February Fine Music Magazine

FEBRUARY 2018

MAGAZINE

PORTRAIT OF A PIANIST Emanuel Ax: A Unique Sound

A FLAWED GENIUS Glenn Gould’s Unique Personality

MUSIC OF 1868 Hamlet and Tchaikovsky’s Symphony no 1

A GREAT CHORAL CONDUCTOR Richard Hickox: Dreamer and Achiever

COMING UP

FEBRUARY

A MOZART CELEBRATION with PIANIST EMANUEL AX AND CHIEF CONDUCTOR DAVID ROBERTSON

Celebrate the genius of Mozart!

Dramatic Mozart

Seductive Mozart

Magnif icent Mozart

MOZART Don Giovanni: Overture Piano Concerto No.14 in E flat, K449 Piano Concerto No.20 in D minor, K466 Symphony No.40

MOZART Così fan tutte: Overture Piano Concerto No.16 in D, K451 Piano Concerto No.17 in G, K453 Symphony No.39

MOZART The Marriage of Figaro: Overture Piano Concerto No.19 in F, K459 Piano Concerto No.27 in B flat, K595 Symphony No.41 (Jupiter)

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From the meditative sounds of the flute-like shakuhachi and shinobue to the thunder of the odaiko drums – Japanese instruments combine with a Western symphony orchestra in music that’s primal and extraordinary!

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CONTENTS

FROM THE CHAIR

VOL 45 No 2 2 4

5

6 9 10 39 40 41

42 43 44 45 46

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A Portrait of a Pianist The Genesis of a Symphony A Forgotten Cantor Ambroise Thomas’ Hamlet Love and Death A Flawed Genius A Life of Bel Canto Highlights, Program Guide, Composer List A Great Choral Conductor One of the Last Romantics Tchaikovsky and Taneyev A Day without Music …

Classical CD Reviews Bowen’s Démocratie Jazz CD Reviews First Ladies of Jazz Musical Families Arnold Bennett’s Diary The Perfect Pitch!: Dennis Oppenheim

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Sydney’s live classical music scene awakes from its summer slumbers in February with the start of 2018 seasons. Among our major ensembles, the Sydney Symphony opens with an exciting mini-Mozart festival. Outstanding American pianist, Emanuel Ax, returns to perform six piano concertos with Chief Conductor, David Robertson, and there will be several Mozart symphonies and overtures to round out three concert programs. In contrast, the Australian Chamber Orchestra has chosen to begin its year with a Romantic and modern program: two new works will be joined by Tchaikovsky’s Serenade for strings, and Brahms’ String sextet no 2 arranged for full string orchestra.

You can keep up to date with what’s happening on the Sydney music scene by subscribing to our Event News bulletin. This free service delivers a weekly update to your email each Wednesday. To subscribe just go to our website, www.finemusicfm.com and click on the ‘contact us’ box.

Of course, there are no seasons in radio and at Fine Music we are always broadcasting. Among many highlights this year will be a number of sesquicentenary events: 150 years ago takes us to 1868 and the height of Romanticism. For example, Rossini died in 1868 and, as a tribute, each month we are broadcasting one of his operas.

In February, it will be Tancredi. Also this month we will celebrate the 150th anniversary of the premieres of Tchaikovsky’s First Symphony and Thomas’ opera Hamlet. Please see articles on pages 4 and 5 and the Program Guide for details.

We produce our own live events in the Fine Music Centre and our Enjoy, Learn, Discuss series returns this month. Writer and presenter, Nicky Gluch will start the year with a fascinating talk on her Schubert choral project at 2.30pm on Sunday 18 February. Do book early as this Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 is sure to be popular. Nicky has also written an article this month (page Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com 39) on the choral conductor, Richard Hickox.

Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay. Wishing you great listening!

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A PORTRAIT OF A PIANIST NICKY GLUCH RESEARCHES THE EMANUEL AX SOUND

Emanuel Ax has such a specific sound. It’s Juilliard, it’s Yo-Yo Ma, it’s the 1980s, it’s New York. Sound has that amazing facility to transport you to another time and place and hearing Ax perform Mozart puts one in such a specific setting.

In September 2017, Ax collaborated with David Robertson and the St Louis Symphony in performing a Mozart cycle. In order for these two men to come together, it required their traversing over 1500 kilometres. By comparison, there are less than 800 kilometres between Vienna where Mozart died and Lviv where Ax was born. There is a similar distance between Florence and Vienna: the former, the city where Ferruccio Busoni was born, and the latter, where he taught Mieczyslaw Munz, Ax’s own teacher. This is the sort of fascinating way in which European musical connections worked. Munz taught not just Ax but several notable pianists who became part of the Busoni tradition. As European migrants moved to New York, they brought with them not just their own knowledge but their inherited history and experience. This inheritance, this network of knowledge and confluence of sound, enriched American music-making in ways almost unimaginable.

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What happened next is all the more remarkable. The immigrants took their European past and added to that an appreciation of the American future. Although Ax was born in (what is now) Ukraine, grew up in Canada and only as a 12-year-old moved to New York, he has become a quintessential New Yorker. He lives in an apartment block in an artistic neighbourhood, he speaks with an unmistakable accent and he champions American composers. On this last point, he has much in common with Robertson, although it can be assumed that they see eye to eye on many things for the two are friends as well as collaborators. In Israel, the two worked on a project which explored Eastern European music: how Chopin was as much a classicist as he was a composer with roots in folk music.

In Sydney, they performed Beethoven’s five piano concertos to rapturous applause.

Now, in St Louis, they have embarked on an exploration of Mozart, the fruits of which will be brought to Sydney this month.

Over three weeks, Emanuel Ax will perform six Mozart piano concertos. In each of the concerts, a pair of concertos will form the centrepiece with a Mozart overture and symphony on either side. When David Robertson conducted a similar Stravinsky ballet cycle in 2016, he

said that the ‘proximity allows one to hear both where Stravinsky was coming from and where Stravinsky’s ballets allowed music to go’. This Mozart cycle could be assumed to achieve a similar goal. Mozart may only have lived to be 35 but, in part due to his prodigious talents, his style still changed noticeably over his career.

In the first concert, audiences will hear the 14th Concerto (known as the first of Mozart’s mature series) and in the third concert, they will hear the 27th Concerto, Mozart’s last. The two pieces require very different approaches, for while the 14th is situated nicely in the Classical tradition, the 27th shows where music would go in the 19th century. There’s been much speculation about what Mozart might have produced had he lived to an older age. Although that question can never be answered this concerto, like Mozart’s other last works, shows where Mozart had taken music since his childhood improvisations.

The direction in which performers have taken Mozart’s music is another question. Over the past 200 years it has fallen into many hands, with all pianists bringing their own quality to it.

To Ax, it is not how the piano is struck which gives pianists their specific sound, but rather how one note follows another. The first note is just a sound. Add the second and you have not

just music but interpretation. It is fascinating to watch Ax instruct in this idea. On YouTube you can see him teach a masterclass in Israel using two pianos, one for the solo line and one for the orchestra. The students begin Mozart’s Piano concerto no 24 and when Ax stops them he commends their playing, saying that he has little to correct, but he does have questions. Turning to the boy playing the solo line, he asks how he thinks the first two notes are related. The boy proffers an answer but seems unsure, so Ax has him leave off the first ornamenting note. He gestures to the boy to begin again and to listen to the line. Just one note removed but yet suddenly the boy, and indeed the whole audience, can see the shape revealed. Music, as Ax proves, is far more than consecutive notes.

This idea is imbued into how Ax talks about music. He is intellectual without using jargon and has an infectious passion which, like his playing, invites rather than overwhelms. When he plays, Ax looks at the orchestra. He knows the music, it’s inside him, and so he engages with the sound around him: the woodwinds which he believed Mozart so cherished and the mutability of live performance.

Perhaps when they are together, David Robertson and Emanuel Ax discuss conducting. To Ax, his job is not dissimilar to that of a conductor. Faced with the capacity to play multiple notes, he must consider balance: where to bring out the left or right hand; how to voice the notes of a chord. In playing six concertos, it can then be assumed that Ax is as much a choreographer as Robertson. He will know how to balance the 14th Concerto with the urgency of the 20th and how to show off the beauty of the twin pair in the second concert, the 16th and 17th Concertos. In the third, Ax will surely give a voice to the 19th Concerto which makes it seem as unique as the forward-looking 27th.

What then to the greater programming?

What nuance can be found in starting each concert with an overture? In this, the answer is revealed before the question. What makes Mozart’s concertos so exciting is that they are almost operatic. It has been said that Mozart composed always with the stage in mind.

The great contrasts between fierceness and sweetness suggest an anti-hero and heroine.

The resolutions which occur are lovers meeting or battles won. Thus the concertos could be said to have infused the writing of the operas.

Perhaps Mozart’s public performances were even sketches, experiments, for his grander fashioned works. This process works in reverse for the symphonies. As they were written after Don Giovanni and The marriage of Figaro, many of their themes might have

been inspired by the characters Mozart brought to the stage. Robertson, then, gives audiences the opportunity to see Mozart’s music in its greater oeuvre. It’s a lesson in history, in taste and invention and, of course, it is an experience in listening.

something she may have passed on to her students, and Ax too, even if they didn’t know where she acquired the skill. Of course Ax may have naturally possessed this character but it is more romantic to believe that he polished it under DeLay’s wing.

Ax is a venerable listener, that is sure, but his stagemanship is equally remarkable. In both, he may have gained inspiration from one of his first employers, Dorothy DeLay. DeLay was a violin teacher and Ax worked as accompanist for DeLay’s students. Through this he learned how to be a support, a partner in musicmaking which is evidenced by his illustrious chamber music career. From DeLay, Ax would also have learned how to teach. Sitting in her room, he would have absorbed her technique.

As Itzhak Perlman describes his teacher, the way she would ask questions and engage her students in discussion, it is clear that Ax is a disciple. But DeLay also had an unknown past. She was, as Ax relayed to Matthew Hunter, a Beauty Queen. This experience in deportment, in calmly drawing attention, is

It all comes back to musical connections and the less than six degrees of separation between American musicians of a certain age.

One of DeLay’s students was Gil Shaham.

Gil’s sister is Orli Shaham whose husband is David Robertson, and together they are dinner companions of Emanuel Ax and his wife Yoko Nozaki. When they perform Mozart together, Robertson and Ax thus bring their shared history as much as they do their own. There may be 150 kilometres between New York and St Louis, and 800 kilometres between Lviv and Vienna, but when playing music these distances all but evaporate. Yet, they are not erased. That’s what gives a performance its unique quality. That sound of Ax: it’s Juilliard tinge and 1980s nostalgia. It’s all part of this bigger picture.

Events and Dates A MOZART CELEBRATION with Emanuel Ax and David Robertson Program 1: on 1 (1.30pm), 2 (8pm) and 3 (2pm) February: Overture to Don Giovanni; Piano concerto no 14 in E flat, K449; Piano concerto no 20 in D minor, K466; Symphony no 40 in G minor, K550 Program 2: on 5 (7pm) and 7 (8pm) February: Overture to Così fan tutte; Piano concerto no 16 in D, K451; Piano concerto no 17 in G, K453; Symphony no 39 in E flat, K543 Program 3: on 9 (8pm) and 10 (8pm) February: Overture to The marriage of Figaro; Piano concerto no 19 in F, K459; Piano concerto no 27 in B flat, K595; Symphony no 41 in C, K551, Jupiter Venue Concert Hall, Sydney Opera House February

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THE GENESIS OF A SYMPHONY

DAVID OGILVIE FOLLOWS TCHAIKOVSKY’S STRUGGLES By 15 February 1868, the date Tchaikovsky’s First Symphony was premiered, he had already been struggling with it for two years. According to his brother and biographer, Modest, the symphony had cost the composer more labour and suffering than any of his previous works, caused in part by the many unhelpful criticisms of his former teachers at the recently established St Petersburg Conservatory, Anton Rubinstein and Nikolai Zaremba.

These can be partly explained by the profound changes which Russian culture generally, and music in particular, were undergoing at the time. Traditional principles governing melody, harmony and other fundamentals of Russian music, as espoused by the Russian composers of the contemporary nationalist movement ‘The Mighty Handful’ (Balakirev, Cui, Mussorgsky, Rimsky-Korsakov and Borodin) were clashing with those which governed Western European music. This resulted in uncertainty among the intelligentsia about the country’s national identity (an ambiguity mirrored in Tchaikovsky’s career) making his attempts to forge a uniquely Russian style more difficult, denting his selfconfidence and straining his mental and physical health.

In 1867 he submitted the symphony to Rubinstein and Zaremba, hoping that it might

similar gestation problems. A year after the First Symphony premiere, Balakirev suggested that Tchaikovsky should write a piece based on Shakespeare’s play and gave him a detailed blueprint of how the piece should be laid out, suggesting his own overture King Lear as a model.

be performed at a Russian Musical Society concert, but they demanded changes. He resubmitted it and, despite his teachers’ reservations, the adagio and scherzo were performed, but it was not a success.

Tchaikovsky became thoroughly disillusioned, not only with St Petersburg audiences, but also with the critical judgments of his former teachers. He rejected all the revisions they had demanded, with one exception. The symphony conducted by Nikolai Rubinstein, Anton’s brother, was finally premiered in Moscow to great acclaim.

Sadly for Tchaikovsky, his Fantasy overture: Romeo and Juliet which begins our sesquicentenary program also suffered from

Tchaikovsky wasn’t entirely comfortable with Balakirev’s views and opinions on music, but accepted the basic idea, reducing the ‘musical plot’ to one central conflict and combining it with the binary structure of sonata form. Balakirev responded favourably to the love theme (“I play it often, and I very much want to hug you for it!”) but was not impressed with the rest. Tchaikovsky accepted some of the criticisms and, after a great deal of to-ing and fro-ing, the work was premiered in March 1870. Unfortunately, audience attention was distracted by a minor scandal involving the conductor and the new work was a ‘flop’.

The piece was performed again in 1872 to a lukewarm reception. It wasn’t a success until 1880 when Tchaikovsky gave Romeo and Juliet a new ending and added Fantasy overture to the title. The new version premiered in 1886 and has been fantastically popular and famous ever since!

These works will be part of Sunday Special on 25 February at 3pm.

THE FORGOTTEN CANTOR Gottfried August Homilius (1714-1785) was a German composer, cantor and organist. He was born in Rosenthal, Saxony, the son of a Lutheran pastor. His early education was in Dresden before he attended Leipzig University where he studied law. At the same time, he studied the organ with Bach. The rest of his life was spent in Dresden, initially as a church organist. After becoming cantor of another church he assumed responsibility for music direction in three other churches in that city.

A composer little known today was, in his time, considered to be one of the most important composers of church music in the generation after Johann Sebastian Bach. He is therefore a most interesting choice for Composer Focus, the Wednesday topic for Diversions in Fine Music.

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Naturally, then, he composed a great deal of sacred music which included a St Matthew Passion in the pre-classical style developed

by Carl Philipp Emanuel Bach. It is said that the St Matthew Passion is a worthy successor to that of Johann Sebastian Bach but, like the other music of Homilius, it is rarely heard.

He wrote more than ten Passion settings,

oratorios for Christmas and Easter, over 60 motets, more than 150 cantatas and other choral music. His organ compositions included chorales and preludes.

Although Homilius is not well-known today, his vocal music was extremely popular in the 19th century, even for a century after his death.

Philipp Spitta (1841-1894), German music historian, musicologist and biographer of J.S. Bach, wrote that these works are ‘among the most significant that the second half of the 18th century has to offer’. As a result a large number of copies of Homilius’ manuscripts survived and his music lives on. – ES The music of Gottfried Homilius can be heard in Diversions in Fine Music at 9am on Wednesday 14 February.

AMBROISE THOMAS’ HAMLET

JAMES NIGHTINGALE RECOUNTS ITS HISTORY

Nellie Melba as Ophelia Today the reputation of French composer Ambroise Thomas is decidedly mixed but before the end of the 19th century his opera Hamlet had been performed nearly 400 times.

Following on from the 1866 success of Mignon, Hamlet found a place in Parisian culture after

its premiere at the Paris Opéra 150 years ago on 9 March 1868. In the 20th century, Thomas’ operas fell out of favour with the exception of Mignon which has remained popular.

audiences would not appreciate this ending so he provided an alternative in which Hamlet dies after dispatching Claudius. Even that seems to be a little premature!

Thomas was a winner of the Prix de Rome from the Paris Conservatoire and he was the composer of more than 20 operas produced between 1837 and 1886. He went on to become Professor of Composition and later Director of the Paris Conservatoire.

His students included Jules Massenet and, despite his reputation as old-fashioned, he generally maintained warm relations with his colleagues who included Gabriel Fauré.

Thomas’ Hamlet is absolutely a work in the tradition of French Grand Opera, requiring vast vocal and orchestral forces, and dancers for the obligatory ballet sequence. The vocal writing features wonderful melodies and extraordinary vocal pyrotechnics. For this reason, Hamlet was a favourite of many exceptional singers, including Nellie Melba who sang the role of Ophelia for the American premiere at The Met. While Hamlet was not successful in New York, Melba clearly relished the part, using the Mad Scene from Act III as an encore to a touring production of Rigoletto in the USA.

While Hamlet initially met with great success in Paris, in English-speaking countries it was scorned. Those audiences failed to understand the nuances of French Grand Opera and were puzzled by omissions from Shakespeare’s play.

The librettists, Jules Barbier and Michel Carré, took many liberties with the text, the most heinous being the alteration of the conclusion in which Shakespeare’s final bloodbath is averted, leaving Hamlet alive while the chorus sings Long live Hamlet, our King. In fairness, Thomas anticipated that English-speaking

To mark the sesquicentenary of the premiere of Hamlet, we will be featuring this work in At the Opera in February with a very special recording which features Sherrill Milnes as Hamlet and Joan Sutherland as Ophelia.

Please join us for Thomas’ masterpiece, Hamlet, on Wednesday 21 February at 8pm.

LOVE AND DEATH

COLLEEN CHESTERMAN REVEALS AN OPERA’S DRAMA Richard Wagner’s opera Tristan und Isolde deals with an intense intermingling of Love and Death. One of the themes of the 2018 At the Opera programs is Died for Love and perhaps this opera, to be broadcast this month, does not fall easily into this theme.

The themes of love and death are intertwined in every scene. The love is initially repressed, but when released is transformative and overpowering. The lovers realise that their passion cannot be expressed in day, in light, so they seek the protection of night. Isolde at the end asks for only an hour, but even that is denied. Nonetheless she exults in her death as, in this, she is united with her love. Only by transcending life itself can these two realise the depths of their love. Isolde’s last great aria, the Liebestod (Love-Death) is a thrilling evocation of contrary emotions, passion and sorrow, and an acceptance of the unbridgeable gap between these feelings.

Isolde and Tristan meet after he kills her betrothed. They are attracted to each other but he is forced to bring

her as a bride to his uncle, King Mark. Isolde seeks a death potion from her maid who instead gives her a love potion. Isolde and Tristan are overwhelmed by their passion, but must repress it. They can meet only at night, but are discovered and Tristan is stabbed.

Tristan dies in Isolde’s arms and she dies while extolling his death.

The music of Tristan und Isolde is a powerful evocation of the contradictions in their lived experience. The first chord, known simply as ‘the Tristan chord’, has become the most

famous single chord in the history of music, although Wagner was not the first to use it. It contains within itself two dissonances, creating within listeners a double desire for resolution, of which we are unconscious. Even though one is resolved, one dissonance remains.

The yearning this produces underlies all three acts. The lovers are confused, about where they are, about the time, meeting only in the night, the dark which they extol. In this mysterious time they are able to unite, to feel their unity, to echo each other’s expressions of passion. Always the music expresses and heightens the desire. In the end, Isolde rejoices in dying, in ‘sinking, unconscious’. In this opera, Love is Death; only through this can the lovers, and their love, live eternally.

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Wagners’s Tristan und Isolde will be broadcast on Wednesday 28 February at 8pm.

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A FLAWED GENIUS RANDOLPH MAGRI-OVEREND DISCUSSES GLENN GOULD sometimes shocking interpretations (extreme tempos, odd dynamics, finicky phrasing), particularly in canonical works by Mozart, Beethoven and Brahms’.

In 1957 he became the first North American to embark on a tour of the Soviet Union since World War II. Vladimir Ashkenazy was present at some of the performances in Moscow and later related to the Gramophone magazine: “He was a sensation, of course, even though nobody knew him when he first arrived. His first concert was about half-full, but then the next one was sold out and that was quite incredible.

I also went to his performance for the students at the Conservatoire. He presented us with Alban Berg and Schoenberg, music which was never played in Russia at that time because the Communist Party forbade it. And that was sensational because all the students came and the directors of the Conservatoire didn’t know what to do. They couldn’t stop him!”

One of Gould’s great admirers was Leonard Bernstein (also tagged a genius) and it was their collaboration which led to the controversy behind their performance of Brahms’ D minor concerto on 6 April 1962 at Carnegie Hall.

Genius has a price! As well as the fame they bring upon themselves, many artists and composers pay a great price for the self-induced isolation which their art imposes on their social skills and ability to communicate. Some didn’t even bother. Look at Schumann and Elgar (depression), Beethoven (unrequited love), Berlioz (occasional addiction to narcotics), Sibelius (alcoholism) … and Glenn Gould.

Glenn Herbert Gould was born in Toronto, Canada, on 25 September 1932 to Russell and Florence Gold, who could trace her lineage to Edvard Grieg. From an early age young Glenn was encouraged by Florence to pursue a musical career. At the age of three he had perfect pitch and had learned to read music well before he could read words. At ten, he had an accident and his father built him an adjustable chair which Gould took everywhere with him when playing. At 12, he passed his final Conservatory examination and at 13 was performing with the Toronto Symphony.

Gould’s American debut was in 1955 and his first recording, for Columbia, came out the following year. By now he had developed a unique personality on stage which marked him not only as a genius on the piano keys, but as an eccentric for his choices in music and his 6

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lifestyle. He preferred late Romantic and early 20th century music and later added Bach and Schoenberg.

He insisted on playing 14 inches [about 36cm] above the floor, a technique which enabled him to play at a fast tempo while maintaining a clarity and evenness for each note. During recitals, the piano would be raised or lowered on wooden blocks. He’d also developed a clockwise motion when playing and would often hum as he played. It was about this time that he became a hypochondriac and started popping pills to relieve imaginary ailments. He was constantly trying to stay as warm as he could and, when he was recording, the heat had to be turned up to almost unbearable levels. He started wearing heavy clothing even in warm conditions including astrakhan hat and gloves. In fact he insisted on wearing gloves whenever he had to shake hands. He was once arrested for sitting on a park bench in Sarasota, Florida, presumably having been mistaken for a vagrant. He was also prone to cancelling performances at short notice.

According to Gould’s biographer and fellow Canadian, Kevin Bazzana, Gould believed that ‘the performer’s role was properly creative [and] he offered original, deeply personal,

Gould had pre-warned Bernstein that he had some new ideas about the concerto. It was to take the form of some tempi changes. After Gould arrived in New York, Bernstein later wrote: “[He] set forth three unbelievable tempi for the three movements. In the first place, they were so slow that the first movement alone took about as much time as it should take to play the whole concerto”.

“I did forewarn the orchestra about this,” Bernstein continued. “I said ‘Now don’t give up because this is a great man whom we have to take seriously’ … but they were wonderfully cooperative and went right along with it.” It was very tiring for the orchestra.

“After the rehearsal I asked [Gould] if he was still convinced about the ‘slowth’ of this piece,” Bernstein wrote, and Gould replied: “… more than ever; did you hear how wonderfully the tension built?”

With Gould’s permission, Bernstein also forewarned the Thursday night audience (see the insert for the full transcript of his talk).

“You could never get a ticket for Thursday night”. Bernstein added: “It was a chic night, the night to be there”, hoping against hope they wouldn’t desert the concert after the first movement. They didn’t, of course. “The house

Leonard Bernstein’s address to the audience: Don’t be frightened. Mr. Gould is here.

He will appear in a moment. I’m not, as you know, in the habit of speaking on any concert except the Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two.

You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto, a performance distinctly different from any I’ve ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms’ dynamic indications. I cannot say I am in total agreement with Mr. Gould’s conception and this raises the interesting question: “What am I doing conducting it?”

I’m conducting it because Mr. Gould is so valid and serious an artist that I must take seriously anything he conceives in good faith and his conception is interesting enough so that I feel you should hear it, too.

came down although, if I remember correctly, it took well over an hour to play. It was very exciting. I never loved him more.”

Controversy followed. Harold Schonberg, then the chief critic of the New York Times and a serial opponent of Bernstein (especially his podium ‘gymnastics’), wrote his infamous ‘gossip’ letter. “Dear Ossip, You vill nyever guess vat last night in Carnyegie Hall hhappent! You know what, Ossip? I think that even though the conductor made this big disclaimer, he should not be allowed to wiggle off the hook that easy. I mean, who engaged the Gould boy in the first place?

Who is the musical director? Somebody has to be responsible.” He finished with a swipe at Gould’s technique. The criticism travelled all around the world and, according to Bernstein, Gould never received the acclamation and reward his daring interpretation deserved.

In January 1966, the Legges (Elisabeth Schwarzkopf and husband Walter) were not as accommodating. Columbia had booked a recording studio in New York for three sessions where Schwarzkopf was due to record some Richard Strauss Lieder with Gould. From the outset Schwarzkopf had her reservations. “Gould began playing something

quasi-Straussian,” she wrote later. “We thought he was simply warming up, but no, he continued to play like that throughout the actual recordings … my husband and I were baffled … I always tried to be as accurate as possible.” Plus, of course ‘the studio was incredibly overheated’ and Gould refused to sit in on the day’s recordings.

On the second day a similar pattern occurred.

Schwarzkopf started to have misgivings.

For his part, Gould saw the collaboration as a meeting of like spirits although he later admitted they had different approaches to the use of rubato. Finally Walter Legge decided to call it a day and the third day was cancelled.

Gould retired from public appearances and began recording in a private studio in New York from 1970. In September 1982 he suffered a stroke and his father was forced to deprive him of his life support soon after. At the autopsy, doctors discovered that Gould did not show signs of the many ailments from which he thought he was suffering.

Hear this unusual concerto recording in Glenn Gould: The Schwarzkopf and Bernstein Tapes at 2.30pm on Monday 12 February.

But the age old question still remains: “In a concerto, who is the boss; the soloist or the conductor?” The answer is, of course, sometimes one, sometimes the other, depending on the people involved. But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance.

I have only once before in my life had to submit to a soloist’s wholly new and incompatible concept and that was the last time I accompanied Mr. Gould. [The audience roared with laughter at this.] But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it?

Why do I not make a minor scandal; get a substitute soloist, or let an assistant conduct? Because I am fascinated, glad to have the chance for a new look at this much-played work; because, what’s more, there are moments in Mr. Gould’s performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer, and finally because there is in music what Dimitri Mitropoulos used to call ‘the sportive element’, that factor of curiosity, adventure, experiment, and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto and it’s in this spirit of adventure that we now present it to you.

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A LIFE OF BEL CANTO

LAURA-JAY MATHISON WITH A MUSICAL LEGACY scarce. She also learned piano, theory, speech training, acting and voice production, which included a course on the treatment of damaged vocal chords.

Joan Sutherland Oil by Richard Stone When Nitta Caruso walked into a large house in Sydney’s eastern suburbs in the 1960s for singing lessons, she recalls a grand piano covered with photos, a divan scattered with faded decorative cushions and a diminutive lady seated at the piano. Nitta felt overwhelmed by the atmosphere of the home and the confidence exuded by this lady, but felt that she had found the right teacher at long last.

Despite her initial surprise at being told to ‘sing in one voice’, Nitta became one of the most talented students of Marianne Mathy-Frisdane (Madame Mathy), distinguished teacher of classical singing and former Professor of Music at the Sydney Conservatorium, whose death in 1978 (40 years ago this year) marked the start of her rich legacy of teaching the skill of bel canto singing, which Nitta continues to teach.

