May Magazine by 2MBS Fine Music Sydney

CONTENTS

FROM THE CHAIR

VOL 45 No 5 2 4 5 7 8 11 43 44 45 46 48 49 50 51 52

Across Oceans and Time In the Shadow of Mozart Saint-Saëns and the Russian Connection Handel’s Chandos Legacy Ein Deutsches Requiem Meet John Lamble Program Guide and Composer List Birgit Nilsson’s Wit A Voice of Beauty and Power What’s on: Sydney and Surrounds Musical Families Vienna Woods Classical CD reviews Jazz CD Reviews A History of Jazz in Australia Artists-in-Residence Emerging Musicians Workshop A Grandmother’s Legacy: Paul Cooke Stefan Kruger Scholarship

40 YEARS 1974 - 2014

Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay. ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Assistant Editor: Elizabeth Hill Sub-editors and Proof readers: Chris Blower, Di Cox, Elizabeth Hill, Maureen Meers, Helen Milthorpe, Catherine Peake Contributors: Chris Blower, David Brett, Paul Cooke, Jennifer Foong, Tom Forrester-Paton, Nicky Gluch, Raj Goplakrishnan, Elizabeth Hill, Sue Jowell, Randolph Magri-Overend, Jeannie McInnes, Michael Morton-Evans, David Ogilvie, Mona Omar, Paul Roper, Barry O’Sullivan, Catherine Peake, Frank Presley, Elaine Siversen, Robert Small The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Allen Ford Program Logos: Simon Moore Distribution Coordinator: Sissy Stewart Art Direction: Liza-Jane Smith liza@designcampaign.com.au Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email friends@finemusicfm.com Cover image: Leonard Bernstein

There are two common misconceptions about Fine Music which I hear frequently when talking to listeners, and even hear from some long-term subscribers! The first is that we are like the ABC and are largely or totally funded by the government. This is completely false. Apart from a modest annual grant, which covers about one-quarter of the rent for our transmitter site, we receive no ongoing funding from any level of government and never have. The second misconception is that, since we are an organisation run by volunteers, our costs must be very low and our subsequent need for money minimal. This is more understandable but it shows a lack of understanding of the economics of running a radio station. For example, simply broadcasting our programs from our transmitter on top of Governor Phillip Tower costs $130,000 each year in rent, electricity, repairs and maintenance. Our subscribers are very valuable supporters, but it is a fact that two-thirds of the income from subscriptions goes to cover the cost of producing and distributing this wonderful magazine. We also have to employ a few staff in administrative, sales and marketing roles which cannot be filled by volunteers. As well as usual office expenses, we have power-hungry studios to support and, as a broadcaster, we have to pay licences, fees and royalties to various bodies amounting to $34,000 per year. In total, we need over $2,000 each and every day to cover the expenses of running Fine Music 102.5, the vast bulk of which are unavoidable and beyond our ability to control. I hope this has helped explain why we will again be asking for your support in our end-of-financial-year donations appeal and why your contribution is absolutely vital to keeping us on air. As always, good listening! David Brett Chair MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD Our Mission is to be Sydney’s preferred fine music broadcaster, broadcasting classical, jazz and other fine music genres for the enjoyment and encouragement of music. We currently broadcast on FM and DAB+, streaming both from www.finemusicfm.com. Another aim is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and music education and to use our technical and broadcast resources to further this aim. Honorary Patron: Prof. Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO Emerging Artists Patron: Toby Thatcher May 2018

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ACROSS OCEANS AND TIME NICKY GLUCH LOOKS AT BERNSTEIN’S INFLUENCE some famous and some unknown to surprise audiences on the night. The choir is Sydney’s very own Philharmonia, and the soloists are Opera Australia’s Lorina Gore and two stars of Broadway, Julian Ovenden and Kim Criswell. Ovenden and Criswell are old hands when it comes to working with Wilson. Both have performed with him at the BBC Proms where, for the past eight years, Wilson has brought Broadway music to the London stage. It’s national recognition for what has always been his passion. Wilson founded his eponymous orchestra, the John Wilson Orchestra, at the tender age of 22. Since then, the Orchestra has gone on to specialise in, and record, ‘contemporary film soundtracks and authentic concert performances of classic film musical scores’. It is this authenticity which makes Wilson’s orchestra so alluring. As proponents of Bach wish to capture the sound of 18th century Leipzig, so Wilson transports audiences to 1950s New York.

Leonard Bernstein “Two men, both alike in proclivity, / In sunlit Sydney, where we lay our scene, / From Broadway’s streets to Gateshead’s old city, / Where music’s songs, makes music’s joy be seen.” [With apologies to Shakespeare]

than just this one tragedy.

Leonard Bernstein and John Wilson: not star-crossed lovers but two men separated by oceans and time whose fates are linked. With both being conductors, arrangers and lovers of the stage, it is no surprise that Wilson has been chosen to honour Bernstein in his centenary year. The greater mystery is how a man from Gateshead on Tyneside came to be so enraptured with the Broadway master, and to which perhaps Shakespeare holds the answer.

Shakespeare and Bernstein both wrote for the mediums of their time: Shakespeare for the theatre, and Bernstein for the screen and Broadway stage. Both delved into complex tales, rich with politics and morals, yet neither seemed to preach. Both had a way of capturing their subjects which made them somewhat timeless and endlessly interpretable. Shakespeare’s plays have crossed the globe, and have been translated, adapted, studied and adored. Bernstein’s songs, equally, have outlasted the films for which they were written. They have found their way into the canon and, it seems, into the heart of the Englishman, John Wilson.

The allusion to Romeo and Juliet is not arbitrary. It is the play on which Bernstein’s famed West Side story is based, but the Bard and Bernstein might have more in common

In May, Wilson will conduct the Sydney Symphony in The Bernstein Songbook: A Musical Theatre Celebration. Songs have been chosen from eight of Bernstein’s scores,

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Bernstein was also 22 when he began his studies at Tanglewood, which launched what would be a stellar conducting career. Building on his training with Fritz Reiner, Bernstein (under the tutelage of Serge Koussevitzky) honed the skills which would make him a great classical interpreter. When he made his feted debut with the New York Philharmonic in 1943 (filling in for Bruno Walter who had taken ill) it was conducting Schumann and Strauss. Less than a year later Bernstein’s music for the ballet Fancy free was debuted, and within months Fancy free became the musical On the town. For the next 30 years, Bernstein would juggle these two strands. All of the music from the shows in The Bernstein Songbook was written while Bernstein held major conducting positions. Indeed, Candide and West Side story were written after Bernstein had been appointed music director of the New York Philharmonic. It is no wonder, then, that Wilson hails Bernstein as ‘the most complete musician’. Few musicians get to be thought of as ‘expert’ across several genres and few would doubt Bernstein’s multi-faceted genius. Bernstein, though, was not an island. In fact, it is perhaps because he was so good at absorbing everything around him that he was able to excel so quickly in both his roles. It might please Wilson to realise that he and Bernstein share similar backgrounds. Neither

were child prodigies but rather musical students with a passion for theatre: Bernstein mounting a production of The cradle will rock and Wilson, aptly, West Side story. Where Bernstein studied at Harvard and the Curtis Institute of Music, Wilson was a scholar at London’s Royal College of Music. They are thus both successes of the academic model, men who would have been privileged to cross paths with many a talented musician in their academic halls. It is precisely the people Bernstein met, befriended, and from whom he learned, which explains his achievements. In many ways it is hard to believe that Bernstein would only have been 100 this year. The influence he had on the 1950s and 60s, and the way he seemed to embody the film age, would suggest a person who lived through it, but Bernstein was but a babe when Hollywood gained sound. The people with whom he mixed, however, were not. The notable feature of the men Bernstein claims to have influenced him is that they were all older. Aaron Copland was born in 1900, Reiner in 1888 and Koussevitzky in 1874. Culturally they also covered a broad spectrum with Copland another true American, but Reiner was of Hungarian origin and Koussevitzky from near Moscow (he could have crossed paths with Tchaikovsky). Yet, all were Jewish and had ended up on the East Coast of the United States, and Bernstein found himself in a world of mutual understanding with a plethora of knowledge to absorb. Bernstein learned composition from Copland (although informally) and it was their friendship which secured Bernstein a place in Koussevitzky’s class. Who knows what would have happened if Koussevitzky hadn’t taken Bernstein under his wing and later made him his assistant? Perhaps he would not even have been there if Reiner hadn’t given him the encouragement to go down the conducting path. And yet, as Wilson insists, Bernstein is incomparable. “There’s nobody like Bernstein!” says Wilson. “He was a complete one-off.” Examining only his music, it is clear why such an accolade can hold true. Bernstein’s symphonies are complex and inter-textual, drawing from the Bible, W.H. Auden and Jewish memorial prayer. They show a fascination with the written word and capturing philosophical and emotional ideas in music, yet to many their complexity makes them somewhat inaccessible. The same could never be said for Bernstein’s film and Broadway music. The tunes are memorable and the music inviting but

they are not light or what one would call ‘frothy’. Rather, they are imbued with that philosophical sensitivity which Bernstein explores in his symphonies; it is just dished up in a way which makes it ‘mainstream’. Bernstein’s songs are so great because they confront what Shakespeare has encapsulated in his plays: ‘the human condition’. In Peter Pan Wendy’s dream for Peter is heartfelt; she is every woman who has lost her grasp on the man she loved. The couple in John Wilson Trouble in Tahiti are so genuinely unhappy, and their critique of suburbia is relevant to this day. Who could not delight in the joy of the three sailors in On the town? Who could not relate to their thrill at being in that great city as they sing New York, New York? Each work which Bernstein wrote, whether it was an operetta, film score or musical, makes use of the orchestra in a way which is at once both perfectly suited and indicative of his classical training. You may not realise it, but Candide is filled with the tricks of recitative. On the town, Peter Pan and 1600 Pennsylvania Avenue are all so cleverly orchestrated that the instruments can vacillate between being melodic and being there for special effects. Classical knowledge alone, however, would not make Bernstein’s works what they are. No, this is a man who understood Big Band and who loved Jazz. These elements are woven in and played with so that they fit their context; it’s the clicking in West Side story, ‘Doo-Daa-Day-Day’ in Trouble in Tahiti. It’s a rhythmic skill which Wilson, as a percussionist, probably appreciates. He is certainly right to approach Bernstein’s ‘light’ scores as he would any other music. There is just so much there. “In the same way that I approach any of the music I conduct,” Wilson explains. “I learn the scores in great detail and each time I approach a performance, I try to get to the next level of detail.” It will be fascinating to see what he can extract with the Sydney Symphony.

If Bernstein could witness his centenary celebrations, how might he want to be remembered? In Wilson’s eyes, as ‘a composer and conductor of significance’, words which only touch the surface of the effect Bernstein has had on the music world. Bernstein’s live performances as a conductor are so often watched by budding conductors in awe of the man they call ‘Lenny’. As a composer, he has produced music which confronts religion, race, politics and … joy. “A thoughtful joy this music with it brings; / The voice, for gladness, will sure show its head: / Go hence, to have more talk of these good things: / Some shall be cheered, and some but wept instead: / For never were there songs of greater know / Than these of Len Bernstein the dynamo.” [Again, with apologies to Shakespeare] EVENT The Bernstein Songbook Lorina Gore, Julian Ovenden, Kim Criswell, Sydney Philharmonia Choir, Sydney SO/ John Wilson VENUE Sydney Opera House DATES Thursday 10 May 6.30pm Friday 11 May 8pm Saturday 12 May 8pm BOOKINGS Sydney Symphony website or Sydney Opera House May 2018

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IN THE SHADOW OF MOZART ELIZABETH HILL EXPLORES A FORGOTTEN GENIUS If Mozart and Haydn had never lived, then perhaps the Bohemian composer Leopold Kozeluch would have been held in higher regard. Although he was an esteemed contemporary of Mozart, and in many circles considered the finer composer, changing musical style and a focus on Haydn, Mozart and Beethoven resulted in Kozeluch suffering the same posthumous obscurity of many of Mozart’s contemporaries. Fifteen years younger than Haydn and nine years older than Mozart, Kozeluch was one of 16 children of a shoemaker. He initially studied law, while at the same time continuing his musical studies with his older cousin Jan Kozeluch and Franz Dussek. After some early musical successes, Kozeluch abandoned his law studies. In 1778 he moved to Vienna where he made a name for himself as a composer, and also as a music teacher at the Imperial Court. However, the world of Viennese music was not without its challenges. It was ‘a tangle of friendships, feuds, favouritism, politicking and jockeying for position, where musicians relied on networking and self-promotion at

least as much as on actual ability’, and where composers of the day were all politely dismissive of each other. In spite of this Kozeluch was, for a number of years, one of the most soughtafter of all composers; he could even afford to turn down an invitation to succeed Mozart as court organist to the Archbishop of Salzburg. However, in 1791, after the death of Mozart, the positions of Kapellmeister and Court Music Composer were conferred on him for life, at almost double Mozart’s salary. Kozeluch’s output was prolific. He composed some 400 works, including sonatas and concertos for keyboard, symphonies, chamber music, choral music and opera. In his later years his musical output declined as he focused on his court duties, teaching and the lucrative work of arranging Scottish, Irish and Welsh folk songs for the publisher George Thomson. Kozeluch was one of the first composers to be interested in the fortepiano and its possibilities. His success as a pianist and teacher not only contributed to the displacement of the harpsichord by the piano in Vienna but foreshadowed the keyboard works of

Beethoven and Haydn. Christopher Hogwood said that Kozeluch’s sonatas are, in the true sense, ‘classics’, and ‘display to perfection precisely those features that theorists required of a sonata at the end of the 18th century’. To commemorate the 200th anniversary of Kozeluch’s death, we’ll broadcast selections of his music on 10 May at 2pm.

SAINT-SAËNS AND THE RUSSIAN CONNECTION RAJ GOPALAKRISHNAN WITH GENESIS OF A CONCERTO

Upon hearing the opening bassoon solo in Stravinsky’s The rite of Spring, played in an unrecognisably high register, Camille SaintSaëns reportedly exclaimed, “If that is a bassoon, then I am a baboon!”. By the 1900s, Saint-Saëns was well-known for his criticism of new music but, early on in his career, he was a strong advocate of contemporary music by composers such as Wagner and Liszt. His works, too, were often original in form, including the Piano concerto no 2 which premiered 150 years ago in May 1868. Caricatured by the pianist Zygmunt Stojowski as ‘beginning like Bach and ending like Offenbach’, the concerto is cast in three movements but eschews the conventional architecture which was expected at the time. The opening movement (and slowest) is a homage to Bach with extended virtuosic cadenzas. Instead of a gentle central movement, Saint-Saëns presents a nimble and playful Mendelssohnian scherzo with the composer’s wit on display. The finale, marked presto in the score, is a dazzling tarantella showcasing the pianist’s technical prowess with boisterous orchestral accompaniment. The impetus for the composition was Saint4

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17 days. Unfortunately, the premiere was not entirely successful. Although the scherzo was well-received, the outer movements failed to convince a public unaccustomed to the work’s unusual style. Saint-Saëns later recalled ‘not having had the time to practise it sufficiently for performance, I played very badly … it did not go well’.

Saëns’ friend and frequent piano duet partner Anton Rubinstein, one of the great Russian piano virtuosi of the 19th century who had a technique said to match that of Liszt. Rubinstein was visiting Paris in the spring of 1868 for a series of performances and decided to make his Parisian conducting debut on this trip, with Saint-Saëns as soloist. Saint-Saëns suggested writing a new piece for the occasion, finishing the concerto in just

By 1875, Saint-Saëns confidently presented the work when he made his Russian debut. Tchaikovsky, who was at the concert in Moscow, wrote that Saint-Saëns performed with ‘elegance, thoughtfulness, and careful phrasing … free from any affectation whatsoever’ and he described the concerto as ‘extremely beautiful, fresh, elegant, and rich in delightful details’. The two composers struck up an immediate friendship, discovering many common interests such as ballet. To mark the sesquicentenary of the premiere of Saint-Saëns’ Piano concerto no 2, we will be exploring the composer’s connection to Russia and hear a recording of the concerto by Arthur Rubinstein, who had performed the work in the presence of the composer in 1904. You can hear this at 2pm on Friday 11 May.

