV DCA 692 13

14:30 IN CONCERT Remembrance Prepared by Albert Gormley

Wednesday 13 JUNE

20:00 RECENT RELEASES with James Nightingale

Wachet auf, ruft uns die Stimme (c1780); Shepherd’s song. Vokalensemble Frankfurt/ Ralf Otto. 9 Concerto Köln (3 above) Concerto for piano and two horns. Musica Antiqua Koln/Reinhard Goebel.

Archiv 479 0377 26

10:30 CONCERT HALL Mozart, W. Sonata in E minor, K304 (1778).

Prepared by Di Cox Augustin Dumay, vn; Maria João Pires, pf.

Suppé, F. Overture to The beautiful Galathea DHM 479 5964 15 (1865). New York PO/Leonard Bernstein.

Schubert, F. String quartet no 9 in G minor, CBS MYK 44719 8 D173 (1815). Kodály Quartet.

Skryabin, A. Piano concerto in F sharp Naxos 8.550592 24 minor, op 20 (1896). Roland Pöntinen, pf; Onslow, G. Grand septet in B minor, op 79 Stockholm PO/Leif Segerstam.

(1849). Marc Marder, db; Jean Hubeau, pf; BIS CD-475 27 Nielsen Quintet.

Respighi, O. Ballet: La boutique fantasque apex 0927 49536 2 37 (1918). BBC PO/Gianandrea Noseda.

Fauré, G. Quintet no 2 in D minor, op 115 Chandos CHAN 10081 45 (1921). Jean-Phillipe Collard, pf; Parrenin 12:00 JAZZ SKETCHES Quartet. with Robert Vale EMI CMS 7 62548 2 34 June2018

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Wednesday 13 JUNE

Herbert von Karajan

Mariola Cantarero

Geoffrey Simon

13:00 SYMPHONISTS Mozart and Tchaikovsky Prepared by Brian Drummond

Die Mainacht, op 43 no 2 (1864). Bernarda Fink, mezz; Roger Vignoles, pf.

Harmonia Mundi HMX 2908401.08 3

0:00 CONTEMPORARY COLLECTIVE

Mozart, W. Symphony no 21 in A, K134 (1772). Amsterdam Baroque O/Ton Koopman.

Erato 2292-45544-2 20

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

14:00 IN CONVERSATION with Michael Morton-Evans

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Colleen Chesterman 1792-1868

Tchaikovsky, P. Symphony no 2 in C minor, op 17, Little Russian (1872). Concertgebouw O/Bernard Haitink.

Decca 478 5867 35

GIOACHINO ROSSINI

15:00 BRAHMS EXPLORED Part 2 Prepared by Michael Morton-Evans

Rossini, G. La gazza ladra, opera in two acts. Libretto by Giovanni Gherardini. First performed Milan, 1817

Brahms, J. Quartet no 1 in G minor, op 25 (1861). Norbert Brainin, vn; Peter Schidlof, va; Martin Lovett, vc; Murray Perahia, pf.

Sony SX4K 63380 8

FABRIZIO: Paolo Bordogna, bass LUCIA: Kleopatra Paptheologou, mezz GIANNETTO: Dmitry Korschak, ten NINETTA: Mariola Cantarero, sop FERNANDO: Alex Esposito, bar PIPPO: Manuela Custer, sop Prague Chamber Choir; Bolzano and Trento Haydn O/Lü Jia. Dynamic CDS 567/1-3 3:11

Variations on a theme by Paganini, bk 1, op 35 (1862-63). Idil Biret, pf.

Naxos 8.550350 13 Come away, come away, death, op 17 no 2; The gardener, op 17 no 3, from Four songs for women’s choir (1860). Gächinger Kantorei Stuttgart; Bach-Collegium Stuttgart/Helmuth Rilling.

Hänssler 98.122 5 Quintet in F minor, op 34, mvt 3 (1861-64).

Piers Lane, pf; New Budapest String Quartet.

Hyperion CDA66652 8 Excerpts from A German requiem, op 45 (1865-68). Elisabeth Schwarzkopf, sop; Hans Hotter, bar; Singverein der Gesellschaft der Musikfreunde, Vienna; Vienna PO/Herbert von Karajan.

EMI 5 62811 2 13 24

Thursday 14 JUNE

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Chris Blower Theodorakis, M. He with the sorrow; Capture of Antonito el Camorio; Death of Antonito el Camorio, from Seven songs of Lorca (1967).

Maria Farandouri, mezz; John Williams, gui.

Sony SMK 62266 9 Pärt, A. Spiegel im Spiegel (1978). Tasmin Little, vn; Martin Roscoe, pf.

EMI 5 73117 2 8 Schubert, F. Sonata in A minor, D821, Arpeggione (1824; arr. Williams, Gunning). John Williams, gui; Australian CO/Richard Tognetti.

Sony SK 63385 22 Vaughan Williams, R. The lark ascending (1914/20). Tasmin Little, vn; BBC SO/Andrew Davis.

Teldec 9031-73127-2 14

Synopsis at finemusicfm.com/Opera

Trad. Scarborough fair; Over the sea to Skye (arr. Gascoigne). John Williams, gui; Gascoigne Band.

CBS MK 37825 6

Overture to The silken ladder (1812). National PO/Riccardo Chailly.

Decca 400 049-2 6

Poulenc, F. Sonata (1943). Tasmin Little, vn; Piers Lane, pf.

EMI 5 73115 2 19

23:30 A SUK QUARTET

10:30 CONCERT HALL Prepared by Anne Irish

Suk, J. String quartet no 2, op 31 (1911). Suk Quartet.

CRD 3472 28

The silken ladder is one of four Italian farse (comic operatic farces) composed by the young Gioachino Rossini.

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

Mendelssohn, Fanny. Overture (c1830).

Women’s PO/JoAnn Falletta.

Koch 3 7169 2H1 11 Hyde, M. Piano concerto no 1 in E flat minor (1933). Miriam Hyde, pf; West Australian SO/ Geoffrey Simon.

ABC 446 285-2 30

Thursday 14 JUNE

Friday 15 JUNE

Beach, A. Symphony in E minor, op 32, Gaelic (1896). Detroit SO/Neeme Järvi.

Chandos CHAN 8958 41

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

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

3:00 CLASSICAL TILL DAWN

13:00 RHAPSODIES Prepared by Gael Golla

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

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

Marco Polo HK 8.220420 17 Debussy, C. First rhapsody (1911). Gervase de Peyer, cl; Gwenneth Pryor, pf.

Chandos CHAN 8526 8 Poulenc, F. Negro rhapsody (1919). François le Roux, bar; Pascal Rogé, pf; Soloists of French NO/Charles Dutoit.

Decca 452 666-2 11 Ravel, M. Gypsy air, concert rhapsody (1924). Salvatore Accardo, vn; London SO/ Claudio Abbado.

DG 427 314-2 10 Liszt, F. Hungarian rhapsody no 2 in C sharp minor. Geoffrey Tozer, pf.

McPherson Promotions MP001 11 Bloch, E. Schelomo: Hebraic rhapsody (1915-16). Steven Isserlis, vc; London SO/ Richard Hickox.

Virgin 5 61125 2 22 14:30 SONG OF LAMENTATION Prepared by Rex Burgess Bach, J.S. Orchestral suite no 2 in B minor, BWV1067 (c 1739). Capella Istropolitana/ Jaroslav Dvorák.

Naxos 8.554043 19 Mahler, G. Cantata: The song of lament, (1880/93/99). Markus Baur, treb; Susan Dunn, sop; Brigitte Fassbaender, cont; Werner Hollweg, ten; Andreas Schmidt, bar; Dusseldorf Music Society Choir; Berlin RSO/ Riccardo Chailly.

DG 477 8825 1:04 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 A NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS David Pereira and Ian Munro Recorded for FINE MUSIC by George Hilgevoord Mozart, W. Sonata in C, K330 (1778). 17 Beethoven, L. Sonata in A major, op 69 (1808). David Pereira, vc. 27

Boccherini, L. Introduction and fandango (arr. Kain). Guitar Trek.

ABC 461 727-2 7 Ian Munro Schubert, F. Sonata in F sharp minor, D570/571 (1817; compl. Munro). 18 Schumann, R. Five pieces in folk style, op 102 (1849). David Pereira, vc. 18 Ian Munro, pf (all above) 21:30 A LESSER-KNOWN CONCERTO Döhler, T. Piano concerto in A, op 7 (1836).

Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67950 28 22:00 MUSICAL PORTRAITS Russian Tsars Prepared by Elaine Siversen Glinka, M. Excerpts from A life for the Tsar (1836). Bolshoi Ch & O/Alexander Lazarev.

Erato 4509-91723-2 14 Overture and dances, from Ivan Susanin (1836). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00166 20 Mussorgsky, M. Long life to Tsar Boris, from Boris Gudunov (1874). John Lanigan, ten; Joseph Rouleau, bass; Royal Opera House O/Edward Downes.

Decca 480 0952 10 Kalinnikov, Vasily. Incidental music to Tsar Boris (1899). Budapest SO/Antal Jancsovics.

Marco Polo 8.223135 38 Sviridov, G. Choruses from music to Tolstoy’s Tsar Feodor Ioannovich (1973).

V. Golubeva, sop; I. Kornilova, mezz; A.A. Yurlov Republican Academic Russian A Capella Choir; USSR RT Large SO/Yuri Ukhov.

LP Melodiya C 10-06461-2 9 Rimsky-Korsakov, N. Suite from Tsar Saltan, op 57 (1900). Samuel Magad, vn; Chicago SO/Daniel Barenboim.

Apex 2564 67429-0 19

Mozart, W. Piano concerto no 23, mvt 2 (1786; arr. Hughes de Courson 1997). Henri Angel, oud; Mario Angelov, pf; Bulgarian SO/ Leitung von Milen Natchev.

Virgin 5 45311 2 7 Czerny, C. Brilliant fantasy no 1, after Schubert, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH55074 17 Gulak-Artemovsky, S. Duet of Karas and Odarka, from A Cossack beyond the Danube (1861-62; arr. Shostakovich). Natalia Pavlova, sop; Dmitry Volkov, bass; Valery Masterov, vc.

Toccata TOCC 0121 8 Godowsky, L. Passacaglia, 44 variations, cadenza and fugue on the opening of Schubert’s Unfinished symphony (1927).

Marc-André Hamelin, pf.

Hyperion CDA67300 19 Waxman, F. Fantasy on themes from Bizet’s Carmen (1946). Frank Huang, vn; Dina Vainstein, pf.

Naxos 8.557121 11 Grantham, D. J.S. dances (2002). Anastasia Markina, pf; North Texas Wind Symphony/ Eugene Migliaro Corporon.

Klavier K 11145 8 10:30 CONCERT HALL Prepared by Sheila Catzel Hummel, J. Suite from Das Zauberglöckchen (1837). London Mozart Players/Howard Shelley.

Chandos CHAN 9925 16 Hiller, F. Piano concerto no 3 in A flat, op 170, Concerto espressivo (1874). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67655 32 Fesca, F. Symphony no 1 in E flat, op 6 (1810-12). North German RPO/Frank Beermann. cpo 999 889-2 32 June2018

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Friday 15 JUNE 12:00 A JAZZ HOUR with Barry O’Sullivan

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

13:00 AUTUMN LEGEND Prepared by Derek Parker

20:00 EVENINGS WITH THE ORCHESTRA Chief conductors of the Sydney Symphony: David Robertson Prepared by David Brett

Grieg, E. Concert overture, op 11, In autumn (1866/87). Cologne WDR SO/Eivind Aadland.

Audite 92.669 11 Nilsson, A. Autumn for string sextet (2004).

Uppsala Chamber Soloists.

Phono Suecia PSCD 190 18 Raff, J. Symphony no 10 in F minor, op 213, In autumn (1879). Slovak State PO/Urs Schneider.

Naxos 8.555491 31 Verdi, G. The four seasons: Autumn, from The Sicilian vespers (1855). Monte Carlo National Opera O/Antonio de Almeida.

Philips 468 148-2 9 Alwyn, W. Autumn legend (1954). Rachel Pankhurst, cora; Royal Liverpool PO/David Lloyd-Jones.

Naxos 8.570704 11 14:30 REMEMBERING HEINRICH SCHIFF Prepared by Elaine Siversen Strauss, R. Romance in F (1883).

Gewandhaus O/Kurt Masur.

Philips 426 262-2 9 Rachmaninov, S. Vocalise, op 34 no 14 (1915). Elisabeth Leonskaja, pf.

Philips 412 732-2 6 Vivaldi, A, Sonata in E minor, RV40. Jaap ter Linden, vc continuo; Ton Koopman, hpd.

Philips 434 124-2 9 Sibelius, J. Malinconia, op 20 (1901).

Elisabeth Leonskaja, pf.

Philips 412 732-2 12 Heinrich Schiff, vc (all above) Schubert, F. Overture in C, In the Italian style, D591 (1817). Northern Sinfonia/ Heinrich Schiff.

Chandos CHAN 9136 7 Dvorák, A. Polonaise in A (1879). Elisabeth Leonskaja, pf.

Philips 412 732-2 8

26

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

Holst, G. Saturn, from The planets, op 32 (1914-16). Sydney SO. Sydney Symphony SSO201401 10

9:05 PERIODS AND THEIR PEOPLE 20th century 1916-2000 Prepared by Frank Morrison

Saint-Saëns, C. Algerian suite, op 60 (187980). Monte Carlo PO. Auvidis V 4688 20

Sibelius, J. Tone poem: Tapiola, op 112 (1926). Helsinki PO/Paavo Berglund.

EMI 5 65176 2 15

Berg, A. Violin concerto, To the memory of an angel (1935). Gil Shaham, vn; Staatskapelle Dresden.

Canary Classics CC12 27

Poulenc, F. Trio (1926). François Leleux, ob; Jean-François Duquesnoy, bn; Emmanuel Strosser, pf.

Harmonia Mundi HMN 911556 13

Prokofiev, S. Symphonic sketch: Autumn, op 8 (1910-34). Royal Concertgebouw O. Radio Nederland RCO12004 9 Stravinsky, I. Ballet: Petrushka (1910).

Sydney SO. ABC 481 4954 38 David Robertson, cond (all above) 22:00 BAROQUE AND BEFORE From Sweden and Denmark Prepared by Elaine Siversen Niewerth, H. Allemande, courante, sarabande. Tommie Andersson, lute.

Musica Rediviva MRCD 003 6 Roman, J. Swedish Mass. Hillevi Martinpelto, sop; Anne-Sofie von Otter, mezz; Mikael Samuelson, bass; Stockholm (Adolf Fredrik) Bach Choir; Drottningholm Baroque Ensemble/Anders Öhrwall.

Proprius PRCD 9920 46 Agrell, J. Flute concerto in D (c1750). Maria Bania, fl; Concerto Copenhagen/Andrew Manze.

Chandos CHAN 0535 15 Pedersøn, M. Mass, from Pratum spirituale (1620). Hilliard Ensemble/Paul Hillier.

BIS CD-389 11

Beethoven, L. Sonata no 3 in A, op 69 (1807-08). Till Fellner, pf.

Philips 462 601-2 27

Buxtehude, D. Te Deum laudamus, BuxWV218. Wolfgang Rübsam, org.

Naxos 8.555991 16

Heinrich Schiff, vc (2 above)

Scheibe, J. Sinfonia in D à 16. Concerto Copenhagen/Andrew Manze.

Chandos CHAN 0550 11

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans

Saturday 16 JUNE

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

Bernstein, L. Divertimento for orchestra (1980). Israel PO/Leonard Bernstein.

DG 415 966-2 15 Stravinsky, I. Italian suite, from Pulcinella (1920). Mischa Maisky, vc; Martha Argerich, pf.

DG 477 5323 18 Prokofiev, S. Symphony no 1, op 25, Classical (1917). Lausanne CO/Alberto Zedda.

Virgin VC 7 91098-2 14 10:30 MUSIC FOR SMALL FORCES Quintets Prepared by Brian Drummond Zemlinsky, A. Humoreske. Berlin Philharmonic Wind Quintet.

BIS CD-612 4 Boccherini, L. String quintet in G, op 27 no 2 (1779). La Magnifica Comunità.

Brilliant Classics 94386 10 Mozart, W. Quintet in E flat, K407 (1782).

Barry Tuckwell, hn; Kenneth Sillito, vn; Kenneth Essex, va; Ian Jewel, va; Kenneth Harvey, vc.

Decca 421 393-2 19 Françaix, J. Quintet no 1 (1948). Berlin Philharmonic Wind Quintet.

BIS CD-536 20 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Rodgers, R. Victory at sea. Allentown Band/ Ronald Demkee.

AMP 2A 160 11 Arditi, L. The kiss. Foden’s Motor Works Band/Fred Mortimer.

LP EMI DUO 130A 3

Saturday 16 JUNE 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Kander and Ebb 20:00 INFLUENCES AND CONNECTIONS Johann Sebastian Bach Prepared by Calogero Panvino Pachelbel, J. Air with variations in A. 10 Lully, J-B. Chaconne in G. 4 Musica Antiqua Cologne/Reinhard Goebel (2 above) Archiv 453 418-2 Victor Herbert

Carl Nielsen

Trad. Hoedown in the Highlands. Band of the Royal Engineers/Stephen Patch.

EMI 8 37188 2 3

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

Grieg, E. Elegiac melody no 2, Spring.

Massed bands; David Bell, org; Harry Mortimer, cond.

LP EMI DUO 130B 2

Joplin, S. Solace (1909; arr. Sparks). Guitar Trek.

ABC 481 2097 4

Arlen, H. Over the rainbow. Williams-Fairey Engineering Band.