Madame Mathy was possibly the first, and one of the only, teachers in Australia to teach this skill. Born in1890 in Mannheim, Germany, her lawyer father loved music and often took his young daughter to concerts and operas.

Afterwards he would play the parts to her in their music room at home although he later discouraged her from pursuing a career on the stage, which she defied. She was first taught singing in her native Germany, although information about her teachers is

Madame Mathy eventually became famous for her interpretations of Lieder and was the first person in Germany to sing early English music, at the time unavailable in published form. She copied pieces by hand from the National Library in Berlin from Purcell’s original master scores, touring Germany singing these, and the music of Telemann, Rameau, Grétry and many others. Years later she brought the scores with her to Australia.

A coloratura soprano, Madame Mathy sang numerous recitals and performed as a soloist with leading chamber orchestras, winning the admiration of renowned singers, conductors and musicians of the day and being awarded the State Certificate Berlin, with honourable mention. She was also personally selected

by Mahler to sing at the world premiere of his Eighth Symphony.

In 1933 with the rise of Adolph Hitler, Madame Mathy came to be considered an ‘enemy Jew’ and had her public performances completely curtailed. She turned to teaching in her home, but even that was eventually stopped by authorities. Fortunately, she escaped Germany by travelling to England by invitation of Sir Thomas Beecham, whom she had met earlier that year in Germany.

Upon arrival in Australia in October 1939, Madame Mathy began work almost immediately on a recital with Hector Tinkler, which was a resounding success. Bruno Walter wrote of her ‘… the voice of Frau Mathy is especially suitable for broadcasting and gramophone records, owing to the special easiness with which it is treated’. Despite the success of the recital, the Australian government issued an edict forbidding

German to be sung or spoken. Madam Mathy’s English was not fluent enough then to allow her to carry on with her professional performances. Later, she was not even permitted to even enter broadcasting stations and had to obtain a weekly permit just to attend concerts. She again turned to teaching and taught at NIDA from 1959-1972 and at the Sydney Conservatorium for almost 13 years, going on to teach 15 winners of the Sun Aria competition including Joan Sutherland.

After Madam Mathy’s death, Nitta Caruso began teaching after being forced to give up a promising operatic career to care for her family.

Nitta has written a book on the subject, The Singing Athlete, and continues the bel canto skill which she was taught by Madame Mathy, expanding and consolidating it. She remembers Madame Mathy as a strict but kind teacher, who was selective about her students. “She was blunt”, Nitta says, “but also very kind and generous, and very intelligent.” Madame Mathy was gifted with the ability to recognise a voice type and Nitta (who also possesses this ability) says that this is fundamental to the bel canto skill and must be determined prior to training.

Nitta also teaches the ‘monovoice’ as opposed to the ‘three registers’ which was, and remains, widely taught to singing students despite the greater control and power achievable with the former, citing Enrico Caruso and Luciano Pavarotti as two of the finest exponents of this skill. In more than 30 years of teaching (including teaching this writer), she has used this technique to cure numerous throats, badly damaged mainly through singing in the incorrect range with inferior technique.

She uses a series of scales given to her by Madame Mathy to do so. Madame Mathy also emphasised the importance of physical wellbeing for the singer: a high protein diet and exercise, no alcohol, no smoking. Nitta also stresses this to her students. “She was a real artist,” Nitta says. “She gave me a gift.”

Madame Mathy’s legacy also continues through the Marianne Mathy Scholarship, established through her bequest and now part of the IFAC Handa Australian Singing Competition.

Finalists in the 2017 Australian Singing Competition may be heard in a concert recorded by Fine Music to be broadcast on Thursday 1 February at 8pm.

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OBSCURE (?) MUSIC

HIGHLIGHTING FOUR UNIQUE WORKS

Hans Krása There are some very knowledgeable people amongst us, some of whom are music experts in one or more fields. For most of us, however, some works seem obscure. Here’s a brief resumé of some to be broadcast this month.

Hands up if you know these musical works!

A jazz symphony is a jazz-influenced classical work by the American avant-garde composer, George Antheil. Written in 1925, it is scored for a large orchestra of winds, percussion, two banjos and three pianos. Gershwin and Copland praised the work which was one of the first classical works to be influenced by jazz. It is little known, having been overshadowed at the time by the more popular Rhapsody in blue

by Gershwin and Darius Milhaud’s La création du monde. (Monday 5 at 9am) Hans Krása’s Brundibár is a delightful children’s opera involving animals. The Jewish Czech composer first wrote the opera for a children’s orphanage and the title is from a Czech colloquialism for a bumblebee.

While the opera was in rehearsal, Krása

was transported to the Theresienstadt concentration camp. The opera was performed, but later all of the children and the set designer were sent to Theresienstadt.

Only the librettist, Adolf Hoffmeister, escaped.

Krása reconstructed the full score of the opera from memory and from the partial piano score which he had retained, adapting it to suit the musical instruments available in the camp: flute, clarinet, guitar, accordion, piano, percussion, four violins, a cello and a double bass. In September 1943, the new version of Brundibár premiered in Theresienstadt. The production was shown 55 times in the following year and was filmed for a Nazi propaganda film. Tragically, as soon as filming was finished all of the participants in the Theresienstadt production were herded into cattle trucks and sent to Auschwitz where most were gassed immediately upon arrival, including the composer Hans Krása. The delightful Brundibár is a snapshot of lost innocence.

(Wednesday 7 at 8pm) Alfredo Casella’s Symphony no 1 exudes a self-confidence few composers could match at the age of 23. Casella’s fondness for dark sonorities is evident in the stunningly imaginative orchestration. It is said that it is worth hearing for its desolate, poetic and gorgeous slow movement and its soaring, melodic finale. However, Casella wasn’t

satisfied with the symphony but didn’t want to waste the slow movement. He re-scored it and used it in his Second Symphony. What an opportunity to hear its beautiful melodies in two symphonies! (Wednesday 14 at 10.30am) It’s understandable if you don’t know American composer Ellen Zwilich’s Symphony no 1 which premiered in 1982. It is such an outstanding work that it was awarded the Pulitzer Prize for Music in 1983, making her the first female composer to win the prize. In this symphony she uses a technique common to many of her compositions where the large-scale work is elaborated from the initial material. It begins with a musical idea which contains the ‘seeds’ of the work.

In continuous variations she uses ‘older’ principles such as melodic and recurring pitch as well as clearly defined areas of contrast. (Sunday 25 at 8.30pm) If you are able to listen to these works, please let us know what you think of them: 9439 4777 or finemusicfm.com

Ellen Zwilich

OPERA TRIVIA 1. For what type of voice did Benjamin Britten write the role of Oberon in his Midsummer night’s dream?

2. Which opera ends with the words ‘the comedy is ended!’?

3. Three of Verdi’s operas contain a brindisi. What is a brindisi?

4. Can you name the three operas?

5. The opera The poisoned kiss, generally referred to as a romantic extravaganza, was written by which English composer?

6. In which language was Verdi’s opera The Sicilian Vespers originally written?

Find the answers on page 17.

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Thursday 1 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Paul Cooke Bach, J.S. Sonata no 3 in E, BWV1016.

Janine Jansen, vn; Jan Jansen, hpd.

Decca 478 5362 15 Strozzi, B. L’Eraclito amoroso, op 2 (1651).

Jane Edwards, sop; Marshall McGuire, hp; Erin Helyard, hpd.

Artworks AW033 7 Mozart, W. Allegro in B flat, K.Anh.91/K516c (1787). Martin Fröst, cl; Janine Jansen, vn; Boris Brovtsyn, vn; Maxim Rysanov, va; Torleif Thedéen, vc.

BIS BIS-1893 7 Boyd, A. Goldfish through summer rain (1996; arr. Lee, McGuire). Riley Lee, shakuhachi; Marshall McGuire, hp.

ABC 465 757-2 4 Bruch, M. Romance in F, op 85 (1911).

Janine Jansen, va; Gewandhaus O/Riccardo Chailly.

Decca 475 8328 8 Hindemith, P. Sonata (1939). Marshall McGuire, hp.

Artworks AW036 10 Helps, R. Quartet (1997). Janine Jansen, vn; Hartmut Rohde, va; Frank S. Dodge, vc; Daniel Blumenthal, pf.

Naxos 8.559199 26 10:30 CONCERT HALL Prepared by Paul Hopwood Méhul, E-N. Overture to La chasse du jeune Henri (1791). New Philharmonia O/Raymond Leppard.

Philips 446 569-2 11 Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). Jorge Bolet, pf; Montreal SO/ Charles Dutoit.

Decca 425 859-2 43 Borodin, A. Symphony no 2 in B minor (1869-76). Czecho-Slovak RSO/Stephen Gunzenhauser.

Naxos 8.550238 25

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 HOMAGE TO SPRING Prepared by Yola Center Vivaldi, A. Violin concerto no 1 in E, RV269, Spring (pub. 1725; arr. Loussier c1997).

Jacques Loussier Trio.

Telarc 83417 16 Schumann, R. Symphony no 1 in B flat, op 38, Spring (1841; orch. Mahler). Bergen PO/ Aldo Ceccato.

BIS CD-361 34 Mendelssohn, F. Spring song, op 71 no 2 (1845). Barbara Bonney, sop; Geoffrey Parsons, pf.

Teldec 2292-44946-2 3 Stravinsky, I. Ballet: The rite of Spring (1911-13). Royal Concertgebouw O/Mariss Jansons.

RCO Live RCO 08002 33 Copland, A. Appalachian Spring (1943-44).

Seattle SO/Gerard Schwarz.

Delos DE 3154 24 15:00 PIANIST COMPOSER Beethoven Prepared by Brian Drummond Beethoven, L. Sonata no 4 in E flat, op 7 (1796). Stephen Kovacevich, pf.

EMI 5 62700 2 26 Quartet no 6 in B flat, op 18 no 6 (17981800). Smithson String Quartet.

Harmonia Mundi RD 77029 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Finalists of the Australian Singing Competition in Concert Recorded by Greg Ghavalas for FINE MUSIC on 17 June 2017 This concert featured some of the finalists of the Australian Singing Competition which evolved from the Marianne Mathy Scholarship.

This scholarship was set up from a bequest in

the will of the eminent coloratura opera singer and teacher of opera and classical singing but the recipient of this scholarship was not represented at this concert.

The finalists who appeared in this concert were sopranos Sarah Ampil and Jessica Harper, counter-tenor Nicholas Tolputt, tenor Brad Cooper, baritone Sitiveni Talei. The accompanist was Bradley Gilchrist and the compère, bass-baritone Adrian Tamburini who also contributed with an aria.

It was recorded at Leichhardt Town Hall as part of the Inner West Festival, Musica Lirica, in the heart of the Italian community and it was appropriate that Italian was the language of the concert.

21:30 THE POWER OF ONE Prepared by Brian Drummond Dvorák, A. Quartet no 12 in F, op 96, American (1893). Simón Bolívar String Quartet.

DG 479 0429 27 22:00 MUSICAL PORTRAITS Father and daughter Prepared by Chris Blower Sullivan, A. Incidental music to Shakespeare’s Henry VIII (1877). Emmanuel Lawler, ten; RTE Concert Orchestra/Andrew Penny.

Marco Polo 8.223461 19 German, E. Morris dance; Shepherd’s dance; Torch dance, from Henry VIII (1891).

Northern Sinfonia/Richard Hickox.

EMI CDC 7 49933 2 8 Saint-Saëns, C. Ballet music from Henry VIII (1883). O Victoria/Guillaume Tourniaire.

Melba MR301130 6 Rossini, G. Overture to Elizabeth, Queen of England (1816). Prague Sinfonia O/Christian Benda.

Naxos 8.570933 7 Dowland, J. Queen Elizabeth, her galliard.

Nigel North, lute.

Naxos 8.570284 1 Korngold, E. Suite from Elizabeth and Essex (1939). London SO/André Previn.

DG 471 347-2 14 Vaughan Williams, R. The England of Elizabeth (1957). Chetham’s Chamber Choir; BBC PO/Rumon Gamba.

Chandos 10529(3) 24 Britten, B. Symphonic suite from Gloriana, op 53a (1954). Keiron Moore, ob; Osian Ellis, hp; London SO/Steuart Bedford.

Naxos 8.557196 27 February 2018

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Friday 2 FEBRUARY 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 BEETHOVEN VARIATIONS Prepared by Rex Burgess Beethoven, L. 15 Variations and a fugue in E flat on an original theme, op 35, Eroica (1802). Sviatoslav Richter, pf.

Olympia OCD 339 24 Quartet in A, op 18 no 5 (1800). Goldner String Quartet.

ABC 476 3541 32 Edward MacDowell 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 Saint-Saëns, C. Fantasy after Weber’s Oberon (1850). Philippe Graffin, vn; Pascal Devoyon, pf.

Helios CDH55353 16 Liszt, F. Hexaméron, after Bellini’s The Puritans (1837). William Wolfram, pf.

Naxos 8.572241 20 Servais, A-F. Grand fantasy, op 6, after Rossini’s The barber of Seville. Wen-Sinn Yang, vc; Munich RSO/Terje Mikkelsen. cpo 777 542-2 14 Beethoven, L. String quartet in F, after Piano sonata in E, op 14 no 1 (1802). Kodály Quartet.

Naxos 8.554592 12 Czerny, C. Brilliant fantasy no 3, after Schubert, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH 55074 18 10:30 CONCERT HALL Prepared by Chris Blower Gould, M. Soundings (1969). Louisville O/ Morton Gould.

Albany Records TROY 013-14 16 MacDowell, E. Piano concerto no 1 in A minor, op 15 (1882). Eugene List, pf; Vienna State Opera O/Carlos Chávez.

BMG Records MCD 80086 26 Beach, A. Symphony in E minor, op 32, Gaelic (1896). Detroit SO/Neeme Järvi.

Chandos CHAN 8958 41 12

Sonata no 32 in C minor, op 111 (1821-22).

Gerard Willems, pf.

ABC 465 077-2 28 14:30 DVORÁK AND THE SYMPHONY Prepared by Frank Morrison Smetana, B. From Bohemia’s woods and fields, from My country (1875). Polish National RSO/Antoni Wit. Naxos 8.550931 13 Saint-Saëns, C. Piano quartet in B flat, op 41 (1875). Quatuor Kandinsky.

FNAC 592315 28 Dvorák, A. Symphony no 5 in F, op 76 (1875). London SO/István Kertész.

Decca 417 597-2 41 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Nicky Gluch 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 Vaughan Williams, R. Oboe concerto in A minor (1944). Britten Sinfonia/Nicholas Daniel, ob & dir.

Harmonia Mundi HMU 807573 21 Elgar, E. Symphony no 2 in E flat, op 63 (1911). Royal Concertgebouw O/André Previn.

Radio Nederland RCO11004 49 Bernstein, L. Symphonic dances, from West Side story (1957). London SO/Michael Tilson Thomas.

DG 439 926-2 22 Schumann, R. Concert piece in F, op 86 (1849). American Horn Quartet; Sinfonia Varsovia/Dariusz Wisniewski.

Naxos 8.557747 17

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

22:00 BAROQUE AND BEFORE The food of love Prepared by Susan Bell Dufay, G. Three rondos: Since I cannot see; For a glance from your lovely eyes; I want to sing with joyful heart. Diabolus in Musica/ Antoine Guerber.

Alpha 116 9 Obrecht, J. I have taken love. Piffaro.

Archiv 457 609-2 5 Morley, T. Four madrigals: Stay heart, run not so fast; In every place; Besides a fountain; Fire and lightning. Members of Consort of Musicke/Anthony Rooley.

Decca 476 7227 8 Holborne, A. Madrigals: Muy Linda; Wanton; The sighes; The fruit of love, from My selfe (c1599). Paul O’Dette, lute, cittern; King’s Noyse/David Douglass.

Harmonia Mundi HMU 907238 7 Peerson, M. You little starres; And thou, O love; O love, thou mortall speare; If I by nature (pub. 1630). I Fagliolini; Fretwork.

Regent REGCD497 9 Telemann, G. Triple concerto in E. Jed Wentz, fl; Vienna Academy/Martin Haselböck.

Brilliant Classics 94104 17 Purcell, H. Sweeter than roses; If music be the food of love, from Pausanias (1695).

Emma Kirkby, sop; Catherine Mackintosh, vn; Richard Campbell, bass viol; Anthony Rooley, lute; Christopher Hogwood, spinet.

Decca 476 8216 7 Caldara, A. Cantata: There is no pain in love. Max Emanuel Cencic, ct; Karsten Erik Ose, rec; Christian Leitherer, chalumeau; Ornamente 99.

Capriccio 67 124 13 Couperin, F. Neuvième concert: Ritratto dell’ amore, from Nouveau concerts ou Les goûtsréunis (pub. 1724). Trio Sonnerie.

Harmonia Mundi HMT 7907081 20 Bach, J.S. Sonata no 3 in G minor, BWV1029, mvt 2 (1739-50). Daniel Yeadon, va da gamba; Neal Peres da Costa, hpd.

ABC 476 3394 5 Handel, G. I feel love pierce me with new arrows, from Partenope, HWV27 (1730). David Daniels, ct; O of the Age of Enlightenment/Harry Bicket.

Virgin 7243 5 45365 2 6 5

Saturday 3 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney

Poncielli, A. Concerto for flicorno basso.

Michael Colburn, euphonium; American Serenade Band/Henry Charles Smith.

Summit DCD 150 13 12:00 URBAN JAZZ LOUNGE with Leita Hutchings

9:05 PERIODS AND THEIR PEOPLE Early classical (c1760-1800) Prepared by Paul Cooke

13:00 TCHAIKOVSKY’S PROTEGÉ AND FRIEND Prepared by Rebecca Zhong

Jadin, H. Sonata in F, op 6 no 3 (pub. 1804).

Jean-Claude Pennetier, pf.

Harmonia Mundi HMC 901189 15

Taneyev, S. A prayer, from 12 Choruses, op 27 no 6 (1909). Moscow State Chamber Choir/Vladimir Minin.

DG 474 241-2 5

Mozart, W. Clarinet concerto in A, K622 (1791). Thea King, basset cl; English CO/ Jeffrey Tate.

Hyperion CDA20199 31 Haydn, J. Keyboard trio in F, Hob.XV:37 (1766). Beaux Arts Trio.

Philips 454 098-2 16 Vanhal, J. Symphony in E minor (c1760-62).

Toronto CO/Kevin Mallon.

Naxos 8.570280 15 10:30 MUSIC FOR SMALL FORCES Prepared by Brian Drummond Albéniz, I. Almería, from Iberia, bk 2 (190508). Trio Campanella.

Naxos 8.557064 8

Tchaikovsky, P. Romeo and Juliet duo: Do you not hear the nightingale? (1869; compl. and orch. Taneyev). Suzanne Murphy, sop; Keith Lewis, ten; Scottish NO. Chandos CHAN 8476 13 Taneyev, S. Overture to The Oresteia, op 6 (pub. 1897). Philharmonia O. Chandos CHAN 8953 18 Neeme Järvi, cond (2 above) Cantata: John of Damascus, op 1 (1884).

Russian State Symphonic SO & Cappella/ Valery Polyansky.

Chandos CHAN 9608 26

Barret, R. Fantasy on Donizetti’s Lucrezia Borgia (arr. Price). Bert Lucarelli, ob; Manhattan String Quartet.

Price-Less D 21062 10

Prelude and fugue in G sharp minor, op 29 (1910). Olga Solovieva, pf.

Naxos 8.557804 7

Saint-Saëns, C. Septet for trumpet, strings and piano, op 65. Sinfonia da Camera/Ian Hobson.

Arabesque Z 6570 17

Symphony no 4 in C minor, op 12 (1898).

Russian State SO/Valery Polyansky.

Chandos CHAN 9998 39

Martinu, B. Nonet for wind quintet, string trio and double bass (1959). Dartington Ensemble.

Hyperion CDD22039 17 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Ellington, D. The mooche. New York Trumpet Ensemble.

Summit DCD 113 3 Trad. The British Grenadiers. Band of the Grenadier Guards.

LP Decca SKLA 4562 1 De Curtis, E. Torna a Surriento. Philip McCann, cornet; Sellers Engineering Band/ Roy Newsome.

Chandos CHAN 4521 4 Karas, A. Theme from The third man.

Mexican Brass.

LP RCA CAS 949 3

15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Strauss, J. II Princess Ninetta. Operetta in three acts. Libretto by Hugo Wittmann and Julius Bauer. First performed Vienna, 1891.

NINETTA CAMPOCASSO: Tua Åberg, sop FERDINAND KNAPP: Fredrik Strid, ten ADELHEID MÖBIUS: Henrikka Gröndahl, sop BARON MÖRSBURG: Ola Eliasson, bar ANASTASIA KNAPP: Elin Rombo, sop PROSPER MÖBIUS: Göran Eliasson, ten CONSUL RÜBKE: Samuel Jarrick, bar CASSIM PASCHA: Jesper Taube, bar Ninetta Ch; Stockholm Strauss O/Valéria Csányi.

Naxos 8.660227-28 1:43

17:30 STAGING MUSIC Prepared by Angela Cockburn Romeo and Juliet, part 2 18:00 SOCIETY SPOT Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm 20:00 INFLUENCES AND CONNECTIONS Louis Spohr Prepared by Paul Cooke Mozart, W. Quintet in A, K581 (1789). Thea King, cl; Gabrieli String Quartet.

Hyperion CDA20199 33 Cherubini, L. Symphony in D (1815). Tuscan O/Donato Renzetti.

Europa 350-221 29 Bach, J.S. Erbarme dich, from St Matthew Passion, BWV244 (c1727). Sally-Anne Russell, cont; O of the Antipodes/Antony Walker.

ABC 476 118-3 6 Wagner, R. Overture to The flying Dutchman (1841). Munich PO/Hans Knappertsbusch.

DG 479 1148 12 Spohr, L. Quintet no 6 in E minor, op 129 (1845). Sándor Papp, va; Haydn Quartet, Budapest.

Marco Polo 8.223598 28 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Halvorsen, J. Bergensiana (1921). Bergen PO/Neeme Jarvi.

Chandos CHAN 10664 10 Donizetti, G. String quartet no 11 in C (1821).

Revolutionary Drawing Room. cpo 999 279-2 17 Brahms, J. Four songs for women’s choir, two horns and harp, op 17 (1860). RIAS Chamber Choir; Stefan Jezierski, hn; Manfred Klier, hn; Marie-Pierre Langlamet, hp; Marcus Creed, cond.

Harmonia Mundi HMC 901592 15

Synopsis at finemusicfm.com/Opera

Berlioz, H. Harold in Italy, op 16 (1834).

Robert Vernon, va; Cleveland O/Lorin Maazel.

Decca 480 6621 40

The blue Danube (orch. Désormière 1924).

Berlin RSO/Paul Strauss.

DG 477 5349 29

Stravinsky, I. Ballet: Apollon musagète (1928). Columbia SO/Igor Stravinsky.

Sony SM3K 46 291-302 29 February 2018

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Sunday 4 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Di Cox Bach, J.S. Cantata, BWV82: Ich habe genug (1727). Lorraine Hunt Lieberson, mezz; O of Emmanuel Music/Craig Smith.

Nonesuch 79692-2 32 Du Mont, H. In nativitate Domini ad matinum. Les Petits Chanteurs de Saint-François de Versailles.

Jade JACD 004 9 Sweelinck, J. Te Deum laudamus.

Netherlands Chamber Choir; Bernard Winsemius, org; Peter Phillips, cond.

BFO Centre Netherlands Music A 3 12 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Boyce, W. Overture to Birthday ode for George III (1768). Hanover Band/Graham Lea-Cox. ASV GAU 176 8 Cambini, G. Piano concerto in B flat, op 15 no 1 (c1780). Franco Redondi, pf; Milan CO/ Paolo Vaglieri.

Nuova Era 7059 15 Cannabich, C. Symphony no 49 in F, op 10 (pub. 1772). Nicolaus Esterházy Sinfonia/ Uwe Grodd.

Naxos 8.554340 13 Ries, F. Sextet, op 142. Dieter Klöcker, cl; Karl Hartmann, bn; Nury Guarnaschelli, hn; Wolfgang Güttler, db; Edward Witsenburg, hp; Werner Genuit, pf.

Schwann 310 001 H1 20 Clementi, M. Piano trio, op 21 no 1 (pub.

1788). Trio Fauré.

Dynamic CDS 93 13 Weber, C.M. Quintet in B flat, op 34 (1815).

Gervase de Peyer, cl; Melos Ensemble.

EMI 5 65995 2 24

Brahms, J. Sonata no 1 in G, op 78 (187879). Isabelle Faust, vn; Alexander Melnikov, pf.

Harmonia Mundi HMX 2908401.08 27 Tournier, M. What the autumn rain sings.

Jutta Zoff, hp.

Berlin 0012902BC 4 Samuels, D. Night rain. Dave Samuels, vibraphone; Synergy.

Tall Poppies TP030 7 15:00 SUNDAY SPECIAL Master key: A flat major Prepared by James Nightingale Bach, J.S. Prelude and fugue in A flat, BWV886 (1738-42). Angela Hewitt, pf.

Hyperion CDA67741/4 8 Schumann, R. Adagio and allegro in A flat, op 70 (1849). Lin Jiang, hn; Benjamin Martin, pf.

Melba MR 301116 8

Bach, J.S. Prelude and fugue in A minor, BWV894. Trevor Pinnock, hpd.

DG 479 1915 10 Glière, R. Prelude in D, op 30 no 5 (1907).

Amir Tebenikhin, pf.

Danacord DACOCD 729 3 Villa-Lobos, H. Prelude no 1 in E minor, from Five preludes. Pepe Romero, gui.

Decca 478 5669 5 Brahms, J. Prelude and fugue in A minor, WoO9 (1856). Peter Planyavsky, org.

DG 479 1965 6 Godowsky, L. Prelude and fugue for the left hand alone (1930). Konstantin Scherbakov, pf.

Naxos 8.225350 6 Rachmaninov, S. Prelude in G sharp minor, op 32 no 12. Tamara Smolyar, pf.

Move MD3372 2

Shostakovich, D. Quartet no 10 in A flat, op 118 (1964). Emerson String Quartet.

DG 463 284-2 22

Rachmaninov, S. Preludes, op 23 (1901-03): nos 4, 5 and 6 . Xiayin Wang, pf.

Chandos CHAN 10816 11

Beethoven, L. Sonata no 31 in A flat, op 110 (1821-22). Dejan Lazic, pf.

Channel Classics CCS SA 30511 18

19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews

Hummel, J. Piano concerto no 5 in A flat, op 113 (1827). London Mozart Players/Howard Shelley, pf & dir.

Chandos CHAN 9558 30 17:00 HOSANNA Prepared by Stephen Matthews Klein, B. I lift my eyes to you; The Lord is my shepherd I shall not want. 8

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

Eccard, J. When to the temple Mary went.

Choir of St Paul’s Cathedral; Huw Williams, org; John Scott, cond.

Brilliant Classics 94365/4 4

Debussy, C. Jardins sous la pluie, from Estampes (1903). Joyce Yang, pf.

Avie AV2229 4

Skryabin, A. Prelude in C, op 13 no 1 (1895).

Vladimir Sofronitzky, pf.

Brilliant Classics 9241 2

Reger, M. Prelude and fugue in D minor.

Christian Barthen, org.

Naxos 8.572909 6

Fauré, G. Ave Maria. 2

14:00 THE SOUND OF RAIN Prepared by Mariko Yata

18:00 PRELUDES Prepared by Denis Patterson

Haydn, J. Keyboard trio in A flat, Hob.XV:14 (1790). Beaux Arts Trio.

Philips 454 098-2 22

Haydn, M. Symphony in G (1783). London Mozart Players/Matthias Bamert.

Chandos CHAN 9352 16

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

14

McDowall, C. Rain, steam and speed (2006).

Ulster O/George Vass.