HANDEL’S CHANDOS LEGACY

PAUL ROPER EXPLORES ACIS AND GALATEA Music history owes a substantial debt to James Brydges. As paymaster to the British overseas military from 1705 to 1713 he accumulated a massive fortune which enabled him to build a stunningly imposing residence, called Cannons, in Edgware (then in outer London) and install an impressive artistic establishment of writers and musicians there. Better known as the Duke of Chandos, Brydges is remembered for his association with Handel. Of the works Handel composed for Brydges, the most inspired and popular was the ‘pastoral masque’ Acis and Galatea. We broadcast it this month in honour of the 300th anniversary of its first performance. As it happened, debt was to prove Brydges’ undoing. Overspending on Cannons and ruinous investment losses in the South Sea Bubble led to the sale of the house and its demolition in 1747, after barely 30 years. His artistic legacy, however, arose from his patronage of Handel, and specifically through the confluence, in the Duke’s artistic circle, with a group of poets and writers whose interests sparked Handel’s own. It was a brilliant company: Alexander Pope, William Congreve and Jonathan Swift, as well as John Gay (of The beggar’s opera fame) and John Hughes. They shared an interest in pastoral-themed poetry and drama and a desire to harness these to compete, in English, with the new and fashionable Italian opera, which had been flourishing in London since 1705. Collaborations with English composers on a few ventures in their chosen genre had yielded varying success. However, with Handel among their circle, and with Cannons providing both venue and performing forces, Acis demonstrated decisively that it could be done. Acis was first produced, reputedly outdoors, on Brydges’ estate in May 1718. Principally the work of Gay, the libretto also includes contributions from Hughes and Pope. ‘Pastoral’, we know, refers to shepherds and nymphs and Arcadian settings, but what about the ‘masque’? The English masque reached its peak in Jacobean times as a semi-staged musical entertainment, setting an allegorical story and typically (originally at least) intended for a court or noble audience. Its reach broadened until the Puritans suppressed the theatres in 1642 but that did not extinguish the masque, as elements were incorporated into other genres such as the ‘semi-operas’ of Purcell. Regardless of whether he knew the masque at first hand, Handel’s achievement in Acis was to blend its traditions with the sunny

mode of the pastoral. The result was Handel’s first dramatic work in English. The plot, from the much-quarried Metamorphoses of Ovid, is simple. Galatea is a sea nymph in love with the shepherd Acis. His confidant Damon warns him against neglecting his flocks. The lovers unite as Act I ends. Act II introduces the giant Polyphemus, who is desirous of Galatea; terrified, she flees. Damon counsels Polyphemus to be gentle. Acis opposes Polyphemus, who kills Acis with a rock. In Act III, at the chorus’ exhortation to make Acis immortal, Galatea turns him into a fountain. Undoubtedly the finest characterisation is that of Polyphemus, whose O ruddier than the cherry is probably the best known number in the work. Winton Dean described him as Handel’s ‘first immortal stage figure’, and Handel follows Ovid in depicting Polyphemus with humour, thereby contrasting with the artificiality of the pastoral world. In enhancing the role of the chorus, Handel acknowledges the masque tradition. As another Handel specialist, Ellen Harris, observes, Handel ‘adopts the English pastoral genre in structure (both harmonic and formal), style, and even characterisation’. Unusually for Handel the masque was not his first treatment of the Acis story, nor would it be his last (sort of …). In 1708 he had composed the ‘serenata’ (an extended

celebratory cantata) Aci, Galatea e Polifemo, for a Neapolitan wedding. Considering Handel’s reputation for musical recycling, surprisingly little in the Cannons Acis derives from the Italian Aci, or from anywhere else for that matter (we’ll hear two of the few examples in our broadcast). However, for a revival of Acis in 1732 (responding to a rival production by Thomas Arne) Handel revisited Aci and in fact grafted the Italian and English settings together into a bizarre bilingual hybrid. In so doing he doubled the number of characters and added other, extensive, self-borrowings. Later productions reverted to the 1718 original, with the notable addition of the chorus Happy we which ends what we now recognise as Act I. The most frequently performed of Handel’s works during his lifetime, Acis and Galatea was even given in 1734 in Stockholm, probably organised by court conductor Johan Helmich Roman (best known for the Drottningholm Music), a colleague of Handel from 1715 to 1721. It was also the first of Handel’s works which Mozart renovated (in 1788, K566) for his antiquarian patron Gottfried van Swieten. In turn, Mozart was to be emulated by several others, including Mendelssohn, whose arrangement (from 1829) we sample in our program. Today, 300 years after its creation, we can appreciate the Duke’s musical legacy purely on its own terms. Acis and Galatea will be broadcast at 3pm on Saturday 26 May. May 2018

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SUPERMAN MAY 6 GROUNDHOG DAY MAY 11 ROGER RABBIT MAY 20 DARK CITY MAY 25 JURASSIC PARK MAY 27 SAVING PRIVATE RYAN JUN 3 TANK GIRL JUN 8 NEVERENDING STORY JUN 17 BLUES BORTHER JUN 22

FROM FRANCE. ‘AN EXCEPTIONAL COMEDY” ELLE. “YES! THERE IS A LIFE AFTER MENOPAUSE!” FEMME ACTUELLE.

AURORE FROM MAY 17

VINCENT CASSEL BRILLIANT AS THE FRENCH IMPRESSIONIST DURING HIS SELF IMPOSED EXILE IN TAHITI FOR CREATIVE INSPIRATION.

GAUGUIN FROM MAY 31

HELEN MIRREN DONALD SUTHERLAND

EMILY MORTIMER BILL NIGHY PATRICIA CLARKSON

THE LEISURE SEEKER

THE BOOKSHOP FROM JUNE 7

SAMUEL L. JACKSON HOLLY HUNTER CATHERINE KEENER

THE INCREDIBLES 2 FROM JUNE 14

FROM JUNE 14

MERYL STREEP PIERCE BROSNAN COLIN FIRTH

MAMMA MIA: HERE WE GO AGAIN FROM JULY 19

DIANE KEATON, JANE FONDA CANDICE BERGEN MARY STEENBURGEN

BOOK CLUB FROM AUG 9

EIN DEUTSCHES REQUIEM

TOM FORRESTER-PATON PONDERS BRAHMS’ ENIGMA In 1865, Johannes Brahms’ mother died. Robert Schumann had died nearly a decade earlier, but both deaths are thought to have informed the composition of A German Requiem, which was completed 150 years ago this month. The relationship between Robert Schumann, his wife Clara and Brahms is well-trodden territory. Brahms was all but a supernumerary member of the Schumann household by the time Robert’s decline led to his death. He acted as an intermediary when Clara was forbidden to meet her deranged, dying husband, and then helped her through the practicalities of bereavement. Brahms was clearly devoted to Clara, in whom he saw the ideal woman, and she to him, but there is little reason to believe the relationship ever transcended the formal bounds of friendship. Nonetheless, their professional and personal lives remained entwined until Clara died, a year before Brahms himself. In creating a program around A German Requiem, I have tried to depict this relationship using works by all three corners of the triangle. Robert is represented by Sechs Gedichte und Requiem, op 90. Written three years before Brahms came into the life of the Schumanns, these songs, to a text of Lenau, explore darkly the theme of lost love. They conclude with the Requiem. Its words are not by Lenau but are an old poem attributed to Héloïse, in which the poet’s death is both mourned and celebrated for its transformative power, a theme which Brahms addresses in his own Requiem. If there could be said to be a fourth corner to the Schumann/Brahms triangle, it was the violinist Joseph Joachim, who inspired the romances with which Clara is represented. Between them, I hope the Brahms Intermezzo, although written at the end of his and Clara’s lives, sits aptly. The title ‘Requiem’ for the large choral work Brahms was to write between 1865 and 1868 is at best rhetorical, and arguably slightly misleading, suggesting as it does some kind of ecumenical counterpart to the Latin Requiem Mass. In fact, it is in many ways a Lutheran riposte, in which Brahms reaffirms the central tenets of his faith. Lutherans believe that humans are saved from their sins by God’s grace alone, through faith alone, and on the basis of Scripture alone. In

other words, they reject the intercession which is central to Roman Catholic practice. Martin Luther did not, however, discard the Mass; he merely insisted that he was restoring its doctrinal purity. So, there would have been nothing in Lutheran tradition to deter Brahms from writing a Requiem Mass. However he chose quite pointedly to discard the Latin liturgy and use only the Scripture as his text. In doing so, he arguably created a new, hybrid form. Two important issues may have exercised Brahms’ Lutheran mind. Firstly, the ultimate repository of textual authority for Lutherans is the Bible, which they believe to be the unmediated Word of God. Perhaps, therefore, Brahms chose to use that source in preference to the non-scriptural liturgy of the Mass in order to create an avowedly Lutheran devotional form.

Book of Revelations: Blessed are the dead which die in the Lord from henceforth: Yea ... they may rest from their labours; and their works do follow them. These Beatitudes bookend a body of work which is concerned, to an unusual extent for a Requiem, not with the dead but the living, and how they may find and receive God’s Grace in this life … As one whom his mother comforteth, so will I comfort you … even as they surrender to its transience … For here have we no continuing city, but we seek one to come.

The second consequence for Lutherans of the rejection of intercession is the immediate, transformative character of redemption. Few passages in the Bible encapsulate this idea so powerfully as The Beatitudes, with their repetitive transition from anxiety to comfort.

And, many of Brahms’ scriptural selections seem to echo those made by Charles Jennens a century or so earlier in settling the libretto for Messiah: Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed … for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed … then shall be brought to pass the saying that is written, Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

A German Requiem begins with a Beatitude, Matthew 5:4, Selig sind, die da Leid tragen, denn sie sollen getröstet werden (Blessed are they who mourn, for they shall be comforted). It concludes with another beatitude but this time not one of ‘The Beatitudes’, but from the

The glorious and comforting Ein Deutsches Requiem will be broadcast at 3pm on 27 May in Sunday Special.

Among choristers, who are kept busy throughout, A German Requiem is a favourite for the sheer beauty of its music.

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MEET JOHN LAMBLE RECALLING HIS GROWING LOVE OF CLASSICAL MUSIC “My grandfather was O.C. Beale, founder of Beale Pianos. Up until the 1930s every middle-class family had an ambition to own a piano which was the centre for family entertainment. With the advent of the radio, gramophone and radiogram, the piano was displaced and gradually went out of fashion.

“My family owned two Beale pianos, one of which was a pianola. This played recorded music using a long broad roll of paper with holes punched in it which looked like a continuous punched card. When the pedals were pushed, air was sucked through the holes. This operated the piano keys to play music such as the Chopin Preludes. My mother only played it occasionally but I was much more interested in rugby and listening to some ‘pop’ music. “When I was a teenager my oldest brother used to have musical evenings at which they played 78 rpm records. I remember listening to a recording of the aria Martern aller arten from The abduction from the seraglio by Mozart. I

thought it was incredible and I have never forgotten it.

“There was little opportunity to listen to music until I got married. With my first Christmas bonus I bought a radiogram, and the first record I purchased was of Mozart’s Symphonies nos 25 and 28. Mozart remains my favourite today, and to celebrate my 70th birthday I bought the complete recordings of Mozart on 180 CDs. I can’t say that I have listened to every piece of music but I have discovered a number of charming pieces which are almost never played: in particular, a number of beautifully sung Vespers.” When John was asked how he discovered Fine Music 102.5 he replied: “I discovered Fine Music 102.5 shortly after it was established because I listen to the radio a lot, particularly during long and boring drives in peak hours. I find classical music cheers me up.” John went on to say: “I support the radio station financially and I think I have donated to every major appeal made by Fine Music because I

believe that the station does a great job and deserves encouragement. I realise that many other listeners may not be in a position to give financial support whereas I can afford to do so. Furthermore I hope that my donations help to encourage and thank the work done by so many wonderful volunteers.”

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Ms Jane Barnes, Mrs Marion Blin, Mrs Ann Carr-Boyd, Rev Jane Chapman, Mr Nicholas Cowell, Mrs Jennifer Dowling, Mrs Margaret Epps, Mr John Fairfax AO, Mr Paul Hopwood, Mr Gerhard Koller, Mr R J Lamble AO, Mrs Beatrice Lang, Dr Peter Lindberg, Mr Ian K Lloyd, Mrs Meryll Macarthur, Mr M F Madigan, Mrs Elisabeth Manchur, Mr Michael Morton-Evans OAM, Mr Gregory L Sachs, Mr John Stevenson, Dr Robin Torrence, Mr Edward John Wailes, Mrs June M Walpole, Mr A G Whealy QC, Mr Richard Wilkins, Mrs Lynnette Windsor, Anonymous 6

Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 1

May 2018

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David E W Blackwell OAM, Claus Blunck, Jan Bowen AM, David Branscomb, Ron Burgess, Mary Choate, Norman Chosid, John Clayton, Phillip Cooney, Elizabeth Corbett, Dom Cottam, T Cox, Prudence Davenport, Christine E Deer AM, J R Dunford QC, Andrew Dziedzic, Ruth Edenborough, Paul Evans, William Fleming, Michael Goot, Geoffrey Hogbin, Josephine Howie, Wendy Hu, James Hunter, Ruth Jeremy, Sue Jowell, Cynthia Kaye, Peter Krinks, Marrianne Laurie, Geoffrey Magney, M A Marsh, DS Maynard, Shirley Ann McEwin, Maureen Meers, Alison Meldrum, Herbert W Menka, Simon Moore, Ursula Mooser, Pieter Oomens, Denis Patterson, Ralph Penglis, Susan Ping Kee, Neil A Radford, Angela M Raymond, Gwynn Roberts, Félicité Ross, Catherine Ruff, Michael Shellshear, Christina Smith, Judith Smith, Lindsay Somerville, Ruth A Staples, Valerie Stoney, Kathryn Tiffen, Malcolm Trayes, Alastair Wilson, Chris Windsor, Thomas Zelinka, Peter Zipkis, Anonymous 17

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ARTISTIC DIRECTOR CARL VINE. PRESENTED IN ASSOCIATION WITH MUSICA VIVA AUSTRALIA

THE 29 HUNTINGTON ESTATE MUSIC FESTIVAL TH

OPENING WEEKEND 17 & 18 NOVEMBER 2018 TH

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May 2018

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Tuesday 1 MAY 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 Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Howard Shelley, pf. Hyperion CDS 44047 18 Brahms, J. Waltzes, op 39 (1865. arr.): no 1 in C sharp; no 15 in A flat; no 2 in E; no 1 in B; no 14 in G sharp minor; no 10 in G. Dinu Lipatti, pf; Nadia Boulanger, pf. Philips 456 892-2 6 Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Daniil Trifonov, pf; Philadelphia O/Yannick Nézet-Séguin. DG 479 4970 25 Bach, J.S. Partita no 1 in B flat, BWV825 (1725-31). 17 Mozart, W. Sonata no 8 in A minor, K310 (1778). 14 Dinu Lipatti, pf (2 above) Philips 456 892-2 10:30 CONCERT HALL Prepared by Sheila Catzel Korngold, E. Overture: Sursum corda, op 13 (1920). BBC PO/Matthias Bamert. Chandos CHAN 9317 20 Lalo, E. Cello concerto in D minor (1876). Paul Tortelier, vc; City of Birmingham SO/ Louis Frémaux. EMI 7 69457 2 27 Schubert, F. Symphony no 2 in B flat, D125 (1815). Royal Concertgebouw O/Nikolaus Harnoncourt. Teldec 4509-91184-2 34 12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands

13:00 VIENNA LIFE Prepared by Elaine Siversen

1868

A Sesquicentenary Event Schubert, F. Soirées de Vienne, D427 (1816). Gerard Willems, pf. MBS 40 CD 7 Sieczynski, R. Vienna, city of my dreams, op 1 (1912). Piotr Beczala, ten; Royal PO/ Lukasz Borowicz. DG 479 0838 4 Suppé, F. Overture to Morning, noon and night in Vienna (1844). Vienna PO/Zubin Mehta. CBS MK 44932 8 Schumann, R. Carnival jest from Vienna, op 26 (1839). Timothy Young, pf. Fine Music concert recording 22 Strauss, J. II Tales from the Vienna Woods, op 325 (1868). Vienna PO/Herbert von Karajan. Decca 478 5630 12 14:00 MUSICAL FAMILIES Mstislav Rostropovich and Galina Vishnevskaya Prepared by Jennifer Foong Chopin, F. Introduction and polonaise brillante in C, op 3 (1829-33). Martha Argerich, pf. DG 477 8445 8 Bach, J.S. Suite no 2 in D minor, BWV1008 (c1720). EMI 5 55363 2 21 Mstislav Rostropovich, vc (2 above) Rimsky-Korsakov, N. The nightingale and the rose, op 2 no 2 (1865-66). EMI 5 65716 2 3 Tchaikovsky, P. If only I had known, op 47 no 1 (1880). 5 Galina Vishnevskaya, sop; Mstislav Rostropovich, pf (2 above) Haydn, J. Divertissement no 6 in D, Hob. IV:11 (1784). Jean-Pierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc. CBS 37786 6 Prokofiev, S. The wedding song, from Russian folksongs, op 104. Mstislav Rostropovich, pf. EMI 5 65716 2 3

Britten, B. Sanctus, from War requiem, op 66 (1961). Peter Pears, ten; Dietrich FischerDieskau, bar; Bach Choir; Highgate School Choir; London Ch & SO; Melos Ensemble/ Benjamin Britten. Decca 478 3640 10 Galina Vishnevskaya, sop (2 above) Beethoven, L. Sonata no 4 in C, op 102 no 1 (1815). Mstislav Rostropovich, vc; Sviatoslav Richter, pf. Philips 464 677-2 15 Shostakovich, D. Ya poydu Proshchay, from Lady Macbeth of Mtsensk, op 29 (1934). Galina Vishnevskaya, sop; Nicolai Gedda, ten; Dimiter Petkov, bass; London PO/ Mstislav Rostropovich. EMI 5 62829 2 5 Myaskovsky, N. Cello concerto in C minor, op 66 (1944-45). Mstislav Rostropovich, vc; Philharmonia O/Malcolm Sargent. EMI 5 65701 2 28 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 Dvorák, A. Quintet in A, op 5 (1872). Ivan Klansky, pf; Vlach Quartet Prague. Naxos 8.555377 24 Khachaturian, A. Trio for clarinet, flute and piano (1932; arr. Power of Three). Power of Three. ABC/Three Bracelets 94504 47232 17 Reubke, J. Sonata in B flat minor (1857). Markus Becker, pf. Hyperion CDA68119 28 Hyde, M. Sonata in G minor (1962). Bridget Bolliger, fl; Andrew West, pf. Cala CACD77019 12 Busoni, F. Sonata no 2 in E minor, op 36a (1898-1900). Frank Peter Zimmermann, vn; Enrico Pace, pf. Sony SK94497 30

Busoni’s Second Violin Sonata was dedicated to violinist Viktor Novácek who gave the first performance with Busoni in Helsinki. May 2018

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Wednesday 2 MAY 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 Melissa Evans Weber, C.M. Grand duet, op 48 (1815-16). Walter Boeykens, cl; Robert Groslot, pf. Harmonia Mundi HMC 901481 17 Wie nahte mir der Schlummer, from Der Freischütz (1821). Birgit Nilsson, sop; Royal Opera House O/Edward Downes. Decca 467 912-2 9 Concert piece in F minor, op 79 (1821). Benjamin Frith, pf; RTE Sinfonietta/Prionnsias O’Duinn. Naxos 8.550959 17 Ozean, du Ungerheuer, from Oberon (1826). Kirsten Flagstad, sop; Philadelphia O/Eugene Ormandy. Nimbus NI 7847 8 Clarinet concertino in E flat, op 26 (1811). Charles Neidich, cl; Orpheus CO. DG 435 875-2 9 Trio in G minor, op 63 (1819). Geoffrey Collins, fl; David Pereira, vc; David Bollard, pf. Fine Music concert recording 19 10:30 CONCERT HALL Prepared by Elaine Siversen

Mahler, G. Rückert songs (1902). Lauris Elms, cont; Gwen Halstead, pf. Fine Music concert recording 17 14:00 IN CONVERSATION with Michael Morton-Evans Each week we meet one of the world’s great musicians, singers, composers or conductors, along with up-and-comers and some of the men and women who influence the arts landscape. The program goes live to air so you never quite know what’s going to happen. 15:00 RICHARD STRAUSS EXPLORED Part 1 Prepared by Michael Morton-Evans Strauss, R. Concertante in C (c1875); Piano trio no 1 in A (1877). Max Mandel, va; Amelia Piano Trio. Naxos 8.570896 19 Sonata in F op 6, mvt 3 (1882-82). Elmér Lavotha, vc; Kerstin Aberg, pf. BIS CD-49 9 Serenade, op 7 (1881). Netherlands Wind Ensemble/Edo de Waart. Philips 438 733-2 9 Violin concerto in D minor, op 8, mvt 2 (188082). Boris Belkin, vn; Berlin RSO/Vladimir Ashkenazy. Decca 476 7488 7