Delta 60357 4

Jobim, A. Luiza. Imogen Manins, vc; Slava Grigoryan, gui; Tony Gould, pf.

Move MD 3364 5

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Basie, W. Jumpin’ at the Woodside. Los Angeles Guitar Quartet.

Delos DE8163 2

13:00 SATURDAY POT-POURRI Prepared by Randolph Magri-Overend 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Herbert, V. Sweethearts. Operetta in two acts. Libretto by Harry B. Smith and Fred De Gresac. First performed New York, 1913.

PRINCESS SILVIA: Suzanne Woods, sop DAME PAULA: Alta Boover, mezz KARL: John Pickl, ten LIANE: Robin Bricker, sop PRINCE FRANZ: Cassidy King, bar Ohio Light Opera/J. Lynn Thompson.

TROY 546/547 1:55 Synopsis at finemusicfm.com/Opera Sweethearts, from Sweethearts (1913); Indian summer, from An American idyll (1919); Ah! Sweet mystery of life, from Naughty Marietta (1910). Richard Tauber, ten.

LP Parlophone PMEO 9861 7 Orchestral excerpts from The red mill (1906).

Razumovsky SO/Keith Brion.

Marco Polo 8.223843 10 17:30 STAGING MUSIC Prepared by Angela Cockburn Adaptations: Twelfth Night

Reinhardt, D. Nuages. Nadja SalernoSonnenberg, va; Sergio Assad, gui; Odair Assad, gui.

Nonesuch 79505-2 7 Porter, C. Night and day. 6 Garner-Burke Misty. 7 Ellington, D. Take the A train. 4 Roland Dyens, gui (3 above) Gha 126-061 Jobim, A. A felicidade, from Stone flower.

Luciana Souza, voice; Los Angeles Guitar Quartet.

Telarc 80686 5 Baden-Powell, R. Deve ser amor. Slava Grigoryan, gui; Sagat Guirey, gui; Al Slavik, bass gui.

Sony SK63011 4 Gershwin, G. Lady be good; I got rhythm (1924-31; arr. Kain). Guitar Trek.

ABC 461 727-2 4 Corea, C. Spain. Slava Grigoryan, gui.

Sony SMK 68351 4

Corelli, A. Ciaccona in G, op 2 no 12 (pub. c1700). London Baroque/Charles Medlam.

Virgin 5 61210 2 3 Bach, W.F. Arioso con variazioni (c1745).

Guy Penson, hpd.

Ricercar RIC 051043 9 Bach, C.P.E. 12 Variations in D minor on Folie d’Espagne, Wq118 no 9 (1777).

Andreas Staier, hpd.

Harmonia Mundi RD 77025 9 Mendelssohn, F. Variations sérieuses, op 54.

Alfred Brendel, pf.

Philips 456 733-2 11 Brahms, J. Chaconne in D minor (pub.1878; transcr. from Partita, BWV1004 by J.S.Bach).

Walter Klien, pf.

Praga Digital PRD 250 316 14 Bach, J.S. Goldberg variations, BWV988 (1741). Glenn Gould, pf.

CBS 37779 51 Panvino, C. 15 Inventions, no 1. Diana Doherty, ob.

Private recording 1 22:00 SATURDAY NIGHT AT HOME Prepared by Paul Cooke Hummel, J. Trumpet concerto in E (1803).

Crispian Steele-Perkins, tpt; King’s Consort/ Robert King.

Hyperion CDA67266 18 Mozart, W. Sinfonia concertante no 2 in E flat, K364 (1779). Igor Oistrakh, vn; David Oistrakh, va; Moscow PO/Kyrill Kondrashin.

Decca 470 258-2 33 Schumann, C. Trio in G minor, op 17.

Rodolfo Bonucci, vn; Andrea Noferini, vc; Francesco Nicolosi, pf.

Naxos 8.557552 30 Nielsen, C. Symphony no 1 in G minor, op 7 (1890-92). Royal Scottish O/Bryden Thomson.

Chandos CHAN 8880 32 June2018

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Sunday 17 JUNE 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess

Lassus, O. de Penitential Psalm no 2: Blessed is he whose transgression is forgiven (1584). Collegium Vocale Ghent/Philippe Herreweghe.

Harmonia Mundi HMC 901831 18 Gounod, C. Requiem Mass in C (189193). Charlotte Müller-Perrier, sop; Valérie Bonnard, cont; Christophe Einhorn, ten; Christian Immler, bass; Lausanne Choir & O/ Michel Corboz.

Mirare MIR 129 36 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Kraus, J.M. Overture in D minor (1792).

Swedish CO/Petter Sundkvist.

Naxos 8.554777 10 Reicha, A. Clarinet quintet in B flat, op 89 (c1809). Ensemble Carl Stamitz.

Pierre Verany PV 789101 24 Mendelssohn, F. String symphony no 9 in C minor, Swiss (1823). German Chamber Academy of Neuss/Johannes Goritzki.

Claves 50-9002 27 Salieri, A. Piano concerto in C. Andreas Staier, fp; Concerto Cologne.

Teldec 4509-94569-2 22 Méhul, É-N. Symphony no 1 in G minor (1808-09). Gulbenkian Foundation O/Michel Swierczewski.

Nimbus NI 5184/5 26

Westlake, N. Compassion, symphony of songs (2013). Lior Attar, voice; Sydney SO/ Nigel Westlake.

ABC 481 0678 41 Prokofiev, S. Overture on Hebrew themes, op 34 (1919/34). James Campbell, cl; Eleonora Turovsky, vn; Rivka Golani, va; Borodin Trio.

Chandos CHAN 8924 10 Bach, J.S. Erbarme dich, from St Matthew Passion, BWV244 (c1727). Maureen Forrester, cont; Dragutin Hrdjok, vn.

Vanguard 08 9094 72 9 Tavener, J. Lament for Jerusalem (2000).

Patricia Rozario, sop; Christopher Josey, ct; Sydney Philharmonia Choirs; Australian Youth O/Thomas Woods.

ABC 476 160-5 49 17:00 HOSANNA Prepared by Richard Munge Hymns: Praise, my soul, the King of heaven; Lord enthroned in heavenly splendour.

Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3032 7 Psalms: no 142, I cried unto the Lord; no 114, When Israel came out of Egypt. Choir of Durham Cathedral; Keith Wright, org; James Lancelot, cond.

Priory PRCD 562 5 Stanford, C. Villiers Te Deum. Choirs of Grace Episcopal Church, Charleston, South Carolina/J. Scott Bennett, org & dir.

Pro Organo 7148 6

12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson

Wesley, S.S. Blessed be the God and Father.

Dickon Stainer, treb. 9

13:00 WORLD MUSIC: Whirled Wide

Attwood, T. Anthem: Come Holy Ghost.

Simon Ellis, treb. 5

14:00 MUSIC OF THE DANCE Prepared by Elaine Siversen Strauss, E. Garland of Johann Strauss waltzes, op 292 (1894). Johann Strauss O/ Jack Rothstein.

Chandos CHAN 8527 13

28

15:00 SUNDAY SPECIAL Lament for Jerusalem Prepared by Katy Rogers-Davies

Choir of Ely Cathedral; Stephen Le Provost, org; Arthur Wills, cond (2 above) Helios CDH 88006

Hymns: Faithful Shepherd lead me; Praise to the holiest in the height. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Helios CDH 55036 7 Alcock, W. Legend in A flat. Daniel Cook, org.

Priory PRCD 1008 3 18:00 GERMAN CHAMBER MUSIC Prepared by Paul Cooke Bach, C.P.E. Trio sonata in B minor, Wq143 (1731/47). Ensemble of the Classic Era. ABC 456 365-2 10 Ries, F. Quintet in B minor, op 74. Nepomuk Fortepiano Quintet.

Brilliant Classics 94377 21 Reinecke, C. Wind octet in B flat, op 216 (1892). Members of Boston SO. Naxos 8.570777 23 19:00 SUNDAY NIGHT CONCERT Prepared by Chris Blower Walton, W. Ballet: The quest (1943). English Northern Philharmonia/David Lloyd-Jones.

Naxos 8.555868 40 Glière, R. Concerto in F minor for coloratura soprano, op 82 (1943). Natalie Dessay, sop; Berlin SO/Michael Schönwandt.

EMI 5 56565 2 14 Bruch, M. Symphony no 1 in E flat, op 28 (pub. 1870). Gewandhaus O/Kurt Masur.

Philips 462 164-2 29 20:30 NEW HORIZONS Prepared by Nev Dorrington Richter, M. Soundtrack: Hostiles (2018). Max Richter, pf; Air Lyndhurst O. DG BO 77ZH9PSL 23 Luke, R. Voz (2018). Amira BedrushMcDonald, vc; Richard Luke, pf.

1631 Recordings BO 79 TXZXB5 23 Richter, M. Soundtrack: The congress (2016). Max Richter, pf; Air Lyndhurst O. Milan Records BOOKEl7PCMU 36

Poulenc, F. Sanctus, from Mass in G (1937). 3

Claire, L. The barren moon (2018). Lucy Claire, pf.

1631 Recordings BO1BKGRVVS 4

Prokofiev, S. Waltz suite, op 110 (1946).

Mikhail Chernykhovsky, vn; USSR RT SO/ Gennady Rozhdestvensky.

Consonance 81-5005 28

Martin, F. Agnus Dei, from Mass for double choir. 4

22:00 AFTER HOURS JAZZ with Kevin Jones

Strauss, R. Waltz, from Der Rosenkavalier (1911). Slovak PO/Zdenek Kosler.

Naxos 8.578041-42 12

Choir of Westminster Cathedral/James O’Donnell (3 above) Hyperion WCC 100

Holst, G. Nunc dimittis (1914). 3

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

Walton’s The quest premiered in 1943 with dancers Margot Fonteyn‚ Moira Shearer and Robert Helpmann‚ and conductor Constant Lambert.

Monday 18 JUNE 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: 1889 Prepared by Frank Morrison Strauss, J. II Emperor waltz, op 437 (1889).

Philharmonia Promenade O/Henry Krips.

EMI CDM 1 66422 2 9 Martucci, G. Andante, op 69 no 2 (1889).

George Ives, vc; Philharmonia O/Francesco d’Avalos.

ASV DCA 689 11 Busoni, F. String quartet no 2 in D minor, op 26 (1889). Pellegrini Quartet. cpo 999 264-2 26 Puccini, G. Addio, mio dolce amor, from Edgar (1889). Leontyne Price, sop; New Philhamonia O/Edward Downes.

RCA RD 85999 4 Debussy, C. Little suite (1889). Buffalo PO/ JoAnn Falletta.

Beau Fleuve 23768 13 Suk, J. Piano trio in C minor, op 2 (1889/9091). Smetana Trio.

Supraphon SU 3810-2 15 10:30 CONCERT HALL Prepared by Giovanna Grech Auber, D-F-E. Overture to Marco Spada (1852). New Philharmonia O/Richard Bonynge.

Decca 466 431-2 9 Dukas, P. The sorcerer’s apprentice (1897).

Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8852 11 Respighi, O. The pines of Rome (1924).

West Australian SO/Jorge Mester.

ABC 442 348-2 23 Tchaikovsky, P. Violin concerto in D, op 35 (1878). Itzhak Perlman, vn; Philadelphia O/ Eugene Ormandy.

EMI CMS 7 64922 2 37 12:00 SWING SESSIONS with John Buchanan 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell Offenbach, J. Duet in G, op 49 no 2 (c1847).

Andrea Noferini, vc; Giovanni Sollima, vc.

Brilliant Classics 94475 5

Tuesday 19 JUNE

Haydn, J. String quartet in D, Hob.III:34 (1772). Quatuor Mosaïques.

Astrée E 8784 26 Ravel, M. Tzigane, concert rhapsody (1924).

Gil Shaham, vn; Gerhard Oppitz, pf.

DG 429 729-2 10 Beethoven, L. 12 Variations on See, here the conqu’ring hero comes, from Handel’s Judas Maccabaeus, WoO45 (1796). Maurice Gendron, vc; Jean Françaix, pf.

Philips 442 565-2 13 Françaix, J. La promenade d’un musiclogue éclectique (1987). Martin Jones, pf.

Nimbus NI 5880/2 19 Haydn, J. Nocturne no 6 in G for winds and strings, Hob.II:30 (c1790). Members of Haydn Sinfonietta/Manfred Huss.

BIS CD-1796/98 8 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Myslivecek, J. Overture to Il Demetrio (1773). Orfeo Baroque O/Michi Gaigg. cpo 777 050-2 7 Dvorák, A. Cello concerto in B minor, op 104 (1895). Pierre Fournier, vc; Berlin PO/George Szell.

DG 423 881-2 39 Fibich, Z. Poem: At twilight, op 39 (1893).

Czech National SO/Marek Štilec.

Naxos 8.573157 16 Martinu, B. The frescoes of Piero della Francesca (1955). Royal PO/Rafael Kubelik.

EMI CZS 5 68223 2 17 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ NICE N’EASY with Ken Weatherley

Albert Landa 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Chris Blower Chopin, F. Fantasie-impromptu in C sharp minor, op 66 (1835); Étude in E, op 10 no 3, Tristesse (1832). Albert Landa, pf.

LP Axis 7012 9 Schubert, F. Schwanengesang, D957 (1828): no 1, Liebesbotschaft; no 3, Frühlingssehnsucht; no 4, Ständchen.

Matthias Goerne, bar; Christoph Eschenbach, pf.

Harmonia Mundi HMC 902139.40 11 Bach, J.S. Preludes and fugues: no 8 in D sharp minor, BWV853; no 5 in D, BWV850.

Albert Landa, pf.

ABC 476 4556 13

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Mozart, W. Sonata in D, K381 (1772).

Christoph Eschenbach, Justus Frantz, pf.

DG 435 042-2 15

22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Debussy, C. The girl with the flaxen hair (1882). 2

While travelling through the Tiber Valley in 1955, Bohuslav Martinu saw Piero della Francesca’s The Resurrection in Borgo San Sepolcro and Piero’s 10-panel series The Proving of the True Cross and was inspired to compose the Frescoes of Piero della Francesca. Although the orchestral work is not directly illustrative of the paintings, it captures their essence and general ambience.

Kreisler, F. Liebesleid. 3 Massenet, J. Meditation, from Thaïs (1894). 4 Carl Pini, vn; Albert Landa, pf (3 above) LP Axis 7017 Beethoven, L. Sonata no 8 in C minor, Pathétique (1798). Christoph Eschenbach, pf.

EMI CDM 1 66426 2 21 June2018

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Tuesday 19 JUNE Prelude and fugue in C, op 87 no 1 (195051). Emil Gilels, pf.

Testament SBT 1089 8 Annie Laurie (1944). Gerald Finley, bass bar; Helsinki PO/Thomas Sanderling.

Ondine ODE 1235-2 3 String quartet no 7 in F sharp minor, op 108 (1960). Shostakovich Quartet.

Olympia OCD 532 12 Five pieces for two violins and piano (arr.

Atovmian). Sabine Meyer, cl; Alliage Quintett.

Sony 88875190972 9 Unico van Wassenaer 10:30 CONCERT HALL Prepared by Barrie Brockwell Wassenaer, U. Concerto no 6 in E flat, from Concerti armonici (pub. 1740). Brandenburg Consort/Roy Goodman.

Hyperion CDA66670 9 Röntgen, J. Violin concerto in A minor (1902). Liza Ferschtman, vn; German State PO, Rheinland-Pfalz/David Porcelijn. cpo 777 437-2 34 Brahms, J. Symphony no 3 in F, op 90 (1883). Vienna PO/István Kertész.

Decca 448 200-2 37 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 CONTRASTS Prepared by Ron Walledge Bach, J.S. Orchestral suite no 3 in D, BWV1068 (c1731). Australian CO/Richard Tognetti.

Sony SK 53356 21 Mozart, W. Bassoon concerto in B flat, K191 (1774). Valery Popov, bn; Russian State SO/ Valery Polyansky.

Chandos CHAN 9656 19 Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Vienna PO/Christoph von Dohnányi.

Decca 460 239-2 12 14:00 MUSICAL FAMILIES Shostakovich: Three generations Prepared by Jennifer Foong Shostakovich, D. Festive overture, op 96 (1954). Royal PO/Vladimir Ashkenazy.

Decca 436 762-2 6 Concerto for piano, trumpet and strings, op 35 (1933). James Thompson, tpt; Dmitri Shostakovich, pf; I Musici de Montréal/Maxim Shostakovich.

Chandos CHAN 8357 20 30

To a critic, from Five satires, op 109 (1960). Galina Vishnevskaya, sop; Mstislav Rostropovich, pf.

EMI 5 65716 2 1

Wednesday 20 JUNE 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jennifer Foong d’Albert, E. Overture to Esther (1888).

Moscow SO/Dmitry Yablonsky.

Naxos 8.553728 13 Suite in D minor. Miriam Hyde, pf.

Fine Music concert recording 14 Cello concerto in C, op 20 (1899). Alban Gerhardt, vc; BBC Scottish SO/Carlos Kalmar.

Hyperion CDA67544 22

Cello concerto no 1 in E flat , op 107 (1956).

Mstislav Rostropovich, vc; Mason Jones, hn; Philadelphia O/Eugene Ormandy.

CBS MPK 44850 27

Ich weiss nicht, wer mein Vater war, from Tiefland (1903). Leonie Rysanek, sop; Berlin PO. EMI CDH 5 65201 2 5

Symphony no 2 in B, op 14, To October (1927). Mariinsky Theatre Ch & O/Valery Gergiev.

Mariinsky MAR0507 19

10:30 CONCERT HALL Prepared by Michael Field

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Glinka, M. Trio pathétique in D minor (1832).

Borodin Trio.