Dutton Epoch CDLX 7292 10

Taipei Male Choir/Frieder Bernius (2 above) Carus 2.602/99

Bach, W.F. Harpsichord concerto in A minor (1733). Harmonices Mundi/Claudio Astronio, hpd & dir.

Brilliant Classics 9407 15 Telemann, G. Orchestral suite in D (1735).

Camerata Koln/Michael Schneider.

DHM 88985433232-17 22 Mozart, W. Serenade in D, K203. Mozart Ensemble, Amsterdam/Jaap Schröder.

Seon-Sony 88725463962 15 Schneider, G. Sinfonia concertante in D. Academy of St Martin in the Fields/Iona Brown.

EMI 747 98 10 25 20:30 NEW HORIZONS Prepared by Calogero Panvino

Bach, J.S. Ich habe genug. Tölz Boys Choir.

DHM GD77150 8

Górecki, H. String quartet no 2, op 64, Quasi una fantasia (1990-91). Kronos Quartet.

Nonesuch 7559-79319-2ZK 32

Excerpts from Cantata for the feast of the purification, BWV82. Holland Boys Choir; Netherlands Bach Collegium/Pieter Leusink.

Brilliant Classics 94365/22 18

Carter, E. Scrivo in vento (1991). Laura Chislett, fl.

ABC 446 738-2 5

Ingi, H. Nunc dimittis. Schola Cantorum/ Hordur Askelsson.

BIS BIS-2200 3

Radulescu, H. String quartet no 4. Arditti Quartet.

RZ 4002 49

Grace, H. Resurgam. Stephen Cleobury, org.

King’s College KGS0020 5

22:00 AFTER HOURS JAZZ with Kevin Jones

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

Monday 5 FEBRUARY Dukas, P. Symphony in C (1895-96). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9225 41 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 Norman Del Mar 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: 1925 Prepared by Di Cox Turina, J. The toreador’s prayer, op 34 (1925). Suisse Romande O/Jésus LópezCobos.

Decca 433 905-2 7 Poulenc, F. Napoli (1925). Pascal Rogé, pf.

Decca 460 329-2 11 Antheil, G. A jazz symphony (1925).

Ivan Davis, pf; New Palais Royale O and Percussion Ensemble/Maurice Peress.

Nimbus NI 2567 13 Vaughan Williams, R. Flos campi (1925).

Bournemouth Sinfonietta Choir; Frederick Riddle, va; Bournemouth Sinfonietta/Norman Del Mar. Chandos CHAN 8374 21 Roussel, A. Divertissement for wind quintet and piano, op 6 (1925). Daniel Wiesner, pf; members of Czech Nonet.

Praga Da Camera PRD 350 018 6

Couperin, F. Concert royal no 1 in G (171415). Heinz Holliger, ob; Manfred Sax, bn; Josef Ulsamer, va da gamba; Christiane Jaccottet, hpd.

Archiv 427 119-2 12 Onslow, G. Variations on God save the king, from Quartet in G minor, op 9 no 1. Coull String Quartet.

ASV DCA 808 10

14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Chabrier, E. Overture to Gwendoline (1885).

Vienna PO/John Eliot Gardiner.

DG 447 751-2 9 Saint-Saëns, C. Piano concerto no 3 in E flat, op 29 (1869). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 26 Ravel, M. Pavane pour une infante défunte (1910). Lyon NO/Leonard Slatkin.

Naxos 8.572887 7 Castelnuovo-Tedesco, M. Guitar concerto no 1 in D, op 99 (1939). Eduardo Fernández, gui; English CO/Miguel Gómez-Martínez.

Decca 455 364-2 20 Granados, E. Suite orientale (1888-89).

Barcelona SO/Pablo González.

Naxos 8.573265 16

Elgar, E. Sonata in E minor, op 82 (1918).

Marcia Crayford, vn; Ian Brown, pf.

Hyperion CDA66645 25

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

Poulenc, F. Suite française. Swedish Saxophone Quartet.

Chamber Sound CSCD 96015 13

19:00 JAZZ PULSE with Chris Wetherall

Debussy, C. Golliwog’s cake-walk, from Children’s corner (1906-08; arr. Groningen Guitar Duo). Groningen Guitar Duo. Ottavo OTR C49135 3 Saint-Saëns, C. Septet in E flat, op 65 (1881). David Guerrier, tpt; Renaud Capuçon, vn; Esther Hoppe, vn; Beatrice Muthelet, va; Gautier Capuçon, vc; Janne Saksala, db; Frank Braley, pf.

EMI/Virgin 5 45602 2 16

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

“His [Mario Casteluovo Tedesco’s] enchanting Guitar Concerto, which he wrote in 1939, was first played by the great Segovia and popularised by him over the next 20 years.”

– Neville Garden

CONTINUING PROGRAM SERIES Rossini 150: At the Opera, Tancredi: Wednesday 14 at 8pm

Respighi, O. Rossiniana (1925). Vienna FO/ Antonio Janigro.

Vanguard 08 9001 71 22

Dvorák and the Symphony prepared by Frank Morrison: Friday 2, 16 at 2.30pm

10:30 CONCERT HALL Prepared by Denis Patterson

Musical Families prepared by Jennifer Foong: Tuesday 6, 20 at 2pm

Sarasate, P. de Carmen fantasy, op 25 (c1883). Gil Shaham, vn; Castille and León SO/Alejandro Posada.

Canary CC07 12

PROGRAMS NOT TO BE MISSED

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

ABC 481 0189 27

Sunday Special, Master Key prepared by Anne Irish and James Nightingale: Sunday 4 at 3pm Died for Love: At the Opera, Tristan und Isolde (Wagner): Wednesday 28 at 8pm

Busoni Explored: Wednesday 7, 14, 21, 28 at 3pm Ballet: Swan Lake (Tchaikovsky): Saturday 10 at 3pm Ballet: Romeo and Juliet (Prokofiev): Saturday 24 at 3pm

February 2018

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Tuesday 6 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Randolph Magri-Overend Grieg, E. Holberg suite, op 40 (1884). Gerard Willems, pf.

ABC 481 1702 19 Mozart, W. Trio no 6 in G, K564 (1788).

Robert Ingram, vn; Georg Pedersen, vc, Gerard Willems, pf.

Tall Poppies TP070

34

Grieg, E. Peer Gynt suite no 1, op 46 (187475). Gerard Willems, pf.

ABC 481 1702 13 Schubert, F. Rondo in B minor, D895, Rondo brillant (1826). Isaac Stern, vn; Daniel Barenboim, pf.

Sony SM2K 64528 16 Liszt, F. Après une lecture du Dante, fantasia quasi sonata, from Years of pilgrimage, bk 2 (1837-49). Daniel Barenboim, pf.

Teldec 9031 77340-2 16 10:30 CONCERT HALL Prepared by Paul Hopwood Chadwick, G. Overture: Melpomene (1887).

Czech State PO/José Serebrier.

Reference Recordings RR-64 13 Haydn, J. Violin concerto no 1 in C, Hob. VIIa:1 (1769). Arthur Grumiaux, vn; English CO/Raymond Leppard.

Philips 426 977-2 18 Elgar, E. Symphony no 2 in E flat, op 63 (1911). Scottish NO/Alexander Gibson.

Chandos CHAN 6523 52 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 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore Highlights and previews of the month’s concerts including interviews with the key players 16

Barthold, Sigiswald and Wieland Kuijken with Robert Kohnen 14:00 MUSICAL FAMILIES Kuijken brothers Prepared by Jennifer Foong Telemann, G. Suite no 6 in D minor. Barthold Kuijken, fl; Sigiswald Kuijken, vn; Wieland Kuijken, vc; Robert Kohnen, hpd.

Accent ACC 58019D 16 Sainte-Colombe, A. Concert no 44, Tombeau les regrets. Wieland Kuijken, bass viol; Jordi Savall, bass viol.

Astrée E 7729 7 Rossi, L. Cantata: Quando spiega la notte?

Judith Nelson, sop; Wieland Kuijken, bass va da gamba; William Christie, org.

LP Harmonia Mundi HM 1010 7 Lawes, W. Consort no 10 in G minor.

Sigiswald Kuijken, vn; Wieland Kuijken, bass viol; Toyohiko Satoh, theorbo; Edward Witsenburg, hp; Gustav Leonhardt, hpd.

RCA GD 71954 10 Bach, J.S. Sonata in G, BWV1027 (c1720).

Wieland Kuijken, va da gamba; Gustav Leonhardt, hpd.

Harmonia Mundi GD77044 14 Hotteterre, J-M. Preludes. Frans Brüggen, rec; Barthold Kuijken, fl; Bruce Haynes, ob; Wieland Kuijken, treble viol.

LP RCA RL 30425 5 Jenkins, J. Fantasia in G minor. Sigiswald Kuijken, vn; Wieland Kuijken, va da gamba; Robert Kohnen, hpd.

Accent ACC 10014 6 Caldara, A. Cantata: Vicino a un rivoletto.

René Jacobs, ct; Sigiswald Kuijken, vn; Anner Bijlsma, vc; Gustav Leonhardt, hpd.

LP RCA RL 30417 23

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

Simpson, C. Divisions on a ground in E minor. Sigiswald Kuijken, bass viol; Robert Kohnen, hpd.

Accent ACC 10014 7 Leclair, J-M. Sonata in D, op 2 no 8 (pub. c1723). Barthold Kuijken, fl; Robert Kohnen, hpd.

Accent ACC 58436 D 10 Wieland Kuijken, bass viol (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 Weigl, J. Concertino. Hans Wolfgang Dünschede, fl; Günter Zorn, ob; Dieter Klöcker, cl; Karl Hartmann, bn; Wolfgang Güttler, db; Edward Witsenburg, hp.

Schwann 310 001 H1 20 Rheinberger, J. Suite, op 149. Paul Barritt, vn; Richard Lester, vc; Christopher Herrick, org.

Hyperion CDA66883 33 Mozart, W. Sonata in A minor, K310 (1778).

Mitsuko Uchida, pf.

Philips 422 115-2 22 Brahms, J. String sextet no 2 in G, op 36 (1866). Yehudi Menuhin, vn; Robert Masters, vn; Cecil Aronowitz, va; Ernst Wallfisch, va; Maurice Gendron, vc; Derek Simpson, vc.

EMI 5 74956 2 37

Wednesday 7 FEBRUARY 12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses 13:00 AN HOUR WITH SCHUBERT Prepared by Derek Parker Schubert, F. Theme and variations, from Piano quintet in A (1819). Seraphim Trio.

ABC 481 2236 7

Ingrid Haebler 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 Emyr Evans Brahms, J. Academic festival overture, op 80 (1880). Vienna PO/Leonard Bernstein.

DG 410 031-2 10 Alto rhapsody, op 53 (1869). Janet Baker, mezz; John Aldis Choir; London PO/Adrian Boult.

EMI 5 62791 2 12 Sonata no 3 in D minor, op 108 (1886-88).

Maxim Vengerov, vn; Daniel Barenboim, pf.

Teldec 0630-17144-2 22 Four serious songs, op 121 (1896). Hans Hotter, bar; Gerald Moore, pf.

EMI 5 62807 2 17 Trio no 3 in C minor, op 101 (1886). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI 7 54725 2 21 10:30 CONCERT HALL Prepared by Gerald Holder Wagner, R. Siegfried idyll (1870). Berlin PO/ James Levine.

DG 469 804-2 18 Mendelssohn, F. Double concerto no 1 in E (1823). Stephen Coombs, pf; Ian Munro, pf; BBC Scottish SO/Jerzy Maksymiuk.

Hyperion CDA66567 30 Haydn, J. Symphony in D, Hob.I:31, Hornsignal (c1765). St Luke’s O/Charles Mackerras.

Telarc 80156 34

Sonata in A minor, D537 (1817). Ingrid Haebler, pf.

Decca 478 5859 21 Piano trio in B flat, D28 (1812). Beaux Arts Trio.

Philips 438 700-2 8 Impromptu in C minor, D899 no 1 (1827).

Barbara Moser, pf.

Gramola 98774 8 Notturno in E flat for piano trio, D897 (c1828).

Seraphim Trio.

ABC 476 4741 9 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 BUSONI EXPLORED Part 1 Prepared by Michael Morton-Evans Busoni, F. Sonata in C (1876). Cristiano Rossi, vn; Marco Vincenzi, pf.

Dynamic CDS 87 12 Es stand in alten Zeiten, from Des Sängers Fluch, op 39 (1878). Martin Bruns, bar; Ulrich Eisenlohr, pf.

Naxos 8.5572245 18 Étude en forme de variations (1883).

Naxos 8.555699 9 First ballet scene, op 6 (1883).

Naxos 8.570249 4 Sonata in F minor, op 20, mvt 1 (1883).

Naxos 8. 572077 9 Wolf Harden, pf (3 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by James Nightingale Krása, H. Brundibár. Opera in two acts.

Libretto by Adolf Hoffmeister, adapted into English by Tony Kushner. First performed Terezin, 1943.

PEPÍCEK: Ross Hauck, ten ANINKU: Mauren McKay, sop BRUNDIBÁR: Morgan Smith, bar SPARROW: Holly Boaz, sop CAT: David Korn, ten DOG: Auston James, ten Northwest Boychoir; Music of Remembrance/ Gerard Schwarz.

Naxos 8.570119 31 Synopsis at finemusicfm.com/Opera Janácek, L. The Makropulos Affair. Opera in three acts. Libretto by the composer after the comedy by Karel Capek. First performed Brno, 1926.

EMILIA MARTY: Elizabeth Söderström, sop ALBERT GREGOR: Peter Dvrosky, ten Vienna State O Ch; Vienna PO/Charles Mackerras.

Decca 430 372-2 1:35 Synopsis at finemusicfm.com/Opera The ballad of Blaník. BBC Scottish SO/Ilan Volkov.

Hyperion CDA67517 8 22:30 ACCESSIBLE MODERNISM Prepared by Albert Gormley Pärt, A. Cantus in memoriam Benjamin Britten (2012). English CO/Nigel Short.

Decca 480 6386 6 Zwilich, E. Images (1986). Read Gainsford, pf; Heidi Louise Williams, pf. 18 Millennium fantasy (2000). Jeffrey Biegel, pf. 20 Florida State University SO/Alexander Jiminez (2 above) Naxos 8.559656 Tavener, J. The protecting veil (1987).

France Springuel, vc; I Fiamminghi/Rudolf Werthen.

Telarc 80487 39 Opera Trivia Answers: 1 Counter-tenor 2 Pagliacci 4 3 A drinking song 4 Macbeth, La traviata, Otello 5 Ralph Vaughan Williams 6 French February 2018

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Thursday 8 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Janácek, L. Mládi for wind sextet (1924).

Sue Newsome, bass cl; Sydney Omega Ensemble/David Rowden. 18

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

Mozart, W. Quartet in F, K370 (1781). Bruce Nelson, ob; Marina Marsden, vn; Justine Wickham, va; Georg Pedersen, vc. 16

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Emyr Evans

Devienne, F. Bassoon quartet in C, op 73 no 1 (c1800). Sydney Omega Ensemble. 14

Schumann, R. Violin concerto in D minor (1853). Cleveland O/Christoph von Dohnányi.

Decca 444 811-2 28 Mozart, W. Adagio in E, K261 (1776). English CO/Peter Maag.

Decca 436376-2 9 Joshua Bell, vn (2 above) Bach, J.S. Double concerto in C minor, BWV1060 (1723). Harold Gomberg, ob; New York PO/Leonard Bernstein.

Sony SMK 66 471 17 Bartók, B. Violin sonata no 2 (1922).

Alexander Zakin, pf.

Sony SMK 64535 20 Beethoven, L. Piano trio in B flat, WoO39 (1812). Leonard Rose, vc; Eugene Istomin, pf.

Sony SM2K 64513 6 Isaac Stern, vn (3 above) 10:30 CONCERT HALL Prepared by James Nightingale Bax, A. Overture, elegy and rondo (1927).

Slovak PO/Barry Wordsworth.

Marco Polo 8.223102 24 Benjamin, A. Concertino (1927). Lamar Crowson, pf; London SO/Arthur Benjamin.

Everest EVC 9029 15 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). CO of Europe/Nikolaus Harnoncourt.

Teldec 2292-46452-2 44 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 FEATURING THE WINDS Prepared by Brian Drummond Milhaud, D. Suite: Scaramouche, op 165c (1937; arr. Milhaud for wind sextet). Nicholas Russoniello, sax; Sydney Omega Ensemble/ David Rowden. 10 Haydn, J. Flute quartet in G, op 5 no 2. Australian Haydn Ensemble/Skye McIntosh. 12 18

Fine Music concert recordings (all above)

21:30 DAWN UPSHAW AND FRIENDS Prepared by Gael Golla Purcell, H. Lord, what is man (1693). Myron Lutzke, vc; Arthur Haas, keyboard.

Nonesuch 7559-79605-2 6 Menotti, G. What a curse for a woman is a timid man, from The old maid and the thief (1939). St Luke’s O/David Zinman.

Nonesuch 979 187-2 4

Nelegatti, C. Tres temas Argentinas. Virginia Taylor, fl; Timothy Kain, gui.

Move MCD 454 9

Weill, K. Je ne t’aime pas (1934). Margo Garrett, pf.

Musicmasters 7045-2-C 5

14:30 ANDRÉ PREVIN, CONDUCTOR Prepared by Gael Golla

Distler, H. Es ist ein Ros entsprungen.

Chanticleer/Joseph Jennings.

Teldec 8573-85555-2 10

Liszt, F. Piano concerto no 1 in E flat (1849/53/56). Horacio Gutierrez, pf.

EMI CDM 1 66431 2 19 Britten, B. Four sea interludes, from Peter Grimes, op 33a (1945).

EMI CDC 7 47667-2 16 Villa-Lobos, H. Guitar concerto (1951).

Julian Bream, gui.

RCA 6525-2-RG 18 Elgar, E. Cello concerto in E minor, op 85 (1918-19). Yo-Yo Ma, vc.

CBS M2K 44562 29 London SO/André Previn (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Ironwood Prepared by Jennifer Foong Purcell, H. Overture, from The Indian Queen (1695).

ABC 476 4997 2 Anon. Air varié pour corno. Anneke Scott, hn.

ABC 481 1244 10 Cavalli, F. I live for you ... sweetest kisses, from La Calisto (1651-52). Fiona Campbell, mezz; David Walker, ct.

Vexations 840 840-1101 5 Bach, J.S. Concerto in D, BWV1053 (173540; reconstr. Mehl). Diana Doherty, ob d’amore.

ABC 476 3673 20 Brahms, J. Piano quintet in F minor, op 34 (1864).

ABC 481 4686 43 Ironwood/Neal Peres da Costa (all above)

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

Dawn Upshaw, sop (all above) 22:00 MUSICAL PORTRAITS Shakespeare’s fairies and a spirit of the air Prepared by Elaine Siversen Mendelssohn, F. Excerpts from Incidental music to A midsummer night’s dream, op 61 (1842). Jennifer Vyvyan, sop; Marion Lowe, sop; Female Ch of the Royal Opera House; London SO/Peter Maag.

Decca 478 2826 29 Thomas, A. Oui, pour ce soir je suis reine des fées ... Je suis Titania, from Mignon (1866). Beverly Sills, sop; Ambrosian Opera Ch; Royal PO/Charles Mackerras.

Decca 467 906-2 6 Liszt, F. Overture to Oberon, after Weber (1843). Leslie Howard, pf.

Hyperion CDS44541 9 Saint-Saëns, C. Fantasy after Weber’s Oberon (1850). Philippe Graffin, vn; Pascal Devoyon, pf.

Helios CDH55353 16 Sibelius, J. Ariel’s songs, from incidental music to The tempest, op 109 (1925). Monica Groop, mezz; Opera Festival Ch; Finnish RSO/Jukka-Pekka Saraste.

Ondine ODE 1108-2 7 Duncan, E. Ariel. Peter Neville, timp; Danae Killian, pf.

Move MD 3320 6 Martin, F. Songs of Ariel, from Shakespeare’s The tempest. Carol Platt, sop; Laura Inman, sop; Cassandra Ewer, sop; Janet Carlsen Campbell, cont; Jacob W. Herbert, bar; Phoenix Bach Choir/Charles Bruffy.

Chandos CHAS 503 11 Dean, B. Ariel’s music (1995). Paul Dean, cl; Melbourne SO/Markus Stenz.

ABC 476 160-6 25

Friday 9 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

Arne, T. The soldier tir’d, from Artaxerxes (1762). Joan Sutherland, sop; Philomusica of London/Granville Jones.

Decca 475 6302 4

Bach, J.S. Orchestral suite no 2 in B minor, BWV1067 (c1739). Amsterdam Baroque O/ Ton Koopman.

Erato 0630-17868-2 19

Dussek, S. Sonata (c1793). Judy Loman, hp.

Naxos 8.554347 7

Schumann, C. Piano concerto in A minor, op 7 (1835-36). Angela Cheng, pf; Women’s PO/ JoAnn Falletta.

Koch 3 7169 2H1 22

9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower

Wesley, S. String quartet in E flat. Salomon Quartet.

Hyperion CDA66780 22

Vivaldi, A. Concerto in C, RV425 (arr.

Behrend). Craig Ogden, gui; Alison Stephens, mand.

Chandos CHAN 9780 8

Attwood, T. Ellen’s song: Ave Maria (c1810).

Invocation/Timothy Roberts.

Hyperion CDA66740 6

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

LDR CD 1006 19 Martinu, B. Variations on a theme of Rossini (1942; arr. Loeb 2014). Livia Sohn, vn; Geoff Nuttall, va; Benjamin Loeb, pf.

Naxos 8.573403 8 Strauss, R. Till Eulenspiegel’s merry pranks, op 28, Till with a difference (1894-95; arr.

Hasenöhrl 1954 for chamber ensemble).

Nigel Westlake, cl; Robert Johnson, hn; Gordon Skinner, bn; Dene Olding, vn; Max McBride, db.

Fine Music concert recording 8 Beethoven, L. String quintet in A (arr. from Sonata no 9, op 47 Kreutzer). L’Archibudelli.

Sony SK 48076 36 10:30 CONCERT HALL Prepared by Di Cox Berlioz, H. Overture: Rob Roy (1831).

Scottish NO/Alexander Gibson.

Chandos CHAN 8316 13 Arensky, A. Violin concerto in A minor, op 54 (1891). Sergei Stadler, vn; Leningrad PO/ Vladislav Chernushenko.

Melodiya MA 3014 23 Mozart, W. Serenade no 9 in D, K320, Posthorn (1779). Capella Istropolitana/Martin Turnovsky.

Naxos 8.550092 43 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MUSIC FROM THE INDUSTRIAL REVOLUTION Prepared by Gael Golla Field, J. Quintet in A flat (1815). David Juritz, vn; Jennifer Godson, vn; Sarah-Jane Bradley, va; Julia Desbruslais, vc; Míceál O’Rourke, pf.

Chandos CHAN 9534 11

Clementi, M. Piano trio, op 22 no 2 (pub.

1788). Trio Fauré.

Dynamic CDS 93 10 Cooke, B. Epitaph on a dormouse.

Gentlemen Songsters.

Conifer TQ 158 3 Shaw, T. Violin concerto in G. Elizabeth Wallfisch, vn; Parley of Instruments/Peter Holman.

Helios CDH55260 14 14:30 THE POWER OF ONE Prepared by Brian Drummond Ravel, M. Trio (1914). Eeva Koskinen, vn; Jean Decroos, vc; Danièle Dechenne, pf.

Ottavo OTR C28922 26 15:00 ROME Prepared by Rex Burgess Berlioz, H. Overture: Roman carnival, op 9 (1844). Montreal SO/Charles Dutoit.

Decca 452 480-2 9 Petit, P. Suite: Rome, l’unique objeto (c1946).

Arabella Teniswood-Harvey, pf.

Move MD 3410 13 Bizet, G. Roma symphony (1869). Munich RO/Lamberto Gardelli.

Orfeo C 184 891 A 33 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Katy Rogers-Davies Korngold, E. Violin concerto in D, op 35 (1945). Philippe Quint, vn; Mineria SO/Carlos Miguel Prieto.

Naxos 8.570791 24 Strauss, R. An alpine symphony, op 64 (1911-15). Philadelphia O/André Previn.

EMI 5 74116 2 49

22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Purcell, H. Music for the funeral of Queen Mary (1695). Wendy James, sop; Narelle Tapping, mezz; John Steward, ten; Robert Rawling, bass; Sydney Philharmonia Motet Choir; Daniel Mendelow, tpt; Paul Goodchild, tpt; Ronald Prussing, tb; Robert Evans, tb; Nigel Butterley, org; Charles Coleman, cond.

Fine Music Tape Archive 19 Telemann, G. Two heroic marches: Generosity and Grace, from Musique héroïque (1728). Bruno Siketa, tpt; Rhys Boak, org.

Move MD 3379 6 Lazzari, F. Sonata à 6 in D (c1700). Crispian Steele-Perkins, tpt; Alison Balsom, tpt; Peter Holman, org; Parley of Instruments.

Hyperion CDA67359 6 Stanley, J. Suite of trumpet voluntaries no 1 in D. Gabriele Cassone, natural tpt; Antonio Frigé, org.

Nuova Era 7053 8 Stradella, A. Sinfonia in D, Il barcheggio (1681). Peter Holman, org; Parley of Instruments.

Hyperion CDA67359 6 Handel, G. Water music, HWV348-50 (1717; arr.). Leslie Pearson, org.

LDR 1006 19 Crispian Steele-Perkins, tpt (2 above) Pezel, J. Trumpet sonata no 71 (1675). Mats Klingfors, bn; Niklas Eklund, tpt; Marc Ullrich, tpt; Tormod Dalen, vc; Knut Johannessen, org.

Naxos 8.553593 4 Melani, A. Sonata à 5 in C. Crispian SteelePerkins, tpt; Alison Balsom, tpt; Peter Holman, org; Parley of Instruments.

Hyperion CDA67359 10 Vivaldi, A. Gloria in D, RV589. Jennifer Smith, sop; Nancy Argenta, sop; Catherine Wyn-Rogers, cont; Paul Goodwin, ob; Alberto Grassi, bn; Mark Bennett, tpt; English Concert Ch & O/Trevor Pinnock.

Archiv 437 834-2 30 February 2018

fineMusic 102.5

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Saturday 10 FEBRUARY 11:30 ON PARADE Prepared by Robert Small Porter, C. Every time we say goodbye (arr.

Fernie). Jonathan Beatty, tb; Peter Parkes, cond. 4 Webb, J. MacArthur Park (arr. Catherall).

Gary Cutt, cond. 6 Chabrier, E. Rhapsody España (arr.

Langford). 5 Brown - Armand. One day in your life (arr.

Barry). Melvyn Bathgate, hn. 4 Ondrej Lenárd 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Early Classical (c1760-1800) Prepared by Robert Small Bach, C.P.E. Double concerto in E flat, Wq47 (1788). Neal Peres da Costa, fp; Australian Haydn Ensemble/Erin Helyard, hpd & dir.

Fine Music concert recording 19 Stamitz, C. Orchestral quartet in F, op 14 no 4 (pub 1776). New Zealand Symphony CO/ Donald Armstrong.

Naxos 8.557671 21 Boyce, W. Symphony no 8 in D minor (pub.

1760). Bournemouth Sinfonietta/Ronald Thomas.

CRD 3356 11

20

Peter Parkes, cond (2 above) Clarke, H. The debutante (arr. Smith). Gary Cutt, cond. 6 Grimethorpe Colliery Band (all above) Chandos CHAN 4552 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

Excerpts from Natoma (1911). Teresa Rongholz, sop; Eastman-Dryden O/Donald Hunsberger.

Arabesque Recordings 2656 16 Excerpts from The only girl (1914). Kyle Erdos-Knapp, ten; Antoni Mendezona, sop; members of Light Opera of New York.