Liszt, F. Symphonic tone poem no 2: Tasso (1849/50-51). London PO/Bernard Haitink. Philips 438 751-2 21

Horn concerto no 1 in E flat, op 11, mvt 1 (1883). Barry Tuckwell, hn; London SO/István Kertész. Decca 478 6420 5

Rózsa, M. Cello concerto, op 32 (1969). János Starker, vc; Munich PO/Moshe Atzmon. LP Fono FSM 53 901 27

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

Herzogenberg, H. Symphony no 2 in B flat, op 70 (1889). North German Radio PO/Frank Beermann. cpo 777 122-2 35

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 Angela Cockburn Cavalli, F. The loves of Apollo and Daphne. Opera in a prologue and three acts. Libretto by Giovanni Francesco Busenello. First performed Venice, 1640. APOLLO/TITHONUS: Mario Zeffiri, ten DAPHNE: Marianna Pizzolato, mezz AURORA/VENUS/ITATON: Marisa Martins, mezz CEPHALUS/PAN: Agustin Prunell-Friend, ten Galicia Symphony Youth O/Alberto Zedda. Naxos 8.660187/88 2:25 Synopsis at finemusicfm.com/Opera Dolcissimo baci from La Calisto (1652). Sandrine Piau, sop. 7 Doriclea lamento, from Doriclea (1645). Anne Sofie von Otter, mezz. naïve V 5286 7 Ensemble Capella Mediterranea/Leonardo García Alarcón (2 above) 23:00 THE TEMPEST Prepared by Stephen Wilson Locke, M. Incidental music for Thomas Shadwell’s operatic version of The tempest (1674). Parley of Instruments Renaissance Violin Band/Peter Holman. Hyperion CDA66667 16 Fibich, Z. The tempest, op 46 (1880). Czech NSO/Marek Štilec. Naxos 8.573197 12 Tchaikovsky, P. Symphonic fantasy, The tempest, op 18 (1873). Bournemouth SO/ Andrew Litton. Virgin VC 7 91140-2 24

CONTINUING PROGRAM SERIES Rossini 150: At the Opera, The Turk in Italy prepared by Colleen Chesterman

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

Wednesday 9 at 8pm

13:00 ART SONGS Lieder and popular songs Prepared by Albert Gormley

Development of the Six-String Guitar prepared by Ross Hayes: Tuesday 8 at 2pm (final)

Schumann, R. Liederkreis, op 39 (c1840). Matthias Goerne, bar; Eric Schneider, pf. Decca 460 797-2 27 12

Respighi, O. Within a mile of Edinburgh Town; My heart’s in the Highlands; The piper of Dundee, from Four Scottish songs (1924). Andrea Catzel, sop; Reinild Mees, pf. Channel CCS 14998 9

Sunday Special, Master Key prepared by Anne Irish and James Nightingale: Sunday 6 at 3pm Musical Families prepared by Jennifer Foong: Tuesday 1, 15 at 2pm Sunday Special, Simply Shostakovich prepared by Paolo Hooke: Sunday 13 at 3pm Died for Love: At the Opera, Norma (Bellini) prepared by Camille Mercep: Wednesday 23 at 8pm

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Thursday 3 MAY Brouwer, L. Concerto de Toronto. John Williams, gui; London Sinfonietta/Steven Mercurio. Sony SK 63173 33 Gottschalk, L. Symphony no 1, A night in the tropics (1859). Utah SO/Maurice Abravanel. Vanguard OVC 4051 19 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 Manuel de Falla 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 Boccherini, L. Cello concerto no 9 in B flat. Ostrobothnian CO/Juha Kangas. Virgin VC 7 90805-2 19 Prokofiev, S. Sonata for solo cello, op 133 (1953). Virgin VC 7 90811-2 8 Schumann, R. Five popular pieces, op 102 (1849). Dénes Varjon, pf. Hyperion CDA67661 15 Steven Isserlis, vc (3 above) Bax, A. Incidental music to The golden eagle (1946). Richard Nunn, pf; London PO/Bryden Thomson. Chandos CHAN 9003 12

13:00 GUITAR, MARIMBA AND PIANO Prepared by Mariko Yata Lauro, A. Four Venezuelan waltzes (1963). Craig Ogden, gui. Chandos CHAN 9780 7 MacDonald, A. The riff, op 69 (2005). Catherine Meunier, mar. Centrediscs CMCCD 15109 10 Tárrega, F. Variations on The carnival of Venice. Rafael Aguirre Miñarro, gui. Naxos 8.572064 8 Piazzolla, A. The four Buenos Aires seasons (1970). Aquiles Delle-Vigne, pf. Naxos 8.572331 20 Sor, F. Theme and variations on Mozart’s The magic flute, op 9. Narciso Yepes, gui. DG 469 649-2 7 14:00 MUSIC FOR DANCING Prepared by Randolph Magri-Overend Offenbach, J. Ballet: Gaîté parisienne (1866; arr. Rosenthal 1938). Berlin PO/Herbert von Karajan. Decca 478 5630 29

Messiaen, O. Theme and variations (1932). Marina Gusak-Grin, pf. Chandos CHAN 9109 7

Massenet, J. Ballet music from Le Cid (1885). City of Birmingham SO/Louis Frémaux. EMI 5 65150 2 20

Bach, J.S. Partita no 3 in E, BWV1006 (1720). Chandos CHAN 8835/6 18

Gounod, C. Ballet music from Faust (1859). Berlin PO/Herbert von Karajan. Decca 478 5630 18

Lydia Mordkovitch, vn (3 above)

Tchaikovsky, P. Suite from The nutcracker, op 71 (1892). Montreal SO/Charles Dutoit. Decca 478 4746 19

19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Part 1: Musica Viva presents Enigma Quartet Recorded for FINE MUSIC by Peter Bell Haydn, J. String quartet in C, op 74 no 1 (1793). 23 Chance, A. String quartet: The first movement (c2015). 6 Szymanowski, K. String quartet no 2, op 56 (1927). 18 Enigma Quartet (3 above) Part 2: Chopin for cello Chopin, F. Introduction and polonaise brillante in C, op 3 (1829-30). Thomas Tsai, vc; Joshua Tsai, pf. 9 Sonata in G minor, op 65 (1845-46). Georg Pedersen, vc; Natalia Sheludiakova, pf. 25 Fine Music concert recording (2 above) 21:30 POULENC SONATAS Prepared by Rex Burgess Poulenc, F. Sonata (1957). Emmanuel Pahud, fl; Eric Le Sage, pf. EMI 5 56488 2 13 Sonata (1962). Deborah de Graaff, cl; David Miller, pf. Fine Music concert recording 13 22:00 MUSICAL PORTRAITS Le diable Prepared by Rex Burgess Liszt, F. Reminiscences of Meyerbeer’s Robert le Diable (1841). Leslie Howard, pf. Hyperion CDS44542 17 Tartini, G. Sonata in G minor, Devil’s trill (pub. 1734). Accademia Arcadia. Tall Poppies TP243 19 Berlioz, H. Eight scenes from Goethe’s Faust, op 1 (1829). Susan Graham, sop; Susanne Mentzer, mezz; John Mark Ainsley, ten; Philip Corokinos, bar; Montreal Choir & SO/Charles Dutoit. Decca 475 097-2 36

Gershwin, G. Cuban overture (1932). Rochester PO/Jeff Tyzik. Harmonia Mundi HMX 2908541 11

Falla, M. de Ballet: Love the magician, Andalusian gypsy scenes (1915). BBC SO/ Leopold Stokowski. BBC BBCL 4005-2 24

Henselt, A. Concert variations on Quand je quittai la Normandie, from Meyerbeer’s Robert le Diable, op 11 (1840). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66717 18

Williamson, M. Suite from Our man in Havana (1963). Tasmanian SO/Richard Mills. ABC 476 3218 20

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

Davies, P. Maxwell Suite from The devils (1971). Aquarius/Nicholas Cleobury. Collins 10952 20

10:30 CONCERT HALL Prepared by James Nightingale

May 2018

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Friday 4 MAY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Charlton, R. Dances for the rainbow serpent (1990). Guitar Trek. ABC 442 508-2 10

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

Schultz, A. Stick dance III (1992). Paul Dean, cl; Michele Walsh, vn; Stephen Emmerson, pf. Tall Poppies TP171 8

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

Edwards, R. White cockatoo spirit dance (1998). Marina Marsden, vn. Wirripang WIRR 025 5

Milhaud, D. Saudades do Brasil, dance suite, op 67 (1921; transcr. Kuisma). Markus Leoson, mar; Niklas Sivelöv, pf. Caprice CAP 21743 12

Nelson, M. Brolga dances. Jill Johnson, mand; Michelle Nelson, gui; Melbourne Mandolin O/Slava Iourgaev. Move MCD 410 11

Fauré, G. Sonata no 1 in A, op 13 (187576; transcr. Langevin). Robert Langevin, fl; Jonathan Feldman, pf. Avie AV2213 25 Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720; arr. Segovia). László Szendrey-Karper, gui. White Label HRC 146 15 Rossini, G. Fantasia concertante on The Italian girl in Algiers (1813: arr. Triebert, Jancourt). European Wind Soloists/Patrick de Ritis. Naxos 8.573259 10 Tchaikovsky, P. Concert suite, from The nutcracker (1892; transcr. Pletnev). Simon Trpceski, pf. EMI 5 75202 2 17 10:30 CONCERT HALL Prepared by Paul Hopwood Bizet, G. Overture: Patrie, op 19 (1873). Montreal SO/Charles Dutoit. Decca 452 102-2 13 Albrechtsberger, J. Trombone concerto in B flat (1769). Northern Sinfonia/Alain Trudel, tb & dir. Naxos 8.553831 17 Schubert, F. Symphony no 9 in C, D944, Great (1825-28). Columbia SO/Bruno Walter. Sony SMK 64478 52 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 IN THE DREAMTIME Prepared by Elaine Siversen Antill, J. Dance to the evening star; A rain dance, from Corroboree (1950). Sydney SO/ John Lanchbery. EMI CDOASD 793060 10 Hill, M. Three aboriginal dances (1950). Larry Sitsky, pf. Canberra School of Music CSM:40 7 14

14:00 EUROPEAN COMPOSERS IN ENGLAND Part 2 Prepared by Frank Morrison Viotti, G. Violin concerto no 23 in G (179293). Symphonia Perusina/Franco Mezzena, vn & dir. Dynamic CDS 680 23 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1831-41). Vienna PO/ Christoph von Dohnányi. Decca 460 239-2 37

Sibelius, J. Violin concerto in D minor, op 47 (1904). Adele Anthony, vn; Adelaide SO/Arvo Volmer. Canary Classics CC09 32 Vaughan Williams, R. Symphony no 6 in E minor (1944-47/50). BBC SO/Andrew Davis. Teldec 9031-73127-2 32 Respighi, O. Trittico Botticelliano (1927). Accademia Bizantina/Carlo Chiarappa. Denon CO-78916 19 22:00 BAROQUE AND BEFORE Pierre de la Rue and the Franco-Flemish school Prepared by Susan Foulcher La Rue, P. de Sanctus, from Missa Ave Sanctissima Maria; Motet: Ave Sanctissima Maria. Early Music Consort of London/David Munrow. Virgin 5 61334 2 8 Ave Regina caelorum; Pourquoy non. Piffaro/ Joan Kimbell, Robert Wiemken. Archiv 457 609-2 5 Magnificat primi toni. Viva Voce/Peter Schubert. Naxos 8.557896-97 12

Chopin, F. Nocturne in E, op 62 no 2 (1846). Daniel Barenboim, pf. DG 415 117-2 6

Isaac, H. Fortuna desperata; La Morra; Si dormiero. Sour Cream. Glossa GCD P31102 10

Berlioz, H. Crown Imperial, op 26 (1854). Montreal Choir & SO/Charles Dutoit. Decca 475 097-2 10

La Rue, P. de Missa L’homme armé. Ensemble Clément Janequin/Dominique Visse. Harmonia Mundi HMA 195 1296 26

Gounod, C. Close your eyes (1873). Felicity Lott, sop; Graham Johnson, pf. Hyperion CDA66801/2 4

Agricola, A. Seven secular pieces. Ensemble Unicorn/Michael Posch. Naxos 8.553840 13

Oh happy home! Oh blessed flower! (1872). Anthony Rolfe Johnson, ten; Graham Johnson, pf. Hyperion CDA66801/2 5

Pipelare, M. Fors seulement. 2

Grieg, E. Six lyric pieces, op 65 (1896). Leif Ove Andsnes, pf; Bergen PO/Dmitri Kitaienko. Virgin 7 59613 2 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small Elgar, E. Overture: In the South, op 50, Alassio (1904). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00029 21

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Compère, L. Nous sommes de l’ordre de Saint Babouyn. 4 Ensemble Clément Janequin/Dominique Visse (2 above) Harmonia Mundi HMX 290838.40 Févin, A. de Motets: Adiutorium nostrum; Sancta Trinitas unus Deus; Egregie Christi martir Christophor/Ecce enim. Alamire; English Cornett and Sackbut Ensemble/David Skinner. Obsidian CCL 712 12 Josquin Desprez. Mille regrets; La Spagna; Saltarello; Scaramella va alla guerra. Hespèrion XXI/Jordi Savall. Alia Vox AVSA 9895 A/F 11 Ockeghem, J. Fors seulement, chanson. 8 La Rue, P. de Fors seulement. 3 Clerk’s Group/Edward Wickham (2 above) ASV GAU 168

Saturday 5 MAY 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 Late and post-romantic 1875-1915 Prepared by Paul Cooke Brahms, J. Tragic overture, op 81 (1880/81). Berlin PO/Claudio Abbado. DG 477 5424 15

Ball, E. Second rhapsody on Negro spirituals. National Youth Brass Band of Great Britain/Geoffrey Brand. Astor GGS 837 9 Gould, M. Old romance. Allentown Band/ Ronald Demke. AMP 20059 4 12:00 SCHOOL JAZZ LIVE The first of two heats in the inaugural FINE MUSIC School Jazz Combos Competition 14:30 MAZURKA TIME Prepared by Frank Morrison

d’Indy, V. Choral varié, op 55 (1903). Sigurdur Flosason, sax; Iceland SO/Rumon Gamba. Chandos CHAN 10585 13

Dvorák, A. Mazurka, op 49 (1879). Alexander Trostianski, vn; Russian PO/ Dmitry Yablonsky. Naxos 8.557352 6

Glazunov, A. Elegy in G minor, op 44 (1893). Nobuko Imai, va; Roland Pöntinen, pf. BIS CD-358 6

Strauss, J. II Polka-mazurka: Fantasy flower, op 241 (1860). CSSR State PO/ Alfred Walter. Marco Polo 8.223202 4

Brüll, I. Andante and allegro, op 88 (1902). Martin Roscoe, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67069 16 Delius, F. Sea drift (1903-04). Bryn Terfel, bass-bar; Bournemouth Symphony Ch & O/ Richard Hickox. Chandos CHAN 9214 26 10:30 SMALL FORCES Prepared by Frank Morrison Haydn, J. String quartet in D minor, Hob. III:43 (1784). Salomon Quartet. Hyperion CDA66682 15 Debussy, C. Sonata (1915). Bernard GregorSmith, vc; Yolande Wrigley, pf. ASV DCA 796 12 Schubert, F. Piano trio movement in B flat, D28 (1812). Macquarie Trio. ABC 465 792-2 10 Kreutzer, R. Grand quintet in C (1790-99). Sarah Francis, ob; Allegri String Quartet. Hyperion CDA66143 15 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Price, D. Moonbeams. Joanne Childs, flugelhorn; Cory Band/Robert Childs. Doyen DOY 239 7 Parry, H. Jerusalem. CWS (Manchester) Band/Alex Mortimer. Fontana STFL 537 2 Kander, J. Chicago. Buy As You View Band/ Robert Childs. Doyen DOY 173 3

Respighi, O. Mazurka, from La boutique fantasque, op 40 (1919). Scottish NO/ Alexander Gibson. Chandos CHAN 6503 2 Tárrega, F. Mazurka: Marieta. Konrad Ragossnig, gui. Claves 50-806 2 Chopin, F. Mazurka, op 7 no 1 (1830-31; transcr. Bolliger). Scott Marshall, ob; Phillip Bolliger, gui. MBS 31 3 Glinka, M. Mazurka, from Ivan Susanin (1836). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00166 5 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Sullivan, A. The Mikado. Operetta in two acts. Libretto by W.S. Gilbert. First performed London, 1885. MIKADO: Richard Alexander, bass YUM YUM: Taren Fiebig, sop NANKI-POO: Kanen Breen, ten KO-KO: Mitchell Butel, bar POO-BAH: Warwick Fyfe, bar KATISHA: Jacqueline Dark, cont Opera Australia Ch; O Victoria/Brian Castles-Onion. Opera Australia OPOZ56016 1:28 Synopsis at finemusicfm.com/Opera Sullivan, A. Ballet: Pineapple Poll (arr. Mackerras 1951). Philharmonia O/Charles Mackerras. Decca 43810-2 45

17:30 STAGING MUSIC Prepared by Angela Cockburn Adaptations: Hamlet, 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 Edward MacDowell Prepared by Paul Cooke Raff, J. Overture: Romeo and Juliet (1879; ed. MacDowell). Philharmonia O/Francesco d’Avalos. ASV DCA 793 9 MacDowell, E. Piano concerto no 1 in A minor, op 15 (1882). Seta Tanyel, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67165 27 Liszt, F. Symphonic poem no 2: Tasso, lamento e trionfo (1849). London SO/Leon Botstein. Telarc 80613 21 Grieg, E. At the cloister gate, op 20 (1871). Solveig Kringelborn, sop; Ingebjørg Kosmo, mezz; Bergen PO/Ole Kristian Ruud. BIS CD-1740/42 10 MacDowell, E. Suite no 2, op 48, Indian (1891-95). Ulster O/Takuo Yuasa. Naxos 8.559075 30 Beach, A. Hermit thrush at eve, op 92 no 1 (1922); Hermit thrush at morn, op 92 no 2 (1922). Virginia Eskin, pf. Koch 3-7254-2 8 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Tchaikovsky, P. Children’s album, op 39 (1878; arr. Milman, Spivakov). Moscow Virtuosi/Vladimir Spivakov. RCA 09026 61964 2 27 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 Grieg, E. Sigurd Jorsalfar, op 56 (1892). Royal PO/Yondani Butt. ASV DCA 722 18 Mozart, W. Sonata no 25 in F, K377 (1781). Henryk Szeryng, vn; Ingrid Haebler, pf. Philips 462 185-2 19 Parry, H. Symphony no 2 in F, Cambridge. Royal Scottish NO/Andrew Penny. Naxos 8.553469 36 May 2018