Chandos CHAN 8477 18 Debussy, C. Sonata for flute, viola and harp (1915). Ursula Holliger, hp; members of Die Kammermusiker Zürich.

Claves 50-280 17 Poulenc, F. Sextet (1932-39). Eva Knardahl, pf; Gothenburg Wind Quintet.

BIS CD-24 18 Bax, A. Nonet for winds, strings and harp (1928-30). Ian Brown, pf; Nash Ensemble.

Hyperion CDA66807 18 Schumann, R. Six pieces in canonic form, op 56 (1844-45; arr. Kirchner). Vienna Brahms Trio.

Naxos 8.553837 17 Saint-Saëns, C. Piano quartet in E (1853).

Quatuor Élyséen.

Arion ARN 68242 21

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

Sonata in F sharp minor, op 10. Piers Lane, pf.

Hyperion CDA66945 27

Ciurlionis, M. In the forest (1900). Slovak PO/Juozas Domarkas.

Marco Polo 8.223323 15 Mozart, W. Piano concerto no 20 in D minor, K466 (1785). Ian Munro, pf; Willoughby SO/ Nicholas Milton.

Fine Music concert recording 30 Strauss, R. Symphony-suite, from Ariadne auf Naxos (1912, arr. D. Wilson Ochoa 2010).

Buffalo PO/JoAnn Falletta.

Naxos 8.573460 39 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN THE CLASSICAL STYLE Prepared by Mariko Yata Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Mischa Maisky, vc; Orpheus CO. DG 453 460-2 19 Satie, E. Sonatine bureaucratique (1917).

Roland Pöntinen, pf.

BIS CD-317 4 Prokofiev, S. Symphony no 1 in D, op 25, Classical (1917). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00042 14 Dorman, A. Sonata no 1, Classical (1998).

Eliran Avni, pf.

Naxos 8.579001 15 14:00 IN CONVERSATION with Michael Morton-Evans

Thursday 21 JUNE

Wednesday 20 JUNE 15:00 BRAHMS EXPLORED Part 3 Prepared by Michael Morton-Evans

3:00 CLASSICAL TILL DAWN

Brahms, J. Excerpt from Variations on a theme

by Haydn, op 56a, St Antoni chorale (1873).

London PO/Marin Alsop.

Naxos 8.557430 7

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

Excerpt from Cantata: Rinaldo, op 50 (186368). René Kollo, ten; Prague Philharmonic Ch; Czech PO/Guiseppe Sinopoli.

DG 419 737-2 7

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

Four Liebeslieder-Walzer, op 52 (1868-69).

Monteverdi Choir/John Eliot Gardiner.

Philips 432152-2 7

Grandjany, M. Aria in classic style. 5

Symphony no 1 in C minor, op 68, mvt 2 (185576). Vienna SO/Wolfgang Sawallisch.

Decca 478 5609 9 Symphony no 2 in D, op 73, mvt 4 (1877).

Columbia SO/Bruno Walter.

10 Sony SMK 64 471 Violin concerto in D, op 77, mvt 3 (1883).

Isabelle Faust, vn; Mahler CO/Daniel Harding.

Harmonia Mundi HMX 2908401.08 8

0:00 CONTEMPORARY COLLECTIVE

Bach, J.S. Bourée, from Partita no 1 for solo violin, BWV1002 (1720). 4 Lipman Harp Duo (2 above) Harmonious Resonance HR20130313 Saint-Saëns, C. Cello suite, op 16. Maria Kliegel, vc; Bournemouth Sinfonietta/JeanFrançois Monnard.

19 Naxos 8.553039

Gustav Leonhardt Williamson, M. English eccentrics choral suite (1964). Joyful Company of Singers/ Peter Broadbent.

Naxos 8.557783 15 Bach, J.S. Suite no 3 in G minor, BWV808, English (bef. 1725). Gustav Leonhardt, hpd.

Virgin 5 61400 2 14

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

Ravel, M. Introduction and allegro (1906).

Lipman Harp Duo. Arpeggio 11 Dvorák, A. Silent woods, op 68 no 5 (1883-84; arr. 1891). Maria Kliegel, vc; Nina Tichman, pf.

Naxos 8.557613 5

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Thomas, J. Grand duet. Lipman Harp Duo. 22 Naxos 8.570372

Duarte, J. English suite, op 31. Antigoni Goni, gui.

Naxos 8.554554

Orr, B. A Carmen fantasy (1985). Maria Kliegel, vc; Nina Tichman, pf.

Naxos 8.557613 14

Parry, H. English suite (1921). London SO/ Adrian Boult.

21 Lyrita SRCD 220

Wiegenlied, op 49 no 4 (1868). Bernarda Fink, mezz; Roger Vignoles, pf.

Harmonia Mundi HMX 2908401.28 2

20:00 AT THE OPERA Prepared by Elaine Siversen

Gounod, C. Faust. Opera in five acts. Libretto

by Jules Barbier and Michel Carré based on Carré’s play, Faust et Marguerite, after Goethe’s Faust. First performed Paris, 1869.

FAUST: Jerry Hadley, ten MÉPHISTOPHÉLÈS: Samuel Ramey, bass MARGUERITE: Cecilia Gasdia, sop Welsh National Opera Ch & O/Carlo Rizzi.

Warner Classics 2564 67691-5 2:51 Synopsis at finemusicfm.com/Opera Bizet, G. Au fond du temple saint, from The pearl fishers (1863). Jerry Hadley, ten; Thomas Hampson, bar; Welsh National Opera O/Carlo Rizzi.

Teldec 9031-73283-2 8 Rossini, G. Ah, la sorte ci tradi … Si, vi sara vendetta, from Semiramide (1823).

Samuel Ramey, bass; Ambrosian Opera Ch; Philharmonia O/Donato Renzetti.

10 Philips 420 184-2 23:30 A BRIDGE QUINTET Bridge, F. Quintet in D minor (1905). Piers Lane, pf; Goldner String Quartet.

28 Hyperion CDA67726

10:30 CONCERT HALL Prepared by Anne Irish Sibelius, J. Karelia suite, op 11 (1893).

Gothenburg SO/Neeme Järvi.

DG 447 760-2 15 Beethoven, L. Triple concerto in C, op 56 (1803-04). Itzhak Perlman, vn; Yo-Yo Ma, vc; Berlin PO/Daniel Barenboim, pf & dir.

EMI 5 55516 2 35 Elgar, E. Variations on an original theme, op 36, Enigma (1898-99). Vienna PO/John Eliot Gardiner.

DG 479 1044 31 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 ENGLISH SUITES Prepared by Gael Golla Vaughan Williams, R. English folk song suite (1923; arr. Jacob). Academy of St Martin in the Fields/Neville Marriner.

Decca 460 357-2 11

Britten, B. Cakes and ale; Hankin Booby; Lord Melbourne, from Suite on English folk tunes, op 90 (1974). Peter Walden, cora; City of Birmingham SO/Simon Rattle.

EMI 5 55394 2 10

9

14:30 CELEBRATING CHARLES GOUNOD Prepared by Paul Cooke

Gounod, C. Excerpts from Six melodies (1840). Peter Damm, hn; Peter Rösel, pf.

6 Berlin Classics 0012882BC Où suis-je? ... O ma lyre immortelle, from Sapho (1851). Elina Garanca, mezz; Bologna Comunale Theatre PO/Yves Abel.

DG 479 0071 8 Concerto in E flat (1889). Roberto Prosseda, pedal pf; Swiss Italian O/Howard Shelley.

Hyperion CDA67975 20 String quartet in A minor. Daniel String Quartet.

Discover International DICD 920159 17 Symphony no 1 in D (1855). Sinfonia Finlandia/Patrick Gallois.

Naxos 8.557463

28

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell June2018

fineMusic 102.5

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Friday 22 JUNE

Thursday 21 JUNE 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Hazelwood Quartet with Rachel Valler and Ann Menzies Recorded for FINE MUSIC by George Hilgevoord Mozart, W. Trio in B flat, K502 (1786). Donald Hazelwood, vn; Catherine Hewgill, vc; Rachel Valler, pf. 25 Weber, C.M. Quintet in B flat (1815). Anne Menzies, cl.

24 Mozart, W. String quartet no 19 in C, K465, The dissonance (1785).

33 Hazelwood Quartet (2 above) 21:30 PEACOCK VARIATIONS Kodály, Z. Variations on a Hungarian folksong, The peacock (1939). Hungarian State SO/Adám Fischer.

Nimbus NI 5284 28 22:00 MUSICAL PORTRAITS Sirens Prepared by Paul Cooke Wagner, R. Overture to Tannhäuser and Venusberg music, from Tannhäuser (1845).

Melbourne SO/Charles Mackerras.

23 ABC 476 3224 Liszt, F. The Lorelei (1861). Tamara Anna Cislowska, pf.

7 ABC 476 6301 Schumann, C. Lorelei (1843). Susan Gritton, sop; Eugene Asti, pf.

Hyperion CDA67249 2 Debussy, C. Sirènes, from Nocturnes (1900).

Cleveland O/Pierre Boulez.

DG 439 896-2 10 Parry, H. Blest pair of sirens. Roderick Elms, org; London Symphony Ch & O/Richard Hickox.

Chandos CHAN 8641/2 12 Glière, R. The sirens, op 33 (1908). Slovak PO/Stephen Gunzenhauser.

Naxos 8.550898 14 Rimsky-Korsakov, N. Cantata: Switezianka, the mermaid of Switez, op 44 (1897). Elena Mitrakova, sop; Dmitri Kortchak, ten; Ch of Moscow Academy of Choral Art; Moscow SO/ Vladimir Ziva.

Brilliant Classics 94495 16 Castelnuovo-Tedesco, M. La Sirenetta e il pesce turchino, op 18 (1920). Jordi Masó, pf.

Naxos 8.555856 8 Wallace, V. Lurline, Act III scene 3 (1860).

Sally Silver, sop; Keith Lewis, ten; Victorian Opera Ch & O/Richard Bonynge.

Naxos 8. 660293-94 17 32

0:00 CONTEMPORARY COLLECTIVE

Beethoven, L. Prisoners’ chorus, from Fidelio, op 72 (1804-14). Slovak Philharmonic Choir; Slovak RSO/Johannes Wildner.

Naxos 8.550507 7

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

Verdi, G. Overture to Nabucco (1842). State of Mexico SO/Enrique Bátiz.

ASV DCA 856 8

9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Di Cox Glinka, M. Divertimento on themes from Bellini’s La sonnambula (1832). Bolshoi TO soloists/Alexander Lazarev.

Le Chant du Monde LDC 288 068 13 Respighi, O. Pastorale, after Pastorale by Tartini (1908). Ingolf Turban, vn; English CO/ Marcello Viotti.

Claves 50-9017 12 Tommasini, V. Ballet: The good-humoured ladies, after Scarlatti (1917). Concert Arts O/ Robert Irving.

EMI 65911 15 Hoffmeister, F. Flute quartet in A, after Mozart’s K331, Alla turca. Israel Flute Ensemble.

CDI 18809

24

Beethoven, L. 12 Variations on a theme by Handel from Judas Maccabaeus, WoO45 (1796). Anssi Karttunen, vc; Tuija Hakkila, pf. apex 0927-49595-2 11 Bach, C.P.E. March, Wq188 (after 1767; arr.

Jones). Philip Jones Brass Ensemble.

Decca 425 727-2 3 10:30 CONCERT HALL Prepared by Sheila Catzel Tchaikovsky, P. The Voyevoda, op 78, symphonic ballad after Mickiewicz (1890-91).

Royal Liverpool PO/Vasily Petrenko.

Naxos 8.570568 11 Bowen, Y. Viola concerto in C minor, op 25 (1902). Lawrence Power, va; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67546 36 Glazunov, A. Symphony no 1 in E, op 5, Slavyanskaya (1882). USSR Ministry of Culture O/Gennady Rozhdestvensky.

Olympia OCD 100 35 12:00 A JAZZ HOUR with Barry O’Sullivan

Chorus of the Hebrew slaves, from Nabucco (1842). Opera Queensland Ch; Queensland SO/Johannes Fritzsch.

ABC 476 3489 5 Wagner, R. Overture to The flying Dutchman (1841). Vienna PO/Karl Böhm.

DG 477 5445 12 Sailors’ chorus, from The flying Dutchman.

Budapest Radio Ch; Austrian RSO/Pinchas Steinberg.

Naxos 8.550507 13 14:00 ITALIAN PILGRIMAGE Prepared by Frank Morrison Berlioz, H. Overture: King Lear, op 4 (1831).

Montreal SO/Charles Dutoit.

Decca 452 480-2 14 Glinka, M. Grand sextet in E flat (1832).

Alexei Bruni, vn; Mikhail Moshkunov, vn; Andrei Kevorkov, va; Erik Pozdeev, vc; Nikolai Gorbunov, db; Mikhail Pletnev, pf.

Olympia MKM 76 25 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Israel PO/Leonard Bernstein.

DG 439 411-2 30 Gounod, C. Six melodies (1840). Barry Tuckwell, hn; Daniel Blumenthal, pf.

26 Etcetera KTC 1135 Bizet, G. Ouvre ton coeur (1860). Ann Murray, mezz; Graham Johnson, pf.

Hyperion CDA66976

3

Three musical sketches (1858). Setrak, pf.

Harmonia Mundi HMA 1905223.24 10 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

13:00 OVERTURE AND CHORUS, PLEASE Prepared by Chris Blower

20:00 EVENINGS WITH THE ORCHESTRA The symphonies of Franz Schmidt Prepared by Paul Cooke

Beethoven, L. Overture to Fidelio, op 72 (1814). Berlin PO/Herbert von Karajan.

DG 445 112-2 7

Schreker, F. Prelude to Memnon (1933).

Tonkünstler O/Uwe Mund.

Naxos 8.555107 22

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

Friday 22 JUNE

Saturday 23 JUNE

Berg, A. Three orchestra pieces, op 6 (1915).

Royal Concertgebouw O/Hans Rosbaud.

Radio Netherlands RCO 05001 20 Krenek, E. Concertino, op 27 (1924). KarlHeinz Schütz, fl; Christoph Konez, vn; Maria Prinz, pf; Academy of St Martin in the Fields/ Neville Marriner.

Chandos CHAN 10791 22 Schmidt, F. Symphony no 4 in C (1933).

Vienna PO/Zubin Mehta.

Decca 430 007-2 49 22:00 BAROQUE AND BEFORE Evolving sounds Prepared by Brian Drummond Roman, J. Trio sonata in G minor. Owen Watkins, baroque ob; Geoffrey Burgess, baroque ob; Kate Morgan, vc; Tamara Rozek, hpd.

Fine Music Tape Archive 10 Telemann, G. Triple concerto in E for flute, oboe d’amore and viola d’amore. Jed Wentz, fl; Vienna Academy/Martin Haselböck.

Brilliant Classics 94104 17 Marais, M. Suite no 4 in D, from Pièces de violes, vol. 3 (pub. 1711). Nikolaus Harnoncourt, va da gamba; Herbert Tachezi, hpd.

Harmonia Mundi HMC 90414 24 Vivaldi, A. Recorder concerto in G, RV101.

László Kecskeméti, rec; László Hadady, ob; György Olajos, bn; Attila Falvay, vn; György Kertész, vc; Borbála Dobozy, hpd.

Naxos 8.557215 10 Corelli, A. Sonata no 3 in C. Andrew Manze, vn; Richard Egarr, hpd.

Harmonia Mundi HMX 2907541.45 12 Tartini, G. Cello concerto in A (c1740).

Mstislav Ristropovich, vc; Collegium Musicum Zürich/Paul Sacher.

DG 479 2561 15 Cabezón, H. de Divisions on Susanna un jour. Jeremy West, cornett; Timothy Roberts, org.

Hyperion CDA66977 4 Telemann, G. Trumpet concerto no 2 in D. Niklas Eklund, tpt; Drottningholm Baroque Ensemble.

Naxos 8.554375 14

Although highly respected as a composer and writer, Ernst Krenek is probably remembered mainly as the second husband of the widowed Alma Mahler. They divorced within a year.

Igor Stravinsky 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE 20th century 1915-1960 Prepared by James Nightingale Milhaud, D. Scaramouche, op 165b (1937).

Stephen Coombs, pf; Artur Pizarro, pf.

Hyperion CDA67014 9 Rueff, J. Saxophone concertino. Jean-Yves Formeau, sax; Republican Guard String O/ François Boulanger.

Corelia CC 801852 15 Glanville-Hicks, P. Three gymnopédies (1934). Stables Ensemble.

Wirripang WIRR 037 8 Shostakovich, D. Jazz suite no 1 (1934).

Royal Concertgebouw O/Riccardo Chailly.

Decca 433 702-2 8 Stravinsky, I. Octet (1922-23/52). Members of London Sinfonietta/Esa-Pekka Salonen.

Sony SK 45 965 14 Hindemith, P. Symphonic metamorphoses on themes of Carl Maria von Weber (1943).

Philharmonia O/Neeme Järvi.

Chandos CHAN 8766 20 10:30 SMALL FORCES Prepared by James Nightingale Schubert, F. String quartet no 7 in D, D94 (1811-12). Melos Quartet.

DG 419 879-2 18 Guastavino, C. La rose y el sauce. Christina Leonard, sax; Matt McMahon, pf.

Move MCD 392 4

John Philip Sousa Grieg, E. Andante con moto in C minor (1878). Ramy Koch, vn; Henk Lambooij, vc; Jet Röling, pf.