Albany Records Troy 1590 19 20:00 INFLUENCES AND CONNECTIONS Alban Berg Prepared by Rex Burgess Berg, A. Seven early songs (1905-08/28).

Jane Eaglen, sop; London SO/Donald Runnicles.

Sony SK 61720 16 Bach, J.S. Cantata, BWV60: O eternity, thou thunderworld (1723). Robin Blaze, alto; Gerd Türk, ten; Peter Kooij, bass; Bach Collegium Japan/Masaaki Suzuki.

BIS CD-9027/29 15 Berg, A. Violin concerto, In memory of an angel (1935). Pinchas Zukerman, vn; London SO/Pierre Boulez.

Sony SMK 68331 27

14:00 PIANIST COMPOSER Robert Schumann Prepared by Brian Drummond

Webern, A. Langsamer Satz (1905). Ludwig Quartet.

Timpani 1C1005 10

Schumann, R. Butterflies, op 2 (1831).

Stephanie McCallum, pf.

ABC 476 3852 17

Zemlinsky, A. Psalm 13, op 24 (1935).

Cologne Philharmonic Choir; Gürzenich O/ James Conlon.

EMI 5 86079 2 13

Quintet in E flat, op 44 (1842). Marc-André Hamelin, pf; Takács Quartet.

Hyperion CDA67631 30 Toccata, op 7 (1835-36). Ian Holtham, pf.

ABC 476 3534 7 15:00 SWAN LAKE

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

EMI 5 56732 2 8

Tchaikovsky, P. Ballet: Swan Lake, op 20 (1877). Czecho-Slovak RSO/Ondrej Lenárd.

Naxos 8.550246/47 2:20

Gluck, C. Suite from Don Juan (1761).

Rhenish CO/Jan Corazolla.

Christophorus CHE 0064-2 19

17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Tenors: never mind the looks

10:30 SMALL FORCES Prepared by Paul Hopwood

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

Beethoven, L. Wind octet, op 103 (1792).

Classical Winds.

Amon Ra SAR 26 30

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Bartók, B. Quartet no 4 (1928). Levon Chilingirian, vn; Mark Butler, vn; Louise Williams, va; Philip de Groote, vc.

Chandos CHAN 8634 22

Herbert, V. Excerpts from Orange blossom (1922). Glenn Seven Allen, ten; Natalie Ballanger, voice; members of Light Opera of New York.

Albany Records TROY 1535 15

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

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

Sony 88725470602 27 22:00 SATURDAY NIGHT AT HOME Prepared by Paul Cooke Bennett, W. Sterndale Overture: The naiades, op 15 (1836). Philharmonia O/ Nicholas Braithwaite.

Lyrita SRCD.206 13 Mozart, W. Piano concerto no 24 in C minor, K491 (1786). Piers Lane, pf; Queensland SO/ Johannes Fritzsch.

ABC 481 0249 31 Rota, N. Symphony no 1 in G (1936-39).

Norrköping SO/Ole Kristian Ruud.

BIS CD-970 32 Stanford, C. Villiers Quintet in D minor, op 25 (1886). Piers Lane, pf; RTE Vanbrugh Quartet.

Hyperion CDA67505 37

Sunday 11 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Florence connections Prepared by Robert Small Dufay, G. Motet: Nuper rosarum flores (1436). Huelgas Ensemble/Paul van Nevel.

Harmonia Mundi HMX 2908250.79 6 Isaac, H. Motet: Tota pulchra es. Pro Cantione Antiqua; London Cornett and Sackbutt Ensemble/Bruno Turner.

LP Archiv 2533 378 7 Martini, J. Salve Regina. Clerks’ Group/ Edward Wickham.

ASV Gau 171 12 Cherubini, L. Credo for eight voices (1806).

RCA Italiana Chamber Choir/Nino Antonellini.

LP Italia 70051 27 10:00 THE CLASSICAL ERA Prepared by Di Cox Gluck, C. Suite du divertissement, from Iphigenia in Aulis (1774). Rhenish CO/Jan Corazolla.

Christophorus CHE 0064-2 10 Albrechtsberger, J. Double concerto in F (1771). Fritz Mayr, jew’s hp; Dieter Kirsch, mandora; Munich CO/Hans Stadlmair.

Orfeo C 035 821 A 18

13:00 WORLD MUSIC: Whirled Wide with Orli Zahava 14:00 LIKE FATHER, LIKE SON Prepared by Yola Center Bach, J.S. Suite no 4 in E flat, BWV815, French (1717-20). 15 Bach, C.P.E. Keyboard sonata in A minor, Wq49 no 1, Württemberg (1742). 14 Nicholas Parle, hpd (2 above) Fine Music concert recordings Mozart, L. Toy symphony. Liszt Ferenc CO, Budapest/Frigyes Sándor.

White Label HRC 066 9 Mozart, W. Symphony no 1 in E flat, K16 (1764). Northern CO/Nicholas Ward.

Naxos 8.550871 13 15:00 SUNDAY SPECIAL Svetlanov conducts Tchaikovsky Prepared by Paolo Hooke Tchaikovsky, P. Suite no 4 in G, op 61, Mozartiana (1887).

Melodiya 74321 59054 2 28 Serenade for strings, op 48 (1880).

Melodiya 74321 37878 2 33 Symphony no 6 in B minor, op 74, Pathétique (1893). 46

Martini, J. Plaisir d’amour (1780). Janet Baker, mezz; Academy of St Martin in the Fields/Neville Marriner.

Philips 475 156-2 4

USSR SO/Yevgeny Svetlanov (all above)

Beethoven, L. Sonata no 15 in D op 28, Pastoral (1801). Jean-Efflam Bavouzet, pf.

Chandos CHAN 10798(3) 25

Hymns: Angel voices ever singing; God that madest earth and heaven. Choir of St Peter’s Cathedral, Adelaide; Shirley Gale, org; Leonie Hempton, cond.

Sounds of St Peters II 5

Haydn, J. Sinfonia concertante in B flat, Hob.I:105 (1792). David Reichenberg, ob; Milan Turkovic, bn; Erich Höbarth, vn; Christophe Coin, vc; Concentus Musicus Vienna/Nikolaus Harnoncourt.

Teldec 2292-44196-2 22 Haydn, M. Divertimento in C for violin, cello and continuo (c1758-60). Members of Salzburger Hofmusik/Wolfgang Brunner. cpo 999 230-2 20 Bach, C.P.E. Symphony in E flat, Wq179 (1757-62). Akademie für Alte Musik.

Harmonia Mundi HMG 501711 11 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

17:00 HOSANNA Prepared by Meg Matthews

Handel, G. No, di voi non vo’ fidarmi, HWV189. Emma Kirkby, sop; Judith Nelson, sop; Susan Sheppard, vc; Christoper Hogwood, hpd.

L’Oiseau-Lyre 430 282-2 6 For unto us a child is born, from Messiah, HWV56 (1742). 4 Why do the nations so furiously rage together; Worthy is the lamb; Amen, from Messiah, HWV56 (1742). Teddy Tahu Rhodes, bass. 10 Cantillation; O of the Antipodes/Antony Walker (2 above) ABC 481 133-2

Mendelssohn, F. Gloria. Members of Stuttgart Chamber Choir; German Chamber Philharmonie, Bremen/Frieder Bernius.

Carus 83-216 25 18:00 BALLADES Prepared by Denis Patterson Chopin, F. Ballade no 1 in G minor, op 23 (1835). Daniel Barenboim, pf.

DG 479 6724 10 Enescu, G. Ballade (1894). Josu de Solaun, pf.

Grand Piano GP707 8 Debussy, C. Ballade. Roy Howat, pf.

Tall Poppies TP165 6 Henselt, A. Ballade in B flat, op 31 (1854).

Daniel Grimwood, pf.

Edition Peters EPS 005 14 Fauré, G. Ballade, op 19 (1880). Sophia Gülbadamova, pf.

Danacord DACOCD 729 15 19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello Puccini, G. Prelude to Edgar, Act I (1892).

Berlin RSO/Riccardo Chailly.

Decca 410 007-2 4 Mendelssohn, F. Violin concerto in E minor, op 64 (1844). Itzhak Perlman, vn; Concertgebouw O/Bernard Haitink.

EMI CMS 7 64922 2 28 Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). Sydney SO/Willem van Otterloo.

LP RCA VRL4 0190 51 20:30 NEW HORIZONS Prepared by James Nightingale Tanaka, K. Night bird (1996). Gerard McChrystal, sax; Karen Tanaka, elec.

First Hand Records FHR13 8 Turnage, M-A. The torn fields (2000-02).

Gerald Finley, bar; London PO/Marin Alsop.

LPO LPO-0031 26 Stanhope, P. Exile lamentations - three choruses (2007-09). Belinda Montgomery, sop; Alexander Knight, bar; Sam Piper, bass; Sydney Chamber Choir/Paul Stanhope.

ABC 481 6296 19 Chin, U. Cello concerto (2007-13). Alban Gerhardt, vc; Seoul PO/Myung-Whun Chung.

DG 481 0971 28 22:00 AFTER HOURS JAZZ with Kevin Jones February 2018

fineMusic 102.5

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Monday 12 FEBRUARY

Tuesday 13 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Frank Morrison

Adrian Boult

Riccardo Muti

0:00 CLASSIC-ALL THROUGH THE NIGHT

12:00 SWING SESSIONS with John Buchanan

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1923 Prepared by Raj Gopalakrishnan Poulenc, F. Suite from Les biches (1923).

Southwest German RSO Baden-Baden/ Marcello Viotti.

Claves CD 50-9111 20

Borodin, A. Overture to Prince Igor (1890; compl., orch. Rimsky-Korsakov, Glazunov).

London SO/Georg Solti.

Decca 478 2826 11 Rimsky-Korsakov, N. Suite from Le coq d’or (1907). Russian NO/Mikhail Pletnev.

DG 447 084-2 27

Delius, F. Sonata no 2 (1923). Susanne Stanzeleit, vn; Gusztáv Fenyó, pf.

Naxos 8.572261 12

Tchaikovsky, P. Symphony no 5 in E minor, op 64 (1888). Philharmonia O/Riccardo Muti.

EMI 7 67742 2 48

Alfvén, H. Suite from The mountain king (1916-23). Royal Stockholm PO/Neeme Järvi.

BIS CD-585 15

14:30 GLENN GOULD The Schwarzkopf and Bernstein tapes Prepared by Randolph Magri-Overend

Ysaÿe, E. Sonata, op 28 (1923). Ole-Eirik Ree, vc.

Naxos 8.570977 12 Turina, J. Sevillana, op 29 (1923). Owen Thomson, gui.

Move MD3243 6 Shostakovich, D. Trio no 1 in C minor, op 8 (1923). Susie Park, vn; Timo-Veikko Valve, vc; Kathryn Selby, pf.

Fine Music concert recording 14 10:30 CONCERT HALL Prepared by Derek Parker Auber, D-F-E. Overture to the celebrated opera of Lestocq (1834). New Philharmonia O/Richard Bonynge.

Decca 482 7730 8 Paderewski, I. Piano concerto in A minor, op 17 (1888). Felicja Blumental, pf; Pro Musica O Vienna/Helmuth Froschauer.

LP Turnabout TV-S 3487 34 Walton, W. Symphony no 1 in B flat minor (1931-35). London PO/Adrian Boult.

First Hand Records FHR06 43 22

13:00 MUSICAL MERRY-GO-ROUND Prepared Randolph Magri-Overend

Strauss, R. Burleske in D minor (1885-86).

Glenn Gould, voice, pf. 15 Wie erkenn’ ich mein Treulieb vor andern nun? op 67 no1 (1918); Wer lieben will, muss leiden, op 49 no 7 (1901); Morgen, op 27 no 4 (1894); Winterweihe, op 48 no 4 (1900).

Elisabeth Schwarzkopf, sop 12 Sony 88726441362 (2 above) Brahms, J. Piano concerto no 1 in D minor, op 15 (1859), includes introduction by Leonard Bernstein. New York PO/Leonard Bernstein.

Sony 82876787532 (mono) 58 Glenn Gould, pf (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

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

Liszt, F. Allegretto marziale animato, from Piano concerto no 1 in E flat (1849/53/56).

London SO/Claudio Abbado.

DG 477 9523 9 Chopin, F. Nocturne in E flat, op 55 no 2 (1843).

DG 477 7557 4 Martha Argerich, pf (2 above) Saint-Saëns, C. Piano concerto no 1 in D, op 17 (1858). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 26 Stravinsky, I. Italian suite, from Pulcinella (1920). Mischa Maisky, vc; Martha Argerich, pf.

DG 477 5323 18 Beethoven, L. Sonata in A, op 12 no 2 (1798). Robert Mann, vn.

Nimbus NI 2553/56 16 Fauré, G. Barcarolle no 5 in F sharp minor, op 66 (1894).

Hyperion CDA67890 6 Stephen Hough, pf (2 above) 10:30 CONCERT HALL Prepared by Anne Irish Gounod, C. Ballet music from Faust (1859).

Academy of St Martin in the Fields/Neville Marriner.

Philips 462 125-2 17 Beethoven, L. Violin concerto in D, op 61 (1806). David Oistrakh, vn; Stockholm FO/ Sixten Ehrling.

Testament SBT 1032 44 Sibelius, J. Symphony no 7 in C, op 105 (1924). Vienna PO/Lorin Maazel.

Decca 478 8541 21 12:00 JAZZ RHYTHM with Jeannie McInnes

Tuesday 13 FEBRUARY

Wednesday 14 FEBRUARY

13:00 TOCCATA, TOCCATA! Prepared by Rex Burgess Kapsberger, G. Toccata e ballo. Tragicomedia.

EMI CDC 7 54312 2 9 Bach, J.S. Toccata and fugue, BWV565 (bef.

1708). Lipman Harp Duo. www.sebastien-lipman.com 9 Koppel, A. Toccata for vibraphone and marimba. Safri Duo. Chandos CHAN 9330 10 Respighi, O. Toccata (1928). Geoffrey Tozer, pf; BBC PO/Edward Downes.

Chandos CHAN 9311 25 14:00 IN THE BEGINNING Prepared by Stephen Wilson Mussorgsky, M. Pictures at an exhibition (1874). Sviatoslav Richter, pf.

Philips 454 167-2 31 Beethoven, L. Grand fugue in B flat, op 133 (1826). Melos Quartet.

DG 415 676-2 15 Sibelius, J. Violin concerto in D minor, op 47 (1903). Leonidas Kavakos, vn; Lahti SO/ Osmo Vänskä.

BIS CD-500 39 Schumann, R. Symphony no 4 in D minor (1841). O Révolutionnaire et Romantique/ John Eliot Gardiner.

Archiv 457 591-2 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 SYDNEY SYMPHONY 2017 Produced by Andrew Bukenya

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Bach, J.S. Suite no 5 in C minor, BWV1011 (c1721). David Pereira, vc.

Tall Poppies TP017 29 Beethoven, L. Trio in D, op 70 no 1, Ghost (1808). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf.

EMI CMS 7 63124 2 27 Brahms, J. Sonata no 1 in E minor, op 38 (186265). Steven Isserlis, vc; Stephen Hough, pf.

Hyperion CDA67529 25 Schoenberg, A. Transfigured night, op 4 (1899). Janine Jansen, vn; Boris Brovtsyn, vn; Amihai Grosz, va; Maxim Rysanov, va; Torleif Thedéen, vc; Jens Peter Maintz, vc.

Decca 478 3551 30

Alfredo Casella

Ferruccio Busoni

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale

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 Homilius, G. Sonata for oboe and basso continuo. Virtuosi Saxoniae/Ludwig Guttler.

Carus 83.236 7 Excerpt from St John Passion. Dresden Cathedral Choir; Dresden Baroque O/ Roderich Kreile.

Carus 83.261 13 Chorale preludes. Ludwig Guttler, tpt; Friedrich Kircheis, org.

Carus 83.236 8 Cantata for Advent. Körnerscher Sing-Verein; Dresdner Instrumental-Concert/Peter Koop.

Carus 83.170 17 Horn quartet in B flat, op 38. Detmolder Hornquartet.

MDG Gold 3240324 10 Excerpts from Der Messias. Sachsicsches Vocalensemble; Batzdorfer Hofkapelle/ Matthias Jung. cpo 777 947-2 21 10:30 CONCERT HALL Prepared by Frank Morrison Chabrier, E. Pastoral suite (1888). Ulster O/ Yan Pascal Tortelier.

Chandos CHAN 8852 19 Mozart, W. Bassoon concerto in B flat, K191 (1774). Milan Turkovic, bn; Salzburg Mozarteum O/Leopold Hager.

Teldec 8.44056 18 Casella, A. Symphony no 1 in B minor, op 5 (1906). Rome SO/Francesco La Vecchia.

Naxos 8.572413 45

13:00 VIOLIN AND FRIENDS Prepared by Paul Hopwood Brahms, J. Trio in E flat, op 40 (1865). Barry Tuckwell, hn; Brenton Langbein, vn; Maureen Jones, pf. ex libris 6059 30 Fauré, G. Sonata no 1 in A, op 13 (1875-76).

Dong-Suk Kang, vn; Pascal Devoyon, pf.

Naxos 8.550906 25 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 BUSONI EXPLORED Part 2 Prepared by Michael Morton-Evans Busoni, F. II fiore del pensiero; Ballatella from Album vocale, op 30 (1884). Martin Bruns, bar; Ulrich Eisenlohr, pf.

Naxos 8. 5572245 6 String quartet no 2 in D minor, op 26, mvt 1 (1889). Pellegrini Quartet. cpo 999 264-2 9 Concert piece, op 31a (1890). Jeffrey Swann, pf; Montpellier PO/Gianfranco Masini.

Arkadia CDAK 126.1 20 Two of Six pieces (1895-96). Wolf Harden, pf.

Naxos 8. 570891 6 Sonata no 2 in E minor, op 36a, mvt 2 (18981900). Joseph Lin, vn; Benjamin Loeb, pf.

Naxos 8.557848 3 Comedy overture, op 38 (1897/1904). London SO/Charles Mackerras.

Carlton Classics 15656 91372 7 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell February 2018

fineMusic 102.5

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Wednesday 14 FEBRUARY

Thursday 15 FEBRUARY

0:00 CONTEMPORARY COLLECTIVE

Piano concerto no 4 in G, op 58 (1805-06).

Gerard Willems, pf; Sinfonia Australis/Antony Walker.

ABC 980 046-5 34

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

Gott! welch Dunkel hier! from Fidelio, op 72 (1814). Jonas Kaufmann, ten; Mahler CO/ Claudio Abbado.

Decca 478 1463 11

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Robin Mitchell Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720).

Cedar TH 121185 12 Sumi Jo and Ewa Podles

1792-1868

20:00 AT THE OPERA Prepared by Elaine Siversen

GIOACHINO ROSSINI

Rossini, G. Tancredi. Opera in two acts.

Libretto by Gaetano Rossi. First performed Venice, 1813.

ORBAZZANO: Pietro Spagnoli, bass-bar AMENAIDE: Sumi Jo, sop TANCREDI: Ewa Podles, mezz ARGIRIO: Stanford Olsen, ten Ensemble Vocal-Capella Brugensis; Collegium Instrumentale Brugense/Alberto Zedda.

Naxos 8.660037-8 2:27 Synopsis at finemusicfm.com/Opera Sonata à quattro no 6 in D (c1804). Members of Serenata of London.

ASV DCA 767 15 23:00 REEDS FROM FRANCE Prepared by Gael Golla Bozza, E. Caprice-improvisation. John Russo, cl; Lydia Walton Ignacio, pf.

CRS 9257 7 Milhaud, D. Suite after Corrette, op 161b (1937). Zdenek Hedba, ob; Adolf Nechvátal, cl; Pavel Zedník, bn.

Le Chant du Monde PR 240009 CM 201 9 Rivier, J. Grave et presto (1938). Chicago Saxophone Quartet.

Centaur CRC 2086 8 Debussy, C. First rhapsody (1911). Paul Meyer, cl; Lyon NO/Jun Märkl.

Naxos 8.572675 8 Brod, H. Fantasia, op 57, after the mad scene in Donizetti’s Lucia di Lammermoor.

Céline Moinet, ob; Sarah Christ, hp.

Harmonia Mundi HMC 902175 8 Poulenc, F. Trio (1926). Olivier Doise, ob; Laurent Lefèvre, bn; Alexandre Tharaud, pf.

Naxos 8.553611 13 24

Tórroba, F. Moreno Sonatina in A. Ponce, M. Six preludes.

11 5

DG 474 9612 (2 above) Bach, J.S. Prelude and courante, from Suite no 3 in C, BWV1009 (c1720).

Cedar TH 121185 4 Andrés Segovia, gui (4 above) Vaughan Williams, R. The lark ascending (1914/20).

14 Elgar, E. Salut d ‘amour, op 12 (1888).

3

Royal PO/Pinchas Zukerman (2 above) Decca 478 9386 Beethoven, L. Romance no 2 in F, op 50 (c1798). London PO/Daniel Barenboim.

DG 429 179-2 10 Mozart, W. Sonata no 27 in G major/minor, K379 (1781). Marc Neikrug, pf.

RCA RD 60447 19 Pinchas Zukerman, vn (4 above) 10:30 CONCERT HALL Prepared by Elaine Siversen Stamitz, C. Orchestral quartet in F, op 14 no 4 (pub. 1776). New Zealand Symphony CO/ Donald Armstrong.

Naxos 8.557671 21

Symphony no 4 in B flat, op 60 (1806).

London Classical Players/Roger Norrington.

EMI CDC 7 49656 2 31 14:30 ANDRÉ PREVIN, PIANIST Prepared by Gael Golla Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933). William Vacchiano, tpt; New York PO/Leonard Bernstein.

CBS MPK 44850 22 Kern, J. Why was I born? from Sweet Adeline (1929); The folks who live on the hill from High, wide and handsome (1937). Sylvia McNair, sop; David Finck, db.

Philips 442 129-2 10 Korngold, E. Suite from Much ado about nothing, op 11 (1920). Gil Shaham, vn.

DG 439 886-2 13 Brahms, J. Trio in B, op 8 (1853-54/89).

Viktoria Mullova, vn; Heinrich Schiff, vc. 37 André Previn, pf (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Seraphim Trio Prepared by Jennifer Foong

Mozart, W. Violin concerto no 3 in G, K216 (1775). Talich CO/Jan Talich, vn & dir.

Calliope CAL 9365 24

Hummel, J. Concerto in B for trumpet and piano trio (1802). David Elton, tpt.

Fine Music concert recording 18

Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). London Classical Players/Roger Norrington.

EMI CDC 7 54000 2 38

Schubert, F. Notturno in E flat, D897 (c1828).

ABC 476 4741 9

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 A BEETHOVEN CONCERT Prepared by Rex Burgess Beethoven, L. Overture to Fidelio, op 72 (1814). Bavarian RSO/Colin Davis.

CBS MDK 44790 7

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

Martinu, B. Quartet for oboe, violin, cello and piano (1947). Diana Doherty, ob. 11 Haydn, J. Keyboard trio no 40 in F sharp minor, Hob.XV:26 (1794-95). 13 Dvorák, A. Piano trio no 4 in E minor, op 90, Dumky (1891). 31 Fine Music concert recordings (3 above) Seraphim Trio (all above)

Thursday 15 FEBRUARY 21:30 THE PHILIDORS Prepared by Derek Parker Philidor, P. Suite no 3 in D, op 1. MarieCéline Labbé, transverse fl; Marion TreupelFranck, transverse fl.

RAM 1405 12 Philidor, F-A. Transports, tourments jaloux, from Ernelinde princesse de Norvège. PierreYves Pruvot, bar; Les Agrémens/Guy van Waas.

MBF 1108 6 Philidor, Anne. Retour à la cour, from Les concerts royaux. La Simphonie du Marais/ Hugo Reyne.

FNAC Music 592332 8 22:00 MUSICAL PORTRAITS Romeo and Juliet Prepared by Paul Cooke Raff, J. Overture: Romeo and Juliet (1879; ed. MacDowell). Philharmonia O/Francesco d’Avalos.

ASV DCA 793 9 Rota, N. Love theme, from Romeo and Juliet (1968). Royal PO/Tolga Kashif.

Sony 88697290382 3 Delius, F. The walk to the Paradise garden, from A village Romeo and Juliet (1907).

Melbourne SO/Charles Mackerras.

ABC 476 3224 11 Gounod, C. Come, I have forgiven you, from Romeo and Juliet (1867). Eva Lind, sop; Francisco Araiza, ten; Zurich Opera O/Ralf Weikert.

ABC 480 6412 7 Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). Sydney SO/Robert Pikler.

Chandos CHAN 6587 17 Glinka, M. Variations on a theme from Bellini’s The Capulets and Montagues (1832).

Francesco Bertoldi, pf.

Nuova Era 7232 11 Lambert, C. Ballet: Romeo and Juliet (192525). English CO/Norman Del Mar. Lyrita SRCD.215 30 Rorem, N. Romeo and Juliet (1977). Fenwick Smith, fl; David Leisner, gui.

Naxos 8.559674 20 Delius reveals himself as a ‘poet of the orchestra’ as the star-crossed lovers, Sali and Vreli, walk through woods and fields to the Paradise Garden Inn before drowning themselves in the river.

Friday 16 FEBRUARY

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Paul Cooke Mussorgsky, M. Boris Godunov, symphonic synthesis (1874; orch. 1936 Stokowski).

Cleveland O/Oliver Knussen.

DG 457 646-2 23 Vivaldi, A. Violin concerto no 1 in E, RV269, Spring (pub. 1725; arr. Calandrelli 1995).

Eddie Daniels, cl; Dave Carpenter, bass; Peter Erkstine, drums; Alan Broadbent, pf; Los Angeles CO/Bernard Rubenstein.

TWA Records TWAD103 15 Bizet, G. In the depths of the temple, from The pearl fishers (1863; arr. Loeb). Livia Sohn, vn; Geoff Nuttall, va; Benjamin Loeb, pf.

Naxos 8.570202 5 Vaughan Williams, R. Fantasia on a theme

by Thomas Tallis (1910). London PO/Bryden Thomson.

Chandos CHAN 8502 16 Schubert, F. Introduction and variations in E minor on a theme from Die schöne Müllerin, D802 (1824). Emmanuel Pahud, fl; Eric Le Sage, pf. naïve V 4863 20 10:30 CONCERT HALL Prepared by Elaine Siversen Glinka, M. Spanish overture no 1: Capriccio brillante on the jota aragonesa (1845).

Armenian P/Loris Tjeknavorian.

ASV DCA 1075 9 Rachmaninov, S. Piano concerto no 3 in D minor, op 30 (1909). Vladimir Ashkenazy, pf; London SO/Anatole Fistoulari.

Decca 478 2826 43 Mozart, W. Symphony no 39 in E flat, K543 (1788). London Mozart Players/Jane Glover.

ASV DCA 615 30 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 CELLO AND KEYBOARD Prepared by Gael Golla Beethoven, L. Sonata no 5 in D, op 102 no 2 (1815). Jacqueline du Pré, vc; Stephen Kovacevich, pf.

EMI CZS 5 68132 2 21

Jane Glover Bach, J.S. Sonata in G, BWV1027 (c1742).

Pierre Fournier, vc; Zuzanna Ruzickova, hpd.

Erato 2292-45738-2 14 Rachmaninov, S. Two pieces, op 2 (189192). Truls Mørk, vc; Jean-Yves Thibaudet, pf.

Virgin 5 45119 2 10 Piazzolla, A. Le grand tango. Yo-Yo Ma, vc; Kathryn Stott, pf.

Sony SK 63122 12 Brahms, J. Sonata no 1 in E minor, op 38 (1862-65). Natalia Gutman, vc; Elisso Wirssaladze, pf.

Live Classics LCL 621 24 14:30 DVORÁK AND THE SYMPHONY Prepared by Frank Morrison Lalo, E. Trio no 3 in A minor, op 26 (1880).

Barbican Piano Trio.

ASV DCA 899 27 Tchaikovsky, P. Evening, op 46 no 1 (1880).