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Sunday 6 MAY Hummel, J. Trio in E flat (1799). Viennese String Trio. Calig CAL 50876 20 Haydn, M. Symphony no 4 in B flat. Slovak CO/Bohdan Warchal. cpo 999 152-2 18 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson Beginning a 20-part series based on his comprehensive book on the development of jazz in Australia Carl Ditters von Dittersdorf 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Elaine Siversen Vasks, P. Pater noster (1991/97). Sydney Chamber Choir/Jonathan Grieves-Smith. Fine Music concert recording 11 Le Gallienne, D. Four divine poems of John Donne (1950). Elizabeth Campbell, mezz; Anthony Fogg, pf. Fine Music concert recording 12 Handel, G. Dixit Dominus, HWV232 (1707). Jane Edwards, sop; Penelope Sharp, sop; Tobias Cole, alto; David Hamilton, ten; Michael Hissey, bass; Sydney Chamber Choir & O/Hans-Dieter Michatz. Fine Music concert recording 31 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Schubert, F. Overture in D, D590, In the Italian style (1817). Menuhin FO/Yehudi Menuhin. EMI 1 66445 2 8 Myslivecek, J. Overture no 2 in A for two horns, two oboes and strings (1772). Concerto Köln/Werner Ehrhardt. Archiv 479 1045 10 Boccherini, L. Cello concerto no 11 in C. Raphael Wallfisch, vc; Northern CO/Nicholas Ward. Naxos 8.557589 17 Dittersdorf, C. Sinfonia concertante. Petr Pribyol, va; Jakub Waldmann, db; South Bohemia Chamber PO/Ondrej Kukal. Campion RRCD 1342 20 Riotte, P. Notturno (c1815). Ernö Sebestyen, vn; Edward Witsenburg, hp. Schwann 310 001 H1 15 16

13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 CONTRASTS Prepared by Ron Walledge Lyadov, A. The enchanted lake, op 62 (1909) Russian NO/Mikhail Pletnev. DG 447 084-2 7 Lilburn, D. A song of islands (1946). New Zealand SO/John Hopkins. Centre for NZ Music recording 14 Sibelius, J. Finlandia, op 26 (1899-1900). Berlin PO/Herbert von Karajan. EMI 1 66451 2 10

Mussorgsky, M. The old castle, from Pictures at an exhibition (1874). Arno Bornkamp, sax; Ivo Jansen, pf. Brilliant Classics 6476 5 Castelnuovo-Tedesco, M. Prelude and fugue no 20 in G sharp minor, from The well-tempered guitars, op 199 (1962). Duo Tedesco, guitars. Schwann 3-1224-2 3 Skryabin, A. Sonata no 2 in G sharp minor, op 19 (1892-97). Gordon Fergus-Thompson, pf. ASV DCA 882 14 Sibelius, J. Rondino no 1 in G sharp minor, op 68 (1913). Erik T. Tawaststjerna, pf. BIS CD-196 4 Smetana, B. At the sea, concert study in G sharp minor (1861). Leif Ove Andsnes, pf. EMI 3 41682 2 5 Bruch, M. Double concerto in A flat minor, op 88a (c1911). Güher Pekinel, pf; Süher Pekinel, pf; Philharmonia O/Neville Marriner. Chandos CHAN 9711 25 17:00 HOSANNA Prepared by Stephen Matthews

Elgar, E. Overture: In the South, op 50, Alassio (1904). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00029 21

Harvey, J. Come, Holy Ghost. 8

15:00 SUNDAY SPECIAL Master key: G sharp minor; A flat minor Prepared by Anne Irish

Choir of Clare College, Cambridge/Graham Ross (2 above) Harmonia Mundi HMU 907623

Shostakovich, D. Prelude and fugue in G sharp minor, op 87 no 12 (1951). Alexander Melnikov, pf. Harmonia Mundi HMC 902019.20 9 Chopin, F. Polonaise in G sharp minor, op posth (1822). Alexander Brailowsky, pf. Sony SB2K 63237 4 Janácek, L. Sonata in A flat minor (1913-21). Ulf Wallin, vn; Roland Pöntinen, pf. BIS CD-663-4 18 Taneyev, S. Prelude and fugue in G sharp minor, op 29 (1910). Olga Solovieva, pf. Naxos 8.557804 7 Bach, J.S. Prelude and fugue in G sharp minor, BWV863 (1722). Richard Egarr, hpd. Harmonia Mundi HMU 907431 5 Hamelin, M-A. Study no 12 in A flat minor, Prelude and fugue (1986). Marc-André Hamelin, pf. Hyperion CDA67789 6

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Elgar, E. The spirit of the Lord is upon me. Matthew Jorysz, org. 8

Telemann, G. Cantata for Ascension: Er kam, lobsinget ihm. Michaelstein Chamber Choir; Telemannisches Collegium Michaelstein/ Ludger Remy. cpo 777 064-2 16 Bach, J.S. Excerpt from Cantata, BWV75/1. Bach Collegium Japan/Masaaki Suzuki. BIS-CD 1951 4 Tavener, J. The lamb (1982). Schola Cantorum Reykavicensis/Hordur Askelsson. BIS-CD 2200 4 Swayne, G. Magnificat. Choir of New College, Oxford; Christopher Glynn, org; Edward Higginbottom, cond. Priory PRCD596 4 Franck, C. Pièce héroïque (1878). Stephen Cleobury, org. King’s College Cambridge KGS0020 9

Sunday 6 MAY

Monday 7 MAY

18:00 AN HOUR OF SKRYABIN Prepared by Mariko Yata

Debussy, C. La mer (1903-05). St Cecilia Academy O/Leonard Bernstein. DG 429 728-2 26

Skryabin, A. Polonaise in B flat minor, op 21 (1897). Vladimir Sofronitzky, pf. Brilliant Classics 9241 7

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

Sonata no 2 in G sharp minor, op 18 (189297). Yuja Wang, pf. DG 477 8140 12 The poem of ecstasy, op 54 (1905-08). Patrick Addinall, tpt; BBC PO/Vassily Sinaisky. BBC Music MM 218 21 Sonata no 10, op 70 (1913). Vladimir Horowitz, pf. CBS MK 42411 12 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Bach, W.F. Harpsichord concerto in F. Harmonices Mundi/Claudio Astronio. Brilliant Classics 9407 26

13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell

Angela Hewitt 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: 1816 Prepared by Di Cox

Telemann, G. Overture in F. Freiburg Baroque O/Gottfried von der Goltz. DHM 88985433232-17 22

Rossini, G. Sinfonia, from The Italian girl in Algiers (1816). St Cecilia Academy O/MyungWhun Chung. DG 471 566-2 8

Ritter, A. Sinfonia concertante in B. Academy of St Martin in the Fields/Iona Brown. EMI 7 4798 1 18

Donizetti, G. Cor anglais concertino in G (1816). Camerata Budapest/Lászlo Kovács. Marco Polo 8.223701 11

Corelli, A. Overture to Oratorio Santa Beatrice d’Este, WoO1. Musica Amphion/ Pieter-Jan Belder. Brilliant Classics 94112/10 8

Schubert, F. Rondo in A, D438 (1816). Elizabeth Wallfisch, vn; Brandenburg O/Roy Goodman. Hyperion CDA66840 14

Fucik, J. March of the gladiators, op 68. Czech PO/Vaclav Neumann. Supraphon SU3557-2 3

Beethoven, L. Sonata no 28a, op 101 (1816). Angela Hewitt, pf. Hyperion CDA67974 23

20:30 NEW HORIZONS Prepared by Calogero Panvino

Spohr, L. Mignon’s Lied, op 37 no 1 (1816). Christina Högman, sop; Jakob Lindberg, gui. BIS CD-293 3

Reich, S. Piano phase (1967). Double Edge. Electra Nonesuch 979 169-2 20 Glass, P. Opening, from Glassworks (1982). Philip Glass Ensemble/Michael Riesman. Sony SMK87968 6 Ferneyhough, B. Unity capsule (1976). Laura Chislett, fl. Vox Australis VAST 007-2 12 Reich, S. The desert music (198284). Ch Sine Nomine; Tonkünstler-O Niederösterreich/Kristjan Järvi. Chandos CHSA 5091 46 22:00 AFTER HOURS JAZZ with Kevin Jones

Weber, C.M. Grand duo concertante, op 48 (1816). Michael Collins, cl; Piers Lane, pf. Chandos CHAN 10615 19 10:30 CONCERT HALL Prepared by James Nightingale Hughes, R. Sea spell (1973). Sydney SO/ Willem van Otterloo. LP RCA VRL1 0191 9 Glazunov, A. Symphonic fantasy, op 28, The sea (1889). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00156 17 Bennett, W. Sterndale Piano concerto no 4 in F minor, op 19 (1838). BBC Scottish SO/ Howard Shelley, pf & dir. Hyperion CDA67595 28

Arensky, A. Quintet in D, op 51 (1900). Piers Lane, pf; Goldner String Quartet. Hyperion CDA67965 24 Rubinstein, A. Nocturne, op 11 no 2 (1854). Nobuko Imai, va; Roland Pöntinen, pf. BIS CD-358 7 Tchaikovsky, P. At the ball; None but the lonely heart; Lullaby; Had I but known. Christianne Stotijn, mezz; Julius Drake, pf. Onyx 4034 14 Rachmaninov, S. Oriental dance, op 2 no 2 (1892). Alexander Ivashkin, vc; Ingrid Wahlberg, pf. Manu MANU 1426 6 Borodin, A. String quartet no 2 in D (1881). Takács Quartet. Decca 476 280-2 26 14:30 WITH ORCHESTRA Prepared Barrie Brockwell Brahms, J. Academic festival overture (1880). Royal Liverpool PO/Marek Janowski. ASV QS 6124 10 Schumann, R. Concert piece in F, op 86 (1849). Roger Montgomery, hn; Gavin Edwards, hn; Susan Dent, hn; Robert Maskell, hn; O Révolutionnaire et Romantique/John Eliot Gardiner. Archiv 457 591-2 18 Britten, B. Diversions for the left hand, op 21 (1931). Leon Fleisher, pf; Boston SO/Seiji Ozawa. Sony SK 47 188 26 Vaughan Williams, R. Aristophanic suite: The wasps (1909). Royal Liverpool PO/ James Judd. Naxos 8.572304 26 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ NICE N’EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson May 2018

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Tuesday 8 MAY 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 Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Hyperion CDS 44047 18 Clementi, M. Sonata in B flat, op 2 no 6 (1779). Hyperion CDA67632 8

Hermann Baumann

Pinchas Zukerman

Howard Shelley, pf (2 above)

Weber, B. Sextet no 2 in F. Horns of Czech PO. Supraphon 11 0780-2 9

Gnattali, R. Sonata (1969). Franz Halász, gui; Wen-Sinn Yang, vc. BIS-2086 11

Rosenhain, J. Piano concerto in D minor, op 73 (c1842). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA67765 25

Dvorák, A. Slavonic dance, op 46 no 8 (1878; transcr.). Kazimierz Machala, hn; Susan Teicher, pf. Denon CD PAJ 101 5

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

Haydn, J. Piano trio in E flat, Hob.XV:10 (1785). Isaac Stern, vn; Leonard Rose, vc. Sony SM2K 64516 10

Haydn, J. Horn concerto no 1 in D, Hob. VIId:3 (1762). Hermann Baumann, hn; Academy of St Martin in the Fields/Iona Brown. Philips 422 346-2 16

Beethoven, L. Sonata no 31 in A flat, op 110 (1821). Reference Recordings RR-69CD 18 Eugene Istomin, pf (2 above) 10:30 CONCERT HALL Prepared by Gerald Holder Schumann, R. Overture to Manfred, op 115 (1848-49). Philharmonia O/Carlo Maria Giulini. EMI CZS 7 67723 2 12 Sibelius, J. Violin concerto in D minor, op 47 (1903-04). Pekka Kuusisto, vn; Helsinki PO/ Leif Segerstam. Ondine ODE 878-2 34 Dvorák, A. Symphony no 7 in D minor, op 70 (1885). London SO/István Kertész. Decca 478 6420 37 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 COME BLOW YOUR HORN Prepared by Gael Golla Mozart, W. Horn quintet in E flat, K407 (1782). Gerd Seifert, hn; Amadeus Quartet. DG 437 137-2 16 Brahms, J. Fingal’s song, op 17 no 4 (1860). Monteverdi Choir; Anthony Halstead, hn; Christian Rutherford, hn; Delyth Wynne, hp; John Eliot Gardiner, cond. Philips 432152-2 5 18

14:00 DEVELOPMENT OF THE SIX STRING GUITAR Part 3: South America Prepared by Ross Hayes Ponce, M. Tropico (1930). Alan Rinehart, gui. Novascribe NS 204 3 Concerto of the South (1941). Alfonso Moreno, gui; Royal PO/Enrique Bátiz. ASV DCA 871 25 Villa-Lobos, H. Chorinho, from Suite populaire brésilienne (1908-12). Pepe Romero, gui. Decca 478 5669 5 Guitar concerto (1951). Julian Bream, gui; London SO/André Previn. RCA 6525-2-RG 18 Tirao, C. Conciertango Buenos Aires for guitar and orchestra (1978). 23 Piazzolla, A. Concerto for guitar, bandoneón and string orchestra (1985). Michael Zisman, ban. 18 Edoardo Catemario, gui; O Vincenzo Galilei/ Nicola Paszkowski (2 above) Arts 47728-8 Peña, P. La calahorra. John Williams, gui; Paco Peña, gui; Inti-Illimani. CBS MK 44574 5

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18:00 SYDNEY SYMPHONY 2018 Produced by Andrew Bukenya What’s on in concerts during the next month

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Mozart, W. Sonata no 25 in F, K377 (1781). Pinchas Zukerman, vn; Marc Neikrug, pf. RCA RD 60447 21 Beethoven, L. Piano trio in C minor, op 1 no 3 (1792-95). Beaux Arts Trio. Philips 438 948-2 23 Bruckner, A. String quintet in F (1879). L’Archibudelli. Sony SK 66 251 44 Kats-Chernin, E. Re-inventions on two-part inventions of J.S. Bach (1720-23; transcr. 2004). Alicia Crossley, rec; Diana Weston, hpd. Thoroughbass 20130731 23

Beethoven’s opus 1 piano trios were not his first published compositions but, at the age of 18, he recognised that they were the most substantial of his earliest works. With these trios, he introduced his style of writing to the musical public. They are dedicated to Prince Lichnowsky in whose home they were first performed.

Wednesday 9 MAY Koehne, G. Powerhouse, op 2 (1993). Sydney SO/Edo de Waart. ABC 462 012-2 12

Sonata in E flat, op 18, mvt 2 (1887-88). Itzhak Perlman, vn; Emanuel Ax, pf. DG 28948117741 8

Britten, B. Four sea interludes, from Peter Grimes, op 33a (1945). BBC PO/Edward Gardner. Chandos CHAN 10658 16

Tone poem: Macbeth, op 23 (1888/91). Scottish NO/Neeme Järvi. Chandos CHAN 8834 20

Montserrat Caballé 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Stephen Matthews Zelenka, J. Capriccio no 2 in G. Das NeuEröffnete O/Jürgen Sonnentheil. cpo 999-897-2 14 Motet: Hipocondrie. Alex Potter, ct; Capriccio Baroque O/Dominik Kiefer. Pan Classics PC10274 8 Sonata no 3 for chamber orchestra. Collegium 1704 CO. Supraphon SU 3858-2 16 Kyrie; Gloria, from Missa Dei Patris. Stuttgart Chamber Choir; Stuttgart Baroque O/Frieder Bernius. Carus 83.209 12 Italian aria no 8. Tomas Selc, bass; Ensemble Tourbillon/Peter Wagner. Accent ACC24306 10 Motet: Beatus vir. Prague Baroque Soloists; Ensemble Inegal/Adam Viktora. Nibiru 0632231 7 Epilogue, from Weceslao. Musica Florea; Musica Aeterna; Ensemble Philidor; Boni Pueri/Marek Stryncl. Supraphon SU4113-2 9 10:30 CONCERT HALL Prepared by Ron Walledge Beethoven, L. Overture to The ruins of Athens, op 113 (1811). Royal PO/Thomas Beecham. EMI 1 66447 2 4

12:00 JAZZ SKETCHES with Robert Vale 13:00 WE BE SOLDIERS Prepared by Elaine Siversen Cherubini, L. Trois pas redoublés et la première marche pour la musique du Régiment des Chasseurs de la Garde du Roi de Prusse (1814). London Gabrieli Brass Ensemble/Christopher Larkin. Hyperion CDA66470 8 Sullivan, A. I am the very model of a modern Major-General, from The pirates of Penzance (1879). Richard Suart, bar; Welsh National Opera Ch & O/Charles Mackerras. Telarc CD-80431 3 Prokofiev, S. Suite from Lieutenant Kijé, op 60 (1934). Queensland SO/Vladimir Verbitsky. ABC 476 3510 22 Anon. We be soldiers three. Deller Consort/ Alfred Deller. Harmonia Mundi HMA 190202 2 Kreisler, F. Toy soldiers’ march. Oscar Shumsky, vn; Milton Kaye, pf. ASV CD QS 6039 2 Stravinsky, I. Suite from The soldier’s tale (1918). Dimitri Ashkenazy, cl; European Soloists Ensemble/Vladimir Ashkenazy, pf & dir. Decca 473 810-2 14 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 RICHARD STRAUSS EXPLORED Part 2 Prepared by Michael Morton-Evans Strauss, R. Symphony no 2 in F minor, op 12, mvt 2 (1884). Royal Scottish NO/Neeme Järvi. Chandos CHAN 10236 X 7 Aus Italien, op 16, mvt 4 (1886) . Slovak PO/ Zdenék Kosler. Naxos 8.550342 9

Lieder: Ich trage meine Minne, op 32 no 1 (1896); Hat gesagt, bleibt’s nicht dabei, op 36 no 3 (1897-98); Wie sollten wir geheim sie halten, op 19 no 4 (1885-88). Anne Sofie von Otter, mezz; Bengt Forsberg, pf. DG 437 515-2 7 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Colleen Chesterman 1792-1868