Olympia OCD 432 10 Greenbaum, S. Sonata (2013). VineyGrinberg Piano Duo. ABC 481 4591 21 11:30 ON PARADE Prepared by Paul Hopwood Sousa, J.P. Nobles of the mystic shrine (1922); In the land of the golden fleece (1911); Excerpts from The bride elect (1898); Ancient and Honorable Artillery Co (1924); Pathfinder of Panama (1915). Royal Artillery Band/Keith Brion.

Naxos 8.559093 26 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 CONTRASTS Prepared by Ron Walledge Glinka, M. Overture to Ruslan and Ludmila (1842). Russian NO/Mikhail Pletnev.

Newton 8802037 5 Salieri, A. Triple concerto in D (c1770). Heinz Holliger, ob; Thomas Demenga, vc; Camerata Bern/Thomas Füri, vn & dir.

Archiv 410 599-2 25 Mozart, W. Symphony no 34 in C, K338 (1780). Concertgebouw O/Nikolaus Harnoncourt.

Teldec 8.42703 22 June2018

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Saturday 23 JUNE

Sunday 24 JUNE

15:00 ROMEO AND JULIET Prepared by Di Cox Berlioz, H. Romeo and Juliet, op 17 (1839). Catherine Robbin, mezz; Jean-Paul Fouchécourt, ten; Gilles Cachemaille, bassbar; Monteverdi Choir; O Révolutionnaire et Romantique/John Eliot Gardiner.

Philips 454 454-2 2:15 Prokofiev, S. Folk dance; Arrival of the guests, from Romeo and Juliet, op 75 (1937).

Boris Berman, pf.

Chandos CHAN 8851 7 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Final: Round off 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Rodgers, R. Excerpts from Oklahoma (1943). Alfred Drake, Joan Roberts, Lee Dixon, Celeste Holm, voices.

Naxos Musicals 8.120787 20 Loewe, F. Suite from My fair lady (1956).

English Chorale; London SO/Peter Knight.

Success MCPS 16279 11 Styne, J. Excerpts from Gypsy (1973).

Angela Lansbury, Barrie Ingham, Zan Charisse, voices.

RCA Victor 60571-2-RG 19

Gustav Holst

Beethoven, L. Sanctus and Benedictus, from Mass in D, op 123, Missa solemnis (1818).

New Philharmonia Ch; London PO/Carlo Maria Giulini.

EMI 1 66447 2 17

0:00 CLASSIC-ALL THROUGH THE NIGHT

Bach, J.S. Triple concerto in D minor, BWV1063. Kenneth Gilbert, hpd; Lars Ulrik Mortensen, hpd; English Concert/Trevor Pinnock, hpd & dir.

Archiv 471 754-2 14 Moscheles, I. Quatre grandes études de concert, op 111 (1845). Piers Lane, pf.

Helios CDH55387 15 Mendelssohn, F. Excerpts from Elijah, op 70 (1846). Yvonne Kenny, sop; Jean Rigby, cont; Anthony Rolfe Johnson, ten; John Connell, bass; John Birch, org; Academy of St Martin in the Fields Ch & O/Neville Marriner.

Philips 432 984-2 10

20:00 INFLUENCES AND CONNECTIONS Ignaz Moscheles Prepared by Elaine Siversen

22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess

Albrechtsberger, J. Fugue in B on BACH. Ad van Sleuwen, org.

LBCD 75/76 4

Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (1720). O of the Antipodes/Antony Walker.

ABC 476 1923 19

Salieri, A. Overture to Angiolina (1800).

Slovak RSO/Michael Dittrich.

Naxos 8.554838 5 Moscheles, I. Hommage à Weber, grand duo, op 102 (c1841). Stephanie McCallum, Erin Helyard, pf. www.trptk.com TTK0005 15

Weber, C.M. Symphony no 1 in C (1807).

Queensland PO/John Georgiadis.

Naxos 8.550928 25 Schubert, F. Quartet in A minor, D804, Rosamunde (1824). Australian String Quartet.

Fine Music concert recording 35

Beethoven, L. Overture to Fidelio, op 72 (1814). Bavarian RSO/Colin Davis.

CBS MDK 44790 7

Strauss, R. Metamorphosen for 23 solo strings (1945). Berlin PO/James Levine.

DG 469 804-2 32

Mendelssohn, F. Rondo capriccioso, op 14 (1824). Roland Pöntinen, pf.

BIS CD-883 7

After the Vienna Opera House was destroyed in 1945, Richard Strauss wrote Metamorphosen. He quoted bar three of the Funeral march from Beethoven’s Eroica Symphony and wrote underneath ‘IN MEMORIAM!’.

Clementi, M. Piano trio, op 21 no 2 (pub.

1788). Trio Fauré.

Dynamic CDS 93 10 34

Ludwig van Beethoven

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

6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Vaughan Williams, R. Magnificat anima mea Dominum (1932). Catherine Wyn-Rogers, cont; Corydon Singers; Roger Judd, org; City of London Sinfonia/Matthew Best.

Hyperion CDA66569 14 Holst, G. Choral hymns from the Rig Veda, op 26 no 3 (1910). Purcell Singers; Osian Ellis, hp; Imogen Holst, cond.

Decca 430 062-2 12 Biber, H. Requiem in F con terza minore.

Musica Antiqua Cologne/Reinhard Goebel.

Archiv 479 1957 27 10:00 THE CLASSICAL ERA Prepared by Denis Patterson Hummel, J. Quintet in D minor, op 74 (1816).

Nepomuk Fortepiano Quintet.

Brilliant Classics 94377 38 Bach, J. Christian Sinfonia in E for double orchestra, op 18 no 5 (c1781). Failoni O/ Hanspeter Gmür.

Naxos 8. 553367 15 Arne, T. Trio sonata no 1 in A (1757).

Collegium Musicum 90.

Chandos CHAN 0666 16 Tartini, G. Violin concerto in A, D96. Giuliano Carmignola, vn; Venice Baroque O/Andrea Marcon.

Archiv 474 5172 18 Haydn, M. Symphony no 29 in C (1784).

Bournemouth Sinfonietta/Harold Farberman.

LP Vox Cum Laude D-VCL 9085 23 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

Sunday 24 JUNE

Yan Pascal Tortelier 13:00 WORLD MUSIC: Whirled Wide 14:00 CONTRASTS Prepared by Ron Walledge Fauré, G. Suite from Pelléas et Mélisande, op 80 (1898). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8952 17

Orlando Gibbons Jupiter the bringer of jollity, from The planets, op 32 (1916). Queensland SO/Nicholas Braithwaite.

ABC 481 2424 8 17:00 HOSANNA Prepared by Meg Matthews

Korngold, E. Medley from the film, The adventures of Robin Hood (1938). National PO/Charles Gerhardt.

RCA GD80912 12

Hymns: The God of Abraham; Be thou my vision; Lord enthroned in heavenly splendour; By your Kingly power. Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3032 11

Stravinsky, I. Suite from Petrushka (1919).

Chicago SO/Carlo Maria Giulini.

EMI 5 85974 2 24

Gibbons, O. O clap your hands. Cambridge Singers/John Rutter.

Collegium COLCD 107 5

15:00 SUNDAY SPECIAL Thaxted’s famous musician Prepared by Elaine Siversen

Mozart, W. Six sacred pieces. Vienna Chamber Choir; Robert Kovács, org; Johannes Prinz, cond.

Carus 83.354 13

Holst, G. I vow to thee, my country (1921).

Choir of Trinity College, Melbourne; Jonathan Bradley, org; Michael Leighton Jones, cond.

ABC 476 5095 3 Venus; Mercury, from The planets, op 32 (1914-16). Melbourne SO/Malcolm Sargent.

ABC 434 896-2 11 The hymn of Jesus, op 37 (1919). Hallé Youth Choir; Hallé Choir & O/Mark Elder.

Hallé HLL 7535 23 Ballet music from The perfect fool, op 39 (1918-22). BBC NO of Wales/Richard Hickox.

Chandos CHSA 5069 12 The evening watch, op 43 (1925). Purcell Singers/Imogen Holst.

Decca 430 062-2 4 Ballet: The golden goose, op 45 no 1 (1926).

Guildford Choral Society; Philharmonia O/ Hilary Davan Wetton.

Hyperion CDA66784 25 The morning of the year, op 45 no 2 (192627). Joyful Company of Singers; BBC NO of Wales/Richard Hickox.

Chandos CHSA 5069 21

Gounod, C. Sanctus; Benedictus; Agnus Dei, from Troisième messe solonnelle de Pâques in E flat (1885). Choir of St Mary’s Cathedral; Sydney Conservatorium Choir & Chorale; Jubilee Choir & O/David Russell.

Walsingham WAL 8011-2 13

Nobuko Imai Piano quartet no 2 in E flat, K493 (1789).

Mozartean Players.

Harmonia Mundi HMU 907018 36 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Dukas, P. Ballet: La péri (1911-12). New York Philharmonic/Pierre Boulez.

Sony 88875192992 17 Ravel, M. Piano concerto in G (1931). Pascal Rogé, pf; Montreal SO/Charles Dutoit.

Decca 410 230-2 22 Berlioz, H. Harold in Italy, op 16 (1834).

Nobuko Imai, va; London SO/Colin Davis.

Philips 442 290-2 42 20:30 NEW HORIZONS Prepared by Paul Cooke Hyde, M. Nocturne (1994). Bridget Bolliger, fl; Andrew West, pf.

Cala CACD77019 5 Meyer, E. Violin concerto (1999). Hilary Hahn, vn; Saint Paul CO/Hugh Wolff.

Sony SK 89029 26

Grieg, E. How fair is thy face ... Thou son of God, from Psalms, op 74. Bergen Cathedral Choir/Magnar Mangersnes.

Hydro 6

Thomas, Augusta. In my sky at twilight (2002). Christine Brandes, sop; MusicNOW Ensemble; Chicago SO/Pierre Boulez.

Nimbus NI 6258 19

Gibbons, O. Forth in thy name O Lord I go.

Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3032 3

Vasks, P. String quartet no 4 (1999). Kronos Quartet.

Nonesuch 7559-79695-2 32

Walton, W. Crown Imperial (1937). London PO/Adrian Boult.

EMI 4 40 858 2 9 18:00 CHAMBER MOZART Prepared by Paul Hopwood Mozart, W. Trio in E flat, K498, Kegelstatt (1786). Hans Petter Bonden, cl; Lars Anders Tomter, va; Einar Henning Smebye, pf.

Simax PSC 1018 19

22:00 AFTER HOURS JAZZ with Kevin Jones

The music of American composer Augusta Thomas embodying ‘unbridled passion and fierce poetry’ has been championed by leading conductors such as Barenboim, Rostropovich, Boulez, Eschenbach, Salonen, Maazel, Ozawa and Knussen.

June2018

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Monday 25 JUNE

Tuesday 26 JUNE 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Jennifer Foong

Christian Sinding 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: 1799 Prepared by Derek Parker

13:00 LAND OF OUR FATHERS Prepared by Randolph Magri-Overend Hughes, A. Owain Glyndwr, legend (1979).

Royal PO/Owain Arwel Hughes.

BIS BIS-CD-1674 13 Finch, C. Celtic concerto. Catrin Finch, hp; Sinfonia Cymru/John Rutter.

DG 479 0497 13

Salieri, A. Overture to Falstaff (1799).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9877 4

Tomkins, T. Organ voluntary in D. Laurence Cummings, org.

Naxos 8.553794 2

Beethoven, L. Sonata in E, op 14 no 1 (1799). Miriam Hyde, pf.

Fine Music concert recording 12

Hoddinott, A. Symphony no 2, op 29 (1962).

London SO/Norman Del Mar. Lyrita SRCD.331 27

Hummel, J. Trio in E flat (1799). Viennese String Trio.

Calig CAL 50876 20 Boccherini, L. Quintet in E, op 57 no 5 (1799). Ilario Gregoletto, fp; Ensemble Claviere.

Brilliant Classics 94386 17 Haydn, J. String quartet in C, op 76 no 3, Emperor (c1799). Vienna Konzerthaus Quartet.

Westminster RC 8808678121735 27 10:30 CONCERT HALL Prepared by Derek Parker Ravel, M. Shéhérazade, fairy overture (1898; by 1899). Lyon NO/Jun Märkl.

Naxos 8.570992 16 Sinding, C. Symphony no 1 in D minor, op 21 (1890/95). Oslo PO/Øivin Fjeldstad.

NKFCD 50016-2 40

36

Vernon Handley

14:00 AN ENGLISH SYMPHONIST Prepared by Chris Blower Simpson, R. Variations on a theme by Neilsen (1983). City of London Sinfonia/ Matthew Taylor.

Hyperion CDA67500 26 Vortex (1989). Desford Colliery Caterpillar Band/James Watson.

Hyperion CDA66449 9 Quartet no 3 (1954). Delmé String Quartet.

Hyperion CDA66376 20 Media morte in vita sumus (1975). Corydon Singers; Corydon Brass Ensemble/Matthew Best.

Hyperion CDA67016 14 Symphony no 5 (1972). Royal PO/Vernon Handley.

Hyperion CDA66728 40 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett

Paisiello, G. Keyboard concerto no 4 in G minor (c1788). Pietro Spada, pf; Santa Cecilia CO. Brilliant Classics 94224 26

19:00 JAZZ NICE N’EASY with Ken Weatherley

12:00 SWING SESSIONS with John Buchanan

22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

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

Beethoven, L. Piano concerto no 2 in B flat, op 19 (1793/94-95). Emil Gilels, pf; USSR State SO/Kurt Masur.

Brilliant Classics 94291 28 Liszt, F. Étude de concert no 2 in F minor, La leggiarezza (1848).

Philips 456 907-2 4 Kabalevsky, D. Sonata no 3 in F, op 46 (1946).

Philips 456 907-2 15 Benno Moiseiwitsch, pf (2 above) Bach, J.S. Chaconne, from Partita in D minor, BWV1004 (1720; transcr. Busoni).

Decca 433 654-2 17 Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931).

Nimbus NI 7706 18 Shura Cherkassky, pf (2 above) 10:30 CONCERT HALL Prepared by Michael Field Alfvén, H. Swedish rhapsody no 1, op 19, Midsummer vigil (1903). Stockholm PO/ Neeme Järvi.

BIS CD-385 14 Weber, C.M. Bassoon concerto in F, op 75 (1811/22). Laurence Perkins, bn; Manchester Camerata/Douglas Boyd.

Hyperion CDA67288 18 Khachaturian, A. Symphony no 2, The bell (1943). Royal Scottish O/Neeme Järvi.

Chandos CHAN 8945 51 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore Highlights and previews of the month’s concerts including interviews with the key players

Wednesday 27 JUNE

Tuesday 26 JUNE 14:00 MASTER AND APPRENTICE Clementi, M. Sonata in B flat, op 24 no 2, Magic flute (c1781). Nikolai Demidenko, pf.

Hyperion CDA66808 12 Field, J. Sonata in A, op 1 no 2 (1801).

Miceál O’Rourke, pf.

Chandos CHAN 8787 14 14:30 CELEBRATING CHARLES GOUNOD Prepared by Chris Blower

Ferdinand Ries

Gounod, C. Ave Maria (1853). Kiri Te Kanawa, sop; Peter Averi, org.

Decca 430 325-2 3

0:00 CONTEMPORARY COLLECTIVE

Suite concertante in A (1886). Roberto Prosseda, pf; Swiss Italian O/Howard Shelley.

Hyperion CDA67975 23

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil

Funeral march of a marionette (1872). Detroit SO/Paul Paray.

Mercury 434 332-2 3

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Elaine Siversen

The worker (1873); The fountain mingles with the river (1871); The arrow and the song (1885); IIala (1873). Felicity Lott, sop; Ann Murray, mezz; Anthony Rolfe Johnson, ten; Graham Johnson, pf.

Hyperion CDA66801/2 14

Ries, F. Sonata in B flat, op 47. Susan Kagan pf; Vassily Primakov, pf.

Naxos 8.573063 14

Symphony no 2 in E flat (1856). O of St John’s, Smith Square/John Lubbock.

ASV DCA 981 35 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 Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Dohnányi, E. Sextet in C for clarinet, horn, piano and string trio, op 37 (1935). Endymion Ensemble.

ASV DCA 943 30 Copland, A. Quartet (1950). Charles Rex, vn; Rebecca Young, va; Alan Stepansky, vc; Israela Margalit, pf.

EMI 5 55405 2 20 Brahms, J. Horn trio in E flat, op 40 (1865).

Members of Nash Ensemble. crd 3489 30 Beach, A. Sonata in A minor, op 34 (1896).

Terri Pontremoli, vn; Anita Pontremoli, pf.

Centaur CRC 2119 30

3:00 CLASSICAL TILL DAWN

Sonata in C, op 20 (c1810). Klaus Storck, vc; Alfons Kontarsky, pf.

LP Telefunken 6.42813 19 Fantasy no 11, op 133 no 2 (c1825). PeterLukas Graf, fl; Zsuzsanna Sirokay, pf.

Jecklin 577-2 10 Grand variations on Rule Britannia, op 116 (1817). Christopher Hinterhuber, pf; Royal Liverpool PO/Uwe Grodd.

Naxos 8.570440 16 Sextet in G minor, op 142 (1814). Dieter Klöcker, cl; Karl Hartmann, bn; Nury Guarnaschelli, hn; Wolfgang Güttler, db; Edward Witsenburg, hp; Werner Genuit, pf.

Schwann CD 310 001 H1 20 10:30 CONCERT HALL Prepared by Rex Burgess Brahms, J. Variations on a theme by Haydn, op 56a, St Antoni chorale (1873). Scottish CO/Charles Mackerras.

Telarc CD-80450 17 Mozart, W. Piano concerto no 21 in C, K467 (1785). Maria João Pires, pf; CO of Europe/ Claudio Abbado.