Heather Harper, sop; Janet Baker, mezz; Benjamin Britten, pf.

BBC Music BBCB 8001-2 8 Dvorák, A. Symphony no 6 in D, op 60 (1880). London SO/István Kertész.

Decca 417 598-2 46 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Chief conductors of the SSO Prepared by David Brett Wagner, R. Prelude to The mastersingers of Nuremberg (1866-67). Sydney SO. ABC 476 644-0 10 Janácek, L. Sinfonietta (1926). Vienna PO. Decca 478 2826 24 February 2018

fineMusic 102.5

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Friday 16 FEBRUARY Sullivan, A. Cello concerto in D (1866; reconstr. Mackerras, Mackie). Julian Lloyd Webber, vc; London SO. EMI CDM 7 64726 2 17

0:00 CLASSIC-ALL THROUGH THE NIGHT

Wagner, R. Love-death, from Tristan und Isolde (1857-59). Birgit Nilsson, sop; Sydney SO. ABC 476 644-0 7

9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney

Charles Mackerras, cond (all above) Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830).

ABC 446 279-2 10 Sculthorpe, P. Kakudu (1988).

ABC 481 1293 15 Strauss, R. Suite from Der Rosenkavalier (1911).

ABC 434 714-2 23 Sydney SO/Stuart Challender (3 above) 22:00 BAROQUE AND BEFORE Handel in Italy 1706-1709 Prepared by Elaine Siversen Handel, G. Sonata in B flat, HWV288 (170607). Hiro Kurosaki, vn; London Baroque/ Charles Medlam.

EMI CDC 7 49799 2 9 Cantata: Tu fedel? Tu costante? HWV171 (1706-07). Miriam Allan, sop; Arcadia/ Jacqueline Ogeil.

Tall Poppies TP173 16 Suite from Rodrigo, HWV5 (1706). Parley of Instruments/Peter Holman.

Hyperion CDA67053 16 Psalm 110: Dixit Dominus, HWV232 (1707).

Westminster Abbey Choir & O/Simon Preston.

DG 478 5183 32 Disserratevi, o porte d’Averno, from La Resurrezione, HWV47 (1708). Lucy Crowe, sop; English Concert/Harry Bicket.

Harmonia Mundi HMU 907559 5 Qual’insolita luce ... Caddi, è ver, from La Resurrezione, HWV47 (1708). Christopher Purves, bass; Arcangelo/Jonathan Cohen.

Hyperion CDA67842 6 Sento là che ristretto, HWV161 (1709).

Concerto Vocale.

LP Harmonia Mundi HM 1004 13 Voi, che udite il mio lamento, from Agrippina, HWV6 (1709). Bejun Mehta, ct; Freiburg Baroque O/René Jacobs.

Harmonia Mundi HMC 902077 6 26

Saturday 17 FEBRUARY 6:00 SATURDAY MORNING MUSIC with Stephen Wilson

9:05 PERIODS AND THEIR PEOPLE Early Classical (c1760-1800) Prepared by Frank Morrison Mozart, W. Overture to The abduction from the seraglio, K384 (1782). O of St Johns, Smith Square/John Lubbock.

ASV QS 6197 6 Vachon, P. String quartet, op 5 no 2 (1772).

Rasumovsky Quartet.

ASV GAU 151 10 Dittersdorf, C. Sinfonia in A minor (c1770).

Camerata Bern/Thomas Füri.

Archiv 410 599-2 19 Bortnyansky, D. Sacred concerto no 8 (1790s). Russian State Symphonic Cappella/ Valery Polyansky.

Chandos CHAN 9729 7 Beethoven, L. Seven variations on Mozart’s Bei Männern, WoO46 (1796). Heinrich Schiff, vc; Till Fellner, pf.

Philips 462 601-2 10 Kraus, J.M. Symphony in C minor (1783).

Swedish CO/Petter Sundkvist.

Naxos 8.553734 22 10:30 SMALL FORCES Prepared by Frank Morrison Schubert, F. String trio in B flat, D581 (1817).

Grumiaux Trio.

Philips 438 700-2 20 Bernstein, L. Sonata (1941-42). Paul Meyer, cl; Eric Lesage, pf.

Denon CO-18016 11 Dohnányi, E. Quintet in E flat minor, op 26 (1914). Martin Roscoe, pf; Vanbrugh Quartet.

ASV DCA 915 23 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Strauss, R. Finale from Horn concerto no 1. William Rushworth, hn; Leyland Band/ Richard Evans.

EMI 7243-5-21450 5 Sousa, J.P. Washington Post march. John Philip Sousa Band/John Philip Sousa.

Everest 3260 3

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

Arthur Sullivan Lear, W. Pel mel. Buy As You View Band/ Robert Childs.

Doyen DOY 215 4 Blankenburg, H. Flying eagle march. Black Dyke Mills Band/Roy Newsome.

RCA PL 25165 2 Herbert, V. American fantasie. Allentown Band/Ronald Demkee.

AMP 92036 9 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 SATURDAY POT-POURRI Prepared by Randolph Magri-Overend 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Sullivan, A. The pirates of Penzance.

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

First performed London, 1879.

FREDERIC; Leonard Osborn, ten RUTH: Ella Halman, cont MABEL: Muriel Harding, sop MAJOR-GENERAL STANLEY: Martyn Green, bar PIRATE KING: Darrell Fancourt, bass-bar D’Oyly Carte Opera Company; New Promenade O/Isidore Godfrey.

Naxos 8.110196/7 1:22 Synopsis at finemusicfm.com/Opera Excerpts from Patience (1881). Yvonne Dean, sop; Margaret Mitchell, sop; Ella Halman, mezz; Ann Drummond-Grant, cont; Neville Griffiths, ten; Martyn Green, bar; Peter Pratt, bar; Darrell Fancourt, bass-bar; Alan Styler, bass; D’Oyly Carte Opera Company Ch; New Promenade O/Isidore Godfrey.

Naxos 8.111311/12 16 Excerpts from The gondoliers (1889).

Columbia Light Opera Company soloists, Ch & O/Joseph Batten.

Naxos 8.110317-18 36

Saturday 17 FEBRUARY

Sunday 18 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Du Mont, H. Dialogus de anima (pub. 1657).

Guillemette Laurens, cont; Henri Ledroit, ct; Howard Crook, ten; Ulrich Studer, bar; Peter Kooy, bass; La Chapelle Royale/Philipe Herreweghe.

Harmonia Mundi HMA 1901077 19

Julian Bream

Stephen Kovacevich

17:30 STAGING MUSIC Prepared by Angela Cockburn Adaptations: Macbeth

Handel, G. Theme and variations from Suite no 5 in E, HWV430, The harmonious blacksmith (pub. 1720). Robert Aldwinckle, hpd.

IMP PCD 850 13

18:00 SOCIETY SPOT Classical Guitar Society program: Latin sonata Prepared by Sue McCreadie Turina, J. Sonata, op 61 (1931). Owen Thomson, gui.

Move MD3243 10 Brouwer, L. Sonata (1990). Julian Bream, gui.

EMI 7 54901 2 16 Guastavino, C. Sonata no 1 (1967). Maria Isabel Siewers, gui.

ASV DCA 933 15 Gnattali, R. Sonata (1969). Wen-Sinn Yang, vc; Franz Halász, gui.

BIS BIS-2086 11 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell 20:00 INFLUENCES AND CONNECTIONS George Frederic Handel Prepared by Calogero Panvino Handel, G. Hallelujah, from Messiah, HWV56. Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner.

Philips 456 502-2 4 Zachow, F. Prelude and fugue in G. Eric Lynn Kelley, org.

FSM FCD 96 506/07 XVII 3 Krieger, J. Fantasia in D minor. Roland Götz, org.

FSM FCD 96 506/07 XVII 3 Froberger, J. Suite II. Gustav Leonhardt, hpd.

Harmonia Mundi GD 77923 7 Muffat, G. Suite I: Nobilis juventus, from Florilegium secundum (pub. 1698). Academy of Ancient Music/Christopher Hogwood.

LP L’Oiseau-Lyre DSLO 591 12

Bach, J.S. Suite no 6 in E, BWV817, French (c1724). Angela Hewitt, pf.

Hyperion CDA67121/2 15 Brahms, J. Variations and fugue on a theme by Handel, op 24 (1861). Stephen Kovacevich, pf.

EMI 5 56440 2 26 Grainger, P. Variations on Handel’s The harmonious blacksmith. Della Jones, mezz; Penelope Thwaites, pf.

Chandos CHAN 9730 1 Handel, G. Water music suites: in D, HWV349; in G, HWV350 (c1715/36). King’s Consort/Robert King.

Hyperion CDA66967 20 Coronation anthem no 1: Zadok the priest, HWV258 (1727). Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner.

Philips 456 502-2 6

Charpentier, M-A. Litanies de la Vièrge (c1683-85). Les Petits Chanteurs de SaintFrançois de Versailles/Yves Atthenont.

Jade JACD 004 9 Lalande, M-R. de Confitebor tibi Domine.

Véronique Gens, sop; Sandrine Piau, sop; Arlette Steyer, sop; Jean-Paul Fouchécourt, ten; François Piolino, ten; Jérôme Corréas, bass; Les Arts Florissants/William Christie.

Harmonia Mundi HMC 901351 26 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Arriaga, J. String quartet no 1 in D minor (1821-22). Chilingirian Quartet.

CRD 33123 30 Weigl, J. Dille che in lei rispetto, from L’imboscata (1815). Ann Hallenberg, mezz; Johannes Weisser, bar; Halvor F. Melien, bar; Stavanger SO Chamber Choir; Stavanger SO/Fabio Biondi. naïve V 5309 6 Boccherini, L. Cello concerto no 2 in D (aft.

1760). Mstislav Rostropovich, vc; Zurich Collegium Musicum/Paul Sacher.

DG 429 098-2 17

22:00 SATURDAY NIGHT AT HOME Ballet through the ages Prepared by Elaine Siversen

Benda, G. Harpsichord concerto in C (1779).

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

Supraphon 11 1001-2 15

Destouches, A. Ballet: Les éléments (1721).

Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 421 656-2 20

Mendelssohn, F. Erntelied, op 8 no 4 (1828).

Dietrich Fischer-Dieskau, bar; Wolfgang Sawallisch, pf.

EMI CMS 7 64827 2 5

Gluck, C. Ballet: Alessandro (1764). Musica Antiqua Köln/Reinhard Goebel.

Archiv 479 1045 24

Mozart, W. Divertimento no 3 in E flat, K166 (1773). Wind Soloists of the CO of Europe.

Teldec 2292-46472-2 11

Glazunov, A. Ballet: The seasons, op 67 (1899). Sydney SO/Alexander Lazarev.

Sydney Symphony SS02 38

Haydn, J. Symphony in E flat, Hob.I:84 (1786). Amsterdam Baroque O/Ton Koopman.

Erato 2292-45807-2 23

Copland, A. Ballet: Hear ye! Hear ye! (1934).

London Sinfonietta/Oliver Knussen.

Argo 443 203-2 32

12:00 SPEAK EASY, SWING HARD with Richard Hughes February 2018

fineMusic 102.5

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Sunday 18 FEBRUARY Weber, C.M. Grande polonaise in E flat, op 21 (1808). Stephanie McCallum, pf.

ABC 462 763-2 7 Schubert, F. Polonaise in D, D824 no 4, from Six polonaises (1826). Anne Queffélec, Imogen Cooper, pf. apex 0927 49812 2 6 Skryabin, A. Polonaise in B flat minor, op 21 (1897). Vladimir Sofronitzky, pf.

Brilliant Classics 9241 7 Chopin, F. Polonaise brillante, op 3 (182930). János Starker, vc; György Sebok, pf.

Mercury 478 5092 9 Mark Elder

Samuel Sebastian Wesley

13:00 WORLD MUSIC: Whirled Wide with Anna Tranter

Suite from the film, New Babylon, op 18 (arr.

Rozhdestvensky). Russian State SO/Valeri Polyansky.

Chandos CHAN 9600 45

14:00 AUSTRALIAN PIANO MUSIC Prepared by James Nightingale Grainger, P. Handel in The Strand (1912).

Roger Woodward, pf.

Warner 9031774722 3 Williamson, M. Paris, from Travel diaries.

Antony Gray, pf.

ABC 472 902-2 10 Edwards, R. A flight for sunbirds: Nine bagatelles for piano duet (2001). VineyGrinberg Piano Duo. ABC 481 4591 9 Boyd, A. Angklung (1974). Roger Smalley, pf.

Tall Poppies TP060 9 Vine, C. Five bagatelles (1995). Bernadette Harvey, pf.

Tall Poppies TP212 9 Kats-Chernin, E. Vocalise (2011). TamaraAnna Cislowska, pf.

ABC 481 2625 10 15:00 SUNDAY SPECIAL Simply Shostakovich, part 2 Prepared by Paolo Hooke Shostakovich, D. The red army dances, from The bolt, op 27 (1930-31). Stockholm Transport Band; Royal Stockholm PO/ Gennady Rozhdestvensky.

Chandos CHAN 9343/4 10 Suite from Hypothetically murdered, op 31a (orch. Gerard McBurney 1931). City of Birmingham SO/Mark Elder.

CALA CACD 1020 39 Excerpts from the The nose, op 15 (1928). Moscow Chamber TO/Gennady Rozhdestvensky.

Melodiya 74321 60319 2 10 28

Tahiti trot (1928). Royal Concertgebouw O/ Riccardo Chailly.

Decca 433 702-2 4 17:00 HOSANNA Prepared by Richard Munge Hymns: Dear Lord and Father of mankind; Love divine. Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 30321 7 Psalm no 139: O Lord thou hast searched me out. Choir of St John’s College, Cambridge; John Scott, org; George Guest, cond.

Decca 452 941-2 7 Wesley, S.S. Magnificat; Nunc dimittis in E. Geoffrey Shaw, bass; Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Helios CDH 55401 13 Elgar, E. Anthem: Great is the Lord, op 67.

Colin Campbell, bar; Choir of Westminster Cathedral; Andrew Reid, org; James O’Donnell, cond.

Hyperion WCC 100 10 Hymns: Be thou my guardian and my guide; My song is love unknown; Glorious things of Thee are spoken. Cantus Choro; Norma Kaye, org; Peter Chapman, cond.

Move MD 3032 8 Bach, J.S. Prelude and fugue in G, BWV541.

Timothy Byram-Wigfield, org.

Regent REGCD 200 8 18:00 POLONAISES Prepared by Denis Patterson Liszt, F. Polonaise no 2 in E (1851).

François-René Duchâble, pf.

EMI 5 72356 2-4 9

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

Beethoven, L. Polonaise in C, op 89 (1814).

Jenö Jandó, pf.

Naxos 8.553798 6 Chopin, F. Polonaise in C sharp minor, op 26 no 1 (1834-35). Maurizio Pollini, pf.

DG 477 8445 8 19:00 SUNDAY NIGHT CONCERT Prepared by Gerald Holder Vaughan Williams, R. Aristophanic suite: The wasps, (1909). London PO/Adrian Boult.

Decca 461 122-2 25 Bach, J.S. Brandenburg concerto no 2 in F, BWV1047 (1720). Piers Adams, rec; Julia Girdwood, ob; Richard Bissill, hn; Pauline Lowbury, vn; Consort of London/Robert Haydon Clark.

Collins 10792 11 Brahms, J. Variations on a theme by Joseph Haydn, op 56a, St Antoni chorale (1873).

Ulster O/Vernon Handley.

Chandos CHAN 8612 18 Dorati, A. Symphony no 2, Querela pacis (1985). Stockholm PO/Antal Dorati.

BIS CD-408 29 20:30 NEW HORIZONS Prepared by Nev Dorrington Marianelli, D. Everest (2015). Davio Marianelli; String Quartet.

Varèse Sarabande 8012AX3CMM 28 Sanfilippo, B. Lost and found (2017). Bruno Sanfillipo, pf.

AD 21 AD119 18 Frahm - Muller. Seven fingers (2011). Anne Müller, vc; Nils Frahm pf.

Hush Records B01G64U7MY 8 Zazou, H. The arch (2011). Hector Zazou, elec; Eva Quartet.

Elen music 3802 1435 27 Sanfilippo, B. Aquarelle sur bois. Bruno Sanfillipo, pf.

AD 21 AD119 5 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 19 FEBRUARY

Tuesday 20 FEBRUARY

12:00 SWING SESSIONS with John Buchanan 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell Satie, E. Three pieces (1888). Atlantic Brass Quintet.

Summit DCD 119 9 Couperin, F. La superbe, sonate en trio (c1692-95). Sigiswald Kuijken, vn; Lucy van Dael, vn; Wieland Kuijken, bass viol; Robert Kohnen, hpd.

RCA RD 71054 8 Paul Meyer 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: 1815 Prepared by Frank Morrison Weber, C.M. Quintet in B flat, op 34 (1815).

Paul Meyer, cl; Carmina Quartet.

Denon CO-78801 25 Paganini, N. String quartet no 1 in D minor (c1815; pub. 1976). Sydney String Quartet.

Fine Music concert recording 15 Schubert, F. Der Abend, D221 (1815).

Marcus Ullmann, ten; Ulrich Eisenlohr, fp.

Naxos 8.557373 Sonata no 2 in C, D279 (1815). Gottlieb Wallisch, pf.

Naxos 8.557639

4

23

Beethoven, L. Sonata no 4 in C, op 102 no 1 (1815). Mstislav Rostropovich, vc; Sviatoslav Richter, pf.

Philips 464 677-2 15 10:30 CONCERT HALL Prepared by James Nightingale Bennett, Richard. Partita (1995).

Philharmonia O/Richard Hickox.

Chandos CDA 10389 18 Mozart, W. Piano concerto no 13 in C, K415 (1782-83). London Mozart Players/Howard Shelley, pf & dir.

Chandos CHAN 9326 26 Benjamin, A. Symphony no 1 (1944-45).

Queensland SO/Christopher Lyndon-Gee. Marco Polo 8.223764 38

Richard Tognetti

Milhaud, D. Sonata no 1 for viola and piano, op 240 (1943-44). Gran Duo Italiano.

Brilliant Classics 95232 14

0:00 CONTEMPORARY COLLECTIVE

Scarlatti, D. Sonatas (arr. Bro): Andante e cantabile; Allegro assai. Chicago Saxophone Quartet.

Centaur CRC 2086 7

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

Boccherini, L. Quintet no 2 in E, G446. Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Decca 478 5669 15 Granados, E. Piano trio, op 50 (1894). Beaux Arts Trio.

Philips 446 684-2 25 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Handel, G. Concerto grosso no 4 in F, HWV315 (c1715-22). English Concert/Trevor Pinnock.

Archiv 479 1932 11 Elgar, E. Cello concerto in E minor, op 85 (1918-19). Julius Berger, vc; Polish National RSO/Andrzej Straszynski.

EBS 6059 28

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Madilina Tresca Poulenc, F. Piano concerto (1949). SBS Youth O/Matthew Krel.

YME 1 21 Rachmaninov, S. Élégie in E flat minor, from Five fantasy pieces, op 3 (1892).

Sony SK89233 7 Simon Tedeschi, pf (2 above) Haydn, J. Piano concerto in D, Hob.XVIII. Astra CO/George Logie-Smith.

McPherson Promotions MP001 21 Medtner, N. Twilight, op 24; Sleepless, op 37 no 1. Ludmilla Andrew, sop.

Chandos CHAN 9327 9

Turina, J. Evangelio, op 12 (1915). Gran Canaria PO/Adrian Leaper.

ASV DCA 1066 13

Sonata no 1 in B minor, op 21 (1910). Lydia Mordkovitch, vn.

Chandos 9293 21

Boccherini, L. Symphony in E flat, op 12 no 2 (1771). New Philharmonia O/Raymond Leppard.

Philips 438 314-2 27

Geoffrey Tozer, pf (3 above)

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

10:30 CONCERT HALL Prepared by Chris Blower Walton, W. Suite no 1 from Façade (1926/38). London PO/Jan Latham-Koenig.

Chandos CHAN 9148 12 Mozart, W. Violin concerto no 5 in A, K219 (1775). Australian CO/Richard Tognetti, vn & dir.

BIS SACD 1754 28 Sibelius, J. Symphony no 2 in D, op 43 (1901). Adelaide SO/Arvo Volmer.

ABC 476 3945 43 February 2018

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Tuesday 20 FEBRUARY

Wednesday 21 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jennifer Foong

Gervaise de Peyer 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 THE NORDIC COUNTRIES Prepared by Frank Morrison Grieg, E. Lyric suite, op 54 (1904). Royal PO/ Yondani Butt.

ASV DCA 722 16 Berwald, F. Grand septet for clarinet, bassoon, horn, string trio and double bass (1842). Gervase de Peyer, cl; Melos Ensemble.

EMI 5 65995 2 23

Graun, C. Excerpts from Montezuma, Act III (1755). Joan Sutherland, sop; Rae Woodland, sop; Elizabeth Harwood, sop; Lauris Elms, mezz; Monica Sinclair, cont; Joseph Ward, bar; Ambrosian Singers; London PO/Richard Bonynge.

LP Decca SET 351 15 Concerto in C minor for violin and viola da gamba. Ensemble Baroque de Limoges.

Auvidis E 8617 24

Sibelius, J. Andantino (1890-91). London Gabrieli Brass Ensemble/Christopher Larkin.

Hyperion CDA66470 3

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

Malinconia, op 20 (1901). Heinrich Schiff, vc; Elisabeth Leonskaja, pf.

Philips 412 732-2 12

19:00 THE JAZZ BEAT with Lloyd Capps

14:00 MUSICAL FAMILIES Graun brothers Prepared by Jennifer Foong Graun, J. Oboe concerto in C minor. Heinz Holliger, ob; Christiane Jaccottet, hpd; Camerata Bern/Alexander van Wijnkoop.

Archiv 00289 477 5002 21 Graun, C. Misero pargoletto, from Demoföonte (1746). Cecilia Bartoli, mezz; Il Giardino Armonico/Giovanni Antonini.

Decca 478 1521 10 Graun, J. Trio sonata in G minor. Collegium Musicum 90/Simon Standage.

Chandos CHAN 0541 10 Graun, C. Piangete o mesti lumi, from Il Mithridate (1751). Julia Lezhneva, sop; Luca Pianca, lute; Concerto Köln/Mikhail Antonenko.

Decca 483 1518 8 Horn trio. Ricercar Consort.

Ricercar RIC 049027 10 30

Montezuma LP cover Graun, J. Double concerto in C. Hiro Kurosaki, vn; Ensemble 1700/Dorothee Oberlinger, rec & dir.

DHM 88875134062 9

20:00 RECENT RELEASES with Charles Barton

Berwald, F. Overture to Estrella de Soria (1841). Helsingborg SO/Okko Kamu.

Naxos 8.553051

8

Grand septet for winds and strings (1842).

Gervase de Peyer, cl; Melos Ensemble.

EMI 5 65995 2 23 Serenade (1825). Thomas Annmo, ten; Mikael Björk, db; Joakim Kallhed, pf; members of Arion Wind Quintet; members of Schein String Quartet.

Naxos 8.553714 14 Concert piece in F, op 2 (1820). Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 11 Trio no 3 in D minor (1851). Andras Kiss, vn; Csaba Onczay, vc; Ilona Prunyi, pf.

Naxos 8.555001 23 12:00 JAZZ SKETCHES with Robert Vale 13:00 AN HOUR WITH SULLIVAN Prepared by Derek Parker

22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel

Sullivan, A. Overture di ballo (1870).

Decca 468 810-2 11

Dvorák, A. Terzetto in C, op 74 (1887). The Lindsays.

ASV DCS 446 19

Ballet: Pineapple Poll (arr. Mackerras 1951).

Decca 43810-2 45

Glinka, M. Septet in E flat (1823). Alexander Koreshkov, ob; Alexander Petrov, bn; Igor Makarov, hn; Alexei Bruni, vn; Mikhail Moshkunov, vn; Erik Pozdeev, vc; Rustem Gabdulin, db.

Olympia MKM 76 20 Schubert, F. Fantasy in C, D934 (1827).

Isabelle Faust, vn; Alexander Melnikov, pf.

Harmonia Mundi HMX 2908250.79 23 Rota, N. Trio (1973). Paolo Beltramini, cl; Cecilia Radic, vc; Massimo Palumbo, pf.

Chandos CHAN 9832 16 Cherubini, L. String quartet no 4 in E (1835).

Quartetto David.

BIS CD-1004 30

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

Philharmonia O/Charles Mackerras (2 above) 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 BUSONI EXPLORED Part 3 Prepared by Michael Morton-Evans Busoni, F. Ich sah die Trane, from Hebräische Lieder, op 15 (1884/1901). Martin Bruns, bar; Ulrich Eisenlohr, pf.

Naxos 8.5572245 3 Piano concerto in C, op 39, All’Italiana, mvt 7 (1904). Marc-André Hamelin, pf; City of Birmingham Sympony Ch & O/Mark Elder.

Hyperion CDA67143 12

Wednesday 21 FEBRUARY

Thursday 22 FEBRUARY Handel, G. Harpsichord concerto in A, op 6 no 11 (1739). English Concert/Trevor Pinnock, hpd & dir.

Archiv 410 899-2 17

Turandot suite, op 41 (1905/11). La Scala PO/Riccardo Muti.

Sony SK 53 280 24 Turandots Frauengemach, from Elegien (1907). Geoffrey Tozer, pf.

Chandos CHAN 9394 3

Rameau, J-P. Suite from Zoroastre (1749). O of the Eighteenth Century/Frans Brüggen.

Glossa GCD C81106 34

Sonatina no 6, piano fantasy on Bizet’s Carmen (1920). Marc-André Hamelin, pf.

Hyperion CDA66765 8 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by James Nightingale

1868

A Sesquicentenary Event Thomas, A. Hamlet. Opera in five acts. Libretto

by Michael Carré and Jules Barbier after Shakespeare. First performed Paris, 1868.

HAMLET: Sherrill Milnes, bar OPHÉLIE: Joan Sutherland, sop CLAUDIUS: James Morris, bass GERTRUDE: Barbara Conrad, mezz LAERTE: Gösta Winbergh, ten MARCELLUS: Keith Lewis, ten HORATIO: Philip Gelling, bass GHOST: John Tomlinson, bass Welsh National Ch & O/Richard Bonynge.

Decca 482 6455 2:51 Synopsis at finemusicfm.com/Opera Liszt, F. Symphonic poem no 10: Hamlet, S104 (1858). London PO/Bernard Haitink.

Philips 438 754-2 14 23:30 TRIP THE LIGHT FANTASTIC Prepared by Brian Drummond Bassano, A. Pavane and galliard no 1.

Fretwork.

Harmonia Mundi HMU 907478 3 Granados, E. El fandango de candil, from Goyescas, bk 1 (1911). Luis Fernando Pérez, pf.

Mirare MIR 138 6 Szymanowski, K. Nocturne and tarantella, op 28 (1915). Lydia Mordkovitch, vn; Marina Gusak-Grin, pf.

Chandos CHAN 8747 10 Rodrigo, J. Fandango. Pepe Romero, gui.

Decca 478 5669 4

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 RUSSIAN PIANO WORKS Prepared by Gael Golla Yo-Yo Ma 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Frank Morrison Dvorák, A. Romance in F minor, op 11 (187379). Philharmonia O/Eliahu Inbal. apex 0927 49517 2 12 Paganini, N. Caprice in A, op 40 no 24. Silke Avenhaus, pf.

EMI 5 55607 7 Thomas Zehetmair, vn (2 above) Schumann, R. String quartet in A minor, op 41 no 1 (1842). Zehetmair Quartet.

ECM 1793 23 Piazzolla, A. Café 1930, from Histoire du tango (1986). Nestor Marconi, bandoneon.

Sony SK 63122 8 Morricone, E. Gabriel’s oboe, from The mission (1986). Rome Sinfonietta/Ennio Morricone.