Brahms, J. Piano concerto no 1 in D minor, op 15 (1854-59). Alfred Brendel, pf; Berlin PO/Claudio Abbado. Philips 456 733-2 49

GIOACHINO ROSSINI

Rossini, G. The Turk in Italy. Opera in two acts. Libretto by Felice Romani. First performed Milan, 1814. SELIM: Samuel Ramey, bass DONNA FIORILLA: Montserrat Caballé, sop DON GERONIO: Enzo Dara, bass DON NARCISO: Ernesto Palacio, ten PROSDOCIMO: Leo Nucci, bar ZAÏDA: Jane Berbié, mezz-sop Ambrosian Opera Ch; National PO/Riccardo Chailly. CBS M2K 37859 2:26 Synopsis at finemusicfm.com/Opera Ballet music from William Tell (1829). Monte Carlo Opera NO/Antonio de Almeida. Philips 422 843-2 18 23:00 CONTRASTS Prepared by Ron Walledge Ravel, M. Alborada del gracioso, from Miroirs (1905; orch. 1918). Royal Concertgebouw O/ Bernard Haitink. Decca 478 4740 7 Debussy, C. Piano trio no 1 in G (1880). Australian Trio. ABC 476 123-1 23 Stravinsky, I. Suite no 2 from The firebird (1919). Royal Concertgebouw O/Mariss Jansons. RCO Live RCO 08002 22 May 2018

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Thursday 10 MAY 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 Rebecca Zhong Fauré, G. Impromptu, op 86 (1904). Isabelle Moretti, hp. Auvidis V 4779 8 Bruch, M. Piece in C sharp minor, op 83 no 3 (pub. 1910). Janet Hilton, cl; Nobuko Imai, va; Roger Vignoles, pf. Chandos CHAN 8776 6 Cras, J-E. Quintet for harp, flute and string trio (1928). Michel Moragues, fl; members of Quatuor Parisii. naive V 5129 21 Dussek, J. Sonata in C minor, op 2 no 3 (pub. 1797). Harmonia Mundi 7905 184 6 Isabelle Moretti, hp (2 above) Stravinsky, I. Élégie (1944). Nobuko Imai, va. BIS CD-358 6 Debussy, C. Danse profane (1904). Dominique Desjardins, db; Isabelle Moretti, hp; members of Quatuor Parisii. naive V 5129 5 Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Nobuko Imai, va; Roger Vignoles, pf. Chandos CHAN 8664 25 10:30 CONCERT HALL Prepared by Paul Hopwood Mozart, W. Overture to Lucio Silla, K135 (1772). London SO/Peter Maag. Decca 466 500-2 9 Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). Yevgeny Kissin, pf; Moscow PO/Dmitri Kataenko. RCA 09026 68378 2 36 Dvorák, A. Symphony no 8 in G, op 88 (1889). St Lawrence O/Neil McEwan. Fine Music Tape Archive 35 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 20

13:00 AS GOOD AS GOLD Prepared by Gael Golla Shostakovich, D. Suite from The age of gold, op 22a (1927). New Zealand SO/ Christopher Lyndon-Gee. Naxos 8.553126 17 Purcell, H. Sonata no 9 in F, Golden. Catherine Mackintosh, vn; Elizabeth Wallfisch, vn; Richard Boothby, bass viol; Robert Woolley, org. Chandos CHAN 8763 7 Sting. Fields of gold (arr. Crellin 1993). The Idea of North. ABC 478 2693 5 Dvorák, A. The golden spinning wheel, op 109 (1896). Polish National RSO/Stephen Gunzenhauser. Naxos 8.550598 25 14:00 LEOPOLD KOZELUCH 1747-1818 Prepared by Frank Morrison Kozeluch, L. Piano concerto no 1 in F (1784). London Mozart Players/Howard Shelley, pf & dir. Hyperion CDA68154 27 Sextet no 3 in E flat. Consortium Classicum. Orfeo 442 981 12 Sonata in F minor, op 38 no 3 (1793). Christine Faron, fp. Schwann 3-1059-2 19 Trio sonata in G minor (pub. 1788). Trio 1790. cpo 999 311-2 23 Pastorale in G (1793). Pieter van Dijk, org. LBCD 71/74 5 Clarinet concerto in E flat (bef. 1790). Emma Johnson, cl; Royal PO/Günther Herbig. ASV DCA 763 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Part 1: Stephanie McCallum in recital Recorded by 4MBS Brisbane Liszt, F. Spozalizio; Il penseroso, from Years of pilgrimage, bk 2 (1837-49). 10 Canzonetta del Salvator Rosa (1849). 3

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Three Petrarch sonnets: nos 47, 104, 123; Après une lecture du Dante: Fantasia quasi sonata, from Years of pilgrimage, bk 2 (183749). 35 Alkan, C-V. La vision, from Esquise, op 63. 3 Stephanie McCallum, pf (all above) Part 2: Stephanie and Geoffrey Mozart, W. Sonata in F, K13 (1764). Fine Music concert recording 8 Saint-Saëns, C. Romance, op 37 (1871). Fine Music Tape Archive 6 Bartók, B. Hungarian peasant suite (191417). Fine Music concert recording 12 Geoffrey Collins, fl; Stephanie McCallum, pf (3 above) 21:30 BARTÓK INTERLUDE Prepared by Frank Morrison Bartók, B. Hungarian peasant songs (1933). Budapest SO/András Ligeti. Conifer CDCF 189 10 Three rondos on folk tunes (1916). Peter Frankl, pf. ASV DCA 687 8 Rumanian folk dances (1917). Roberto Michelucci, vn; I Musici. Philips 426 669-2 6 22:00 MUSICAL PORTRAITS King Arthur Prepared by Elaine Siversen Purcell, H. Suite from King Arthur (1691). Academy of St Martin in the Fields/Neville Marriner. Capriccio C8001 19 Trad. King Arthur (arr. Roberton). Philharmonic Chamber Choir/David Temple. Helios CDH88008 3 Strong, G. Symphonic poem: King Arthur (1916). Moscow SO/Adriano. Naxos 8.559048 41 Mayerl, B. Excerpts from The legends of King Arthur (1929). Eric Parkin, pf. Chandos CHAN 8560 15 Purcell, H. Fairest isle; What power art thou? from King Arthur (1691). Andreas Scholl, ct; Accademia Bizantina. Decca 478 2262 8 Britten, B. Suite from King Arthur (1937; arr. Hindmarsh). BBC PO/Richard Hickox. Chandos CHAN 9487 26

Friday 11 MAY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Borodin, A. Music as popularised in Kismet (1882-87; arr Kunzel). Cincinnati Pops O/Erich Kunzel. Telarc CD-80703 16 Stravinsky, I. Ritual action, from The rite of spring (1911-13/47; arr. Leyetchkiss). Vladimir Leyetchkiss, pf. Centaur CRC 2088 9 Tchaikovsky, P. Suite from The Queen of Spades (1890; arr. Lindberg). Christian Lindberg, tb; Roland Pöntinen, pf. BIS CD-478 17 Shostakovich, D. Five pieces for two violins and piano (arr. Atovmian). Sabine Meyer, cl; Alliage Quintett. Sony 88875190972 9 Mussorgsky, M. Pictures at an exihibition (1874; arr. McIntyre). Canberra Wind Soloists. Fine Music concert recording 29 10:30 CONCERT HALL Prepared by Brian Drummond Walton, W. Prelude, Granada (1962). London PO/Bryden Thomson. Chandos CHAN 8968 6 Ravel, M. Ballet: Mother Goose (1908-11). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8711 27 Rachmaninov, S. Piano concerto no 1 in F sharp minor, op 1 (1891/1917). Arthur Ozolins, pf; Toronto SO/Mario Bernardi. CBC SMCD 5052 27 Sibelius, J. Symphony no 7 in C, op 105 (1926). Royal Scottish NO/Alexander Gibson. Chandos CHAN 6557 21 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MUSIC OF THE NIGHT Prepared by Miranda Luo Liszt, F. Transcendantal study no 11, Harmonies du soir (1851). Sviatoslav Richter, pf. Philips 454 167-2 9 Debussy, C. Beau soir (c1878). Renée Fleming, sop; Jean-Yves Thibaudet, pf. Decca 467 697-2 3 Ravel, M. Gaspard de la nuit (1908). Lucas Debargue, pf. Sony G010003457495A 25

Bagdasarian, E. Nocturne. Sergey Khachatryan, vn; Lusie Khachatryan, pf. Naive V.5414 5 Chopin, F. Nocturne in C minor, op posth (1837; arr. Maisky). Mischa Maisky, vc; Daria Hovora, pf. DG 439 863-2 5 Rachmaninov, S. Étude-tableau in E flat minor, op 39 no 5 (1916-17). Van Cliburn, pf. Philips 456 748-2 5 14:00 SAINT-SAËNS AND THE RUSSIAN CONNECTION Prepared by Raj Gopalakrishnan

1868

A Sesquicentenary Event Chopin, F. Nocturne no 5 in F sharp minor, op 15 no 2 (1830-31). Camille Saint-Saëns, reproducing pf. Naxos 8.110678 3 Rubinstein, A. Sonata no 1 in D, op 18 (1852). Steven Isserlis, vc; Stephen Hough, pf. RCA 09026 68290 2 23 Saint-Saëns, C. Suite from Javotte (1896). Monte Carlo PO/David Robertson. Auvidis V 4688 21 Tchaikovsky, P. I love you, I love you, Olga, from Eugene Onegin (1879). Sergei Larin, ten; Philharmonia O/Gennady Rozhdestvensky. Chandos CHAN 9603 3 Saint-Saëns, C. Africa, op 89 (1891). Stephen Hough, pf; City of Birmingham SO/ Sakari Oramo. Hyperion CDA67331/2 10 Tchaikovsky, P. Francesca da Rimini, symphonic fantasy after Dante, op 32 (1876). Philharmonia O/Carlo Maria Giulini. EMI CDM 1 66420 2 25 Saint-Saëns, C. Piano concerto no 2 in G minor, op 22 (1868). Artur Rubinstein, pf; Philadelphia O/Eugene Ormandy. RCA 5666-2-RC 23 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 Prokofiev, S. Suite from Romeo and Juliet (1936). London SO/Claudio Abbado. Decca 478 5365 29 Glière, R. Russian sailor’s dance, from The red poppy suite, op 70 (1927). Utah SO/ Maurice Abravanel. Everyman OVC 5010 3

Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ (1886). French National RO; Marie-Claire Alain, org; Jean Martinon, cond. apex 8573 89244 2 35 Brahms, J. Tragic overture, op 81 (1880/81). Berlin PO/Claudio Abbado. DG 477 5424 15 Schumann, R. Violin concerto in D minor (1853). Ilya Kaler, vn; Bournemouth SO/ Pietari Inkinen. Naxos 8.570321 30 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Josquin Desprez. La Spagna, à 5. Hespèrion XXI. Alia Vox AVSA 9895 A/F 3 Anon. Sibilla catalane. Monserrat Figueras, sop; La Capella Reial. Astrée E 8705 23 Itri, M. Hisar Agir Semai. Vocalists; Hespèrion XXI. Alia Vox AVSA 9887 8 Jordi Savall, dir (3 above) Trad. The Lancashire pipes set. Jordi Savall, treble viol, lyra viol; Andrew Lawrence-King, hp. Alia Vox AVSA 9878 8 Marais, M. La sonnerie de Ste Geneviève du Mont de Paris (1723). Fabio Biondi, vn; Rolf Lislevand, theorbo; Jordi Savall, bass viol; Pierre Hantaï, hpd. Auvidis/Valois V 4640 8 Sanz, G. El pajarillo. Montserrat Figueras, sop; Tembembe Ensamble Continuo; Capella Reial de Catalunya; Hesperion XXI/Jordi Savall. Alia Vox AVSA 9876 7 Anon. Folia: Rodrigo Martinez. Alia Vox AVSA 9895 A/F 5 Rosenmüller, J. Sinfonia prima in F (pub. 1667). Astrée E 8709 10 Schein, J. Suite no 16 in A minor, from Banchetto musicale (pub. 1617). Erato 5 62028 2 11 Hespèrion XX/Jordi Savall (3 above) Purcell, H. Suite from The prophetess (1690). Alia Vox AVSA 9866 14 Corelli, A. Concerto grosso in D, op 6 no 4. Alia Vox AVSA 9877 10 Le Concert des Nations/Jordi Savall (2 above) Jordi Savall, dir (4 above) May 2018

fineMusic 102.5

Saturday 12 MAY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Late and post-romantic 1875-1915 Prepared by Robert Small Brahms, J. String quintet no 2 in G, op 111 (arr.). Silke-Thora Matthies, Christian Köhn, pf. Naxos 8.554412 33 Elgar, E. Introduction and allegro, op 47 (1904-05). Küchl Quartet; Vienna PO/John Eliot Gardiner. DG 479 1044 13 Debussy, C. Images (1905-12). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8850 34

Brahms, J. Fest- und Gedenksprüche, op 109 nos 1 to 3 (1889). Danish National Radio Choir/Stefan Parkman. Chandos CHAN 9671 10 Parry, H. Blest pair of sirens (1887). Waynflete Singers; Choir of Winchester Cathedral; Timothy Byram-Wigfield, org; Bournemouth SO/David Hill. Decca 478 2826 11 Verdi, G. Stabat Mater, from Four sacred pieces (1896-7). Los Angeles Master Chorale; Los Angeles PO/Zubin Mehta. Decca 467 119-2 12 Bruch, M. Seven Lieder, op 71 (1897). Darmstadt Concert Choir/Wolfgang Seeliger. Christophorus CHE 0176-2 20 15:00 ALADDIN

Sondheim, S. Excerpts from Anyone can whistle (1964). Angela Lansbury, Harry Guardino; members of the Broadway cast. Columbia SK 86860 18 20:00 INFLUENCES AND CONNECTIONS Luigi Cherubini Prepared by Rex Burgess Cherubini, L. Overture, from Démophoon (1788). St Cecilia Academy O/Myung-Whun Chung. DG 471 566-2 7 Viotti, G. Sinfonia concertante no 2 in B flat (1786). Roberto Baraldi, vn; Alberto Martini, vn; Accademia dei Filarmonici/Aldo Sisillo. Naxos 8.553861 19 Jadin, L. Introduction and rondeau pastorale (1811-12). Marielle Nordmann, hp; Brigitte Haudebourg, pf. Arion ARN 68285 10 Méhul, É-N. Symphony no 3 in C (1809). Gulbenkian Foundation O/Michel Swierczewski. Nimbus NI 5184/5 24

10:30 SMALL FORCES Prepared by Paul Hopwood

Davis, C. Ballet: Aladdin (1995-2000). Malaysian PO/Matthias Bamert. Naxos 8.557898-99 2:06

Haydn, M. String quintet in G (1773). L’Archibudelli. Sony SK 53987 25

Ravel, M. Shéhérezade, fairy overture (1898). Lyon NO/Jun Märkl. Naxos 8.570992 16

Beethoven, L. Trio in E flat, op 1 no 1 (c1794-95). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf. EMI CMS 7 63124 2 28

Berlioz, H. Herminie (1828). Michèle Langrange, sop; Lille NO/Jean-Claude Casadesus. Harmonia Mundi HMC 901542 21

17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Counter-tenors: faithful shepherds

Cherubini, L. String quartet no 5 in F (1835). Hausmusik London. cpo 999 464-2 26

11:30 ON PARADE Prepared by Robert Small

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

22:00 SATURDAY NIGHT AT HOME Prepared by Paul Cooke

Gershwin, G. Strike up the band (1927; arr. Hearshen 1987). 4 Berlin, I. There’s no business like show business (1954; arr. Hearshen 1988). 6 Lowell Graham, cond (2 above) Naxos 8.573041

Bach, J.S. Prelude and fugue in D, BWV532; Trio sonata no 1 in E flat, BWV525. 23 Mendelssohn, F. Sonata in C minor, op 65 no 2. 11 Bingham, S. Roulade, op 9/3. 5

Wilby, P. Dawn flight. 8

Jongen, J. Toccata. 5

Ewazen, E. A view from the heavens (2001). 6

Christopher Wrench, org (all above)

Larry H. Lang, cond (2 above) Naxos 8.573405 USAF Heritage of America Band (all above) 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 22

14:00 PLACES WHERE THEY SING Prepared by Chris Blower

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Bernstein, L. Excerpts from Candide (1956). Max Adrian, Barbara Cook, Robert Rounseville, voices. Columbia SK 86859 20 Alwyn, W. Suite from The history of Mr Polly (1949; arr. Ellerby). Royal Northern College of Music Wind O/Clark Rundell. Naxos 8.572747 11

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Dussek, J. Harp concerto in E flat, op 15 (1789). Roberta Alessandrini, hp; Mantua O/ Vittorio Parisi. Naxos 8.553622 25 Smetana, B. Piano trio in G minor, op 15 (1855/57). Australian Trio. ABC 476 123-1 29 Massenet, J. Suite no 1, op 13 (1865). Hong Kong PO/Kenneth Jean. Naxos 8.555986 24 Bach, J. Christian Quintet in D for flute, oboe, violin, viola and continuo, op 11 no 6. Members of English Concert. Archiv 423 385-2 14 Nielsen, C. Sleep, op 18 (1903-04). Danish National Radio Choir & SO/Leif Segerstam. Chandos CHAN 8853 19

William Alwyn wrote music for the film The History of Mr Polly based on H.G. Wells’ comic novel.