DG 479 1435 29 Hovhaness, A. Symphony no 25, op 275, Odysseus (1973). Polyphonia O/Alan Hovhaness.

Crystal Classics CD807 36

Darius Milhaud 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN PLAYFUL MOOD Prepared by Ron Walledge Saint-Saëns, C. The carnival of the animals (1886). David Strange, vc; Anthony Goldstone, pf; Ian Brown, pf; Royal PO/ Owain Arwel Hughes.

ASV QS 6124 22 Milhaud, D. Le boeuf sur le toit, op 58a (1919). Czech PO/Libor Pesek.

Praga PR 250 007 15 Debussy, C. Children’s corner suite (190608). François-Joël Thiollier, pf.

Naxos 8.553291 18 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 BRAHMS EXPLORED Part 4 Prepared by Michael Morton-Evans Brahms, J. Academic festival overture, op 80 (1880). Scottish CO/Charles Mackerras.

Telarc CD-80450 10 Tragic overture, op 81 (1880/81).

Gewandhaus O/Riccardo Chailly.

Decca 478 5344 13 Double concerto in A minor, op 102, mvt 3 (1887). David Oistrakh, vn; Mstislav Rostropovich, vc; Cleveland O/George Szell.

EMI 5 65701 2 8 Quintet in B minor, op 115, mvt 3 (1891). Karl Leister, cl; Amadeus Quartet.

DG 419 875-2 4 Hungarian dances: no 8 in A minor; no 9 in E minor (1869). Duo Crommelynck, pf.

Claves CD 50-8710 5 Rhapsody in E flat, op 119 no 4 (1892). Radu Lupu, pf.

Decca 417 599-2 5 June2018

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Thursday 28 JUNE

Wednesday 27 JUNE

Catherine Malfitano

Isaac Stern

Waltz no 15 in A, op 39 (1866). Michel Béroff, Jean-Philippe Collard, pf.

EMI 5 69311 2 1

0:00 CONTEMPORARY COLLECTIVE

O Tod, wie bitter bist du, from Four serious songs, op 121 no 3 (1896). John ShirleyQuirk, bar; Martin Isepp, pf.

Decca 461 245-2 4

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

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Died for love Prepared by Elaine Siversen

Gounod, C. Roméo et Juliette. Opera in a prologue and five acts. Libretto by Jules Barbier and Michel Carré after Shakespeare.

First performed Paris, 1867.

ROMÉO: Alfredo Kraus, ten JULIETTE: Cathérine Malfitano, sop FRÈRE LAURENT José van Dam, bar MERCUTIO: Gino Quilico, bar TYBALT: Charles Burles, ten Midi-Pyrenées Regional Choir; Toulouse Capitole Ch & O/Michel Plasson.

EMI 7 47365 8 2:46 Synopsis at finemusicfm.com/Opera Suite concertante in A (1886). Roberto Prosseda, pf; Swiss Italian O/Howard Shelley.

Hyperion CDA67975 23 23:30 A CLASSICAL INTERLUDE Prepared by Paul Hopwood Haydn, J. Trumpet concerto in E flat, Hob. VIIe:1 (1796). Håkan Hardenberger, tpt; Academy of St Martin in the Fields/Neville Marriner.

Philips 420 203-2 14 Mozart, W. Sonata in D, K576, Trumpet (1789). Wanda Landowska, reproducing pf.

Fonè 90 F 08 CD 13 38

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Frank Morrison

Isaac Albéniz Haydn, J. Symphony in B flat, Hob.I:85, Queen (c1785). Amsterdam Baroque O/Ton Koopman.

Erato 2292-45807-2 22 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 AUTUMNAL COLOURS Prepared by Gael Golla

Bach, J. Christian Trio sonata in C. JeanPierre Rampal, fl; Mstislav Rostropovich, vc; Matthias Spaeter, lute.

Sony SMK 64 509 10

Vivaldi, A. Violin concerto no 3 in F, RV293, Autumn (pub. 1725). Jerusalem Music Centre CO/Isaac Stern, vn & dir.

Sony SM2K 66 472 11

Webern, A. Four pieces, op 7 (1909-10).

Charles Rosen, pf.

Sony SM3K 45845 5

Albéniz, I. Autumn waltz, op 170 (c1890).

Alberto Guinovart, pf.

Harmonia Mundi HMI 987007 13

Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). Columbia SO/George Szell.

Sony SM3K 66 475 28 Isaac Stern, vn (3 above)

Prokofiev, S. Symphonic sketch: Autumn, op 8 (1910/34). Royal Concertgebouw O/David Robertson.

Radio Nederland RCO12004 9

Stravinsky, I. Suite italienne (1932; arr. Rife).

Eleonora Turovsky, vn.

Chandos CHAN 8652 19

Piazzolla, A. Porteño autumn, from Four Porteño seasons (1969). Macquarie Trio.

ABC 980 678-0 6

Bloch, E. Supplication (1923-24).

Chandos CHAN 8800 3

Mahler, G. Autumn loneliness, from The song of the earth (1908-09). Brigitte Fassbaender, cont; Francisco Araiza, ten; Berlin PO/Carlo Maria Giulini.

DG 479 1117 10

Bach, J. Christian Cello concerto in C minor.

I Musci de Montréal.

LP Chandos ABRD 1181 14 Yuli Turovsky, vc (3 above) 10:30 CONCERT HALL Prepared by Paul Hopwood Cherubini, L. Overture to The crescendo (1810). Tuscan O/Donato Renzetti.

Europa 350-221 12 Elgar, E. Violin concerto in B minor, op 61 (1909-10). Dong-Suk Kang, vn; Polish National RSO/Adrian Leaper.

Naxos 8.553233 46

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

Delius, F. Autumn, from North Country sketches (1913-14). Welsh National Opera O/ Charles Mackerras.

Argo 430 202-2 8 Tormis, V. Autumn landscapes (1964).

Sydney Chamber Choir/Nicholas Routley.

Fine Music concert recording 8 Grieg, E. In Autumn, op 11 (1866). Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 13

Thursday 28 JUNE

Ralph Vaughan Williams

Goldner String Quartet 14:30 THE VOCAL ORCHESTRA Prepared by Brian Drummond Mozart, W. Overture to The abduction from the Seraglio, K384 (1782). Vogtland PO/ Stefan Fraas.

Ars ARS 38 144 5 Bizet, G. Suite no 2 from Carmen. Mexico PO/Enrique Bátiz.

Brilliant Classics 94404 22 Mozart, W. Nehmt meinen Dank, ihr holden Gönner, K383 (1782). Yvonne Kenny, sop; Philharmonia O/David Parry.

Chandos CHAN 3035 3 Schubert, F. Symphony no 9 in C, D944, Great (1825-28). Symphony Nova Scotia/ Georg Tintner.

Naxos 8.557234 48 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Part 1: Goldner String Quartet Recorded for FINE MUSIC by Peter Bell Rachmaninov, S. String quartet no 2, mvt 1 (1896). 7 Beethoven, L. String quartet in E flat, op 127 (1823-24). 37 Goldner String Quartet (2 above) Part 2: Schubert interlude Schubert, F. Quintet in A, D667, Trout (1819). Dene Olding, vn; Irina Morozova, vn; Michelle Wood, vc; Andrew Meisel, db; Ian Munro, pf.

Fine Music concert recording 38

Friday 29 JUNE

21:30 SYMPHONIC TALE

0:00 CONTEMPORARY COLLECTIVE

Benoit, P. Piano concerto, op 43b, Symphonic tale (1865). Luc Devos, pf; Royal Flanders PO/Frédéric Devreese.

Marco Polo 8.223827 28

3:00 CLASSICAL TILL DAWN

22:00 MUSICAL PORTRAITS The queens of England Prepared by Elaine Siversen Rossini, G. Overture to Elizabeth, Queen of England (1816). Prague Sinfonia Orchestra/ Christian Benda.

Naxos 8.570933 7 Korngold, E. Suite from Elizabeth and Essex (1939). London SO/André Previn.

DG 471 347-2 14 Handel, G. Ode for the birthday of Queen Anne, HWV74 (1743). Susan Gritton, sop; Robin Blaze, ct; Michael George, bass; Choir of King’s College, Cambridge; Academy of Ancient Music/Stephen Cleobury.

EMI 5 57140 2 25 Purcell, H. Sound the trumpet; Strike the viol, from Birthday ode for Queen Mary (1694).

Andreas Scholl, ct; Christoph Dumaux, ct; Accademia Bizantina.

Decca 478 2262 7 Purcell, H. The plaint: O let me weep, from The fairy queen (1692). Andrew Dalton, ct; Capella Corelli.

Fine Music Concert Recording 420 946-2 6 Strauss, J. I Homage to Queen Victoria of Great Britain, op 103 (1838). London SO/ John Georgiadis.

Chandos CHAN 8739 8 Coates, E. The three Elizabeths suite (fp 1944). City of Birmingham SO/Reginald Kilbey.

EMI 3523562 21 Arnold, M. Suite from Homage to the Queen, ballet, op 42 (1953). BBC PO/Rumon Gamba.

Chandos CHAN 10550 20

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Finzi, G. Five bagatelles, op 23 (1938-43; arr.

Smith). Kenneth Smith, fl; Paul Rhodes, pf.

ASV DCA 862 15 Haydn, J. Grand duet no 5 in D, from String quartet, Hob.III:11 (bef. 1765; arr. Fossa).

Jukka Savijoki, gui; Erik Stenstadvold, gui. apex 0927 49452 2 15 Stravinsky, I. Suite from The soldier’s tale (1918; arr. Stravinsky 1919). Dene Olding, vn; Nigel Westlake, cl; David Bollard, pf.

Fine Music concert recording 15 Arban, J-B. Fantaisie brillante (arr.

Hunsberger). Wynton Marsalis, cornet; Eastman Wind Ensemble/Donald Hunsberger.

CBS MK 42137 8 Tallis, T. Spem in alium (arr. Kronos). Kronos Quartet.

Nonesuch 7559-79242-2 9 Mozart, W. Clarinet quartet in B flat, K378 (1779; arr. from Violin sonata, K378; pub.

1799). Deborah de Graaff, cl; Carl Pini, vn; Jane Hazelwood, va; Georg Pedersen, vc.

Fine Music concert recording 17 10:30 CONCERT HALL Prepared by Ron Walledge Vaughan Williams, R. Aristophanic suite, The wasps (1909). Royal Liverpool PO/ James Judd.

Naxos 8.572304 26 June2018

fineMusic 102.5

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Friday 29 JUNE

Geoffrey Tozer Tchaikovsky, P. Piano concerto no 3 in E flat, op 75 (1893). Geoffrey Tozer, pf; London PO/ Neeme Järvi.

Chandos CHAN 9130 16

Offenbach, J. Cello concerto in G, Concerto militaire (1848). Catalin Ilea, vc; Rumanian RSO/Emil Simon.

Olympia OCD 422 29

Mozart, W. Symphony no 38 in D, K504, Prague (1787). Royal Concertgebouw O/ Nikolaus Harnoncourt.

Teldec 9031-77596-2 38

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans

12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 HIGH ROMANTICISM Prepared by Albert Gormley Schumann, R. Symphony no 4 in D minor, op 120 (1841/51). Vienna PO/Georg Solti.

Decca 417 799-2 30 Liszt, F. Piano concerto no 2 in A (1839/4961). Geoffrey Tozer, pf; Suisse Romande O/ Neeme Järvi.

Chandos CHAN 9360 21 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 Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). Yo-Yo Ma, vc; French NO/Lorin Maazel.

CBS M2K 44562 19 Borodin, A. Symphony no 3 in A minor, Unfinished (1882; orch. Glazunov). Seattle SO/Gerard Schwarz.

Naxos 8.572786 18 15:00 OFFENBACH’S OTHER MUSIC Prepared by James Hunter Offenbach, J. Concerto rondo (1851). 20 Réverie au bord de la mer (1848; arr Geese). 6 Guido Schiefen, vc; Cologne WDR RO/ Gérard Oskamp (2 above) cpo 777 069-2 40

Daniel Barenboim

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Only one Prepared by Denis Patterson Elgar, E. The wand of youth, suite no 1, op 1a (1907). New Zealand SO/James Judd.

Naxos 8.557166 21 Smetana, B. Triumphal symphony in E, op 6 (1853-54). Prague RSO/Vladimir Válek.

Supraphon SU 3916-2 37 Elgar, E. Violin concerto in B minor, op 61 (1909-10). Pinchas Zukerman, vn; London PO/Daniel Barenboim.

Sony SB2K 63247 51 22:00 BAROQUE AND BEFORE The well-travelled singing master Prepared by Paul Roper Porpora, N. Se tu la reggio al volo, from Ezio (1728). Max Emanuel Cencic, ct; Armonia Atenea/George Petrou.

Decca 483 323-5 4 Giusto amor, tu che máccendi, from Gli orti esperidi (1721). Cecilia Bartoli, mezz; Sol Gabetta, vc; Capella Gabetta/Andrés Gabetta.

Decca 483 247-3 5 Bononcini, G. Trio sonata in D minor (1732).

Johannes Leertouwer, vn; Thérèse Kipfer, vn; Bruno Cocset, vc; Blandine Rannou, hpd.

Virgin VC 5 45000-2 11 Porpora, N. In hoc vexilio Crucis (1754).

Emanuela Galli, sop; Francesca Cassinari, sop; Ludovico Takeshi Minasi, vc; Andrea Friggi, org.

Pan Classics PC 10243 8

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

Bob van Asperen Overture to Carlo in Calvo (1738). Concerto Cologne/Pablo Heras-Casado.

Archiv 479 2050 4 Broschi, C. La partenza: Ecco quel fiero istante (1751). Aris Christofellis, ct; Claudio Ronco, vc; Carla Tutino, db; Andra Coen, hpd.

EMI CDC 5 55250 2 1 Porpora, N. Alto Giove, e tua grazia, from Poliferno (1735). Bejun Mehta, ct; Concerto Cologne/Pablo Heras-Casado.

Archiv 479 2050 8 Handel, G. Organ concerto no 2 in B flat, op 4 no 2 (1735). O of the Age of Enlightenment/ Bob van Asperen, org & dir.

Virgin VCD 5 45174-2 11 Porpora, N. Vanne fido, e al mesto regno, from Semiramide Regina dell’Assiria (1724).

Anna Bonitatibus, mezz; Accademia degli Astrusi/Federico Ferri.

Harmonia Mundi 88725 47986 2 2 Fugue no 6 in C (1754). Andrea Friggi, hpd.

Pan Classics PC 10243 3 Hasse, A. Ma rendi pur contento, from Ipermestra (1751). Max Emanuel Cencic, ct; Armonia Atenea/George Petrou.

Decca 478 6418 8 Haydn, J. Sonata no 7 in D, Hob.XVii:D1 (1750-55). Bart van Oort, fp.

Brilliant Classics 93770 6 Porpora, N. Psalm 129 (130): De profundis clamavi ad te, Domine (1744). Maria Grazia Schiavo, sop; Emanuela Galli, sop; Jose Maroa Lo Monaco, ct; Dresden Vocal Consort; Dresden Instrumental Concert/Peter Kopp.

Carus 83.264 22

Saturday 30 JUNE Copland, A. Fanfare for the common man (1942). 3 Richard Dufallo, cond (2 above) Chandos CHAN 9210 Netherlands Wind Ensemble (all above) 12:00 FINE MUSIC LIVE Jazz and classical music brought to you live from the Founders’ Studio 16:00 SYMPHONISTS Haydn and Schubert Prepared by Brian Drummond Roy Goodman 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE 20th century 1916-2000 Prepared by Derek Parker Stravinsky, I. Concerto in E flat, Dumbarton Oaks (1937-38). Columbia SO/Igor Stravinsky.

Sony SM3K 46 291-302 14 Strauss, R. Horn concerto no 2 in E flat, AV132 (1942). Barry Tuckwell, hn; London SO/István Kertész.

Decca 478 6420 20 Copland, A. Appalachian Spring (1943-44).

Cincinnati Pops O/Erich Kunzel.

Telarc CD-80339 25 Rodgers, R. Oh what a beautiful morning, from Oklahoma! Alfred Drake, bar.

MCA MCLC 19024 3 Britten, B. Four sea interludes, from Peter Grimes, op 33 (1945). Royal Opera House O/ Benjamin Britten.

ABC 480 7301 16 10:30 MUSIC FOR SMALL FORCES Prepared by Derek Parker Schubert, F. Quartet (1814). Alexa Still, fl; Paul Neubauer, va; Ronald Thomas, vc; JoAnn Falletta, gui.

Koch 3-7404-2H1 29 Britten, B. Quartet no 1 in D, op 25 (1941).

Allegri String Quartet.

Decca 478 5364 24 11:30 ON PARADE Prepared by Robert Small Greco, L. Swallow (1992).

Naxos 8.559816 16 Bernstein, L. Prelude, fugue and riffs (1949).

Harmen de Boer, cl. 8

Haydn, J. Symphony in C, Hob.I:7, Midday (1761).

Hyperion CDA66523 25 Schumann, R. Symphony no 1 in B flat, op 38, Spring (1841).

RCA 09026 61931 2 30 Hanover Band/Roy Goodman (2 above) 17:00 FAIRIES AND FAIRY TALES Prepared by Rex Burgess Rimsky-Korsakov, N. Fairy tales, op 29 (1879-80). USSR SO/Yevgeny Svetlanov.

Melodiya MA 23325 009 18 Schumann, R. Fairy tales, op 132 (1853).

Gabor Reeves, cl; Alexandru Todicescu, va; Rachel Valler, pf.

Fine Music Tape Archive 14 Martinu, B A fairy-tale of Goldilocks (1910).

Giorgio Koukl, pf.