Sony SK 93456 3 Franck, C. Sonata in A (1886; transcr. Yo-Yo Ma). Kathryn Stott, pf.

Sony SK 87287 27 Yo-Yo Ma, vc (3 above) 10:30 CONCERT HALL Prepared by Rex Burgess Purcell, H. Suite from The fairy queen (1692). Academy of St Martin in the Fields/ Neville Marriner Capriccio C8001 32

Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933). André Previn, pf; William Vacchiano, tpt; New York PO/Leonard Bernstein.

CBS MPK 44850 22 Prokofiev, S. Five melodies, op 35bis (c1920). Gidon Kremer, vn; Martha Argerich, pf.

DG 431 803-2 13 Borodin, A. Quintet in C minor (1862). Ilona Prunyi, pf; New Budapest String Quartet.

Marco Polo 8.223172 23 Rachmaninov, S. Piano concerto no 1 in F sharp minor, op 1 (1891). Earl Wild, pf; Royal PO/Jascha Horenstein.

Chandos CHAN 6605 24 14:30 ANDRÉ PREVIN, COMPOSER Prepared by Gael Golla Previn, A. The giraffes go to Hamburg (2000). Renée Fleming, sop; Renée Siebert, fl.

DG 471 028-2 11 Guitar concerto (1971). John Williams, gui; London SO. LP CBS 73060 25 Sonata no 2 (2011). Anne-Sophie Mutter, vn; Lambert Orkis, pf.

DG 479 2949 19 Will there really be a morning, from Three Dickinson songs (1999). Renée Fleming, sop; André Previn, pf. 1 Diversions (1999). Vienna PO/André Previn. 24 DG 471 028-2 (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley February 2018

fineMusic 102.5

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Thursday 22 FEBRUARY 20:00 SHOWCASING AUSTRALIAN ARTISTS La belle époque Recorded by Greg Ghavalas for SUGC on 21 May 2017 Franck, C. Psalm 150. 5 Fauré, G. Pavane, op 50 (1887). 8 Saint-Saëns, C. Tu es Petrus, op 147. 6

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Offenbach, J. Overture to La vie parisienne (1866; arr. Dorati). Sydney SO/Patrick Thomas.

ABC 476 4570 5

9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Di Cox

Schmitt, F. Rhapsodie parisienne for four hands (1900). Invencia Piano Duo. Grand Piano GP730X 6

Bowen, C. Démocratie. 14 Saint-Saëns, C. Messe de Requiem, op 54 (1878). Elke Hook, sop; Barbara Jin, cont; Andrew Goodwin, ten; Simon Lobelson, bar. 35

Rimsky-Korsakov, N. Trombone concerto (1877; orch. Lindberg). Christian Lindberg, tb; Tapiola Sinfonietta/Osmo Vänskä.

BIS CD-568 10

Sydney University Graduate Choir/ Christopher Bowen (all above) SUGC concert recording 21:30 SLOW AND SUBLIME Prepared by Chris Blower Haydn, J. String quartet in D, Hob.III:63, Lark, mvt 2 (1790). Kodály Quartet.

Nimbus 8.550674 7 Brahms, J. Trio in E flat, op 40, mvt 3 (1865). Mark Kaplan, vn; David Jolley, hn; David Golub, pf.

Arabesque Z 6607 8 Vaughan Williams, R. Piano quintet in C minor, mvt 2 (1903). Nash Ensemble.

Hyperion CDA67381/2 10 22:00 MUSICAL PORTRAITS Aphrodite and Cupid Prepared by Robert Small Scarlatti, A. Venus, Adonis and Cupid (1696). Jane Edwards, sop; Tessa Miller, sop; James Sanderson, ct; Chacona/ Rosalind Halton.

ABC 476 617-0 53 Nielsen, C. Cupid and the poet, op 54.

South Jutland SO/Niklás Willén.

Naxos 8.557164 6 Gibbons - Locke. Cupid and death (1682).

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

Harmonia Mundi GD 77117 21 Chadwick, G. Tone poem: Aphrodite (1911). Nashville SO/Kenneth Schermerhorn.

Naxos 8.559117 28

13:00 PARIS Prepared by Rex Burgess

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

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

Decca 425 689-2 22

Fauré, G. Cantique de Jean Racine, op 11 (1865). 5

32

Friday 23 FEBRUARY

Tchaikovsky, P. Andante cantabile, from String quartet no 1 in D, op 11 (1871; orch Serebrier). John Doig, vn; Scottish CO/José Serebrier.

ASV DCA 719 7

Mozart, W. Symphony no 31 in D, K297, Paris (1778). English Sinfonia/Charles Groves.

IMP PCD 892 19 Delius, F. Paris: the song of a great city (1900). BBC SO/Andrew Davis.

Teldec 4509-90845-2 22 14:00 A RHYTHMIC ADVENTURE Prepared by Mariko Yata Mozart, W. Sonata in C, K545 (1788).

Mitsuko Uchida, pf.

Philips 422 115-2 14

Strauss, R. Heimliche Aufforderung, op 27 no 3 (1894; orch. Heger). Peter Anders, ten; Berlin PO/Walter Lutze.

Teldec 242 454-2 3

Puts, K. Network (1997; transcr. Kelly 2013).

Ohio State University Wind SO/Scott A. Jones.

Naxos 8.573446 7

Satie, E. Gymnopédies nos 1 and 3 (1888; orch. Debussy). Orpheus CO. DG 449 186-2 6

Piazzolla, A. Le grand tango (1982). Trish O’Brien, vc; Renate Turrini, pf.

MBS CD41 12

Bach, J.S. Suite no 6 in E, BWV817, French (c1724; arr. Salzedo). Julia Shaw, hp; Nora Bumanis, hp.

CBC MCVD1062 14

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

Macquarie Trio.

Fine Music concert recording 27

Tippett, M. Fantasia concertante on a theme of Corelli (1953). Australian CO/Nicholas Kraemer.

Fine Music Tape Archive 17 10:30 CONCERT HALL Prepared by Brian Drummond Tchaikovsky, P. Suite no 4 in G, op 61, Mozartiana (1887). Philharmonia O/Neeme Järvi.

Chandos CHAN 8777 25 Grainger, P. Tribute to Foster (1913-31).

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

Philips 446 657-2 11 Glazunov, A. Symphony no 2 in F sharp minor, op 16 (1886). Moscow SO/Alexander Anissimov.

Naxos 8.553769 45 12:00 A JAZZ HOUR with Barry O’Sullivan

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

Pärt, A. Fratres (1999). Gil Shaham, vn; Roger Carlsson, perc; Gothenburg SO/ Neeme Järvi.

Decca 4806386 10 Anon (attrib. Palestrina). Gregorian chant: Lumen ad revelationem gentium; Nunc dimittis. Sistine Chapel Choir/Massimo Palombella.

DG 479 5300 6 Khan, U. Madhoushi (1951; arr. Khan).

Shujaat Khan, voice, sitar; Silk Road Ensemble/Yo-Yo Ma, vc & dir.

Sony 88875181012 10 Loussier, J. Concerto no 1 for violin and percussion (1987-88). Piotr Iwicki, perc; Polish Philharmonic CO/ Adam Kostecki, vn & dir.

Naxos 8.573200 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter

Friday 23 FEBRUARY 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Compositions given their world première by the Sydney Symphony Prepared by Paul Cooke Antill, J. Corroboree (1946). New Zealand SO/James Judd.

Naxos 8.570241 41 Sutherland, M. Haunted Hills (1953).

Melbourne SO/Patrick Thomas.

ABC 446 285-2 15 Martinu, B. Oboe concerto (1955). Jirí Tancibudek, ob; Adelaide SO/Elyakum Shapirra.

ABC 461 703-2 16 Sculthorpe, P. Love 200 (1970). Jeannie Lewis, voice; Tully; Sydney SO/John Hopkins.

Chapter Music CH76 20 22:00 BAROQUE AND BEFORE Music for festive and courtly occasions Prepared by Brian Drummond Monteverdi, C. Confitebor tibi Domine, from Selva morale e spirituale (pub. 1640).

Susan Herrington-Jones, sop; Gentlemen of the Chappell; His Majestys Sagbutts and Cornetts.

ASV GAU 122 7 Anon. Procession. Clemencic Consort/René Clemencic.

Harmonia Mundi HMT 7901036 13 Handel, G. Te Deum for the peace of Utrecht, HWV278. Julia Gooding, sop; Sophie Daneman, sop; Robin Blaze, ct; Rogers Covey-Crump, ten; Mark Le Brocq, ten; Andrew Dale Forbes, bass; Choir of St Paul’s Cathedral; Parley of Instruments/John Scott.

Hyperion CDA67009 21 Couperin, F. Concert royal no 3 in A (171415). Heinz Holliger, ob; Manfred Sax, bn; Thomas Brandis, vn; Josef Ulsamer, va da gamba; Christiane Jaccottet, hpd.

Archiv 427 119-2 17 Telemann, G. Heroic music, TWV50:31-42 (1728). Håkan Hardenberger, tpt; Simon Preston, org.

Philips 434 074-2 19 Lawes, W. Royall consort no 1 in D minor.

Greate Consort/Monica Huggett.

ASV GAU 146 14 Handel, G. Music for the royal fireworks, HWV351 (1749). Stuttgart CO/Karl Münchinger.

Decca 478 5623 16

Saturday 24 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE The early Classical (c1760-1800) Prepared by James Nightingale Mozart, W. Overture to La clemenza di Tito, K621 (1791). Norwegian National Opera O/ Rinaldo Alessandrini. naïve OP 30479 4 Clementi, M. La chasse, op 16. Howard Shelley, pf.

Hyperion CDA 67850 9 Haydn, J. Quartet in F minor, Hob.III:35 (1772). Lindsay String Quartet.

ASV DCA 674 22 Hasse, J. Salve Regina in E flat (1767).

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

Archiv 453 435-2 15 Krommer, F. Symphony no 1, op 12 (1798).

Swiss Italian O/Howard Griffiths. cpo 555 099-2 24 10:30 SMALL FORCES Prepared by James Nightingale Bozza, E. Andante and scherzo (1987).

Aurelia Saxaphone Quartet.

Etcetera KTC 1104 7 Abbott, K. Re-echo (2015). Julian Smiles, vc; Claire Edwardes, vibraphone.

ABC 481 4828 5 Zelenka, J. Sonata no 2 in G minor (171516). Jurg Schaeftlein, ob; Paul Hailperin, ob; Milan Turkvic, bn; Concentus Musicus Vienna/Nikolaus Harnoncourt.

Teldec 8.42415 18 Saint-Saëns, C. Sonata no 1 in D minor (1885). Guido Rimonda, vn; Cristina Canziani, pf.

Chandos CHAN 10510 22 11:30 ON PARADE Prepared by Paul Hopwood McAllister, S. Black dog. Andrew Doyle, cl; Andrew Stokes, cond.

Royal Australian Navy RAN-008 10 Hindemith, P. Symphony for band (1928).

Phillip Anderson, cond.

Royal Australian Navy RAN-004 16 Royal Australian Navy Band (2 above)

Reinhard Goebel 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 MUSIC FOR THREE Prepared by Brian Drummond Müller, I. Trio, after a theme from Rossini’s Armida (c1828). Dieter Klöcker, cl; Martin Ostertag, vc; Edward Witsenburg, hp.

Schwann CD 310 001 H1 11 Molino, F. Trio for flute, viola and guitar, op 4 no 1 (1809). Sérénade à trois. cpo 777 448-2 14 Haydn, J. Keyboard trio in D, Hob.XV:deest.

Beaux Arts Trio.

Philips 454 098-2 6 Beethoven, L. Trio in C, op 87 (1795).

Guy Henderson, ob; Claire Fox, ob; Peter Newberry, cora.

LP ABC R.02424 21 15:00 ROMEO AND JULIET Prokofiev, S. Ballet: Romeo and Juliet, op 64 (1938). Royal PO/Vladimir Ashkenazy.

Decca 436 078-2 2:21 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Coloratura mezzos 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes Schubert, F. Mondenschein, D875 (1826).

Die Singphoniker. cpo 999 397-2 6 February 2018

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Saturday 24 FEBRUARY

Sunday 25 FEBRUARY

Greisengesang, D778 (1823). Dietrich Fischer-Dieskau, bar; Gerald Moore, pf.

DG 477 5765 6 Overture in C minor for string quintet. Gyozo Mathe, va; Kodály Quartet.

Naxos 8.557126 9 Therefore let us humbly adore, in E flat, D962 (1828). Vienna Boys’ Choir; Ch Viennensis; Georg Stangelberger, org; Peter Marschik, cond.

ABC 480 6690 6 Ballet music from Rosamunde, D797 (1823).

Vienna SO/Nikolaus Harnoncourt.

Apex 0927 498132 16

John Eliot Gardiner

Philippe Herreweghe

String trio no 1 in B flat, D471 (1816).

Members of Vienna Konzerthaus Quartet.

Westminster RC 8808678121735 12

Liszt, F. O du, mein holder Abendstern, from Wagner’s Tannhäuser (1845; transcr. 1848).

Michele Campanella, pf.

Brilliant Classics 94610 7

0:00 CLASSIC-ALL THROUGH THE NIGHT

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Joachim, J. Overture: Hamlet, op 4 (1855).

Stuttgart RSO/Meir Minsky.

Naxos 8.554733 17

Gershwin, G. Excerpts from Girl crazy (1930).

Mary Martin, Jan Clayton, voices; members of original cast.

PLATCD 973 20

Schumann, R. Fairytale pictures, op 132 (1853). Marina Marsden, vn; Justine Marsden, va; Robert Chamberlain, pf.

Fine Music concert recording 15

Lloyd Webber, A. Suite from The phantom of the opera (1986). O/Richard Hayman.

Naxos 8.578039-40 12

Schumann, C. Three romances, op 22 (1853). Lisa Batiashvili, vn; Alice Sara Ott, pf.

DG 479 0086 9

Berlin, I. Excerpts from Holiday Inn. Bryce Pinkham, Lora Lee Gayer, Megan Lawrence, Danny Rutigliano, Corbin Bleu, voices; members of original cast.

Ghostlight Records 84512-02 18

Bruch, M. Violin concerto no 1 in G minor, op 26, mvt 2 (1868). Niki Vasilakis, vn; Tasmanian SO/Sebastian Lang-Lessing.

ABC 481 0773 4

20:00 INFLUENCES AND CONNNECTIONS Joseph Joachim Prepared by Elaine Siversen

Brahms, J. Double concerto in A minor, op 102, mvt 1 (1887). Anne-Sophie Mutter, vn; Antonio Meneses, vc; Berlin PO/Herbert von Karajan.

DG 477 9730 8

Hellmesberger, J. I Ball scene. Vienna PO/ Mariss Jansons.

Sony 88875174772 5

34

22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess

Beethoven, L. Allegro appassionato, from Quartet no 15 in A minor, op 132 (1825).

Alban Berg Quartet.

EMI 1 66447 2 6

Bach, J.S. Concerto in A minor, BWV1044 (1730). Aurèle Nicolet, fl; Gerhart Hetzel, vn; Munich Bach O/Karl Richter.

Archiv 479 1045 23

Mendelssohn, F. Songs without words, bk 6, op 67 (1843-45). Daniel Barenboim, pf.

DG 453 061-2 13

Liszt, F. Three concert études, S144 (1849).

Daniil Trifonov, pf.

DG 479 5529 19

Hauptmann, M. Mailied, op 25 no 3 (c1840); Zigeunerlied, op 32 no 2; An Der Kirche Wohnt Der Priester, op 47 no 1 (c1860).

Monteverdi Choir, Hamburg/Jürgen Jürgens.

Novalis 150032-2 8

Berlioz, H. Les nuits d’été (1841/56). Diane Montague, mezz; Catherine Robbins, mezz; Howard Crook, ten; Gilles Cachemaille, bar; Lyon Opera O/John Eliot Gardner.

Erato 6-11 29

David, F. Bassoon concertino in B flat, op 12.

Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 9

Respighi, O. La boutique fantasque, op 40, after Rossini (arr. 1919). Cincinnati SO/Jésus López-Coboz.

Telarc 80396 42

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 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; Leo van Doeselaar, org; Paris Orchestral Ensemble/Philippe Herreweghe.

Harmonia Mundi 901272 24 Rheinberger, J. Mass in E flat, op 109 (1878). Choir of Gonville and Caius College, Cambridge/Geoffrey Webber.

ASV DCA 989 21 Berkeley, L. Latin motets, op 83 no 1 (1972).

Choir of St John’s College, Cambridge/ Christopher Robinson.

Naxos 8.557277 9 10:00 THE CLASSICAL ERA Prepared by Denis Patterson Cherubini, L. String quartet no 1 in E flat (1814). Quartetto David.

BIS CD-1003 32 Weber, C.M. Clarinet concerto no 1 in F minor, op 73 (1811). Oskar Michallik, cl; Staatskapelle Dresden/Kurt Sanderling.

Berlin 0012862BC 24 Clementi, M. Piano concerto in C (c.1790).

Felicja Blumental, pf; Prague SO/Alberto Zedda.

Brana Records BR 0008 23 Spontini, G. Caro oggetto, from La vestale (1807). Maria Callas, sop; La Scala TO/Tulio Serafin.

EMI 5 67701 2 4 Haydn, M. Symphony no 8 in D. Slovak CO/ Bohdan Warchal. cpo 999 153-2 26 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

Sunday 25 FEBRUARY 17:00 HOSANNA Hymn: I heard the voice of Jesus say. Choir of St James, King Street/David Drury. 3 Wesley, S.S. Psalms 42 and 43. Choir of St John’s College, Cambridge; John Challenger, org; Andrew Nethsingha, cond.

Chandos CHAN 10751 7 Hymn: O love divine, how sweet thou art!

Choir of Norwich Cathedral; David Dunnett, org; Ashley Grote, cond.

Priory PRCD 1121 2 Mstislav Rostropovich 13:00 WORLD MUSIC: Whirled Wide with Linda Marr 14:00 IN THE CLASSIC CHAMBER MODE Prepared by Andrew Dziedzic Boccherini, L. Piano quartet in F, op 26 no 5 (1785-90). La Real Cámara.

Glossa GCD 920312 13

Wesley, S.S. Wash me thoroughly from my wickedness. Choir of St John’s College, Cambridge; John Challenger, org; Andrew Nethsingha, cond.

Chandos CHAN 10751 5 Vaughan Williams, R. Excerpts from Mass in G minor. Corydon Singers/Matthew Best.

Hyperion CDA66076 13

Schubert, F. Adagio in E flat for piano trio, D897, Notturno (c1828). Beaux Arts Trio.

Philips 442 9375 13

Tallis, T. Excerpts from Lamentations of Jeremiah. Parsons Affayre/Warren TrevelyanJones.

Vox Foris MMPA002 8

Vanhal, J. Flute quartet in B flat, op 7 no 2 (c1771). Australian Haydn Ensemble.

Fine Music concert recording 16

Greene, M. Lord, let me know mine end.

Choir of St Paul’s Cathedral; Simon Johnson, org; Andrew Carwood, cond. 6

Mozart, W. Divertimento in D, K136 (1772; arr. Kain). Guitar Trek.

ABC 432 698-2 12

Hymn: Light of the minds that know him.

Choir of St James, King Street/David Drury.

15:00 SUNDAY SPECIAL Tchaikovsky’s first Prepared by Di Cox

1868

A Sesquicentenary Event Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1880). London PO/Mstislav Rostropovich.

EMI 5 65709 2 23 Balakirev, M. Symphonic poem: Tamara (1867-82). BBC PO/Vassily Sinaisky.

Chandos CHAN 9727 21 Mozart, W. Piano concerto no 23 in A, K488 (1786). Wilhelm Kempff, pf; Bamberg SO/ Ferdinand Leitner.

DG 479 1133 25 Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter daydreams (1866). USSR SO/ Yevgeny Svetlanov.

Melodiya 74321170922 42

Leif Segerstam Chopin, F. Mazurka in C, op 56 no 3 (1843).

Roger Woodward, pf.

Artworks AW012 6 Delibes, L. Mazurka, from Coppélia (1870).

National PO/Richard Bonynge.

Decca 478 4746 4 Liszt, F. Seconda mazurka di Tirindelli (1880). Leslie Howard, pf.

Hyperion CDS44529 6 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Sibelius, J. Incidental music to King Christian II, op 27 (1898). Gothenburg SO/Neeme Järvi.

DG 447 760-2 24

18:00 MAZURKAS Prepared by Denis Patterson

Belshazzar’s feast, op 51 (1906). Lilli Paasikivi, mezz; Lahti SO/Osmo Vänskä.

BIS CD-735 20

Dvorák, A. Mazurka in E minor, op 49 (1879).

David Oistrakh, vn; Vladimir Yampolski, pf.

Brilliant Classics 8402 6

Symphony no 4 in A minor, op 63 (1911).

Danish National RSO/Leif Segerstam.

Chandos CHAN 8943 40

Chopin, F. Mazurka in A minor, op 59 no 1 (1845). Vladimir Ashkenazy, pf.

DG 477 8445 4 Britten, B. Mazurka elegiaca, op 23 no 2 (1941). Clifford Curzon, pf; Benjamin Britten, pf.

Decca 478 5364 8 Lyapunov, S. Mazurka in G sharp minor, op 31 no 7 (1908). Florian Noack, pf.

Ars ARS 38 132 8 Chopin, F. Mazurka in C sharp minor, op 63 no 3 (1846); Mazurka in F minor, op 7 no 3 (1831). Vladimir Horowitz, pf.

DG 479 4649 4 Glinka, M. Mazurka, from Ivan Susanin (1836). USSR SO/ Yevgeny Svetlanov.

Melodiya SUCD 10-00166 5

20:30 NEW HORIZONS Prepared by Paul Cooke Zwilich, E. Symphony no 1 (1982) Indianapolis SO/John Nelson.

New Horizons NW336-2 18 Rose, J. Between worlds (2013). Nicholas Russoniello, sax; Acacia Quartet. www.nickrussoniello.com.au 15 Isaacs, M. Chamber symphony for soprano and 13 players (2015). Lee Abrahmsen, sop; Omega Ensemble/Mark Isaacs.

Fine Music concert recording 17 Higdon, J. Violin concerto (2008). Hilary Hahn, vn; Royal Liverpool PO/Vasily Petrenko.

DG 477 8777 32 22:00 AFTER HOURS JAZZ with Kevin Jones February 2018

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Monday 26 FEBRUARY 13:00 LEGENDARY CONDUCTORS Adrian Boult Prepared by Randolph Magri-Overend Coates, E. Suite: Summer days (1919). New Philharmonia O. Lyrita SRCD 246 12 Bridge, F. Suite for string orchestra (1910).

London PO. Lyrita SRCD.242 21

Benjamin Britten 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: 1937 Prepared by Derek Parker Walton, W. Crown imperial (1937).

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

BBC BBCRD 9103 8 Stravinsky, I. Concerto in E flat, Dumbarton Oaks (1937-38). Columbia SO/Igor Stravinsky.

Sony SM3K 46 291-302 14 Grainger, P. A Lincolnshire posy (1937).

Leslie Howard, pf; David Stanhope, pf.

ABC 481 1601 16 Villa-Lobos, H. Discovery of Brazil, suite no 1 (1937). Slovak RSO/Roberto Duarte.

Marco Polo 8.223551 18 Britten, B. Variations on a theme of Frank Bridge, op 10 (1937). English CO/Benjamin Britten.

Decca 478 5364 27 10:30 CONCERT HALL Prepared by Derek Parker Walton, W. Violin concerto in B minor (193639-43). Nigel Kennedy, vn; Royal PO/André Previn.

EMI 5 62813 2 31 Berlioz, H. Orchestral music from Romeo and Juliet, dramatic symphony, op 17 (1839).

Chicago SO/Carlo Maria Giulini.

EMI 5 85974 2 53 12:00 SWING SESSIONS with John Buchanan 36

Vaughan Williams, R. The lark ascending (1914/20). Hugh Bean, vn; New Philharmonia O. EMI CDC 7 63098 2 15 Parry, H. English suite (1921). London SO. Lyrita SRCD 220 21 Vaughan Williams, R. Symphony no 7, Sinfonia Antartica (1949-52). Norma Burrowes, sop; London Philharmonic Choir; London PO. EMI CDC 7 63098 2 41 Adrian Boult, cond (all above) 15:00 ON THE RIVER Prepared by Stephen Wilson

Tuesday 27 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Jennifer Foong Liszt, F. Réminisces de Don Juan (1841).

Yuja Yang, pf.

Harmonia Mundi HMU 907405 18 Schubert, F. The stream’s lullaby, from Die schöne Müllerin, D795 no 20 (1823). Ian Bostridge, ten; Mitsuko Uchida, pf.

EMI 5 57827 2 7 Dukas, P. The sorcerer’s apprentice (1897; arr Staub). Yuja Wang, pf.

DG 479 005-2 10 Mozart, W. Sonata in D, K284, Dürnitz (1775). Mitsuko Uchida, pf.

Philips 422 115-2 24 Brahms, J. Sonata no 3 in D minor, op 108 (1886-88). Leonidas Kavakos, vn; Yuja Wang, pf.

Decca 478 6442 22 10:30 CONCERT HALL Prepared by Michael Field

Delius, F. Summer night on the river (1911).

Bournemouth Sinfonietta/Norman Del Mar. Chandos CHAN 6502 7

Ives, C. The unanswered question (1908/3035). Adolph Herseth, tpt; Chicago SO/Michael Tilson Thomas.

CBS MK 42381 7

Schulz-Evler, A. Concert arabesques on themes by Johann Strauss: The beautiful blue Danube. Piers Lane, pf.

Helios CDH55238 11

Alfvén, H. Swedish rhapsody no 1, op 19, Midsummer vigil (1903). Stockholm PO/ Neeme Järvi.

BIS CD-385 14

Smetana, B. The Moldau, from My country (1874). Queensland SO/Patrick Thomas.

ABC 476 4570 12

Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). Alexander Markov, vn; Saarbrücken RSO/Marcello Viotti.

Erato 2292-45788-2 30

Palmgren, S. Piano concerto no 2, op 33, The River (1911). Juhani Lagerspetz, pf; Turku PO/Jacques Mercier.

Finlandia 3984-28171-2 21

Beethoven, L. Symphony no 7 in A, op 92 (1811-12). NBC SO/Arturo Toscanini.

RCA GD60253 33

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

13:00 CHAMBER HOUR Prepared by Sheila Catzel

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

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

12:00 JAZZ RHYTHM with Jeannie McInnes

Piazzolla, A. Tango suite (1984; arr. Assad).

Yo-Yo Ma, vc; Sergio Assad, gui; Odair Assad, gui.

Sony SK 63122 10 Holst, G. Quintet in A minor, op 3 (1903).

Christopher O’Neal, ob; Julian Farrell, cl; Christopher Blake, hn; Richard Skinner, bn; Anthony Goldstone, pf.

Chandos CHAN 9077 17

Tuesday 27 FEBRUARY Herzogenberg, H. Trio in D, op 61 (1889).

Ingo Goritzki, ob; Barry Tuckwell, hn; Ricardo Requejo, pf.

Claves 50 803 25 14:00 SUNRISE, SUNSET Prepared by Randolph Magri-Overend Davies, P. Maxwell. An Orkney wedding, with sunrise (1985). George McIlwham, bagpipes; Scottish CO/Peter Maxwell Davies.

Unicorn-Kanchana DKP(CD)9070 12 Delius, F. Songs of sunset (1906-07).

Janet Baker, mezz; John Shirley-Quirk, bar; Liverpool Philharmonic Choir; Royal Liverpool PO/Charles Groves.

LP EMI EMX 2198 30 Haydn, J. String quartet no 63 in B flat, Hob. III:78, Sunrise. Kodály Quartet.

Naxos 8.550129 23 Strauss, R. Sunrise, op 46 no 4 (1900). Edita Gruberova, sop; Friedrich Haider, pf.