Sunday 13 MAY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Robert Small Mozart, W. Exsultate, jubilate, K165 (158a) (1773). Barbara Bonney, sop; English Concert Choir & O/Trevor Pinnock. Decca 476 2649 16 Whitacre, E. Alleluja (2011). Eric Whitacre Singers/Eric Whitacre. Decca 279 6323 9 Handel, G. Jubilate for the Peace of Utrecht, HWV279. Robin Blaze, ct; Rogers CoveyCrump, ten; Andrew Dale Forbes, bass; Choir of St Paul’s Cathedral; Parley of Instruments/ John Scott. Hyperion CDA67009 16 La Rue, P. de Salve Regina II. Viva Voce/ Peter Schubert. Naxos 8.557896-97 10 10:00 THE CLASSICAL ERA Prepared by Di Cox Schubert, F. Six German dances, D820 (1824; arr. Webern). American SO/Leon Botstein. Koch 3-7307-2 7 Stamitz, C. Clarinet concerto no 3 in B flat. Sabine Meyer, cl; Academy of St Martin in the Fields/Iona Brown. EMI CDC 7 54842 2 14 Clementi, M. Sonata in F sharp minor, op 25 no 5. Maria Tipo, pf. EMI 7 54766 2 15 Mozart, W. String quartet no 17 in B flat, K458, The hunt (1784). Jerusalem Quartet. Harmonia Mundi HMX 2908409.16 33 Haydn, J. The moment, Hob.XXVc:1 (c1799). Netherlands Chamber Choir; Glen Wilson, fp; Uwe Gronostay, cond. Globe GLO 5080 3 Spohr, L. Symphony no 6 in G, op 116, Historica (1840). Bavarian RSO/Karl Anton Rickenbacher. Orfeo C 094-841 A 26 Benjamin, A. Oboe concerto in C minor, after Cimarosa (1942; arr.). Geoffrey Payne, tpt; Melbourne SO/Michael Halász. ABC 982 6976 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 13:00 WORLD MUSIC: Whirled Wide

14:00 MUSIC OF THE DANCE Prepared by Elaine Siversen

18:00 19TH CENTURY CLARINET Prepared by James Nightingale

Praetorius, M. Dances from Terpsichore. Parley of Instruments/David Hill. Hyperion CDA66200 7

Saint-Saëns, C. Tarantella in A minor, op 6 (1857). Clara Novakova, fl; Richard Vieille, cl; Paris Orchestral Ensemble/Jean-Jacques Kantorow. EMI 7 54913 2 6

Purcell, H. Suite of musicks and dances, from The fairy queen (1692; arr Balsom). Alison Balsom, tpt; English Concert/Trevor Pinnock. EMI 4 40329 2 14 Mozart, W. Six German dances, K509 (1787). Vienna Mozart Ensemble/Willi Boskovsky. Philips 422 643-2 13 Grieg, E. Four Norwegian dances, op 35 (1881). Gothenburg SO/Neeme Järvi. DG 478 5182 17 15:00 SUNDAY SPECIAL Simply Shostakovich Prepared by Paolo Hooke Shostakovich, D. Trio in E minor, op 67 (1944). Elisabeth Leonskaja, pf; members of Borodin Quartet. Teldec 4509-98414-2 29

Brahms, J. Sonata in E flat, op 120 no 2 (1894). Paul Dean, cl; Stephen Emmerson, pf. Melba MR301138 22 Schumann, R. Fairy tales, op 132 (1853). Catherine McCorkill, cl; Julian Smiles, vc; Kathryn Selby, pf. Fine Music concert recording 15 Mendelssohn, F. Concert piece no 2 in D minor, op 114 (1832). Sabine Meyer, cl; Wolfgang Meyer, bshn; Academy of St Martin in the Fields/Kenneth Sillito. EMI 5 57359 2 8 19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello Sibelius, J. The swan of Tuonela, op 22 no 2 (1893). Helsinki PO/Leif Segerstam. Ondine ODE 1037-2 10

Symphony no 6 in B minor, op 54 (1939). Berlin SO/Kurt Sanderling. Berlin Classics 0021812BC 32

Brumby, C. Bassoon concerto (1982). Paul Blackman, bn; Adelaide SO/Patrick Thomas. Jade JADCD 1062 20

The tale of The silly little mouse, op 56 (1939; arr. Cornall). Royal Concertgebouw O/ Riccardo Chailly. Decca 460 792-2 12

Holst, G. The planets, op 32 (1914-16). Montreal SO/Charles Dutoit. Decca 417 553-2 53

Quintet in G minor, op 57 (1940). Elisabeth Leonskaja, pf; Borodin Quartet. Teldec 4509-98414-2 34 17:00 HOSANNA Prepared by Meg Matthews Hymns: Onward Christian soldiers; Let us with a gladsome mind; Lead us heavenly Father lead us. Choir of Christ Church Cathedral, Oxford/Stephen Darlington. Griffin GCCD 4047 10 Monteverdi, C. Dixit Dominus. La Capella Ducale; Musica Fiata/Roland Wilson. SK 53 363 8 Buxtehude, D. Excerpts from Alles was ihr tut, BuxWV4 (1668). Barbara Ullrich, sop; Motet Choir of Stuttgart; Ensemble 76/Günter Graulich. Carus 53.137 5 Brahms, J. How lovely is Thy dwelling place, from A German Requiem. Choir of St George’s Chapel, Windsor; Roger Judd, org; Timothy Byram-Wigfield, cond. Delphian DCD 34048 10 Sullivan, A. Boer War Te Deum. London Ch; New London O/Ronald Corp. Hyperion CDA 67423 16

20:30 NEW HORIZONS Prepared by James Nightingale Stanhope, P. My love in her attire (2014). Halcyon. Tall Poppies TP 236 2 Harrison, S. An angel reads my open book (2004). Rusne Mataityte, vn; Sergei Okrusko, pf. NMC NMCD125 11 Turnage, M-A. When I woke (2001). Gerald Finley, bar; London PO/Vladimir Jurowski. LPO 0007 14 Broadstock, B. I touched your glistening tears (2001). Barry Cockcroft, sax; Ian Hotham, pf. Move MD3204 8 Lang, D. I lie (2001). Ars Nova, Copenhagen/ Paul Hillier. Harmonia Mundi HMU 807496 5 Gourzi, K. Noch fürcht ich (1993). Lorenda Ramou, pf. ECM New Series 2309 7 Abrahamsen, H. Let me tell you (2013). Barbara Hannigan, sop; Bavarian RSO/Andris Nelsons. Winter & Winter 910 232-2 33 22:00 AFTER HOURS JAZZ with Kevin Jones May 2018

fineMusic 102.5

Monday 14 MAY

Grigory Sokolov

Leslie Howard Beethoven, L. Symphony no 4 in B flat, op 60 (1806; arr. Liszt). David Stanhope, pf. Tall Poppies TP088 32

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter

Sheng, B. Nanking! Nanking! a threnody for orchestra and pipa (2000). Zhang Qiang, pipa; Hong Kong PO/Samuel Wong. Naxos 8.555866 27

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1898 Prepared by Raj Gopalakrishnan

Howells, H. Threnody. Moray Welsh, vc; London SO/Richard Hickox. Chandos CHAN 9410 9

Glanville-Hicks, P. Concerto da camera (1948). Tall Poppies Ensemble/David Stanhope. Tall Poppies TP133 9

Fauré, G. Suite from Pelléas et Mélisande, op 80 (1898). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8952 17

Penderecki, K. Threnody for the victims of Hiroshima (1960). National Polish RSO/ Antoni Wit. Naxos 8.554491 9

Grainger, P. A Lincolnshire posy (1937). Leslie Howard, pf. ABC 481 1601 16

0:00 CLASSIC-ALL THROUGH THE NIGHT

Skryabin, A. Sonata no 3 in F sharp minor, op 23 (1898). Grigory Sokolov, pf. naïve OP 30386 21 Hasselmans, A. La source, op 44 (1898). Markus Klinko, hp. EMI CDC 7 54467 2 4 Zemlinsky, A. Fantasies after poems by Richard Dehmel (1898). Silke Avenhaus, pf. Naxos 8.557331 11 Ireland, J. Sextet for clarinet, horn and string quartet (1898). Robert Pane, cl; David Pyatt, hn; Maggini Quartet. Naxos 8.570550 27 10:30 CONCERT HALL Prepared by Derek Parker Bach, J.S. Suite no 3 in D, BWV1068 (c1731). Academy of Ancient Music/Richard Egarr. ABC 481 1318 23 Brüll, I. Piano concerto no 1 in F, op 10 (1860-61). Martin Roscoe, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67069 27 Bliss, A. A colour symphony (1921-22/32). Ulster O/Vernon Handley. Chandos CHAN 10221 X 31 12:00 SWING SESSIONS with John Buchanan 13:00 THRENODY Prepared by Andrew Dziedzic Charlton, R. Threnody for Chernobyl (1986). Tim Kain, gui. Canberra School of Music CSM 11 9 24

David Stanhope

14:00 THE VERSATILE DAVID STANHOPE Prepared by Elaine Siversen Weber, C.M. Polonaise brilliante in E, op 72, L’hilarité (1819; orch. Liszt). Adelaide SO/ Elyakum Shapirra. LP ABC 5ABCL 8001 10 Godowsky, L. Passacaglia, after Schubert (1927). Tall Poppies TP135 18 David Stanhope, pf (2 above) Elgar, E. Introduction and allegro for strings, op 47 (1905). Australian CO/David Stanhope. Fine Music Tape Archive 14

Bach, J.S. Toccata and fugue in D minor, BWV538 (bef. 1732; arr. Grainger). Tall Poppies TP088 9 David Stanhope, pf (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 19:00 JAZZ NICE N’EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

A COLOUR SYMPHONY Edward Elgar encouraged the young Arthur Bliss to compose a major work for the 1922 Three Choirs Festival in Gloucester. Bliss chose to write a symphony, a most unusual one based on colours inspired by a book on heraldry. Each movement has a character corresponding to the meanings set out in that book. The purple of the first movement is the colour of amethysts, pageantry, Royalty and death and is slow, majestic and ceremonial in character. The second movement is a glittering, spiky and percussive scherzo symbolising red, the colour of rubies, wine, revelry, furnaces, courage and magic. The blue of the third movement stands for sapphires, deep water, skies, loyalty and melancholy and the music is slow with chords depicting the lapping of water against a moored boat or a pier. A double fugue leading to a triumphant climax describes green, the colour of emeralds, hope, youth, joy, Spring and victory. A review in The Times said ‘continually changing patterns scintillate … till one is hypnotised by the ingenuity of the thing’.

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Tuesday 15 MAY

John Williams 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 Rebecca Zhong and Melissa Evans Fauré, G. Ballade, op 19 (1881). Kathryn Stott, pf; BBC PO/Yan Pascal Tortelier. Chandos CHAN 9416 14 Chopin, F. Waltz no 6 in D flat, op 64 no 1, Minute (1846-47). John Ogdon, pf. EMI CDM 1 66427 2 2 Piazzolla, A. Le grand tango. Yo-Yo Ma, vc; Kathryn Stott, pf. Sony SK 63122 12 Stravinsky, I. Capriccio (1920-21). John Ogdon, pf; Academy of St Martin in the Fields/Neville Marriner. Decca 443 577-2 17 Bridge, F. Vignettes de Marseille (1925). Kathryn Stott, pf. Conifer CF 186 11 Mozart, W. Quintet in E flat, K452 (1784). Derek Wickens, ob; Robert Hill, cl; Martin Gatt, bn; Barry Tuckwell, hn; John Ogdon, pf. Decca 421 393-2 23

Pascal and Ami Rogé Elgar, E. Symphony no 1 in A flat, op 55 (1907). London SO/Charles Mackerras. Argo 430 835-2 50

Satie, E. Désespoir agréable, from Six pieces (1906-13). Decca 455 401-2 1

12:00 JAZZ RHYTHM with Jeannie McInnes

Kuhlau, F. Grande sonate concertante in A, op 85 (1827). Alain Marion, fl. Denon 33CO-2046 28

13:00 BIRGIT NILSSON Centenary of her birth Prepared by Randolph Magri-Overend Wagner, R. Liebestod, from Tristan und Isolde (1857-59). Sydney SO/Charles Mackerras. ABC 476 644-0 7 Sibelius, J. In the evening, op 17 no 6 (189192). Geoffrey Parsons, pf. Bluebell ABCD 009 2 Weber, C.M. Ocean, thou mighty monster, from Oberon (1826). Edward Downes, cond. Decca 480 0901 9 Verdi, G. Ritorna vincitor! from Aïda (1871). John Pritchard, cond. ABC 480 5514 7 Royal Opera House O (2 above) Birgit Nilsson, sop (all above) 13:30 BEETHOVEN CHAMBER Prepared by Paul Hopwood Beethoven, L. Trio in G, WoO37 (1786). Susan Milan, fl; Sergio Azzolini, bn; Ian Brown, pf. Chandos CHAN 9108 26

Ravel, M. Rapsodie espagnole. Ami Rogé, pf. Onyx ONYX 4117 16 Franck, C. Quintet in F minor (1878-79). Richard Friedman, vn; Steven Smith, vn; Christopher Wellington, va; Ross Pople, vc. ASV DCA 769 34 Pascal Rogé, pf (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Mendelssohn, Fanny. String quartet in E flat (1834). Erato Quartet Basle. cpo 999 679-2 20 Röntgen, J. Piano trio no 4 in C minor, op 50 (1904). Storioni Trio. Radio Nederland MCCP122 21

10:30 CONCERT HALL Prepared by Paul Hopwood

14:00 MUSICAL FAMILIES Pascal and Ami Rogé Prepared by Jennifer Foong

Dohnányi, E. Quintet in C minor, op 1 (1895). Barry Snyder, pf; Cleveland Quartet. Pro Arte CDD 238 28

Rossini, G. Overture to The thieving magpie (1817). National PO/Riccardo Chailly. Decca 400 049-2 9

Saint-Saëns, C. Scherzo, op 87 (1889). Ami Rogé, pf. Onyx ONYX 4117 10

Giuliani, M. Guitar concerto in A, op 30 (pub. 1808). John Williams, gui; English CO/ Charles Groves. CBS M2YK 45610 22

Poulenc, F. The masked ball. François le Roux, bar; Soloists of French NO/Charles Dutoit. Decca 452 666-2 18

Bridge, F. Sonata in D minor (1913-17). Bernard Gregor-Smith, vc; Yolande Wrigley, pf. ASV DCA 796 23 Poulenc, F. Sextet (1932-39). Eva Knardahl, pf; Gothenburg Wind Quintet. BIS CD-24 18 May 2018

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Wednesday 16 MAY Till Eulenspiegel’s merry pranks, op 28 (189495). Berlin PO/Herbert von Karajan. DG 474 281-2 16 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 François-Joseph Gossec 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 Gossec, F-J. Symphonie à 17 parties (1809). Swiss-Italian RO/Wolf-Dieter Hauschild. Naxos 8.554750-51 28 Suite from Sabinus. Les Agrémens/Guy van Waas. MBF 1108 10 Symphonie concertante in D. Lily Laskine, hp; Odette Le Dentu, hp; Jean-François Paillard CO/Jean-François Paillard. Erato 0630-13705-2 12 Motet for the feast of St Louis. Kareen Durand, sop; Cyril Auvity, ct; James Oxley, ten; Alain Buet, bar; Namur Chamber Choir; Les Agrémens/Jean-Claude Malgloire. MBF 1108 16 Sinfonia à più stromenti in C minor, op 6 no 3 (c1762). Concerto Köln/Werner Ehrhardt. Capriccio C8019 14 10:30 CONCERT HALL Prepared by Michael Field Brahms, J. Tragic overture in D minor, op 81 (1881). Royal Concertgebouw O/Nikolaus Harnoncourt. Radio Nederland RCO11004 14 Czerny, C. Grand concerto in A minor, op 214 (1830). Rosemary Tuck, pf; European CO/ Richard Bonynge. Naxos 8.573417 31 Dvorák, A. Symphony no 7 in D minor, op 70 (1885). Gothenburg SO/Myung-Whun Chung. BIS CD-452 38 26

Fritz Reiner 12:00 JAZZ SKETCHES with Robert Vale 13:00 FLORENCE AUSTRAL 50th anniversary of her death Prepared by Paul Cooke Wagner, R. Todesverkundigung, from The Valkyrie, 86b (1854-56). Florence Austral, sop; Walter Widdop, ten; London SO/Albert Coates. Larrikin LRH 453 13 Hart, F. The bell-bird, from Five songs to text by William Sharp, op 64 (1927). Merlyn Quaife, sop; Michael Kieran Harvey, pf. Tall Poppies TP155 2 Weber, C.M. Ocean, thou mighty monster, from Oberon (1826). Florence Austral, sop; Royal Opera House O/John Barbirolli. Larrikin LRH 453 8 Chaminade, C. Concertino in D, op 107 (1902). John Amadio, fl. ABC 476 3660 5 Spohr, L. Rose softly blooming, from Zemir et Azor (1818-19). Florence Austral, sop. Larrikin LRH 453 3 Wagner, R. Starke Scheite, from Götterdämmerung (1869-74). Birgit Nilsson, sop; Sydney SO/Charles Mackerras. ABC 476 595-7 19 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 RICHARD STRAUSS EXPLORED Part 3 Prepared by Michael Morton-Evans Strauss, R. Death and transfiguration, op 24 (1888-89). Vienna PO/Fritz Reiner. Decca 480 5006 24 Prelude to Act I of Guntram, op 85 (1893). Berlin Opera O/Christian Thielemann. DG 449 571-2 12

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Bartók, B. Duke Bluebeard’s castle, op 11. Opera in one act. Libretto by Béla Balázs. First performed Budapest, 1918. BLUEBEARD: Walter Berry, bass JUDITH: Christina Ludwig, mezz London SO/István Kertész. Decca 478 6420 59 Synopsis at finemusicfm.com/Opera Goossens, E. Judith, op 55. Opera in one act. Libretto by Arnold Bennett. First performed London, 1929. JUDITH: Pearl Berridge, sop HOLOFERNES: Raymond Myers, bar BAGOAS: Ronald Dowd, ten ACHIOR: Grahame McIntosh, bar HAGGITH: Helen McKinnon, mezz Sydney SO/Patrick Thomas. HMV SLS 3002/2 1:13 Synopsis at finemusicfm.com/Opera 22:30 THE SILENCE WITHIN Prepared by Miranda Luo Vasks, P. Concerto no 2, Presence (2012). Sol Gabetta, vc; Amsterdam Sinfonietta/ Candida Thompson. Sony 88725423122 35 Ten Holt, S. Tableau IV 140-147, from Incantatie IV (1987-90). Jeroen van Veen, pf; Sandra van Veen, pf; Tamara Rumiantsev, pf. Brilliant Classics 94918 7 Tavener, J. My gaze is ever upon you. BT Scottish Ensemble/Clio Gould. Linn CKD 085 19 Messiaen, O. Abîme des oiseaux, from Quartet for the end of time (1939). Paul Meyer, cl. Denon CO-78917 7 Routley, N. Sanctus (1995). Sydney Chamber Choir; Ian Cleworth, perc; Alison Eddington, perc; Nicholas Routley, cond. Fine Music concert recording 11

Thursday 17 MAY 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 James Nightingale Sculthorpe, P. Irkanda IV (1961). Donald Hazelwood, vn; Sydney SO/Stuart Challender. ABC 481 1210 11 Glanville-Hicks, P. Sonata (1950). Artworks AW036 10