Naxos 8.572025 14 Massenet, J. The fairy’s aria, from Cinderella (1899). Patricia Petibon, sop; Lyon Opera Ch & O/Yves Abel.

Decca 475 090-2 9 Janácek, L. Pohádka, fairy tale. Mikael Ericsson, vc; Frantisek Maly, pf.

Naxos 8.553895 11 Stravinsky, I. Ballet: The fairy’s kiss (1928/50) London SO/Robert Craft.

Naxos 8.557503 42 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell The small screen themes and soundtracks 20:00 INFLUENCES AND CONNECTIONS Hector Berlioz Prepared by Chris Blower Berlioz, H. La mort d’Orphée (1827). Gerard Garino, ten; Dutch Radio Ch & SO/Jean Fournet.

Denon CO-72886 14

Gluck, C. Suite du divertissement, from Iphigenia in Aulis (1774). Rhenish CO/Jan Corazolla.

Christophorus CHE 0064-2 10 Beethoven, L. String quartet in F minor, op 95, Quartetto serioso (1810). Takács Quartet.

Decca 478 2826 20 Cherubini, L. Overture to Lodoïska (1791).

Zurich CO/Howard Griffiths. cpo 999 5212 11 Berlioz, H. Royal hunt and storm, from The Trojans (1856-58). Singers of NSW Conservatorium School of Opera; Sydney SO/Robert Pikler.

Chandos CHAN 6587 11 Glinka, M. Trio pathétique in D minor (1832).

Leopold Wlach, cl; Karl Öhlberger, bn; Paul Badura-Skoda, pf.

Westminster RC 8808678121735 16 Massenet, J. Overture to The king of Lahore (1876). Suisse Romande O/Neeme Järvi.

Chandos CHSA 5137 6 Balakirev, M. Piano concerto no 1 in F sharp minor, op 1 (1855-56). Anastasia Seifetdinova, pf; Russian PO/Dmitri Yablonsky.

Naxos 8.570396 14 Berlioz, H. Veni Creator (1861). Choir of the Lyon NO; Loïc Mallie, harmonium; Noel Lee, pf; Bernard Tetu, dir.

Harmonia Mundi HMC 901293 4 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Tchaikovsky, P. Serenade in C for strings, op 48 (1880). Academy of St Martin in the Fields/ Neville Marriner.

Decca 466 459-2 30 Beethoven, L. Serenade in D, op 8 (179697). Dmitry Sitkovetsky, vn; Gérard Caussé, va; David Geringas, vc.

Virgin VC 7 90755-2 29 Wirén, D. Serenade in G, op 11 (1937).

Bournemouth Sinfonietta/Richard Studt.

Naxos 8.553106 15 Mozart, W. Serenade no 9 in D, K320, Posthorn (1779). Cleveland O/George Szell.

CBS MYK 45509 39

La mort d’Orphée by Berlioz was his first attempt to win the Prix de Rome.

Three years later he succeeded with his fourth cantata.

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Agrell, J. 1701-1765 15 Albéniz, I. 1860-1909 5,7,28 Albinoni, T. 1671-1751 1 Alfvén, H. 1872-1960 26 Alwyn, W. 1905-1985 15 Arban, J-B. 1825-1889 29 Arne, T. 1710-1778 4,24 Arnold, M. 1921-2006 28 Auber, D-F-E. 1782-1871 18 Bach, C.P.E. 1714-1788 3,5,16,17 Bach, J. Christian 1735-1782 4,9,24,28 Bach, J.C.F. 1732-1795 13 Bach, J.S. 1685-1750 1,3,5, 6,9,11,14,16,17,19,21,23,26 Bach, W.F. 1710-1784 3,16 Balakirev, M. 1837-1910 1,30 Barber, S. 1910-1981 12 Baron, E. 1696-1760 8 Barret, R. b1959 8 Bartók, B. 1881-1945 8,12 Bax, A. 1883-1953 8,19 Beach, A. 1867-1944 3,14,26 Beethoven, L. 1770-1827 2, 5,6,9,10,12,14,15,18,19,21,2 2,23,25,26,28,30 Benda, F. 1709-1786 5 Benda, G. 1722-1795 5 Benda, J. Jr 1724-1804 5 Benoit, P. 1834-1901 28 Berg, A. 1885-1935 15,22 Berlioz, H. 1803-1869 4,22,23,24,30 Bernstein, L. 1918-1990 7,16,30 Berthélémy, F-C. 1829-1897 8 Biber, H. 1644-1704 24 Bizet, G. 1838-1875 8,20,28 Bloch, E. 1880-1959 14 Boccherini, L. 1743-1805 3,5,10,15,16,25 Böhm, G. 1661-1733 8 Boito, A. 1842-1918 10 Bononcini, G. 1670-1747 29 Borodin, A. 1833-1887 29 Bottesini, G. 1821-1889 4,7 Boulez, P. 1925-2016 3,10 Bowen, Y. 1884-1961 3,22 Boyd, A. b1946 10 Bozza, E. 1905-1991 1 Brahms, J. 1833-1897 6,8,9,11,13,16,19,20,26,27 Bridge, F. 1879-1941 20 Britten, B. 1913-1976 3,4,7,21,30 Bruch, M. 1838-1920 17 Burrell, D. b1948 3 Busoni, F. 1866-1924 18

Buxtehude, D. 1637-1707 15 Caix d’Hervelois, L. de c1675-c1760 7 Caldara, A. c1670-1736 10 Canteloube, J. 1879-1957 10 Carbonelli, G. 1691-1772 1 Castelnuovo-Tedesco, M. 1895-1968 12,21 Chaminade, C. 1857-1944 3 Charpentier, M-A. 1635-1704 1 Chausson, E. 1855-1899 8 Cherubini, L. 1760-1842 28,30 Chopin, F. 1810-1849 5,7,12,19 Ciurlionis, M. 1875-1911 20 Clementi, M. 1752-1832 23,26 Coates, E. 1886-1957 28 Copland, A. 1900-1990 9,12,26,30 Corelli, A. 1653-1713 1,22 Crusell, B. 1775-1838 3 Czerny, C. 1791-1857 15 d’Albert, E. 1864-1932 20 d’Indy, V. 1851-1931 5,9 Danzi, F. 1763-1826 2 Debussy, C. 1862-1918 1,5,8,10,12,14,18,19,21,27 Delius, F. 1862-1934 28 Diamond, D. 1915-2005 1 Dieupart, C. c1667-c1740 1 Dittersdorf, C. 1739-1799 3 Döhler, T. 1814-1856 14 Dohnányi, E. 1877-1960 3,26 Dorman, A. b1975 20 Dove, J. b1959 3 Duarte, J. 1919-2004 21 Dukas, P. 1865-1935 18,24 Dvorák, A. 1841-1904 2,3,14,15,18,21 Elgar, E. 1857-1934 4,8,9,11,21,28,29 Erlebach, P. fl 1690-1700 8 Escande, P. b1971 1 Eyck, J. c1590-1657 3 Fasch, J. 1688-1758 8 Fauré, G. 1845-1924 1,7,8,12,24 Fesca, F. 1789-1826 15 Fibich, Z. 1850-1900 18 Field, J. 1782-1837 26 Finch, C. b1980 25 Finzi, G. 1901-1956 29 Förster, C. 1693-1745 8 Françaix, J. 1912-1997 16,18 Franck, C. 1822-1890 10 Gade, N. 1817-1890 2 Gál, H. 1890-1987 6 Gardner, S. 20th c 3

German, E. 1862-1936 2 Giuliani, M. 1781-1829 5 Glanville-Hicks, P. 1912-1990 23 Glass, P. b1937 3,10 Glazunov, A. 1865-1936 2,22 Glière, R. 1875-1976 17,21 Glinka, M. 1804-1857 5,14,19,22,30 Gluck, C. 1714-1787 3,30 Godowsky, L. 1870-1938 15 Goldmark, K. 1830-1915 4 Gounod, C. 1818-1893 17,20,21,22,24,27 Grainger, P. 1882-1961 11 Grantham, D. b1947 15 Graupner, C. 1683-1760 8 Greco, L. b1953 30 Greenbaum, S. b1966 23 Grétry, A-E-M. 1741-1813 3 Grieg, E. 1843-1907 11,15,23,24,28 Gulak-Artemovsky, S. 1813-1873 15 Handel, G. 1685-1759 9,28,29 Harty, H. 1879-1941 3 Hasse, A. 1699-1783 29 Haydn, J. 1732-1809 7,9,10,11,18,25,27,28,29 Haydn, M. 1737-1806 3,24 Herbert, V. 1859-1924 16 Hertel, J. 1727-1789 3 Herzogenberg, H. 1843-1900 2 Hill, A. 1870-1960 5 Hiller, F. 1811-1885 15 Hindemith, P. 1895-1963 23 Hoddinott, A. 1929-2008 25 Hoffmeister, F. 1754-1812 22 Holst, G. 1874-1934 12,15,24 Honegger, A. 1892-1955 1,9 Hovhaness, A. 1911-2000 27 Hughes, A. 1909-1990 25 Hummel, J. 1778-1837 4,15,16,24,25 Hyde, M. 1913-2005 14 Ibert, J. 1890-1962 1 Ippolitov-Ivanov, M. 1859-1935 4 Jacquet de la Guerre, E-C. c1666-1729 10 Janácek, L. 1854-1928 11,30 Jobim, A. 1927-1944 16 Jolivet, A. 1905-1974 1 Jones, S. 1861-1946 2 Josquin Desprez. c14401521 10 Kabalevsky, D. 1904-1987 26 Kalinnikov, Vasily.

1866-1901 14 Kalliwoda, J. 1801-1866 10

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

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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

Kats-Chernin, E. b1957 1 Khachaturian, A. 1903-1978 7,8,26 Kodály, Z. 1882-1967 21 Korngold, E. 1897-1957 2,12,24,28 Kraus, J.M. 1756-1792 17 Krenek, E. 1900-1991 22 Kreutzer, C. 1780-1849 6 Lalo, E. 1823-1892 4 Lassus, O. de c1530-1594 17 Liszt, F. 1811-1886 3,4,8,14,21,29 Loewe, F. 1901-1988 23 Luke, R. b1988 17 Lutoslawski, W. 1913-1994 8 MacDowell, E. 1860-1908 9 MacMillan, J. b1959 2 Mageau, M. b1934 1 Mahler, G. 1860-1911 2,14,28 Marais, M. 1656-1728 1,7,22 Martin, F. 1890-1974 5 Martinu, B. 1890-1959 1,18,30 Martucci, G. 1856-1909 18 Masek, V. 1755-1831 6 Massenet, J. 1842-1912 8,30 Méhul, É-N. 1763-1817 17 Mendelssohn, F. 1809-1847 2,7,10,12,16,17,19,22,23 Mendelssohn, Fanny.

1805-1847 2,14 Meyer, E. 1812-1883 24 Milhaud, D. 1892-1974 1,7,23,27 Monkton, L. 1861-1924 2 Moscheles, I. 1794-1870 23 Moszkowski, M. 1854-1925 4 Mozart, W. 1756-1791 1,2,5, 8,9,10,11,12,13,14,15,16,19,2 0,21,23,24,27,28,29,30 Muczynski, R. 1929-2010 12 Mussorgsky, M. 1839-1881 5,14 Myaskovsky, N. 1881-1950 3 Myslivecek, J. 1737-1781 18 Nicolai, O. 1810-1849 4 Nielsen, C. 1865-1931 2,16 Niewerth, H. d 1699 15 Nilsson, A. b1954 15 O’Carolan, T. 1670-1738 7 Offenbach, J. 1819-1880 18,29 Onslow, G. 1784-1853 4,5,10,12 Orr, B. 1924-1997 21 Pachelbel, J. 1653-1706 16 Paisiello, G. 1740-1816 25 Parry, H. 1848-1918 10,21 Pärt, A. b1935 2,14 Pedersøn, M. c1580-1628 15

Philidor, F-A. 1726-1795 5 Piazzolla, A. 1922-1992 7,28 Planquette, R. 1848-1903 2 Porpora, N. 1686-1768 29 Porter, C. 1891-1964 16 Poulenc, F. 1899-1963 1,9,14,16,19 Prokofiev, S. 1891-1953 7,15,16,17,20,23,28 Purcell, H. 1659-1695 28 Rachmaninov, S. 1873-1943 6,15,26,28 Raff, J. 1822-1882 15 Ravel, M. 1875-1937 1,9,14,18,21,24,25 Reed, H. 1910-2014 9 Reicha, A. 1770-1836 17 Reinecke, C. 1824-1910 17 Reinhardt, D. 1910-1953 16 Respighi, O. 1879-1936 1,11,13,18,22 Richter, M. b1966 17 Ries, F. 1784-1838 1,7,17,27 Rimsky-Korsakov, N. 1844-1908 2,14,21,30 Rodgers, R. 1902-1979 9,16,23 Roman, J. 1694-1758 7,15,22 Röntgen, J. 1855-1932 19 Rossini, G. 1792-1868 3,7,13,20,28 Rósza, M. 1907-1995 9 Rubbra, E. 1901-1986 2 Rueff, J. 1922-1999 23 Saint-Georges, J. 1739-1799 10 Saint-Saëns, C. 1835-1921 3,7,15,19,21,27,29 Salieri, A. 1750-1825 10,17,23 Satie, E. 1866-1925 9 Scharwenka, X. 1850-1924 2 Scheibe, J. 1708-1776 15 Schmidt, F. 1874-1939 22 Schreker, F. 1878-1934 22 Schubert, F. 1797-1828 8,12,14,15,19,23,28,30 Schumann, C. 1819-1896 6,16 Schumann, R. 1810-1856 1,4,12,14,19,29,30 Sculthorpe, P. 1929-2014 7 Shankar, R. b 1920 5 Sharav, B. b1952 7 Shostakovich, D. 1906-1975 7,10,19,23 Sibelius, J. 1865-1957 15,16,21 Simpson, R. 1921-1997 25 Sinding, C. 1856-1941 25 Skryabin, A. 1872-1915 13

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

Smalley, R. 1943-2015 10 Smetana, B. 1824-1884 12,29 Sousa, J.P. 1854-1932 23 Stanford, C. Villiers 1852-1924 3,17 Strauss, E. 1835-1916 17 Strauss, J. I 1804-1849 28 Strauss, J. II 1825-1899 4,18 Strauss, R. 1864-1949 1,15,17,20,23,30 Stravinsky, I. 1882-1971 8,11,12,15,16,23,24,28,29,30 Styne, J. 1905-1994 23 Suk, J. 1874-1935 13,18 Sullivan, A. 1842-1900 2 Suppé, F. 1819-1895 13 Sviridov, G. 1915-1998 14 Takemitsu, T. 1930-1996 7 Tallis, T. c1505-1585 29 Taneyev, S. 1856-1915 11 Tartini, G. 1692-1770 22,24 Tavener, J. b1944 17 Tchaikovsky, P. 1840-1893 7,8,11,13,18,20,22,29,30 Telemann, G. 1681-1767 1,3,22 Theodorakis, M. b1925 14 Thomas, Augusta. b1964 24 Thomas, J. 1826-1913 21 Tippett, M. 1905-1998 9 Tommasini, V. 1878-1950 22 Tormis, V. 1930-2017 28 Turina, J. 1882-1949 2 Vasks, P. b1946 24 Vaughan Williams, R. 1872-1958 1,14,21,24,29 Verdi, G. 1813-1901 10,15,22 Vieuxtemps, H. 1820-1881 11,29 Visée, R. de c1660-c1720 1 Vivaldi, A. 1678-1741 15,22,28 Wagenseil, G. 1715-1777 3 Wagner, R. 1813-1883 6,8,21,22 Wallace, V. 1812-1865 21 Walton, W. 1902-1983 7,17,24 Wassenaer, U. 1692-1766 19 Waxman, F. 1906-1962 15 Weber, C.M. 1786-1826 5,9,21,23,26 Wesley, S.S. 1810-1876 17 Westlake, N. b1958 12,17 Willan, H. 1880-1968 9 Williamson, M. 1931-2003 2,21 Wirén, D. 1905-1986 30 Woodcock, R. c1690-1728 1 Wranitzky, P. 1756-1808 10 Zimbalist, E. 1890-1985 1

sax: saxophone sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin

MUSICAL FAMILIES

ELIZABETH HILL LOOKS AT MUSICAL LINEAGE His brother Georg Anton worked chiefly as a Kappellmeister at Gotha where his sister, Anna Franziska, was also employed as a Court chamber singer. Georg Anton also perfected the form of the melodrama which famously impressed Mozart and influenced later composers such as Beethoven and Weber. Johann Georg joined the Court as a viola player, later serving as a violinist. Of Franz’s six children, four became professional musicians.

Franz Benda Over the centuries, many musical dynastic lines died out either because the composers did not have children, or their children went into different professions. This month we look at two musical dynasties with descendants who are modern-day performers: the 300year Benda dynasty, and three generations of the Shostakovich family. Although centuries apart, these two dynasties are united by a common theme of ‘persecution’: the Bendas suffered religious persecution in Bohemia, and Dmitri Shostakovich endured political persecution under Stalin’s rule.

The marriage of Jan Jirí Benda, a 17th century linen weaver and village musician, to Dorota Brixi (from another famous Bohemian musical family) was the foundation of a dynasty of musicians which continues to this day. Like a number of musical families from Bohemia, the Bendas were part of the diaspora moving across the continent in search of court and church appointments to further their careers, and also to escape religious persecution.

Franz, the most notable of five musical children, escaped from Bohemia at the age of 16, and found work firstly in the Polish Court and then in the Court of King Frederick the Great of Prussia (a post he kept for life). Here Franz played an important role in the development of late Baroque and early Classical music. His parents and siblings were granted permission to move to Potsdam, and Franz soon turned music into a small family business.