Teldec 2292-44922-2 3 Sibelius, J. Nightride and sunrise, op 55 (1909). Royal Stockholm PO/Paavo Järvi.

Virgin 5 45213 2 15 Gounod, C. L’amour! l’amour! ah! lève-toi, soleil, from Romeo and Juliet (1867). Rolando Villazón, ten; French RPO/Evelino Pidò.

Virgin 5 45719 2 4 Respighi, O. The sunset (1914). Lorraine Hunt, sop; Australian CO/Richard Tognetti.

Sony SK62855 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Boccherini, L. Quintet no 3 in B flat (1798).

Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Philips 438 769-2 23 Beethoven, L. Piano trio in B flat, op 97, Archduke (1810-11). Macquarie Trio.

ABC 446 626-2 40 Mozart, W. Sonata in A, K526 (1787). Arthur Grumiaux, vn; Walter Klein, pf.

Philips 446 237-2 20 Debussy, C. String quartet in G minor, op 10 (1893). Gagliano Quartet.

Fine Music Tape Archive 26

Wednesday 28 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil

Mozart, W. Sonata no 23 in D, K306 (1778).

Fabio Biondi, vn; Olga Tverskaya, pf.

Opus OPS 30-216 29 14:00 IN CONVERSATION with Michael Morton-Evans

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Robin Mitchell

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

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

DG 439 886-2 25

Busoni, F. Two studies for Doktor Faust, op 51 (1918-9). Hong Kong PO/Samuel Wong.

Naxos 8.555373 19

Mariettas Lied, op 12 (1920). Barbara Hendricks, sop; Philadelphia O/Franz WelserMöst.

EMI 5 56169 2 5 Suite from The Sea Hawk (1940). London SO/André Previn.

DG 471 347-2 17 Trailer music from Deception (1946). Moscow SO/William Stromberg.

Naxos 8.578005/06 4 Cello concerto in C, op 37 (1946). Peter Dixon, vc; BBC PO/Matthias Bamert.

Chandos CHAN 9508 13 Overture to a drama, op 4 (1911). Mineria SO/Carlos Miguel Prieto.

Naxos 8.570791 14 Pierrot’s dance song, from Die tote Stadt (1920; arr. Kreisler). Fritz Kreisler, vn; Carl Lamson, pf.

Naxos 8.111400 3 10:30 CONCERT HALL Prepared by Sheila Catzel Rossini, G. Overture to Semiramide (1823).

Philharmonia O/Carlo Maria Giulini.

EMI 5 62802 2 13 Hiller, F. Piano concerto no 3 in A flat, op 170, Concerto espressivo (1874). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67655 32 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 12:00 JAZZ SKETCHES with Robert Vale 13:00 VIOLIN AND FRIENDS Prepared by Paul Hopwood Beethoven, L. Serenade in D for flute, violin and viola, op 25 (1801). Israel Flute Ensemble.

CDI 18809 24

Lied des Mephistopheles, from GoetheLieder, op 49 no 2 (1918). Martin Bruns, bar; Ulrich Eisenlohr, pf.

Naxos 8.5572245 2 Duettino concertante after Mozart’s K459 (1919). Isabel von Vintschger, pf; Jürg von Vintschger, pf.

Jecklin JD 579-2 8 Toccata (1920).

Naxos 8.570543 10 Tanzwalzer, op 53 (1920).

Naxos 8.570249 9 Wolf Harden, pf (2 above) Caro Dent, due paroline in confidenza from Reminiscenza Rossiniana (1923). Martin Bruns, bar; Ulrich Eisenlohr, pf.

Naxos 8.5572245 2 Prelude in E flat minor, op 37 no 14. Trevor Barnard, pf.

The divine art 2-5011 4 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Colleen Chesterman Wagner, R. Tristan und Isolde. Opera in three acts. Libretto by the composer. First performed Munich, 1865.

TRISTAN: René Kollo, ten KÖNIG MARKE: Kurt Moll, bass ISOLDE: Margaret Price, sop KURWENAL: Dietrich Fischer-Dieskau, bar BRANGÄNE: Brigitte Fassbender, mezz Leipzig Radio Ch; Staatskapelle Dresden/ Carlos Kleiber.

DG 413 315-2 3:54 Synopsis at finemusicfm.com/Opera February 2018

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The following composers have works of at least five minutes on the FEBRUARY dates listed Abbott, K. b1971 24 Albéniz, I. 1860-1909 3 Albrechtsberger, J. 1736-1809 11 Alfvén, H. 1872-1960 12,27 Antheil, G. 1900-1959 5 Antill, J. 1904-1986 23 Arensky, A. 1861-1906 9 Arriaga, J. 1806-1826 18 Attwood, T. 1765-1838 9 Auber, D-F-E. 1782-1871 12 Bach, C.P.E. 1714-1788 10,11 Bach, J.S. 1685-1750 1,2, 3,4,6,8,9,10,11,13,15,16,17, 18,23,24 Bach, W.F. 1710-1784 4 Balakirev, M. 1837-1910 25 Barret, R. b1959 3 Bartók, B. 1881-1945 8,10 Bax, A. 1883-1953 8 Beach, A. 1867-1944 2 Beethoven, L. 1770-1827 1, 2,4,8,9,10,11,13,15,16,17,18, 19,24,27,28 Benda, G. 1722-1795 18 Benjamin, A. 1893-1960 8,19 Bennett, Richard.

1936-2012 19 Bennett, W. Sterndale 1816-1875 10 Berg, A. 1885-1935 10 Berkeley, L. 1905-1989 25 Berlin, I. 1888-1989 24 Berlioz, H. 1803-1869 3,9,15,24,26 Bernstein, L. 1918-1990 2,17 Berwald, F. 1796-1868 20 Bizet, G. 1838-1875 9,16 Boccherini, L. 1743-1805 18,19,25,27 Borodin, A. 1833-1887 1,12,22 Bortnyansky, D. 1751-1825 17 Bowen, C. b1956 22 Boyce, W. 1711-1779 4,10 Boyd, A. b1946 18 Bozza, E. 1905-1991 14,24 Brahms, J. 1833-1897 3,4, 6,7,8,12,13,14,15,16,17,18, 22,24,27 Bridge, F. 1879-1941 26 Britten, B. 1913-1976 1,8,25,26 Brod, H. 1801-1838 14 Brouwer, L. b1939 17 Bruch, M. 1838-1920 1 Busoni, F. 1866-1924 7,14,28 Caldara, A. c1670-1736 2,6 Cambini, G. 1746-1825 4

Cannabich, C. 1731-1798 4 Carter, E. 1908-2012 4 Casella, A. 1883-1959 14 Castelnuovo-Tedesco, M. 1895-1968 5 Chabrier, E. 1841-1894 5,10,14 Chadwick, G. 1854-1931 6,22 Charpentier, M-A. 1635-1704 18 Cherubini, L. 1760-1842 3,11,20,25 Chin, U. b1961 11 Chopin, F. 1810-1849 1,11,18,25 Cimarosa, D. 1749-1801 21 Clarke, H. 1867-1945 10 Clementi, M. 1752-1832 4,9,24,25 Coates, E. 1886-1957 26 Copland, A. 1900-1990 1,17 Couperin, F. 1668-1733 2,5,19,23 Czerny, C. 1791-1857 2 David, F. 1810-1873 24 Davies, P. Maxwell 1934-2016 27 Dean, B. b1961 8 Debussy, C. 1862-1918 11,14,27 Delius, F. 1862-1934 12,15,23,26,27 Destouches, A. 1672-1749 17 Devienne, F. 1759-1803 8 Distler, H. 1908-1942 8 Dittersdorf, C. 1739-1799 17 Dohnányi, E. 1877-1960 17 Donizetti, G. 1797-1848 3 Dorati, A. 1906-1988 18 Du Mont, H. 1610-1684 4,18 Dufay, G. c1400-1474 2,11 Dukas, P. 1865-1935 5,27 Duncan, E. b1956 8 Dussek, S. 1775-1847 9 Dvorák, A. 1841-1904 1,2,15,16,20,22,25 Edwards, R. b1943 18 Elgar, E. 1857-1934 2,5,6,8,18,19,21 Enescu, G. 1881-1955 11 Fauré, G. 1845-1924 11,13,14,22 Field, J. 1782-1837 9 Franck, C. 1822-1890 22 Froberger, J. 1616-1667 17 Gál, H. 1890-1987 28 German, E. 1862-1936 1 Glazunov, A. 1865-1936 17,23 Glinka, M. 1804-1857 15,16,20 Gluck, C. 1714-1787 10,11,17

Gnattali, R. 1906-1988 17 Godowsky, L. 1870-1938 4 Górecki, H. 1933-2010 4 Gould, M. 1913-1996 2 Gounod, C. 1818-1893 13,15 Grainger, P. 1882-1961 23,26 Granados, E. 1867-1916 5,19,21 Graun, C. 1704-1759 20 Graun, J. 1702-1771 20 Greene, M. 1696-1755 25 Grieg, E. 1843-1907 6,20 Guastavino, C. 1912-2000 17 Halvorsen, J. 1864-1935 3 Handel, G. 1685-1759 2,9,11,16,17,19,22,23 Hasse, J. 1699-1783 24 Hauptmann, M. 1792-1868 24 Haydn, J. 1732-1809 3,4,6, 7,8,11,15,18,20,22,24,27 Haydn, M. 1737-1806 4,11,25 Helps, R. 1928-2001 1 Henselt, A. 1814-1889 11 Herbert, V. 1859-1924 10,17 Herzogenberg, H. 1843-1900 27 Higdon, J. b1962 25 Hiller, F. 1811-1885 28 Hindemith, P. 1895-1963 1,24 Holborne, A. fl c1584-1602 2 Holst, G. 1874-1934 27 Homilius, G. 1714-1785 14 Hotteterre, J-M. 1674-1763 6 Hummel, J. 1778-1837 4,15 Isaac, H. c1450-1517 11 Isaacs, M. b1958 25 Ives, C. 1874-1954 27 Jadin, H. 1769-1802 3 Janácek, L. 1854-1928 7,8,16 Jenkins, J. 1592-1678 6 Joachim, J. 1831-1907 24 Kapsberger, G. c1580-1651 13 Kats-Chernin, E. b1957 18 Kern, J. 1885-1945 15 Khan, U. 1928-2004 23 Klein, B. 1793-1832 4 Koppel, A. b1947 13 Korngold, E. 1897-1957 1,9,15,28 Krása, H. 1899-1944 7 Kraus, J.M. 1756-1792 17 Krommer, F. 1759-1831 24 Lalande, M-R. de 1657-1726 18 Lalo, E. 1823-1892 16

Key Music duration is shown after the record and citation

SO: Symphony Orchestra PO: Philharmonic Orchestra NO: National Orchestra RO: Radio Orchestra FO: Festival Orchestra CO: Chamber Orchestra TO: Theatre Orchestra 38

February 2018

RSO: Radio Symphony Orchestra RTO: Radio & Television Orchestra Prom O: Promenade Orchestra Ch & O: Chorus & Orchestra NSO: National Symphony Orchestra alto: male alto

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ban: bandoneon bar: baritone bshn: basset horn bass: bass bn: bassoon bass-bar: bass-baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

Lambert, C. 1905-1951 15 Lawes, W. 1602-1645 6,23 Lazzari, F. 1678-1754 9 Leclair, J-M. 1697-1764 6 Liszt, F. 1811-1886 2,8,13,18,21,24,25,27 Lloyd Webber, A. b1948 24 Loussier, J. b1934 23 Lyapunov, S. 1859-1924 25 MacDowell, E. 1860-1908 2 Magnard, A. 1865-1914 21 Marianelli, D. b1963 18 Martin, F. 1890-1974 8 Martini, J. 1741-1816 11 Martinu, B. 1890-1959 3,9,15,23 McAllister, S. b1969 24 McDowall, C. b1951 4 Medtner, N. 1880-1951 20 Méhul, E-N. 1763-1817 1 Melani, A. 1639-1703 9 Mendelssohn, F. 1809-1847 7,8,11,15,16,24,25 Milhaud, D. 1892-1974 8,14,19 Molino, F. 1768-1847 24 Monteverdi, C. 1567-1643 23 Morley, T. c1558-1602 2 Mozart, L. 1719-1787 11 Mozart, W. 1756-1791 1,3,4, 5,6,8,9,10,11,14,15,16,17,18, 19,20,23,25,27,28 Muffat, G. 1653-1704 17 Müller, I. 1786-1854 24 Mussorgsky, M. 1839-1881 13,16 Nelegatti, C. b1959 8 Nielsen, C. 1865-1931 22 Offenbach, J. 1819-1880 23 Onslow, G. 1784-1853 5 Paderewski, I. 1860-1941 12 Paganini, N. 1782-1840 19,22,27 Palmgren, S. 1878-1951 26 Parry, H. 1848-1918 26 Pärt, A. b1935 7,23 Peerson, M. c1571-1651 2 Petit, P. 1922-2000 9 Philidor, Anne. 1681-1728 15 Philidor, F-A. 1726-1795 15 Philidor, P. 1681-1731 15 Piazzolla, A. 1922-1992 16,22,23,27 Ponce, M. 1882-1948 15 Poncielli, A. 1834-1886 3 Poulenc, F. 1899-1963 5,12,14,20 Previn, A. b1929 22 Prokofiev, S. 1891-1953 22,24 Purcell, H. 1659-1695 2,8,9,22 Puts, K. b1972 23

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

Rachmaninov, S. 1873-1943 4,16,20,22 Radulescu, H. 1942-2008 4 Raff, J. 1822-1882 15 Rameau, J-P. 1683-1764 22 Ravel, M. 1875-1937 5,9,23 Reger, M. 1873-1916 4 Respighi, O. 1879-1936 5,13,24,27 Rheinberger, J. 1839-1901 6,25 Ries, F. 1784-1838 4 Rimsky-Korsakov, N. 1844-1908 12,23 Rivier, J. 1896-1987 14 Rorem, N. b1923 15 Rose, J. b1951 25 Rossi, L. c1597-1653 6 Rossini, G. 1792-1868 1,14,28 Rota, N. 1911-1979 10,20 Rousseau, J-J. 1712-1778 10 Roussel, A. 1869-1937 5 Saint-Saëns, C. 1835-1921 1,2,3,5,8,13,21,22,24 Sainte-Colombe, A. c1630-1701 6 Samuels, D. 20th c 4 Sanfilippo, B. b1965 18 Sarasate, P. de 1844-1908 5 Satie, E. 1866-1925 19,23 Scarlatti, A. 1659-1725 22 Scarlatti, D. 1685-1757 19 Schmitt, F. 1870-1958 23 Schneider, G. b1950 4 Schoenberg, A. 1874-1951 10,13 Schubert, F. 1797-1828 6,7, 15,16,17,18,20,23,24,25,27 Schulz-Evler, A. 1854-1905 26 Schumann, C. 1819-1896 9,24 Schumann, R. 1810-1856 1,2,4,8,10,13,22,24 Sculthorpe, P. 1929-2014 16,23 Servais, A-F. 1807-1866 2 Shaw, T. 1755-1830 9 Shostakovich, D. 1906-1975 4,12,15,18,22 Sibelius, J. 1865-1957 8,13,20,25,27 Simpson, C. c1605-1669 6 Skryabin, A. 1872-1915 18 Smetana, B. 1824-1884 2,26 Spohr, L. 1784-1859 3 Stamitz, C. 1745-1801 10,15 Stanford, C. Villiers 18521924 10 Stanhope, P. b 1969 11 Stanley, J. 1712-1786 9

mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder sax: saxophone

Stradella, A. 1644-1682 9 Strauss, J. II 1825-1899 3 Strauss, R. 1864-1949 9,12,16,17 Stravinsky, I. 1882-1971 1,3,13,26 Strozzi, B. 1619-1664 1 Sullivan, A. 1842-1900 1,16,17,21 Sutherland, M. 1897-1984 23 Sweelinck, J. 1562-1621 4 Szymanowski, K. 1882-1937 21 Tallis, T. c1505-1585 25 Tanaka, K. b1961 11 Taneyev, S. 1856-1915 3 Tavener, J. 1944-2013 7 Tchaikovsky, P. 1840-1893 3,10,11,12,16,23,25 Telemann, G. 1681-1767 2,4,6,9,23 Thomas, A. 1811-1896 8,21 Tippett, M. 1905-1998 23 Tórroba, F. Moreno 1891-1982 15 Turina, J. 1882-1949 5,12,17,19 Turnage, M-A. b1960 11 Vachon, P. 1731-1803 17 Vanhal, J. 1739-1813 3,25 Vaughan Williams, R. 18721958 1,2,5,15,16,18,22,25,26 Villa-Lobos, H. 1887-1959 8,26 Vine, C. b1954 18 Vivaldi, A. 1678-1741 1,9,16 Wagner, R. 1813-1883 3,7,16,28 Walton, W. 1902-1983 12,20,26 Webb, J. b1946 10 Weber, C.M. 1786-1826 4,18,19,25 Webern, A. 1883-1945 10 Weigl, J. 1776-1846 6,18 Wesley, S. 1766-1837 9 Wesley, S.S. 1810-1876 25,18 Williamson, M. 1931-2003 18 Ysaÿe, E. 1858-1931 12 Zazou, H. 1948-2008 18 Zelenka, J. 1679-1745 24 Zemlinsky, A. 1871-1942 10 Zwilich, E. b1939 7,25

sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vle: violone vn: violin

A GREAT CHORAL CONDUCTOR NICKY GLUCH REMEMBERS RICHARD HICKOX Considering this was the CV with which Hickox arrived in Australia, what went so horribly wrong? The major accusation was that Hickox let standards slide during his tenure but the more subliminal concern was that Hickox was not committed enough to Australian musicmaking. Ten years on, accounts of what happened are so divided that, without having been there, it is impossible to speculate. A few facts, however, can at least be sorted out.

Opera Australia was not in a rosy position when Hickox took over. Although the company has a history stretching back 60 plus years, OA itself was only founded in 1996. In 2001, Simone Young was appointed musical director for what proved to be a controversial (although now almost apologetically remembered) tenure and Hickox assumed the position after that.

I remember when Richard Hickox died. I remember seeing the obituary in the papers, thinking how sad it was for his children to lose their father. I remember when those children did not return to our Sydney school but stayed, instead, in the UK. It would not be fair to say that I knew Richard Hickox, but I did meet him and, as I have gone on to pursue my own studies in conducting, that meeting has stayed with me.

When I was 14, I was escorted by my music teacher to a concert at the Sydney Opera House. Walking along the harbourside concourse we stopped to greet a fellow student having dinner with his Dad. I was introduced, encouraged to shake the man’s hand and blushed at the nice things being said of me in front of this illustrious musician.

Being 14, all I knew was that Hickox was the musical director of Opera Australia (OA).

That was enough for me to be star-struck. I didn’t know of his legacy in England or of the slander he was facing in our own country. It is only now, ten years later, that I know what was said of him after his untimely death and I think it unfortunate as, like all slander, it conceals so much of the truth.

Age is a very poor measure of time. No two people’s experience of what it means to live

until 60 will be the same. Hickox was not, in the conventional sense, a prodigy but he achieved more in his 20s than many of us will hope to in a lifetime. When he was 19, Hickox founded the Wooburn Festival to help raise money for his father’s church. Fifty-one years later the Festival is still going strong. At 23, Hickox founded his own choir and orchestra, the Richard Hickox Singers and Orchestra (later renamed the City of London Singers and Sinfonia), with whom he made numerous recordings. In this way, Hickox was not only a dreamer but also an achiever.

Not prepared to wait for success to come to him, he set about creating his own path. As he proved himself, more opportunities came his way. From being master of music at St Margaret’s, Westminster, to chorus director of the London Symphony Chorus, Hickox found a niche for himself as a truly British musician and, in particular, as a sensitive conductor of choral music. Over his long tenures, Hickox premiered many new English works, recorded beloved stalwarts of the genre and won five Gramophone Awards. Then, in 1990, Hickox showed that he hadn’t lost touch with his church music roots and established a Baroque Orchestra with his friend, the violinist Simon Standage.

Unlike the Sydney Symphony, most of the key players in OA have always been Australian.

From Richard Bonynge to Moffatt Oxenbould and Simone Young, OA is proud to employ local talent. The question is, then, was Hickox fighting a losing battle? If OA needed stability after its turbulence, was he ever going to be the right man for the job?

Hickox’ story is a reminder that music, in itself so beautiful, can often get entangled with something that is less pure: politics. This is not unique to our age, as anyone who knows the tale of Mozart and Salieri can attest. Perhaps it is a mark of just how much we value this art form. It is something we fight over, triumph over and defend.

Bless the radio, then, for being the great equaliser. At Fine Music, we remember Hickox through his prolific recording history.

His contract with Chandos has provided us with much music which we wouldn’t otherwise hear and which we regularly broadcast. This year, the tenth anniversary of Hickox’ death, perhaps it is time to lay aside differences and acknowledge the dedication and commitment Hickox made to classical music. Perhaps it is time to imagine we are 14 and be struck by the greatness, and not the perceived faults, of this honourable musician.

In Enjoy, Learn, Discuss in the Fine Music Learning Centre, Nicky will talk about choral conducting and her Schubert project. You may book a place to attend this talk on Sunday 18 February.

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ONE OF THE LAST ROMANTICS PAOLO HOOKE RECALLS MEMORABLE RECORDINGS “Apparently, I am one of the last Romantics. I want to have my soul, not only my head, involved in the music I perform,” said Yevgeny Svetlanov, chief conductor of the USSR Symphony Orchestra from 1965 until 2000.

Svetlanov’s recordings of Tchaikovsky are exceptional, reaching the core of compositional inspiration in performances of incredible vigour and passion. He was a natural for the late Romantic style of Tchaikovsky.

In Svetlanov conducts Tchaikovsky, we will explore some of his revelatory recordings of Tchaikovsky with the USSR Symphony. The ensemble’s full string sound and traditionally Russian fruity brass create a powerful combination.

Fellow Russian conductor Valery Gergiev described the USSR Symphony as ‘an orchestra with a voice’. For many it represented the sound of Russian music, an orchestral sound which was uniquely Russian. Many Russians simply called it ‘the Svetlanov orchestra’.

Svetlanov conducts Tchaikovsky features Tchaikovsky’s Suite no 4, called Mozartiana, Serenade for strings and Symphony no 6, known as the Pathétique. These are unforgettable, full-throated recordings. The strings are without doubt the glory of the USSR ensemble and are deployed with stunning effect in the Serenade.

In the Pathétique, Svetlanov, contending with his more famous compatriot Yevgeny Mravinsky (probably the greatest interpreter of Tchaikovsky’s symphonies), nevertheless finds his own distinctive approach. It is one which emphasises balance, attention to detail and orchestral colour, and is seemingly immersed in the emotionalism which was Tchaikovsky. While Mravinsky holds his own in his legendary Deutsche Grammophon recording of the Pathétique, Svetlanov’s account is nevertheless remarkable. Harold Schonberg, the music critic of The New York Times, reviewed a concert given by Svetlanov and the Moscow Symphony of the Pathétique at Carnegie Hall in 1969. He wrote, “In this work, there was discipline, there was power, and there was a spirit to the playing that made the work an absorbing experience”.

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These performances of Tchaikovsky are preserved in recordings on Melodiya, the state-owned monopoly record label of the former Soviet Union. In the twilight of the Soviet Union in 1991, some Melodiya executives, desperate for hard currency, sold their distribution rights to the German music giant, Bertelsmann (BMG). In the years 19941998 BMG Germany issued from their Munich headquarters a treasure trove of recordings.

Yet Svetlanov did not just conduct Tchaikovsky.

Anthology of Russian Symphonic Music was his ambitious project to record the entire spectrum of Russian composers. This is an irreplaceable musical jewel, a work unique in its conception and design, to which the conductor devoted more than 25 years of his life. It consists of all the symphonic works of Tchaikovsky, Rachmaninov, Glazunov, Myaskovsky, Mussorgsky, Glinka, Taneyev, Medtner, Lyadov, Lyapunov, Balakirev, Scryabin, Kalinnikov and Rimsky-Korsakov.

Many of the performances featured in this series have been remastered from the original recordings and comprise a massive cycle. Most were released in 1991 and are all the more valuable as they were among the last Melodiya CDs ever issued from the Soviet Union.

Svetlanov’s artistry tapped into a rich Russian tradition. He was born into a theatrical family in Moscow in 1928. His father, a singer, and his mother, a mime artist, were part of the company at the Bolshoi Theatre, the

centre of operatic and balletic life in the capital. Some of Svetlanov’s earliest memories were of performing on the great Bolshoi Theatre stage. He studied composition and piano at the Gnessin Institute for musically gifted children and went on to study at the Moscow Conservatory which included conducting with Alexander Gauk. He studied the piano with Heinrich Neuhaus, a distinguished pianist and one of the founding fathers of the Russian Piano School. Neuhaus was an important influence on Svetlanov, encouraging him to think of the piano in orchestral terms.

In 1953, Svetlanov began to work at the Bolshoi Theatre. “I joined my favourite theatre as a conductor after a contest chaired by the great conductor Melik-Pashayev,” he recalled. “During my first decade at the Bolshoi I progressed from a conductor on probation to chief conductor.” Svetlanov was chief conductor of the Bolshoi from 1962 to 1964, but was arbitrarily dismissed from his position following a successful tour to Milan.

He was appointed chief conductor of the USSR Symphony during the following year.

Svetlanov’s 35 years as chief conductor of the USSR Symphony (then known as the Russian State Symphony Orchestra) ended abruptly in 2000 when he was dismissed from the post by Mikhail Shvydkoy, the Minister of Culture. Svetlanov was accused of spending excessive time conducting outside of Russia.

Indeed, the collapse of the Soviet Union had radically changed things, with better pay and conditions in the West luring many Russian musicians abroad. As Russian orchestral players emigrated, Svetlanov himself accepted permanent positions with orchestras in Holland and Sweden in the 1990s.

Yevgeny Svetlanov passed away in 2002, but his musical legacy lives on in these memorable recordings.

You can hear some of these notable recordings in Svetlanov conducts Tchaikovsky in Sunday Special at 3pm on 11 February.

TCHAIKOVSKY AND TANEYEV

REBECCA ZHONG FINDS RESPECT AND FRIENDSHIP His talent caught the attention of his teacher, thus beginning a lifelong friendship of mutual respect and influence.

Sergei Taneyev “I know you are absolutely sincere and I think a great deal of your judgment but I also fear it” Tchaikovsky once wrote to Sergei Taneyev, one of his students who later became a dear friend and one of the few from whom Tchaikovsky would ask for frank criticism.

Born in 1856, Taneyev began piano lessons at age five and was accepted, at nine, into the Moscow Conservatory. In 1871 he enrolled in Tchaikovsky’s composition class.

Tchaikovsky was right to ‘fear’ Taneyev’s comments. Taneyev had a reputation for being precise and painfully honest in detecting faults. After one particularly stinging critique of his Symphony no 5, albeit delivered with the best intentions, Tchaikovsky scrawled ‘Awful muck’ in red ink across his manuscript and tore it into two, running out of the room.

A distressed Taneyev responded, “Pyotr Ilyich takes everything to heart. After all, he himself asked me to give my opinion ...”. Yet, this was what solidified the two composers’ rapport.

Despite his thin skin in taking criticism, Tchaikovsky always appreciated the forthright nature of Taneyev’s comments and recognised Taneyev’s own ability as a craftsman and composer, even entitling him the ‘Russian Bach’ for his skill in writing polyphony.

The two composers showed their common respect through their works’ inscriptions and dedications. Tchaikovsky dedicated his orchestral fantasia Francesca da Rimini (1876) to Taneyev, the latter returning the gesture in his String quartet in B flat minor (1890).

In addition, Taneyev gave the first Russian

performance of Tchaikovsky’s Piano concerto no 2 in 1882. The compositional influence of his teacher was evident in Taneyev’s Piano quintet in G minor (1911) with its delicate lyricism.