Sor, F. Memories of an evening in Berlin, op 56 (pub. c1834). Adam Holzman, gui. Naxos 8.553450 11 Honegger, A. Easter in New York (1920). Fusako Kondo, mezz; Quatuor Ludwig. Timpani 1C1011 7 Bridge, F. The pageant of London (1911). BBC Welsh NO/Richard Hickox. Chandos CHAN 10729(6) X 15 14:00 ODE TO AUTUMN Prepared by Miranda Luo Piazzolla, A. Porteño autumn, from Four porteño seasons (1969). Macquarie Trio. ABC 980 678-0 6

Britten, B. Choral dances, from Gloriana (1953, arr. 1954/67). Gerald English, ten; Sydney Chamber Choir/Nicholas Routley. Fine Music concert recording 11

Tchaikovsky, P. October: autumn song, from The seasons, op 37b no 10 (1875-78; transcr.). Slava Grigoryan, gui; Leonard Grigoryan, gui. Which Way Music WWM014 5

Bach, J.S. Sonata in G minor, BWV1020. Anthony Ferner, fl. Fine Music Tape Archive 11

Kats-Chernin, E. Autumn (2006). TamaraAnna Cislowska, pf. ABC 481 6430 3

Marshall McGuire, hp (3 above)

Vivaldi, A. Violin concerto no 3 in F, RV293, Autumn, from The four seasons (pub. 1725). Gil Shaham, vn; Orpheus CO. DG 439 933-2 10

Ravel, M. Introduction and allegro (1906). Neville Amadio, fl; Kevin Murphy, cl; June Loney, hp; Hazelwood Quartet. LP RCA VRL1 0122 10 Mozart, W. Sonata no 23 in D, K306 (1778). Donald Hazelwood, vn; Rachel Valler, pf. Fine Music concert recording 26 10:30 CONCERT HALL Prepared by Gerald Holder Bernstein, L. Overture to Candide (1955-56). Israel PO/Leonard Bernstein. DG 469 115-2 4 Castelnuovo-Tedesco, M. Guitar concerto no 1 in D, op 99 (1939). Pepe Romero, gui; Academy of St Martin in the Fields/Neville Marriner. Decca 478 5669 20 Bruckner, A. Symphony no 3 in D minor, Wagner (1877). Staatskapelle Dresden/ Giuseppe Sinopoli. DG 431 684-2 59 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CITY INSPIRATION Prepared by Gael Golla Veale, J. Three Sydney streetscenes (1953). Jacobean Singers; Alchemy Brass Ensemble/ Walter Sutcliffe. MBS 34 8 Liszt, F. Fantasy on themes from Beethoven’s The ruins of Athens (c1848-52). Philip Thomson, pf; Hungarian State O/Kerry Stratton. Hungaroton HCD 31525 11

Rautavaara, E. Autumn gardens (1999). Helsinki PO/Vladimir Ashkenazy. Ondine ODE 950-2 26 15:00 CONTRASTS Prepared by Ron Walledge Strauss, R. Till Eulenspiegel’s merry pranks, op 28 (1895). Cleveland O/Vladimir Ashkenazy. Decca 425 112-2 14 Herbert, V. Cello concerto no 2 in E minor, op 30 (1894). Yo-Yo Ma, vc; New York PO/Kurt Masur. Sony SK 67173 21 Britten, B. Four sea interludes, from Peter Grimes, op 33a (1944-45). Philharmonia O/ Carlo Maria Giulini. EMI CZS 7 67723 2 17 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Part 1: Musica Viva presents the Goldner String Quartet Recorded for FINE MUSIC by Peter Bell Younan, E. Interwoven. 7 Beethoven, L. Quartet in E minor, op 59 no 2, Razumovsky (1808). 37 Goldner String Quartet (2 above)

Part 2: Dimity and Julian Vanhal, J. Trio in E flat, op 20 no 5 (1781). Deborah de Graaff, cl; Dimity Hall, vn; David Miller, pf. 9 Mendelssohn, F. Sonata no 2 in D, op 58 (1843). Julian Smiles, vc; James Muir, pf. 27 Fine Music concert recordings (2 above) 21:30 VOICES IN THE CHAPEL Prepared by Susan Briedis Leo, L. Reminiscere miserationum. Les Talens Lyriques/Christophe Rousset. Decca 460 020-2 7 Poulenc, F. Tout puissant Dieu; Seigneur, je vous en prie, from Quatre petites prières de François d’Assise (1948). King’s Singers. Naxos 8.572987 3 Bruckner, A. Locus iste (1869). 3 Tomkins, T. When David heard. 5 The Sixteen/Harry Christophers (2 above) Decca 9870128 Saint-Saëns, C. Ave verum corpus. Choir of Christ’s College, Cambridge/David Rowland. Regent REGCD375 5 Ord, B. Adam lay y bounden. Song Company/Roland Peelman. Song Company Dec2013 3 22:00 MUSICAL PORTRAITS Great Scots Prepared by Paul Cooke Berlioz, H. Overture: Rob Roy (1831). Scottish NO/Alexander Gibson. Chandos CHAN 10412X 13 Donizetti, G. Divertimento on Lucia di Lammermoor (1835; arr. Torriani). European Wind Soloists/Patrick de Ritis. Naxos 8.573259 11 Strauss, R. Tone poem: Macbeth, op 23 (1888/91). Scottish NO/Neeme Järvi. Chandos CHAN 8834 20 Corfe, J. Lady Anne Bothwell’s lament (1791). Invocation/Timothy Roberts. Hyperion CDA66740 2 Wallace, W. Symphonic poem no 5: Sir William Wallace (1905). BBC Scottish SO/ Martyn Brabbins. Hyperion CDA66848 21 Smetana, B. Macbeth and the witches (1859). Tamara Anna Cislowska, pf. ABC 476 6301 10 MacCunn, H. Excerpts from the opera, Jeannie Deans. Scottish Opera Ch; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66815 33 May 2018

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Friday 18 MAY 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 Albéniz, I. Córdoba, op 232 no 4 (1896; arr. Williams). John Williams, gui. CBS MK 44794 7 Lord, J. The Telemann experiment (2004). Trondheim Soloists. Capitol 7243 8 74180 2 8 7 Beethoven, L. Variations on Mozart’s Là ci darem la mano, WoO28 (c1796). Marilyn Zupnik, ob; Kathryn Greenbank, ob; Elizabeth Starr, cora. ASV QS 6192 9 Lennon - McCartney. Beatles concerto grosso no 3 (in the style of J.S. Bach). Vladislav Brunner, fl; CO/Peter Breiner. Naxos 8 555010 19 Mahler, G. Songs of a wayfarer (1884; arr. Schoenberg, 1920). Clare Gormley, sop; Jeffrey Black, bar; Sydney Soloists/John Harding. ABC 461 827-2 16 Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Duncan Gifford, pf. ABC 438 827-2 20

Tchaikovsky, P. Violin concerto in D, op 35 (1878). Isaac Stern, vn; Philadelphia O/ Eugene Ormandy. LP CBS GPS8 33 Song without words in F, from Souvenir of Hapsal, op 2 no 3 (1873). Ilona Prunyi, pf. Naxos 8.550233 3 Capricio italien, op 45 (1880). Israel PO/Zubin Mehta. Teldec 4509-90201-2 16 14:00 EUROPEAN COMPOSERS IN ENGLAND Part 3 Prepared by Frank Morrison Moscheles, I. Septet in D, op 88 (1832). Walter Hermann, cl; Christoph Moinian, hn; Mayumi Shimizu, vn; Jaap Zeijl, va; Christoph Groth, vc; Volker Donandt, db; Caroline Weichert, pf. Koch Schwann 3-1178-2 29 Benedict, J. Piano concerto in C minor, op 45 (1850). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA 67720 26 Sibelius, J. String quartet in D minor, op 56, Voces intimae (1909). Melos Quartet. Harmonia Mundi HMC 901671 31 Bartók, B. Six dances in Bulgarian rhythm, from Microcosmos (1932-39). Tamas Vesmas, pf. MANU 1443 10

10:30 CONCERT HALL Prepared by Denis Patterson

Hungarian pictures (1931). Hungarian State SO/Adám Fischer. Nimbus NI 5309 13

Salieri, A. Overture to La locandiera (1773). London Mozart Players/Matthias Bamert. Chandos CHAN 9877 7

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

Rubinstein, A. Piano concerto no 4 in D minor, op 70 (1864). Marc-André Hamelin, pf; BBC Scottish SO/Michael Stern. Hyperion CDA67508 31

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Wagner, R. Prelude to Tristan und Isolde (1859). Queensland O/Muhai Tang. ABC 481 0616 10 Sibelius, J. Symphony no 5 in E flat, op 82 (1915/19). Gothenburg SO/Neeme Järvi. BIS CD-222 34 12:00 A JAZZ HOUR with Barry O’Sullivan 28

13:00 WHEN CRITICS GOT IT WRONG Tchaikovsky Prepared by Robin Mitchell

20:00 EVENINGS WITH THE ORCHESTRA Chief conductors of the SSO: Vladimir Ashkenazy Prepared by David Brett Rachmaninov, S. Vocalise, op 34 no 14 (1915). Sydney SO. Exton EXCL-00018 6 Beethoven, L. Piano concerto no 3 in C minor, op 37 (c1800). Vladimir Ashkenazy, pf; Royal PO. RPO 8021 37

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Bernart de Ventadorn Elgar, E. Serenade in E minor for strings, op 20 (1892). Sydney SO. Exton EXCL-00030 12 Mahler, G. Symphony no 1 in D (1888/93/9698). Sydney SO. Sydney Symphony 201001 52 Vladimir Ashkenazy, cond (all above) 22:00 BAROQUE AND BEFORE Looking back to Eleanor of Aquitaine’s troubador Prepared by Elaine Siversen Aubert, J. Suite no 2 in D (pub. 1730). Collegium Musicum 90/Simon Standage. Chandos CHAN 0577 21 Caix d’Hervelois, L. de Suite in G minor (pub.1731). Catherine Finnis, bass viol; Robert Clancy, theorbo; John O’Donell, hpd. Fine Music concert recording 17 Corrette, M. Organ concerto in F, op 26 no 5 (pub. 1756). Jean-Patrice Brosse, org; Concerto Rococo. Pierre Verany PV793113 12 Montéclair, M. de Cantata: La bergère (pub.1728). Lavinia Bertotti, sop; Kate Clarke, baroque fl; Richard Tognetti, vn; Nicholas Parle, hpd. Fine Music concert recording 9 Gaultier, E. Pieces in D minor. Jakob Lindberg, lute. BIS CD-201 11 Phalèse, P. Dance suite. Edward Tarr Brass Ensemble. Christophorus CHR 74562 7 Bernart de Ventadorn. Excerpts from The testament of Tristan (12th C). Martin Best, ten, baldozo, oud, psaltery. LP Hyperion A66211 30

“Music produces a kind of pleasure which human nature cannot do without.” – Confucius

Saturday 19 MAY Sutherland, M. Sonata (1949). Jack Harrison, cl; Stephen Dornan, pf. LP Festival L 42018 8 Kats-Chernin, E. Moody tango (2009/10). Acacia Ensemble. Vexations840 840-1201 3 Isaacs, M. So it does (1985). Australia Ensemble. Tall Poppies TP002 13 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Frank Bridge 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell

Leidzen, E. The invincible army. Salvation Army Band. Doyen 2221 3

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Broadway divas on screen 20:00 INFLUENCES AND CONNECTIONS Olivier Messiaen Prepared by Calogero Panvino Dukas, P. The sorcerer’s apprentice (1897). Montreal SO/Charles Dutoit. Decca 421 527-2 12 Dupré, M. Antiphon 1, from 15 Verses on the Vespers of the Virgin, op18 (1919). Robert Delcamp, org. Naxos 8.553918 4 Messiaen, O. Prélude no 1, La colombe (1928-29). Angela Hewitt, pf. Hyperion CDA67054 2

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

Sullivan, A. Overture to The Mikado. Grimethorpe Colliery Band; GUS Footwear Band; Morris Concert Band; Yorkshire Imperial Metals Band/Harry Mortimer. HMV CSD 3697 4

9:05 PERIODS AND THEIR PEOPLE Late and post-romantic 1875-1915 Prepared by Frank Morrison

Foster, S. Old folks quadrilles. Pioneer Brass. Centaur CRC 2131 2

Tchaikovsky, P. Capriccio italien, op 45 (1880). London SO/Gennady Rozhdestvensky. IMP PCD 875 17

Stockhausen, K. Klavierstück IX (1954-63). Elisabeth Klein, pf. Scandinavian Classics 220555 10

Humperdinck, E. Prelude to Hansel and Gretel. Black Dyke Mills Band/Geoffrey Brand. Astor GGS 837 8

Radulescu, H. String quartet no 4. Arditti String Quartet. 49

Bridge, F. Novelletten (1904). Maggini Quartet. Naxos 8.553718 11

Offenbach, J. Excerpts from Orpheus in the Underworld. Allentown Band/Ronald Demkee. AMP 28173 10

Bartók, B. 15 Hungarian peasant songs (1914-18). Peter Frankl, pf. ASV DCA 687 13

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Lekeu, G. Adagio (1891). Kremlin CO/Misha Rachlevsky. Claves CD 50-9325 10 Dvorák, A. Songs my mother taught me, op 55 (1880). Joan Sutherland, sop; New Philharmonia O/Richard Bonynge. ABC 468 513-2 2 Grieg, E. Suite: From Holberg’s time, op 40 (1884). Gothenburg SO/Neeme Järvi. DG 437 520-2 19 10:30 SMALL FORCES An Australian perspective Prepared by Brian Drummond Hyde, M. Fantasy trio in B minor (1932-33). Antoni Bonetti, vn; Marc Bonetti, vc; James Muir, pf. Walsingham 2WAL8036-2CD 11 Benjamin, A. Sonatina (1924). Jane Peters, vn; Rachel Valler, pf. MBS 27 CD 17

13:00 SATURDAY POT-POURRI Prepared by Randolph Magri-Overend 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Lehár, F. Eva. Operetta in three acts. Libretto by Alfred Maria Willner and Robert Baodanzky. First performed Vienna, 1911. EVA: Morenike Fadayomi, sop OCTAVE FLAUBERT: Reinhard Alessandri, ten Lehár Festivals Bad Ischl Choir; Franz Lehár O/Wolfgang Bozic. cpo 777 148-2 2:06 Synopsis at finemusicfm.com/Opera 17:30 STAGING MUSIC Prepared by Angela Cockburn Adaptations: The tempest 18:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule

Boulez, P. 12 notations (1945). Stephanie McCallum, pf. Tall Poppies TP037 12

Messiaen, O. Et exspecto resurrectionem mortuorum (1964). Cleveland O/Pierre Boulez. DG 445 827-2 25 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Schubert, F. Overture to The magic harp, D644 (1820). Cleveland O/George Szell. Sony SBK 60267 11 Geminiani, F. Ballet: The enchanted forest (c1752). Milan Angelicum O/Newell Jenkins. LP Nonesuch H-71151 31 Beethoven, L. Piano trio no 4 in D, op 70 no1, Ghost (1808). Rotraud Schneider, vn; Hans Györs, vc; Daniel Herscovitch, pf. Fine Music concert recording 26 Wagner, R. Wotan’s farewell and Magic fire music, from The Valkyrie (1854-56). Seattle SO/Gerard Schwarz. Naxos 8.572767 15 Bax, A. Enchanted summer, from Prometheus unbound (1910). Anne WilliamsKing, sop; Lynore McWhirter, sop; Barry Griffiths, vn; Brighton Festival Ch; Royal PO/ Vernon Handley. Chandos CHAN 8625 28 May 2018

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Sunday 20 MAY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Paul Roper 9:00 MUSICA SACRA Prepared by Rex Burgess Charpentier, M-A. In nativitatem Domini nostri Jesu Christi canticum (1683-85). Les Arts Florissants/William Christie. Harmonia Mundi 0905124 15 Britten, B. Missa brevis, op 63 (1959). Choir of St John’s College; Brian Runnett, org; George Guest, cond. Decca 478 5364 10 Lassus, O. de Lectiones sacrae novem, ex libris hiob excerptae (pub. 1582). Daedalus/ Roberto Festa. ALPHA 337 29 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Berlioz, H. Overture: The corsair, op 21 (1831). London SO/Colin Davis. Philips 442 290-2 9 Schubert, F. Piano trio in B flat, D898 (1827). Beaux Arts Trio. Philips 438 700-2 35 Viotti, G. Harp concerto in C minor, op 81. Marielle Nordmann, hp; Franz Liszt CO/JeanPierre Rampal. Sony SK 58919 9 Krommer, F. Quartet no 3 in F. Nancy Ambrose King, ob; Solomia Soroka, vn; Eva Stern, va; Natalia Khoma, vc. Naxos 8.557669 22 Mozart, W. Divertimento no 1 in E flat, K113 (1771). Vienna Chamber Ensemble. Denon CO-77882 13 Haydn, M. String quintet in C (1773). L’Archibudelli. Sony SK 53987 20 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson 13:00 WORLD MUSIC: Whirled Wide 14:00 WITH THE PIANO Prepared by Mariko Yata Dvorák, A. Sonatina in G, op 100 (1893). Gil Shaham, vn; Orli Shaham, pf. DG 449 820-2 18 Schubert, F. Die Bürgschaft, D246 (1815). Dietrich Fischer-Dieskau, bar; Gerald Moore, pf. DG 477 5765 16 30