Throughout history many members of the Benda family have shown talent and collaborated with the best musicians of their time. At the beginning of the 20th century Hans von Benda created and conducted the Berlin Chamber Orchestra. The violinist Jean Benda founded two music conservatories, and his mother, a child prodigy pianist, was a close friend of Clara Schumann. Jean’s marriage produced the composer and pianist Sebastian Benda who became the father of the foremost contemporary standard bearer, cellist and conductor Christian Benda, who has five musically talented siblings.

Nowadays, in Switzerland, Italy, Germany and Austria, a dozen Benda musicians maintain the family’s musical tradition under the name of The Benda Musicians or as soloists in their own right.

Dmitri Shostakovich is regarded as one of the major composers of the 20th century.

His music combines a variety of musical techniques and is characterised by ‘sharp contrasts, elements of the grotesque and ambivalent tonality’. He was also heavily

influenced by the neo-classical style pioneered by Stravinsky, and by the late Romanticism associated with Gustav Mahler.

Although he achieved fame in the Soviet Union, his relationship with the government was complex and difficult. Like many of his contemporaries, under Stalin’s dictatorship, he was denounced for ‘bourgeois decadence’ and leading a ‘cult of atonality, dissonance and discord’ and feared for his life and the safety of his family. It was only with his more conservative Fifth Symphony, praised by the critics as ‘a Soviet artist’s creative response to just criticism’, that he attained good standing once again.

The end of the war brought tightened ideological and artistic controls. Most of his works were banned, his family had privileges withdrawn, and he was dismissed from the Conservatory. In an effort to comply, Shostakovich began working in two musical idioms: one simple and accessible which conformed with Soviet wishes; the other complex and abstract which satisfied his own artistic standards. He withheld several of the latter ‘serious’ works, only premiering them after Stalin’s death in 1953.

Dmitri died a broken man, but his legacy lives on in his son Maxim, pianist and conductor, and his grandson Dmitri. Since his father’s death in 1975, Maxim has been championing his father’s music, which he says ‘is the purpose of my life’.

In 1957 Maxim played the first performance of his father’s Second Piano Concerto (which his father dedicated to him), and has since conducted and recorded the piano concerto with his own son Dmitri as soloist.

You can hear these musicians in Musical Families on Tuesdays 5 and 19 June at 2pm.

Shostakovich Family

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What’s On

REMEMBRANCE Willoughby SO/Luke Spicer The Concourse, Chatswood Saturday 16 June, 7pm Sunday 17 June, 2pm Bookings and information: 8075 8111 or theconcourse.com.au/tickets

In the 100th anniversary year of the end of World War I, the Willoughby Symphony presents REMEMBRANCE, a riveting and emotionally charged concert event.

Conducted for the first time in 1938 by Arturo Toscanini, Samuel Barber’s Adagio for strings is a work which immediately evokes the most moving and compelling sonic imagery. The work is a perfect companion to Composer-inResidence Nigel Westlake’s powerful opus, The glass soldier, inspired by the epic story of Nelson Ferguson’s misfortune in war and his ultimate triumph against adversity.

ENJOY, LEARN, DISCUSS LECTURE SERIES: Persian Music and the Classical Influence Presenter: Sepehr Fard Sunday 17 June, 2.30pm Fine Music Centre 72-76 Chandos St, St Leonards Bookings and information: 9439 4777 or finemusicfm.com

The Willoughby Symphony/Fine Music 102.5 Young Composer’s Award has been a distinguished springboard for a generation of young Australian composers. The 2018 winning work will be conducted by the

exceptional young Australian conductor, Luke Spicer.

The concert concludes with a beloved romantic masterpiece, Schumann’s Symphony no 3 in E flat, op 97 known as the Rhenish.

Traditional Persian music and Classical music both have rich histories. With the advent of new communication technologies, cultural exchange has greatly increased. In this talk, Sepehr will explore the nature of Persian music and discuss how each musical form has influenced the other. The fundamental emotions which inspire art manifest themselves in many ways, and here we will see how composers from both musical styles incorporate them into their work.

Ambient CD Review

FLOW The Essence of Today’s New Age Music Will Ackerman, Fiona Joy, Lawrence Blatt, Jeff Oster and guests LMB Music 11006

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The works on this disc are similar to much of that which is broadcast in Ultima Thule, Fine Music’s ambient music program. The overall experience in listening is of calm and peace and the music may be able to transport the listener into dreams or memories. That said, it is the perfect disc to play for late night relaxation. It is not completely background music as there are some rhythmic pieces, but the overall mood remains. It is difficult to pinpoint any track which is outstanding because there is an overall high standard in all performances.

The main artists are Will Ackerman, guitar; Fiona Joy, voice (hardly noticeable) and piano; Laurence Blatt, acoustic and electric guitars plus ukulele; and Jeff Oster, trumpet

and flugelhorn (the latter instruments are mellow and not intrusive). They are joined by guest artists Tony Levin, Sam Bevan and Tom Eaton, playing bass. Eaton also plays guitar as does Marc Shulman. Jeff Haynes is the percussionist.

While the music is enjoyable and well-played, the lack of any indication of which artist is playing in individual tracks, and with no music notes included, might lead me to give a lower rating to this recording. This, however, is probably my opinion from a broadcasting perspective and may not be a problem for a listener at home. It really is a beautiful, soothing experience.

Elaine Siversen

MICHAEL TSALKA, KEYBOARD SPECIALIST CATHERINE PEAKE DISCOVERS A LOVER OF INSTRUMENTS When asked how he would describe himself, Michael Tsalka replied that he is ‘a performer, teacher and scholar … in that order’. Tsalka is a world-renowned solo and ensemble keyboard player, covering music from Baroque to contemporary periods, who specialises in a range of instruments including the harpsichord, clavichord, fortepiano, positive organ and the modern piano. Since graduating from the Rubin Academy of Music at the Tel Aviv University in 1995, he has been awarded a doctorate in Philadelphia in 2008 and has won prizes and awards across the globe.

In his performances and recordings, Tsalka encompasses a wide repertoire and says that he has ‘always been attracted to uncommon, unique repertoire’. He has recorded works by Ferdinand Ries, Beethoven’s trusted friend and one-time secretary, given piano recitals which have included rarely-performed pieces

by Mendelssohn, and recorded keyboard sonatas of Daniel Gottlieb Türk, a notable composer and organist of the classical period.

Part of Tsalka’s approach to performing the non-standard repertoire lies in the attraction of using different instruments. David Denton appreciates Tsalka’s recordings of Türk. “That the discs are inventive comes from Michael Tsalka’s use of five historical keyboards … with the clavichord, spinet, harpsichord, fortepiano and tangent piano, we hear how music of the period can change depending on the instrument used.”

Tsalka owns an enviable collection of period keyboard instruments, and although stating that he is not a collector he says that he does need different instruments for his various recordings and concerts. He talks enthusiastically about early instruments and says, “I attempt to discover the beauty and possibilities in each individual instrument”.

Tsalka’s work in early music does not extend to the belief that music written in the 18th century should necessarily be played as it would have been then. To Tsalka, ‘the performer and level of musicianship are of first importance’.

He says that the music should always take precedence over dogmatism and mentions that ‘some 50 years ago, people used to protest or leave the hall if somebody played Bach on the piano!’

Tsalka sees the advantage in mastering a range of keyboard instruments saying that his knowledge of early keyboards has assisted with his playing of the modern piano, and that conversely the piano has informed his interpretation of early music. Possibly related to his understanding of, and moving

Michael Tsalka between, the different eras with ease, comes a readiness to experiment in the performance of music written for other instruments.

A recent notable example is his recording of the Goldberg variations on two clavichords, whereas Bach wrote them to be performed on a double manual harpsichord. The mechanism of the clavichord strikes the string and produces a softer sound than the harpsichord where the strings are plucked. Tsalka says, “My interpretation was a bow to the spirit of improvisation, freedom and imagination so abundant in the music of J.S. Bach and his contemporaries”. Clare Woods comments on Tsalka’s recording. “In the case of Michael Tsalka’s version, the player’s empathy with the music and detailed consideration of its demands have given us something of a landmark CD.” To balance his activity in early music, over the last two years Tsalka has scheduled 16 world premieres of works dedicated to him by the composers, some for the modern piano and others for early instruments. Tsalka states, “I love studying and performing new music”. Projects have included forming a trio with saxophonist Yiannis Miralis and violinist Miltiades Papastamou in which he plays the piano. The trio performs contemporary works, most of which incorporate Mediterranean folkloric influence with jazz and improvisation.

Another project sees Tsalka with organist Dennis James as the Filmharmonia Duo, performing music to the film track of a silent

movie, again encompassing a measure of improvisation. In other works the duo incorporates the Franklin glass armonica, together with early keyboards. Tsalka has also recently collaborated with Sydney harpsichordist Diana Weston to produce a CD of recent compositions by Australian composers and others for solo and duo harpsichord.

In pursuing his study of the music he plays, Tsalka has had articles published in scholarly journals in several countries and writes the program and liner notes for his own concerts and CDs. He often acts as Artistic Director of festivals devoted to the performance of early instruments.

Tsalka has a love of teaching: “I am keen to bring students closer to early instruments, from which there is so much we can learn about style, ornamentation, improvisation, early dances, about heavy and light touch, articulation and phrasing.” In his masterclasses and residencies, he tells his students to think about the music they perform and helps them ‘in finding their own way as young artists’. He regards teaching as a highly important part of what he does. “I love bringing their attention to all the great richness and possibilities of early keyboards.”

You’ll find a review of the new CD of Michael Tsalka and Diana Weston on page 46 and you can hear their artistry in Michael Tsalka and Friends at 1pm on Friday 1 June.

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Classical CD Reviews BEETHOVEN PIANO CONCERTOS 1 AND 3 Chamber Versions Neal Peres da Costa, fortepiano Australian Haydn Ensemble Australianhaydn.com.au

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The wonderful thing about music is that whenever you listen to it, or read about it, you’re always learning. Take these arrangements

by Vi King Lim of two of Beethoven’s piano concertos. At first they sound very threadbare: after all the chamber ensemble consists of nothing more than a fortepiano, two violins, two violas, a cello and double bass plus a flute. However, as the concertos progress you begin to realise how full the sound is. The flute is very integral to the sound: it carries the tune

LADY HUANG’S ALBUM Michael Tsalka, Diana Weston, harpsichords Wirripang Wirr 087

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Lady Huang’s Album, a duo harpsichord recording from Australian Diana Weston and BACH CELLO SUITES 4, 5, 6, VOL. II Slava Grigoryan, guitar ABC 481 6472

✶✶✶✶ The first volume of Slava Grigoryan’s recording of a new transcription for guitar of the Bach Cello Suites was a popular success.

However, this review is of the already wellreceived second and final volume, comprising Suites 4 and 5 recorded using the deeper toned baryton guitar and Suite 6 using the classical guitar (a more appropriate tuning for this suite which was composed for the fivestringed piccolo cello).

While this transcription stays with the original score and might please the purist, it doesn’t conform to Bach’s own more florid 46

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when the piano is not in the forefront.

Regardless of that, I always thought the fortepiano was a stodgy ‘crash-bang’ instrument. Soloist Neal Peres da Costa makes it sing, especially in the lyrical movements. His liner notes are also illuminating and instructive.

He writes about the evolution of the fortepiano and what it was like when Beethoven himself was the soloist. For example, he writes about how horrified Beethoven’s page-turner was when Beethoven first performed his Third Concerto: some of the pages were blank except for Egyptian hieroglyphics indicating where Beethoven was to play ad libitum! After all, this was the era when soloists (including, by the way, operatic singers) could show off their talents with the cadenzas they fancied.

Having said that, Mr da Costa does more than satisfy our thirst for knowledge: he makes us wonder what it is that we have yet to discover about music.

Randolph Magri-Overend

Dutch/Israeli Michael Tsalka, presents a new side to this venerable instrument. Far from accompanying or hiding in the continuo, the nine works on this new recording display the sound of the harpsichord in rhythmic and atmospheric vibrancy. The works bring to life echoes of the music of the past whilst taking in influences from beyond the horizon of the Western art music.

The highlight is the title track (from Sydney composer Diana Blom) which invokes the music of Asia through quotation and mood. It convincingly evokes the music and instruments of China while at the same time being enjoyable and witty. Nine composers are represented on the disc, with five from Australia. The other four, hailing from Italy, Argentina, Mexico and the United States, all

seem to be early keyboard specialists and their works reflect their interest in the music of the past. The Variations on a ground by Gabriele Toia, for example, takes a bass part

by Vivaldi and provides 13 variations which imitate the keyboard music of Ligeti, Bartók, Chick Corea and more.

Other works provide more literal tone painting: May Howlett’s Tilting at windmills is a picture of Don Quixote and Sancho Panza, and Ann Carr-Boyd’s Crimson rosella provides a picture of this amazing bird through the harpsichord’s lively pinging. Lady Huang’s Album is a recording which will greatly please those curious to hear what this ancient instrument is capable of when approached by today’s composers.

James Nightingale

transcriptions of these works for lute. This results in a somewhat sparer tone for anyone very familiar with the originals where the more sonorous tones are variously full of gravitas and drama, alternating with their ability to convey joyful elan as you would expect of the cello’s much greater versatility.

While Bach was an inveterate transcriber of his own and other composers’ works, he did so in a manner which reflected the effects of the original. Slava Grigoryan’s technique and abilities are not in any doubt and, while they may reflect his view of a much more finely boned architecture for the pieces, these recordings don’t quite reflect their original occasional muscularity. While these suites have their DNA based in courtly dance suites, occasionally I feel as if they were at times being

performed en pointe here. The transcribed result is, to my taste, somewhat unaligned with the original, but can nonetheless be thoroughly enjoyed on its own terms.

Andrew Dziedzic

A MEMORABLE MEETING CHRIS BLOWER RECALLS AN ENGLISH SYMPHONIST Robert Simpson, a friend of the good doctor.

I was aware of Dr Simpson from his BBC broadcasts, but had no knowledge of him as a composer. He was a champion of the music of Carl Nielsen (then almost unknown in England) and as I had discovered Nielsen a year or two earlier we had an interesting conversation.

Robert Simpson During my late teens, once a fortnight I would spend an evening listening to LPs with a small group of music lovers, each of us taking turns at presenting the evening’s entertainment.

These meetings normally took place in the local library, but occasionally we would gather at the country home of the group’s convenor, a medical practitioner. At one of these gatherings I had the good fortune to meet Dr

Born in 1921, Simpson read medicine for two years, but on hearing Beethoven’s Pastoral Symphony at a Promenade Concert he decided to make music his career. He studied music privately with Herbert Howells and in 1947 founded the Exploratory Concert Society with the aim of promoting music which was unfashionable at the time, such as that of Carl Nielsen and Max Reger. In 1951 he was awarded a doctorate in music from Durham University, submitting his first symphony as the required work. In that year he joined the Music Division of the BBC. He was also a keen amateur astronomer and was elected a Fellow of the Royal Astronomical Society.

Simpson continued to promote new composers, such as Havergal Brian, and ‘misunderstood’

composers such as Bruckner and Sibelius. He parted company, acrimoniously, with the BBC in 1980 and died in Tralee, Co. Kerry, in 1997.

It was for his discussions of music in print and sound that Simpson first came to public notice.

This facet of his work provided the kind of insights which are a hallmark of a creative artist.

The musicians and topics which he covered are many, and the content varies from a few words to entire books. They tell us much about music and about the art of composition; they also tell us much about Robert Simpson himself.

Simpson was one of the most prolific 20thcentury composers of symphonies and chamber music, especially string quartets.

His 11 symphonies and 15 string quartets are only a portion of his output, which equally includes concertos (his best-known being the Piano Concerto), non-symphonic orchestral music, chamber music for a great variety of performers, piano music, and even choral, organ and brass band music.

Enjoy the music of Robert Simpson in An English Symphonist on Monday 25 June at 2pm.

A JAZZ LEGEND DEPARTS JEANNIE McINNES TELLS OF A LIFE IN JAZZ

After more than 20 years of presenting his regular program Speak Easy, Swing Hard, Richard (Dick) Hughes hung up his microphone to retire, and unfortunately died in April after illness.

Pianist, vocalist, journalist and presenter, Dick has been an important figure on the Australian jazz scene for many decades. Born in 1931, he was introduced to jazz at ten, attended the first ever Australian Jazz Convention in 1946 and was playing professionally while still in his teens. While working in England in the early 1950s, Dick not only performed with many wellknown jazz musicians of the day such as Cy Laurie and Sandy Brown, but also interviewed visiting jazz greats Sidney Bechet, Billie Holiday and Mary Lou Williams from whom he took lessons. The Holiday interview was conducted with Dick kneeling at the end of her bed in her London hotel room and has been replayed on Fine Music 102.5 in recent times.

In Sydney, Dick worked with the Ray Price groups, the Port Jackson Jazz Band and his own groups at French’s Tavern, the Windsor Castle Hotel and Adams Hotel and others.

He played as support for touring musicians

Eddie Condon, Alvin Ailey’s American Dance Theater, Chris Barber, Kenny Ball and Stan Getz. There were several firsts along the way as well. He was the first solo pianist at Sydney Opera House in 1973, recorded the first solo piano jazz album in Australia and published Australia’s first jazz autobiography, Daddy’s Practising Again. He formed his Famous Five group in 1977 with recordings and a residency at Soup Plus for over a decade.

Speak Easy, Swing Hard has been a favourite program among jazz listeners to Fine Music.