Taneyev made several transcriptions of Tchaikovsky’s works including the completion and orchestration of the vocal duet Do you not hear the nightingale?, a preliminary study for the Fantasy overture: Romeo and Juliet. He also made piano duet arrangements of the the Fourth and Fifth Symphonies and the ballet, The Nutcracker. After Tchaikovsky’s passing, Taneyev was asked by the composer’s brother, Modest, to complete the unfinished Andante and finale for piano and orchestra as a final tribute.

Taneyev succeeded Tchaikovsky as Professor of Harmony at the Moscow Conservatory in 1878, becoming its Director in 1885.

While his fame never reached the heights of his mentor’s, Taneyev’s own teaching nevertheless shaped another generation of young Russian composers, including Rachmaninov, Scryabin and Medtner.

Tchaikovsky’s Protégé and Friend will be broadcast on Saturday 3 February at 1pm.

“A DAY WITHOUT MUSIC …”

GAEL GOLLA EXPLORES ANDRÉ PREVIN’S WORLD There can be no doubt that throughout his long career André Previn has never wasted a minute, let alone a day. For over six decades he has immersed himself in music of all kinds: jazz piano, film composition, classical piano, conducting and composing.

As a teenager, he enthusiastically embraced the American jazz idiom and worked as a pianist in many ensembles, with vocalists and as a solo jazz pianist. He was influenced by Oscar Peterson and worked with greats such as Shelly Manne and Ella Fitzgerald. As one of the few musicians who is comfortable in both the jazz and classical idioms, his concert repertoire and recordings include many classical solo piano works, collaborations with singers (Renée Fleming being a favourite), and chamber and orchestral works. His recordings have won him 11 Grammy awards.

German born and trained, he settled in Los Angeles in 1940. In the 1950s he shot to prominence as a Hollywood composer and arranger, winning four Academy Awards for film scores. An abiding interest in classical music led him to temporarily abandon jazz and film

“A day without music is a wasted day”

music to focus on conducting. From the late 1960s he led six major orchestras, the longest collaboration being 11 years with the London Symphony Orchestra. He favours symphonic music of the Classical and Romantic eras from Mozart and Haydn to Brahms and Richard Strauss, as well as 20th century composers such as Barber, Shostakovich and Korngold.

He shuns the avant-garde styles such as atonality and minimalism.

Television enabled Previn to reach a wider audience who were able to enjoy his work with the Pittsburgh Orchestra in America and with the London Symphony Orchestra in Britain. His involvement there in a Morecambe and Wise Christmas Show revealed another side of him: a wonderful talent for comedy! In 1996 he was appointed an honorary Knight Commander of the Order of the British Empire.

Previn’s personal life has been as interesting as his musical career. He has married and divorced five times, the most notable partners being Mia Farrow and his fifth and most recent wife, Anne-Sophie Mutter, for whom he has written several works and with whom he has made many recordings.

Aged 88, and with his mobility somewhat restricted by arthritis, his primary activity now is composing. He is presently writing an opera on the subject of Penelope, wife of Ulysses, in collaboration with Tom Stoppard.

Discover the three facets of André Previn as conductor, pianist and composer at 2.30pm on Thursdays 8, 15 and 22 February.

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Classical CD Reviews J.S. BACH: CHRISTMAS ORATORIO Gunthild Weber, Sieglinde Wagner, Helmut Krebs, Heinz Rehfuss Berlin Motet Choir; RIAS Chamber Choir Berlin PO/Fritz Lehmann, Günther Arndt Eloquence 482 7637

✶✶✶✶ Bach’s Christmas oratorio has an impressive recording history, stretching back at least to 1950 when the first commercial recording of the complete work was made, and further if you count recordings of its individual parts. It was not until the mid-1950s that a self-conscious search for authenticity in the performance of baroque music began. The recording begun

by Fritz Lehmann in 1955, now remastered and re-issued, represents the first attempt to apply period performance techniques to

BALLADS OF THE PLEASANT LIFE Kurt Weill, Weimar and Exile Peter Coleman-Wright Benjamin Burton, piano; Nexas Quartet ABC 576 2204

✶✶✶✶ BEETHOVEN PIANO CONCERTOS NOS 1 AND 2 Martha Argerich Philharmonia Orchestra/Giuseppe Sinopoli Eloquence 482 8145

✶✶✶✶✶ What can one say about a recording featuring the superb septuagenarian Argentinian pianist Martha Argerich playing the first two of Beethoven’s five piano concertos! On this recording she is accompanied by the Philharmonia Orchestra under its Principal Conductor, Giuseppe Sinopoli. It was first issued in 1986 on the Deutsche Grammophon label, having been recorded in London in the previous year and it has recently been rereleased on the Eloquence label.

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this work. Lehmann had a clear idea of the direction he wanted to go, using a pared-down Berlin Philharmonic Orchestra employing many replica instruments, a motet choir created in 1950 by his friend and collaborator Günther Arndt and a team of soloists of whom tenor Helmut Krebs is the indisputable gem. When Lehmann died part way through the project, Arndt was his natural successor.

Since the Lehmann/Arndt recording, much scholarly water has flowed under the bridge. Our ears have come to expect the lapidary textures of ‘Historically Informed Performance’. This recording, and in particular Krebs’ Evangelist, remind us that much good work was being done with Bach at the very outset of the movement.

Helmut Krebs’ Evangelist achieves a spinetinglingly unmannered intimacy, and the In the early 1960s Barry Humphries was trawling through the second-hand bookshops of Melbourne when he came across some song sheets dating back to the Weimar Republic. Most of them were by Jewish composers whose music had been banned by the autocratic Nazi regime. We’ve all heard of Kurt Weill and Arnold Schoenberg but the likes of Hanns Eisler, Alexander von Zemlinsky, Franz Schreker and, to a certain degree, Robert Stolz (of White Horse Inn fame) are still foreign to us. Most of them exiled themselves to the USA, where their talents were better appreciated.

Examples of their work are scattered on this CD which also includes Weill’s Ballad of Mack the Knife and September song. Their known of the two, was composed after Piano concerto no 2 in B flat, op 19 but was the first to be published. Both were revised, the Second quite extensively, and show evidence of Mozart’s influence. Both have Allegro con brio first movements with relatively lengthy orchestral introductions, and Rondo third movements featuring plenty of whimsical humour and rhythmic interest.

The beginning of the First Concerto is lively and majestic without being too driven or rushed. In this recording, Argerich has chosen the second and shortest of Beethoven’s three cadenzas. The second movement Largo is lyrical and full of poise while the playful charm of the third is beautifully portrayed. The Second Concerto features syncopation and interesting key modulations in the outer movements.

Argerich’s fine touch, tempo, and phrasing

recording would earn its place in your library for that alone. I’ve seen a few reviewers lately fault a chorus for over-producing their terminal consonants and they would probably include the RIAS Chamber Choir in their strictures.

Perhaps it’s a Sydney thing, but this Sydney chorister thought that they were splendid!

Tom Forrester-Paton music is a reminder of the time when Germany was going through a difficult economic phase.

Some of you may recall the decadence so brilliantly portrayed in the movie Cabaret, with Joel Grey as the outrageous MC. The ambience was sordid. This CD tries to match that atmosphere and it succeeds to a great extent.

The accompaniment is sparse: a quartet made up of saxophones and a piano. Even Peter Coleman-Wright has forsaken his operatic baritone voice to mimic a crooner suffering from hours spent in smoke-filled nightclubs.

I may be wrong, and he’s using his natural voice! Whatever, it does not detract from the originality and charm of this album.

Randolph Magri-Overend

place her amongst the great Beethoven interpreters. This disc certainly compares favourably to the historical recordings of Schnabel/Sargent, Kempff/van Kempen and Serkin/Ozawa, to name but three; to Kovacevich/Davis, Perahia/Haitink and Pollini/ Böhm of Argerich’s peers; and to Lewis/ Belohlávek of the younger generation.

Jennifer Foong

BOWEN’S DÉMOCRATIE ELAINE SIVERSEN PROBES THE SATIRE economic authority”. He remarks that this is relevant to our current age where ‘ignorant populism’ has surged on the political scene.

Always in search of interesting material for his vocal compositions, Christopher Bowen found that Rimbaud’s words appealed to his sense of justice and of the satirical. His music is characterised by frequent changes in tempo and syncopation while whispered injunctions give way to shouts of defiance in the choral writing.

Christopher Bowen “If [French poet Arthur] Rimbaud (1854-1891) had not existed”, writes John Bowan, “it is hard to imagine that literature could have invented him.” At the age of 15, Rimbaud wrote his first poems some of which are considered to be amongst his best. At 16 he ran away to Paris and from then on, his behaviour became extravagant and dissolute. At the end of a torrid love affair with the poet Paul Verlaine, Verlaine shot and injured Rimbaud and as a result spent two years in gaol.

Despite this lifestyle, or perhaps because of it, Arthur Rimbaud wrote poetry and prose, which was ground-breaking. His prose work Une Saison en Enfer (A Season in Hell), based on his time with Verlaine, is still widely regarded as an early example of modern Symbolist writing. While he was living with the poet Germain Nouveau, he worked on his unconventional prose-poem Les Illuminations, which includes the poem Démocratie. Nine of the poems from this collection were strikingly set as a work for solo voice and orchestra

by Benjamin Britten. Australian composer Christopher Bowen, Director of the Sydney University Graduate Choir, has made a choral setting of Démocratie which was not included in Britten’s work. Démocratie was premiered by the choir in 2002 and has been repeated in a 2017 concert along with significant works

by French composers. This concert is being broadcast this month on Fine Music.

John Bowan, who prepares the concert program notes for the Sydney University Graduate Choir, writes that, “Rimbaud is justly celebrated for his break with the bounds of conventional writing which yielded a series of surreal experiments in visionary and brilliant poetry. This writing came out of a lived experience that was as rambunctious as it was transgressive.” Yet this brilliant career was over by the time that Rimbaud was 21. He stopped writing, began to travel, took up gunrunning and was a pioneer in the international coffee business. He died aged 39 after a fast and dissolute life, not knowing that Verlaine had published Les Illuminations in book form. It consists of 42 acclaimed poems (40 prosepoems and two of free verse) which have been studied extensively. Rimbaud’s poems in Les Illuminations are written in a style which significantly influenced the development of surrealism and Dadaism.

The texts of the poems express a ‘ruthless and take-no-prisoners class-consciousness’, says John Bowan, and Rimbaud also writes about the exploitation of the working class and attitudes which are, ‘ferocious, ignorant of science and only self-interested’. John Bowan goes on to say, “The extraordinary text of Démocratie is about the persistent failure, in Rimbaud’s time, of French democracy and bourgeois hegemony. Its themes, however, are universal and could be applied to any populist dissent from prevailing political and

Fifteen years ago, Christopher Bowen wrote about his then new composition, Démocratie.

“It is not my intention to make a political statement with this work, as politics from my perspective have become a rather futile and impotent means by which to implement positive change for society as a whole.

Democracy in its most ideal form is fast diminishing, hi-jacked by those whose only concern is to increase their own power to the exclusion of others. One can rationalise any change in many ways and justify it, but if the mechanisms of change demeans humanity and its most basic and fundamental qualities, then I would question its motives.”

Now, on this second performance of his work, he says that ‘democracies throughout the world are now more fragile than ever’. He says that it is a time when facts are described as ‘alternative’ and when people cry ‘fake news’ when what they are hearing or reading is really objective journalism. Amongst a certain part of the population, there is an acceptance of the most outrageous prejudice and bigotry.

He also wonders now how we should view all of those who have fought inequality, discrimination and injustice, including those now-revered protestors Mahatma Ghandi, Martin Luther King and Nelson Mandela when, in our country, some denounce the right to protest against injustice.

While he says that Démocratie is not political, Christopher Bowen’s wish is that his composition proves to be provocative and challenging for the listeners, causing them to reflect on the state of democracy today. Although Arthur Rimbaud wrote in a satirical vein, he was not trying to make fun of the democratic system. His message was that democracy was failing to protect the vulnerable at the expense of the powerful. The message of Les Illuminations lives on!

Démocratie will be heard in Showcasing Australian Artists on Thursday 22 February at 8pm.

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Jazz CD Reviews

NICK MACLEAN QUARTET Rites of Ascension Browntasaurus NCC-1701K

✶✶✶✶ This 20-something Toronto-based pianist will be largely unknown to Australian audiences JOHN SCURRY’S REVERSE SWING Post Matinée LSR 20175

✶✶✶✶ This new release comprises freshly minted original songs from the Australian guitarist John Scurry, a stalwart of the Swing and Trad Jazz scene for over five decades. John is also a renowned visual artist and teacher and has performed at most major jazz festivals throughout Australia and Europe.

His paintings have been exhibited at major galleries in Victoria and New South Wales and include the superb cover image of this CD. Throughout this recording his compositions allow his musical colleagues an opportunity

IS THAT SO? Andrew Dickeson, Eric Alexander, Wayne Kelly, Ashley Turner www.andrewdickeson.com

✶✶✶✶✶ 44

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but with albums like this along with his other project Snaggle, likened to Snarky Puppy, Maclean’s trajectory can only be upward.

Raised in Ottawa and inspired by Fats Waller and Benny Goodman records, he was later influenced heavily by Herbie Hancock’s music and, it seems, his philosophy which are major inspirations on this album.

Personal expression and fun are the hallmarks of Nick Maclean’s music and both are in abundance here. The overly familiar Cantaloupe Island opens the album but Maclean’s arrangement uses chromatic colours to put his stamp on the Hancock hit.

Trumpeter Brownman Ali, with his crystalline tone, controlled vibrato and precise facility tips his hat to Hubbard while accelerating Driftin’ into double time. One finger snap then follows at a pace which requires two fingers

snapping. Samples of Hancock voicing wisdom are used to colour some Maclean originals which allow the album to ascend from a platform of the past into the music of tomorrow.

The highlight is the contribution from Ali, Madness of Nero, which seems to encompass all the stylistic elements of the album into one piece including samples from philosopher Christopher Hitchens. The pair open in unison over a Tyler Goertzen’s backbeat, while Maclean’s block chords are utilised heavily in solo adding to the madness.

Ali’s fleeting inventions are constructed to perfection and build to climax before he again responds musically to Hitchen’s take on the madness of power. Then the funk sets up a second and final climax.

Frank Presley

to shine and improvise which they do with style and panache. Melbourne-based vocalist Shelley Scown appears on four tracks as does National Jazz Award winner James Macaulay playing trombone on several of the other tracks. There’s also some fun and dexterous trumpet playing from Eugene Ball alongside the accomplished guitar of Scurry and Matt Boden’s gleefully played piano. Howard Cairns is marvelous on the double bass and english concertina, and the clarinet of Michael McQuaid and saxophone of Phil Noy are a joy to hear. They’re all driven along by the exemplary percussion and drums of Danny Fischer.

It’s a fun album creating an instant party atmosphere of nostalgic-style jazz but with all

new compositions to which you can dance or just enjoy in the background as rich memories from less hectic days.

Barry O’Sullivan

What a delicious offering this is! New York’s saxophone giant Eric Alexander joining with Sydney’s drummer par-excellence, Andrew Dickeson supported by pianist Wayne Kelly and bassist Ashley Turner to produce a delightful mix of Great American Songbook standards with a couple of surprises in this superb quartet recording, full of warmth and empathy.

A highlight is Eric Alexander’s sensitive interpretation of the Jimmy Van Heusen melody, To love and be loved, dedicated to Alexander’s late father Richard. I love the up-tempo treatment Dickeson has arranged for Gershwin’s The man I love, led by a memorable solo from Wayne Kelly, followed by breaks from Alexander and Dickeson.

A pleasing surprise is the modern approach

evolved by Andrew for Rogers and Hammerstein’s The surrey with the fringe on top. Is this the standout track in the album?

Hard to say when there is so much pleasure from the overall mix, including the title track Duke Pearson’s seldom heard Is that so?, Grofés On the trail, Menescal’s Little boat and the closing ‘blues with a bridge’ number, Iron man, penned by Eric Alexander.

The album was produced by Andrew Dickeson and recorded at Sydney’s Electric Avenue Studios by Phil Punch, using all-analogue technology (direct to one-inch tape on a Studer stereo recorder). This minimalist approach has achieved one of the most sonically-exciting jazz recordings I can remember. Is that so? has everything going for it.

Lloyd Capps

FIRST LADIES OF JAZZ

MAUREEN MEERS DEFINES ELLA AND SARAH Sarah Lois Vaughan, born 27 March 1924, was described by the music critic, Scott Yanow, as having ‘one of the most wondrous voices of the 20th century’. Nicknamed ‘Sassy’ and ‘The Divine One’, she was a four-time Grammy Award winner, including a Lifetime Achievement Award. In 1989 the National Endowment for the Arts bestowed on her its ‘highest honour in jazz’, the NEA Jazz Masters Award.

Ella Fitzgerald When one hears the phrase ‘First Ladies of Jazz’, immediately one thinks of Ella Fitzgerald, nearly always referred to as the ‘First Lady of Swing’ and ‘Lady Ella’. She was a singer noted for purity of tone, impeccable diction, phrasing and intonation, and the use of the voice with ‘horn-like’ ability in her scat singing.

Ella Jane Fitzgerald was born on 25 April 1917 in Newport, Virginia, and in 1934 made her debut at the Apollo Theatre, winning the Amateur Night contest. She joined the orchestra of the drummer and band leader Chick Webb in 1935 and in 1939, after Webb’s death, she took it over, renaming it Ella and her Famous Orchestra. She left it three years later to begin a solo career.

The National Association for the Advancement of Coloured People Equal Justice Award and the American Black Achievement Award.

Ella had suffered from diabetes for several years and this led to numerous complications: respiratory problems, congestive heart failure and partial amputation of both legs. She spent her final days in the backyard of her Beverly Hills mansion with her son Ray and granddaughter Alice. On her last day she spent about an hour outdoors and, when taken back inside, said, “I’m ready to go now”.

She died on 15 June 1996 aged 79.

The First Lady of Swing will always be remembered.

Norman Granz, the American impresario, became Ella’s manager and in 1956 created Verve records around her. The first in the Song Book series was released that year with Ella Fitzgerald Sings the Cole Porter Song Book. The series became her most critically acclaimed and successful work.

Ella made her first Australian tour in 1954 for promotor Lee Gordon. It was a huge success despite being marred by an ugly incident of racial discrimination en route which caused her to miss the first two concerts. Ella was a civil rights activist who used her talent to break down racial barriers. Although she faced several obstacles and racial barriers during her lifetime she was recognised as a ‘cultural ambassador’, and in 1987 received the National Medal of Arts and the Presidential Medal of Freedom. She was also awarded

Sarah grew up in Newark, New Jersey. Her father, a carpenter, played guitar and piano and her mother, a laundress, sang in the church choir, as did Sarah who also started piano lessons at seven years of age. Sarah developed an early love of music on records and on the radio. Sarah, like Ella before her, entered and won the Amateur Night contest at the Apollo Theatre. As well as receiving the prize of $10, she was later contacted by the Apollo to open for Ella Fitzgerald!

After Sarah began her solo career freelancing in clubs on New York’s 52nd Street, she recorded Lover man for the Guild label with Dizzy Gillespie and Charlie Parker. She also became a regular performer at Café Society Downtown and whilst there became friends with trumpeter George Treadwell who became her manager. She started her recording career with Musicraft Records, followed by Columbia, Mercury, Roulette and Pablo.

Parallels have been drawn between Sarah Vaughan’s voice and those of opera singers.

Musicologist Henry Pleasants noted that: “Vaughan who sings easily down to a contralto low D, ascends to a pure and accurate (soprano) high C”. The New York Times obituary described her as a ‘singer who brought an operatic splendour to her performances of popular standards and jazz’.

In 1989 Sarah’s health began to decline leading her to cancel a series of engagements in Europe. Later that year during a run at New York’s Blue Note Jazz Club she received a diagnosis of lung cancer. Despite treatment in hospital, she became weary of the struggle and returned home where she died a week after her 66th birthday.

There will only ever be one ‘Divine Sarah’.

Sarah Vaughan

Jazz Pure and Simple will feature Ella Fitzgerald and Sarah Vaughan at 12 noon on Thursdays 8 and 15 February.

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MUSICAL FAMILIES

Carl Heinrich Graun The nurturing of musical talent has been apparent in hundreds of families over many centuries, so it’s not surprising to find that many brothers have become renowned for their performance skills and, in some cases, for their aptitude for composition. Featured this month in Musical Families are the Graun brothers from the 18th century and the Kuijkens from the modern day.

Carl Heinrich Graun is much better known than his older brother Johann Gottlieb, although

both had distinguished careers. Carl, a tenor singer and composer, is considered, along with Johann Adolph Hasse, the most important German composer of Italian opera of his time. As a young man, Carl sang with several opera companies and composed operas for them.

His future was assured when he wrote an opera to celebrate the marriage of Crown Prince Frederick of Prussia (later known as Frederick the Great). This led to Carl’s appointment in 1740 as Kapellmeister after Frederick ascended the throne. Carl’s 1755 opera Montezuma was written to a libretto by King Frederick.

Johann Gottlieb Graun, a year older than his brother, became a violinist and composer and was Wilhelm Friedemann Bach’s violin teacher.

Charles Burney, the 18th century music commentator, wrote that Johann Graun ‘was one of the greatest performers on the violin of his time, and most assuredly, a composer of the first rank’. Burney also noted that some

critics complained that, ‘In his concertos and church music ... the length of each movement is more immoderate than Christian patience can endure’. In 1732, Johann joined the court of Crown Prince Frederick and became Konzertmeister of the Berlin Opera in 1740.

He was aged 68 when he died, outliving his brother, Carl who died at 55.

There are five Kuijken brothers in this currentday Belgian family: Wieland, baroque cellist and viola da gambist; Sigiswald, violinist, violist and conductor; Barthold, flautist and recorder player; Eckhart, an ecologist and academic; and Oswald, a visual artist. The extended family includes Sigiswald’s wife, viola player Marleen Thiers and their daughter Sara, a violinist, who play with him in the Sigiswald String Quartet. All three musician brothers have been at the forefront of historically informed performance practice and have been members of early music ensembles such as Collegium Aureum and La Petite Bande.

As well, Wieland has played with Ensemble Musique Nouvelle which has promoted avantgarde music throughout Europe. - ES Listen to Musical Families in February at 2pm on 6 (Kuijken brothers) and 20 (Graun brothers).

ARNOLD BENNETT’S DIARY English novelist Arnold Bennett (1867-1931) also wrote about the theatre and films for newspapers and magazines, and wrote wartime propaganda. His diaries have yet to be published in full, but extracts are available.

Arnold’s observations while he was attending Wagner’s Die Meistersinger at Covent Garden were noted in his diary and are provided by Derek Parker.

Friday June 5th 1896: “From a side box on the top tier I could see all the furtive activities which in an opera performance are hidden from the bulk of the audience; screened by his wooden hood, the prompter’s head appears just above the level of the stage; he follows the score untiringly with his left hand while beating time, giving cues, gesticulating with his right; he is never for a moment at rest; he seems to know instinctively when an actor will be at fault, and his low, clear voice is heard exactly at the second when its help is imperative, and not till then. Compared to the prompter the conductor seems almost insignificant. In the wings a couple of chorusmasters with book in hand direct and inspire 46

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the sheep-like masses of men and women who cluster round the principals. Several other men, one in a straw hat, move mysteriously to and fro in the wings. A fireman and a footman

stand guard over the curtain ropes. Right at the back of the stage dim shadows with lamps pass and repass. High up, even higher than the top tier, are men in their shirt sleeves moving amid a multitude of ropes, winches and blocks …

“Consider the order and discipline which is necessary to the harmonious interworking of all these differed forces for an hour and a half at a time. A slight forgetfulness on the part of any one of them might bring the performance to a standstill and cover the entire organisation with disgrace. When once the first chord of the Vorspiel has been sounded, the boats are burned, as it were, and all depends on courage and presence of mind. In an opera like the Meistersinger systemisation must indeed be carried to extremes. Now and then even the audience gets a hint of this; as witness the first and second bells for the raising of the curtain, each struck firmly and decisively at a particular bar of the score; with what marvellous obedient promptitude the immense stretch of canvas vanished into the ceiling on the stroke of the second bell!”

THE PERFECT PITCH! SUE JOWELL TALKS TO DENNIS OPPENHEIM Dennis Oppenheim has a full and enjoyable life which he shares with his wife, Judith. He also has a deep love of cricket and music.

An insurance broker by profession, Dennis emigrated from South Africa nearly 40 years ago. In his leisure hours he was active as a cricket umpire, but when he retired he found he still had time to fill. So he turned to his other love, music, joining Fine Music ten years ago as a receptionist. With his insurance background he found he could lend his expertise to the Work Health and Safety Committee, which he has chaired for the past three years.

Dennis grew up surrounded by classical music. He relates that his German paternal grandmother was a singer, whose claim to fame was singing in a choir conducted by Toscanini! His father adored the three Bs, playing his carefully maintained vinyls on his then state-of-the-art hi-fi system. Included in the musical mix were Lieder and the Bach cantatas. As a child, Dennis did not readily respond to the latter, but his father wisely

he met renowned artist, Judith O’Conal-Prinz.

Judith introduced him to the genre and in turn he initiated her into the symphonic works of the great composers. Unsurprisingly, their mutual love of music led to their love for one another and they have been married for 34 years. Judith has painted a portrait of Dennis which you can see here.

advised him to wait, saying that with time Bach would become meaningful. “Indeed”, says Dennis, “this proved to be the case.”

For a long time Dennis has manned the reception desk at Fine Music on Wednesday afternoons, enjoying the programs and getting to know fellow volunteers. The added advantage of being on duty that day is, as he says: “It coincides with Michael MortonEvans’ program In Conversation which gives me the opportunity to meet his many interesting and special guests”.

Paradoxically, with all of this music in his life, Dennis does not play a musical instrument and reveals that he is tone deaf. However, this has never affected his enjoyment of music, regularly attending concerts all over the world. Opera, however, eluded him, until

Fine Music has provided Dennis with the perfect outlet for his love of music as well as the chance to make new friends who share his interests, both in music and, no doubt, in cricket where he continues to make the call as umpire.

PERSONNEL

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DIRECTORS Chair: David Brett; Deputy Chair: David James; Secretary: Christopher Waterhouse; Lloyd Capps, Andrew Dziedzic; Jeannie McInnes, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; Jazz: Barry O’Sullivan; Technical: Stephen Wilson; Library: Susan Ping Kee; Volunteers: Sue Nicholas; Finance: Norm Chosid; Work Health and Safety: Dennis Oppenheim; Emerging Artists: Rebecca Beare VOLUNTEER PROGRAMMERS AND PRESENTERS FOR FEBRUARY Charles Barton, Peter Bell, Susan Bell, Chris Blower, David Brett, Barrie Brockwell, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Yola Center, Colleen Chesterman, Lyn Chong, Angela Cockburn, Liam Collins, Sam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Emyr Evans, Sepehr Fard, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Carole Garland, David Garrett, Nicky Gluch, Gabi Goddard, Gael Golla, Raj Gopalakrishnan, Albert Gormley, Andrew Grahame, Jeremy Hall, Austin Harrison, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, Richard Hughes, James Hunter, Leita Hutchings, Anne Irish, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Peter Kurti, Ray Levis, Christina MacGuinness, 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, Robin Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Genji Sato-Fraser, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Rob Thomas, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Simone Vitiello, 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, Amal Fahd, Ana Ferreira, Noelene Guillemot, Susanne Hurst, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Paul Belfanti, Tracy Chen, Helen Dignan, Lynden Dziedzic, Peter Goldner, Elizabeth Grey, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Anne Wiseman, Jonathan Wood STATION OPERATIONS Transmitter: Max Benyon; Studio operations: Roger Doyle; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Financial Administrator: Sue Ferguson; Marketing Manager: Mona Omar; Program Coordinator: Steve-Marc McCulloch; Administration Assistants: Krystal Li, Joe Goddard February

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