Produced by his daughter Stephanie, then by wife Fay, Dick covered many topics of interest from styles of jazz to biographical programs, all with his amazing and interesting recollections and anecdotes. We have marvelled at the influence of his uncle with his gifts of early recordings, been astonished with comments such as ‘when I was sitting in the back seat of a taxi with Louis Armstrong …’, and above all, grateful for Dick’s generosity in sharing his life in jazz with his listeners.

Over recent months, as Dick has been moving into broadcasting retirement, we delighted in re-hearing some of his previous programs,

Richard Hughes and were able to share memories in his farewell program, now available via Jazz on Demand on our website.

All of us at Fine Music, both volunteers and listeners, thank Dick for his many years of excellent broadcasting and Fay for her fine production. He will be sorely missed. Vale Dick Hughes.

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Jazz CD Reviews SKY GLOW Chris Platt Trio MAPL Independent

✶✶✶ This is the debut release from Toronto-based guitarist Chris Platt and his trio of Phill Albert (bass) and Robin Claxton (drums). Reflective and at times intensely introspective, the seven-track album is a showcase for his compositional skills as much as for his technical facility.

Initially inspired by Jimi Hendrix, Stevie Ray Vaughan and Derek Trucks, Platt completed his degree in jazz studies at the University of Toronto under the musical pedigree of artists such as Mike Murley, Kelly Jefferson and Chase Sanborn.

ACTUAL ASSET Thierry Fossemalle Trio www.thierryfossemalle.net

✶✶✶✶ SKYLINES Evan Harris 54 Records CD 5404

The title track, Sky glow is a mellow piece with echoes of Jim Hall. Platt plays with an understanding of dynamics which belies his years. This is most evident on the lyrical Sky glow where his elegant restraint, use of space, splashes of colour and interplay with bass and drums are at the forefront. Albert takes an

unhurried and harmonically thoughtful solo on bass. Homage has certainly been paid to the guitar trio lineage with this album which forms the basis of a platform for Platt to continue to develop his own style.

Double bassist Thierry Fossemalle appears in his debut as a leader on an outstanding trio album showcasing his own virtuosity with the talents of Steve Russell (piano) and David Sanders (drums). Performing all of Fossemalle’s compositions in a traditional acoustic jazz trio format, the fiery and sometimes hectic improvisations in this session album indicate that the band was ready for a convincing outing.

compatible with the highly gifted pianist Steve Russell’s vision of the same; and there’s a certain radiant tonality to the playing of David Sanders which complements the other band members perfectly. It’s a pity Fossemalle doesn’t allow himself more opportunities on the outing to showcase his talents solo.

Everything you want from a jazz trio recording is present here: electricity, pacing, innovation and interplay, with Fossemalle offering his own personal energy in his robust righthand strumming throughout each track. His conception of time and space is uniquely

✶✶✶✶

pianist Sean Wayland and bassist Des White, ex-London alto saxophonist Will Vinson and New York–based German drummer Jochen Rueckert.

From the breezy Gunderman and Spring song to the hard-swinging Equilibrium, Harris is in the solid company of some well-chosen sidemen. These include the expat Australians,

While at times the melodies can become less memorable and can tend to blend into each other in an inconsequential way, the band’s level of musicianship remains consistently high, consciously constructing some beautiful dreamy soundscapes. The vignette improvisations on Skyline at sunrise and Skyline at sunset are perfect examples.

This debut recording from the New York– based Australian saxophonist displays his exceptional prowess as a tenor player, composer, arranger and band leader.

Beautifully recorded by Mike Marciano at Systems Two Recording Studio in Brooklyn, the album glides through a palette of styles and subdued colours delivering far more than just the greys and browns encountered on an initial listening.

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No more is the melodic highlight of the recording. Taken at a slow strolling pace, Platt overlays a melancholy Lenny Breau Canadian country–influenced melody over the top of his own rhythm guitar undercurrent, while Albert’s bass states the simple two-note bass line and Claxton’s brushes simmer away underneath.

Platter is a nod to his blues heroes. It punctuates alternately with full stops and swinging gear shifts creating foot-tapping moments of uptempo bop and in-the-pocket groove.

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Frank Presley

The standout tunes, including the title track Actual asset, Big Pam and the easier paced Simple pleasures, are mere gems in a vault of superbly played originals from a straightforward Australian jazz trio at its finest.

Barry O’Sullivan

Delving deeper, one discovers Harris delivering some highly imaginative playing and sparkling improvisations with clear unhurried tenor sax notes. Every player is equally relevant here and adds a personal touch leading to a unique and adventurous offering.

More importantly, what stands out is a smart and stimulating recording which bodes well for the future of its young leader.

Barry O’Sullivan

THE NEW JAZZ STANDARD FRANK PRESLEY EXPLAINS HIS PROGRAM CONCEPT When Miles Davis received his first cheque for his commercially successful album Round about midnight in 1955, he used the money to buy himself a Mercedes Benz Gullwing 300 SL. He said it had been winking at him every time he passed the showroom on upper Broadway. One of the sides from that recording was the popular 1920s dance hit for composer Ray Henderson, Bye bye blackbird. Ralph J. Gleason reviewed it at the time for DownBeat magazine and stated: “Blackbird was particularly impressive for the manner in which he walked in, dancing along in a most attractive, elfin fashion”.

While his choice of Bye bye blackbird raised eyebrows at the time, Davis throughout his career never shied away from interpreting ‘pop’ tunes of the day.

Adam Simmons

Without a doubt the concept for my Thursday night program The New Jazz Standard is hardly new, but for some unknown, or indeed illogical, reason the ‘jazz police’, mainly from the 1960s through to the 1980s, had created a stigma around jazz artists recording or performing material from the ‘pop’ or rock genres.

Fortunately that has changed. One of Australia’s most respected pianists and composers, Tony Gould, astutely argued in 1997 that: “Up until recently jazz musicians have shied away from the popular music of the 1960s and beyond. There are two reasons, the first being that improvising musicians have always railed against any notion of commercialism and the consequent sanitisation of their beloved art form. Secondly, unlike the music of the Gershwins, Kerns, Porters and the like, popular music became highly personalised, with tunes being written for particular artists, often for themselves.”

When formulating the concept for the program, I was looking for theme music which reflected the concept and remembered how I was drawn towards an Australian recording by the Melbourne artist Adam Simmons, who just happens to be the co-artistic director of the Wangaratta Festival of Jazz. When reviewing his album The Blues of Joy in 2012, I wrote: “In a way, this album reminds me of Sonny Rollins’ Way out West when the emerging titan, back

in 1957 used only saxophone, bass and drums to transform some of the most unlikely ‘pop’ themes into sophisticated jazz. Simmons, a genuine multi-instrumentalist, chooses only alto saxophone and achieves similar feats with Merle Haggard’s lost-love lament Sometimes I dream and Snow Patrol’s Chasing cars.

While the highlight, hip hop duo, Outkast’s 2003 hit Hey ya is shuffled along briskly by Anthony Baker’s ride cymbal. Swing, groove, interplay, self-expression, and in the example of past masters such as Rollins, Simmons has embraced ‘pop’ without compromising artistic integrity.” Perfect I thought, the catchy threeminute interpretation of the 1990s chart topper Hey ya was an ideal fit as a theme for my concept.

I asked Adam how he formed the idea for recording the pop tunes on The Blues of Joy and his feelings on contemporary jazz artists interpreting music composed for other genres such as hip hop and rock. He said: “I grew up with my father and his friends playing all sorts of stuff from Ornette Coleman, Captain Beefheart, Elton John, yes, B.B. King and more, but Dad also encouraged us to watch Countdown every Sunday night so I grew up with popular music as well. Now I have my own kids, I feel it’s important for me to know about contemporary music to help inform them about the connections of lineage to the past as well as between different current genres.”

He continued: “Most tunes can be stripped back to the bare essentials of melody, rhythm and harmony. If you work out those elements then the rest gets built up from there to fit into a style. So now I really enjoy looking for contemporary songs from any genre with an interesting hook, or melody or chord sequence, or just a great performance. If you understand the essence of what you’re working with then it becomes the springboard for exploration, beyond just another chord/scale relationship.”

Joe Chindamo is another Melbourne artist who is happy to embrace material from ‘pop’ songbooks. In 1996 he recorded an album interpreting the music of Burt Bacharach called Anyone Who Had a Heart. Chindamo gently interrogates the tunes, asking enough questions of the melody to launch into extemporaneous answers of his own.

David Reaston is a Sydney-based guitarist capable of metal chaos, lucid telepathy and fluid swing. He composes and improvises what he and others call ‘21st Century Art Music’. As well as the pointed abstraction of his massive 10 Guitar Project, David is known for his beautiful take on traditional standards, particularly his use of reharmonisation and polyphony. However, his masterful interpretation of Michael Jackson’s Billie Jean is a favourite on The New Jazz Standard.

You can hear all of these tunes during the program on Thursday 21 June at 7pm.

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THAXTED’S FAMOUS MUSICIAN ELAINE SIVERSEN REVEALS GUSTAV HOLST’S INFLUENCE The Essex town of Thaxted appears in the Domesday Book of 1086 as Tachesteda, Old English for ‘place where thatch was got’. Naturally it is claimed that this is the first place where buildings were roofed with thatch. However, did you know that the tune used for Gustav Holst’s patriotic hymn, I vow to thee, my country is also called Thaxted? Why did he call the tune Thaxted?

The hymn’s text is a poem by diplomat Sir Cecil Spring Rice, in which he describes how a Christian owes his loyalties to both his homeland and the heavenly kingdom. This hymn is used on many ceremonial Thaxted parish church and state occasions in Britain. When Holst set religious persecution in their homeland. One this poem in 1921, he was overworked and was glad to find that a section of those weavers was Johanes Androes who of Jupiter from his suite, The planets, fitted married in Debden in 1574. Although the the words of the poem. It was in Thaxted that weaving industry went into decline in Thaxted, Holst composed most of this extended suite weavers continued to live and work there. between 1914 and 1916. The sections of the Eight generations later in 1849, Johanes suite describe the supposed characteristics of Androes’ descendant, a weaver named the ancient gods and goddesses after which Joseph Andrews, left Thaxted to go to Victoria. the planets are named: Mars, the bringer of He was my great-great-grandfather. war; Venus, the bringer of peace; Mercury, Gustav Holst discovered the town of Thaxted the winged messenger; Jupiter, the bringer of while on a walking holiday in Essex. He stayed jollity; Saturn, the bringer of old age; Uranus, one night but was so captivated by the beauty of the historic town that he brought his wife the magician; Neptune, the mystic.

The settlement of Thaxted, developed around back to live there. They rented a cottage just a Roman road, dates back to Saxon times outside the town but later moved into the and was a thriving community long before centre of town as it was closer to the church the Normans arrived in England. There was where he used the organ to assist him with a church here as early as 981AD and in 1205 his composition. While he spent some time in a market charter was granted. From the 13th London, during those years it was in Thaxted century Thaxted became a centre for the that Holst composed most of his music. It was cutlery industry but, when the cutlery market so quiet with only the occasional noise of a declined, there was a brief flourishing of passing horse and cart. weaving in the 16th century. The 600-year-old Holst became the organist in the parish church Cutlers’ Guildhall is now a museum. of St John. Built between 1340 and 1510, it I have to declare a special interest in the is renowned for its very tall flying buttressed weavers of Thaxted and other nearby parts spire which is the only medieval stone spire in of Essex. One branch of my ancestors, who the county. The church, which stands on a hill, were weavers, settled in Thaxted, Bocking is often referred to as ‘the Cathedral of Essex’. and Debden when Queen Elizabeth I granted In 1910 a new vicar, Conrad Noel, arrived. He leave for Huguenot weavers from the Low was known as the ‘Red Vicar’ because of his Countries to settle in Essex after escaping well-known Christian socialism.

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Before the vicar’s arrival, Holst had already become involved in training and improving the church choir. With the support of the new vicar, he extended this to teaching many of the townspeople to play the organ, no matter their class or background. Many of these people would otherwise never have had the opportunity to play music. In doing this, Holst helped to make the church and its music the focal point for the people of Thaxted. In 1916 he and Noel created the Whitsun Festival, a four-day music festival which Holst once called ‘an orgy of music’. Holst was particularly keen to involve young people in these musical activities and the Festival continues to this day with the church still the focal point for the music.

Because of his involvement with the church choir, Holst wrote a great deal of choral music including The hymn of Jesus, The morning of the year and Seven part-songs. His one-act operas The perfect fool and At the Boar’s Head (based on Prince Hal and Falstaff) were also composed at this time. Another large work was the choral ballet, The golden goose and there were many other shorter choral and orchestral works. It was a happy and fulfilling time for the composer in this beautiful town of Thaxted.

The planets will be broadcast in Concert Hall at 10.30am on 12 June and you can hear other music composed by Holst in Thaxted in Sunday Special at 3pm on 24 June.

DEDICATION, CARE AND CONSTANCY SUE JOWELL TALKS TO SHEILA CATZEL

at all, just experience in public speaking’, no doubt aided by her teaching experience. Her allotted shift was three hours between 9am and 12 noon on Tuesdays.

“Constancy is a factor in Sheila Catzel’s life … she has lived in the same house for 30 years, kept the same friends for 50 years and has been involved in Symphony Concerts for more than 20 years.” These words appeared in a local Cape Town newspaper over three decades ago.

Little has changed since then, except that Sheila now lives in Sydney together with her children and grandchildren, three of whom were born in 1998, the same year she arrived in this country. What has remained constant is her love of music.

Before leaving South Africa Sheila, a qualified teacher, dedicated much of her time to educational matters and, in addition, was extensively and innovatively involved with the Cape Town Symphony Orchestra, organising pre-concert lectures and public visits to rehearsals. She and husband Sigi even sponsored a concert to celebrate their 24th wedding anniversary. Then she had the bright idea of starting a shop selling items with particular appeal to concert-goers.

Sheila Catzel Her radio life in South Africa had parallels with her ‘new’ radio life in Sydney. She began as a classical music presenter on a Cape Town community station coincidentally called Fine Music Radio. The station’s inception came about as a result of a visit to Sydney by the manager of the Cape Town Symphony Orchestra who was inspired by what he saw at 2MBS-FM. She remembers ‘I had no training

In 1999, only a year after she immigrated to this country, she became a volunteer at 2MBSFM. It was not long before she moved into the studio and, strange as it may seem, she began presenting on Tuesdays between 9am and 12 noon. However, this time she alternated with Barrie Brockwell. “Barrie was programming and presenting on the other Tuesdays and we had to compare our music so as not to double up, and that’s how we became friends!” she says. Clearly this was a meeting of the minds and the friendship has endured to this day almost 20 years on.

After stepping down from the microphone Sheila continued as a programmer. Her well-thought out programs are chosen with the same care, dedication, devotion and constancy as she bestows on her friends and family, especially her grandchildren.

PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD, registered under the Co-operatives Act 1992 (NSW); owner and operator of Australia’s first community-operated stereo FM station, 2MBS-FM now known as Fine Music 102.5; annual membership fee is $33 and members are entitled to vote at Society general meetings. Enquiries: admin@finemusicfm.com VOLUNTEERS Fine Music 102.5 is run by volunteers supported by a small team of staff. To find out how to join our volunteers, visit finemusicfm.com or call 9439 4777.

DIRECTORS Chair: David Brett; Deputy Chair: David James; Secretary: Christopher Waterhouse; Lloyd Capps, Andrew Dziedzic; Jeannie McInnes, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; Jazz: Barry O’Sullivan; Technical: Stephen Wilson; Library: Susan Ping Kee; Volunteers: Sue Nicholas; Finance: Norm Chosid; Work Health and Safety: Dennis Oppenheim; Emerging Artists: Rebecca Beare PROGRAMMERS AND PRESENTERS FOR JUNE Charles Barton, Peter Bell, Nina Beretin, Chris Blower, David Brett, Barrie Brockwell, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Colleen Chesterman, Lyn Chong, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Sepehr Fard, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Gabi Goddard, Gael Golla, Raj Gopalakrishnan, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Bruce Johnson, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Peter Kurti, Yvonne Laki, Ray Levis, Krystal Li, Miranda Luo, Christina MacGuinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, 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, Catherine Peake, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Paul Roper, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Heather Sykes, Rob Thomas, Anna Tranter, Robert Vale, Richard Verco, Simone Vitiello, Ron Walledge, Brendan Walsh, Christopher Waterhouse, Ken Weatherley, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka, Rebecca Zhong PROGRAM SUB-EDITORS Jan Akers, Chris Blower, Di Cox, Colleen Chesterman, Melissa Evans, Amal Fahd, Ana Ferreira, Noelene Guillemot, Gerald Holder, Susanne Hurst, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Paul Belfanti, John Clayton, Helen Dignan, Lynden Dziedzic, Peter Goldner, Elizabeth Grey, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Jonathan Wood, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Marketing Manager: Mona Omar; Program Coordinator: Sophie McCulloch; Office Manager: Sharon Sullivan; Administration Assistants: Krystal Li, Joe Goddard June 2018

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FINANCIAL JOURNEY At Dixon Advisory, we’ve been helping Australians manage their wealth for more than 30 years. We’d be proud to support you and your loved ones with a range of financial education programs designed to nurture your knowledge, while providing strategies to consider for growing and managing your wealth.

Learn more about our education programs today:

Education seminars Complementary, year-round learning sessions.

Wise A program for women by women that encourages informed financial decision making through a collaborative and supportive educational environment.

Foundations Practical strategies to help your relatives make more educated decisions for their futures by understanding possible steps to take with their finances.

Take control of your financial future and join us to experience the confidence that comes from increased financial understanding.

1300 850 841 | dixon.com.au/myjourney Dixon Advisory & Superannuation Services Ltd | ABN 54 103 071 665 | AFSL 231143