Grainger, P. The warriors: Music to an imaginary ballet, for six hands on two pianos (1913-16). David Stanhope, pf; Geoffrey Parsons, Leslie Howard, pf. ABC 481 1601 20 15:00 SUNDAY SPECIAL Alma Moodie, Part 1: The lost virtuoso Prepared by James Nightingale Bach, J.S. Ciaccona, from Partita no 2 in D minor, BWV1004 (1720). Richard Tognetti, vn. ABC 476 805-1 14 Hindemith, P. Kammermusik no 4, op 36 no 3 (1925). Dene Olding, vn; Queensland SO/ Werner Andreas Albert. cpo 999 527-2 20 Stravinsky, I. Suite from Pulcinella (1925). Anthony Marwood vn; Thomas Adès, pf. Hyperion CDA67723 16 Pfitzner, H. Violin concerto in B minor, op 34 (1925). Susanne Lautenbacher, vn; Philharmonia Hungarica/Günther Wich. LP Candide CE 31026 34 Beethoven, L. Sonata no 5 in F, op 24, Spring (1800-01). Dene Olding, vn; Max Olding, pf. ABC 432 699-2 23 17:00 HOSANNA Prepared by Richard Munge Hymn: Love of the Father. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond. Hyperion CDA68013 3 Psalm: No 121: I lift up my eyes. Choir of Bath Abbey; Marcus Seal, org; Peter King; cond. Priory PRCD421 2 Stanford, C. Villiers Magnificat; Nunc dimittis in C. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, org. Hyperion SPCC2000 9 Ireland, J. Anthem: Greater love hath no man. 6 Stanford, C. Villiers Beati quorum via. 4 Harris, W. Faire is the heaven. 5 Fauré, G. Cantique de Jean Racine. 5 Claire Seaton, sop; Michael Bundy, bass; Choir of St Clement Danes, London; Paul Brough, org; Peter Long, cond (4 above) CRC 1223-2 Duruflé, M. Excerpts from Requiem. Combined choirs of Gloucester, Hereford and Worcester Cathedrals; David Briggs, org; Adrian Lucas, cond. Griffin GCCD 4023 10

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Hymns: Gracious spirit, Holy Ghost; Come, Holy Ghost, our souls inspire. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP12103 6 Karg-Elert, S. Marche triomphale. Simon Preston, org. Decca 430 091-2 4 18:00 MUSIC OF THE DANCE Prepared by Elaine Siversen Françaix, J. Five exotic dances (1982). Pekka Savijoki, sax; Margit Rahkonen, pf. BIS CD-209 6 Milhaud, D. Saudades do Brasil: dance suite, op 67 (1921; arr. Kuisma). Markus Leoson, mar; Niklas Sivelöv, pf. Caprice CAP 21743 12 Debussy, C. Jeux: Poème dansé (1913). Lyon NO/Jun Märkl. Naxos 8.570759 19 Eychenne, M. Cantilena and dance (1966). Peter Clinch, sax; Paul McDermott, vn; Margaret Schofield, pf. LP Move MS 3041 14 19:00 SUNDAY NIGHT CONCERT Prepared by Gerald Holder Dukas, P. Ballet: La péri (1912). New York PO/Pierre Boulez. Sony SMK 68 333 19 Sammartini, G. Recorder concerto in F. Conrad Steinmann, rec; Ensemble 415/ Chiara Banchini. Harmonia Mundi HMA 1901245 12 Handel, G. Incidental music from The alchymist, HWV43 (1710). Michael Borgstede, hpd; Musica ad Rhenum/Jed Wentz. Brilliant Classics 94600 19 Haydn, J. Symphony in D, Hob.I:31, Hornsignal (c1765). Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 430 082-2 32 20:30 NEW HORIZONS Prepared by Nev Dorrington Sanfilippo, B. Unity (2018). Bruno Sanfilippo, pf. Dronarium BO78 ZZQ5NF 40 Rich, R. Improvisations (2018). Robert Rich, pf. Soundscape SP 02977 04312 24 Frahm, N. All melody (2018). Nils Frahm, pf. Erased Tapes BO776 ZGM FV 12 Richter, M. Music from the film Hostiles (2017). O/Robert Ziegler. DG BO7898 RQ2G 11 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 21 MAY 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell Massonneau, L. Quartet in F (c1798). Paul Goodwin, ob; Terzetto. Harmonia Mundi HMU 907220 14 Saint-Saëns, C. Fantasy in A, op 124 (1907). Renaud Capuçon, vn; Marie-Pierre Langlamet, hp. Virgin 5 45602 2 13

Martha Argerich 0:00 CLASSIC-ALL THROUGH THE NIGHT

Fauré, G. Sonata no 1 in D, op 109 (1917). Frédéric Lodéon, vc; Jean-Philippe Collard, pf. EMI CMS 7 62545 2 19

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

Hotteterre, J-M. La noce champêtre (c1700). Jesse Read, bn; Doug McNames, vc; Karen Flint, hpd. Etcetera KTC 1087 6

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1849 Prepared by Frank Morrison

Ravel, M. String quartet in F (1902). Kodály Quartet. Naxos 8.550249 27

Nicolai, O. Overture to The merry wives of Windsor (1849). London SO/Charles Mackerras. Mercury 434 352-2 9

14:30 WITH ORCHESTRA Prepared by Barrie Brockwell

Berwald, F. Quartet in A minor (1849). Frydén String Quartet. Caprice CAP 21334 20 Liszt, F. Piano concerto no 1 in E flat (1849/53/56). Michel Béroff, pf; Gewandhaus O/Kurt Masur. EMI CZS 7 67214 2 18 Meyerbeer, G. Ballet of the skaters, from Le prophète (1849). Barcelona SO/Michal Nesterowicz. Naxos 8.573076 19 Schumann, R. Fantasy pieces, op 73 (1849). Massimo Data, bn; Piero Barbareschi, pf. Brilliant Classics 95009 16 10:30 CONCERT HALL Prepared by Anne Irish Khachaturian, A. Suite from Masquerade (1941). Scottish NO/Neeme Järvi. Chandos CHAN 8542 16 Mendelssohn, F. Double concerto in D minor (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-2 37 Schubert, F. Symphony no 5 in B flat, D485 (1816). Vienna PO/Georg Solti. Decca 414 371-2 30 12:00 SWING SESSIONS with John Buchanan

Bernstein, L. Overture to Candide (1956). Los Angeles PO/Zubin Mehta. Decca 475 7470 4 Gershwin, G. Piano concerto in F (1925). Peter Donohoe, pf; City of Birmingham SO/ Simon Rattle. EMI CDC 7 54280 2 32 Beethoven, L. Symphony no 10, op posth, mvt 1 (1825). City of Birmingham SO/Walter Weller. Chandos CHAN 6501 16 Haydn, J. Symphony in G, Hob.I:92, Oxford (1789). Austro-Hungarian Haydn O/Adám Fischer. Nimbus NI 5417/8 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ NICE N’EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

When Haydn received an honorary degree at Oxford, he conducted a symphony which became known as the Oxford. It was actually composed for a French count and first performed in Paris.

Tuesday 22 MAY 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 Schumann, R. Märchenzählungen, op 132 (1853). Leopold Wlach, cl; Erich Weiss, va; Jörg Demus, pf. Westminster Records 15 Haydn, J. Arietta in E flat, Hob.XVII:3 (c177074). Paul Badura-Skoda, fp. Astrée E 7713 14 Mozart, W. Sonata no 29 in A, K402 (1782; compl. Stadler). Walter Barylli, vn; Paul Badura-Skoda, pf. Westminster Records 11 Bach, C.P.E. Passionslied, Wq194. Dietrich Fischer-Dieskau, bar; Jörg Demus, tangent pf; Colin Tilney, clvd. Archiv 453 168-2 6 Chopin, F. Mazurka in A minor, à Émile Gaillard (1840). Vladimir Ashkenazy, pf. Decca 448 086-2 3 Haydn, J. The mermaid’s song, Hob.XXVIa no 25 (1794). Elly Ameling, sop; Jörg Demus, fp. Brilliant Classics 93768 3 Beethoven, L. Rondo in G, op 51 no 2 (c1800). Jörg Demus, pf. LP Ariola-Eurodisc 88 287 9 Glinka, M. Trio pathétique in D minor (1832). Leopold Wlach, cl; Karl Öhlberger, bn; Paul Badura-Skoda, pf. Westminster Records 16 10:30 CONCERT HALL Prepared by Michael Field Varèse, E. Tuning up (1947). Polish National RSO/Christopher Lyndon-Gee. Naxos 8.557882 5 Jacob, G. William Byrd suite (arr. Jacob 1923). Queensland SO/Patrick Thomas. LP ABC 5ABCL 8001 13 Hummel, J. Trumpet concerto in E (1803). Urban Agnas, tpt; London Mozart Players/ Howard Shelley. Chandos CHAN 9925 19 Skryabin, A. Symphony no 3, op 43, The divine poem (1902-04). Royal Concertgebouw O/Kyrill Kondrashin. Radio Nederland RCO 06004 46 May 2018

fineMusic 102.5

Tuesday 22 MAY

Nash Ensemble

Johann Albrechtsberger

12:00 JAZZ RHYTHM with Jeannie McInnes

Albrechtsberger, J. Harp concerto in C. Jana Bousková, hp; South West German CO/ Vladislav Czarnecki. Brilliant Classics 99512 19

13:00 20TH CENTURY BRITISH MUSIC Prepared by Gael Golla Bax, A. Oboe quintet (1922). Nash Ensemble. Hyperion CDA66807 17

Mozart, W. Se al labbro mio non credi, K295 (1778). Christophe Prégardien, ten; La Petite Bande/Sigiswald Kuijken. Virgin VC 7 90753-2 14

Vaughan Williams, R. Fantasia on Greensleeves (1934). English CO/Daniel Barenboim. DG 442 8333 5

Dittersdorf, C. Sinfonia no 4 in F, The rescue of Andromeda by Perseus (1783). Failoni O/ Hanspeter Gmür. Naxos 8.553369 30

Elgar, E. There is sweet music, from Four partsongs, op 53 (1907). Finzi Singers/Paul Spicer. Chandos CHAN 9269 5

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

Berkeley, L. Sonatina, op 13. Kenneth Smith, fl; Paul Rhodes, pf. ASV DCA 768 10 Bliss, A. Four excerpts from Men of two worlds (1945). Slovak Philharmonic Male Choir; Czecho-Slovak RSO/Adriano. Marco Polo 8.223315 10 Ireland, J. A comedy overture (1934). London Brass Virtuosi/David Honeyball. Helios CDH88013 12 Britten, B. The Salley Gardens; O Waly, Waly (c1940). Carolyn Watkinson, cont; Tan Crone, pf. Etcetera KTC 1046 6 Delius, F. In a summer garden (1908). Welsh National Opera O/Charles Mackerras. Argo 430 202-2 14 14:30 CLASSICAL VIENNA Prepared by Rex Burgess Kozeluch, L. Sinfonia in D (1787). Czech Chamber PO Pardubice/Marek Stilec. Naxos 8.573627 18 32

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Arensky, A. Piano trio no 1 in D minor, op 32 (1894). Borodin Trio. Chandos CHAN 8477 32 Fibich, Z. Quintet in D for clarinet, horn, violin, cello and piano, op 42 (1893). Endymion Ensemble. ASV DCA 943 36 Bach, C.P.E. Sonata no 1 in B flat, Wq125 (1738). Alain Marion, fl; Daniele Roi, hpd. Fonè 89 F 02-26 9

Wednesday 23 MAY

Samuel Coleridge-Taylor 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Chris Blower Coleridge-Taylor, S. Four characteristic waltzes, op 22 (1898). RTE Concert O/Adrian Leaper. Marco Polo 8.223516 14 Ballade in C minor, op 73 (1907). Marianne Thorsen, vn; Ian Brown, pf. Hyperion CDA67590 13 Excerpts from Hiawatha’s wedding feast, op 30 no 1 (1898). Helen Field, sop; Arthur Davies, ten; Bryn Terfel, bass-bar; Welsh National Ch & O/Kenneth Alwyn. Decca 458 591-2 13 Scènes de ballet (1906). Robin Ruys, pf. Fine Music concert recording 13 Piano quintet in G minor, op 1 (1893). Members of Nash Ensemble. Hyperion CDA67590 26 10:30 CONCERT HALL Prepared by Paul Hopwood Albéniz, I. Iberia suite (1906-08; orch. Arbós). Philharmonia O/Yan Pascal Tortelier. Chandos CHAN 8904 33

Berwald, F. String quartet in G minor (1818). Chilingirian Quartet. CRD 3361 33

Schubert, F. Concerto in A minor, D821, Arpeggione (1824; arr.). Alexander Labko, va d’amore; RIAS Sinfonietta/Jirí Stárek. Musica Mundi 316 023 F1 23

Berwald’s G minor String Quartet mixes features of the classical Viennese period with an advanced tonality.

Méhul, É-N. Symphony no 1 in G minor (1808-09). Les Musiciens du Louvre/Marc Minkowski. Erato 2292-45026-2 26

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Wednesday 23 MAY 12:00 JAZZ SKETCHES with Robert Vale

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

13:00 ITALIANS IN ST PETERSBURG Prepared by Frank Morrison

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

Lolli, A. Violin concerto in G, op IIa no 2 (pub. 1764). Giulano Carmignola, vn; Venice Baroque O/Andrea Marcon. Archiv 477 6606 24

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Frank Morrison

Traetta, T. Overture to Armida (1760). Concerto Köln/Pablo Heras-Casado. Archiv 479 2050 5 Paisiello, G. Keyboard concerto no 3 in A (c1788). Pietro Spada, pf; Santa Cecilia CO. Brilliant Classics 94224 12 Cimarosa, D. Sanctus; Benedictus; Agnus Dei; Lux aeterna, from Requiem in G minor (1787). Adriana Kucerová, sop; Terézia Kruzliaková, cont; L’udovit Ludha, ten; Gustav Belácek, bass; Lúcnica Ch; Marianna Gazdíková, org; Capella Istropolitana; Kirk Trevor, cond. Naxos 8.572371 11 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 RICHARD STRAUSS EXPLORED Part 4 Prepared by Michael Morton-Evans Strauss, R. Thus spoke Zarathustra, op 30, mvts 1 and 8 (1896). Michael Schwalbe, vn; Berlin PO/Herbert von Karajan. DG 479 4110 10 A hero’s life, op 40, mvts 1 and 5 (1898). Minnesota O/Eiji Oue. Reference RR-83 9 Sinfonia domestica, op 53, mvt 2 (1902-03). Cleveland O/George Szell. Sony SBK 53511 6 Dance of the seven veils, from Salome, op 54 (1905). Vienna PO/Herbert von Karajan. Decca 478 5630 9 Finale, from Elektra (1908). Birgit Nilsson, sop; Vienna PO/Georg Solti. Decca 448 135-2 4 First suite of waltzes from Der Rosenkavalier (1911). Royal Concertgebouw O/Eugen Jochum. DG 480 0478 11 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Thursday 24 MAY

Cecilia Bartoli 20:00 AT THE OPERA Died for love Prepared by Camille Mercep Bellini, V. Norma. Opera in two acts. Libretto by Felice Romani. First performed Milan, 1831. NORMA: Cecilia Bartoli, sop POLLIONE: John Osborn, ten ADALGISA: Sumi Jo, mezz International Chamber Vocalists; O la Scintilla/Giovanni Antonini. Decca 478 3517 2:23 Synopsis at finemusicfm.com/Opera Bochsa, N. Fantasia on Bellini’s I Capuleti e Montecchi. Claudia Antonelli, hp. Naxos 8.554252 5 Bellini, V. Torna, vezzosa Fillide (1826; arr. Sadin). Rolando Villazón, ten; Maggio Musicale Fiorentino O/Marco Armiliato. DG 479 4959 8 Angiol di pace, from Beatrice di Tenda (1833). Joan Sutherland, sop; Marilyn Horne, mezz; Luciano Pavarotti, ten; New York City Opera O/ Richard Bonynge. Decca 478 2826 3 23:00 AN HOUR WITH EMANUEL Prepared by James Nightingale Bach, C.P.E. Sonata in G minor, Wq88 (1759). Henrik Frendin, va da gamba; Anna Paradiso, hpd; Paradiso Musicale. BIS 1895 17 Sonata in B flat, Wq48 no 2 (1742). Danny Driver, pf. Hyperion CDA67786 13 Flute concerto in A minor, Wq166 (c1750). Konrad Hünteler, fl; Amsterdam Baroque O/ Ton Koopman. Erato ECD 75536 23

Dvorák, A. Rondo in G minor, op 94 (1891). Stephen Hough, pf. Hyperion CDA67529 7 Boccherini, L. Cello concerto no 7 in G (1770). Ostrobothnian CO/Juha Kangas. Virgin VC 7 90805-2 17 Prokofiev, S. Sonata for solo cello, op 133 (1953). Virgin VC 7 90811-2 8 Steven Isserlis, vc (3 above) Mozart, W. Violin concerto no 1 in B flat, K207 (1773). Academy of St Martin in the Fields/Neville Marriner. EMI 5 62825 2 21 Prokofiev, S. Sonata in D for solo violin, op 115, mvt 1 (1947). DG 477 9730 4 Brahms, J. Sonata no 3 in D minor, op 108 (1886-88). Lambert Orkis, pf. DG 477 8767 21 Anne Sophie Mutter, vn (3 above) 10:30 CONCERT HALL Prepared by Elaine Siversen Novák, V. In the Tatra mountains, op 26 (1902). Royal Liverpool PO/Libor Pesek. Virgin 5 45251 2 16 Krommer, F. Double concerto in E flat, op 91. Dieter Klöcker, cl; Waldemar Wandel, cl; Stuttgart RSO/Wolf-Dieter Hauschild. Schwann 3-1077-2 25 Suk, J. Symphony no 1, op 14 (1897-99). BBC SO/Jirí Belohlávek. Chandos CHSA 5081 40 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 REVISITING BACH Prepared by Mariko Yata Busoni, F. Chaconne, after Bach. Polina Leschenko, pf. Avanti 5414706 10272 13 May 2018

fineMusic 102.5

Thursday 24 MAY

Nikolai Rimsky-Korsakov

Richard Tognetti

Philip Glass

Respighi, O. Three chorales of J.S. Bach (orch. Respighi). BBC PO/Edward Downes. Chandos CHAN 9311 12

Debussy, C. First rhapsodie (1911). Franklin Cohen, cl; Cleveland O/Pierre Boulez. DG 439 896-2 9

Kats-Chernin, E. Re-inventions nos 1 and 2 after J.S. Bach. Genevieve Lacey, rec; Flinders Quartet. Flinders Quartet 12081 9

Weber, C.M. Clarinet concerto no 2 in E flat, op 74 (1811). Charles Neidich, cl; Orpheus CO. DG 435 875-2 21

Vivaldi, A. Flute concerto in G minor, RV439, La notte. Emmanuel Pahud, fl; Australian CO/ Richard Tognetti, vn & dir. EMI 3 47212 2 9

Liszt, F. Variations on Bach’s theme: Weinen, Klagen, Sorgen, Zagen (1840). Gregorio Nardi, pf. Dynamic DM8017 19

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

14:00 GALINA SINGS Prepared by Rex Burgess

19:00 THE NEW JAZZ STANDARD with Frank Presley

Rimsky-Korsakov, N. The dying glow of the sunset, op 39 no 2; The heavy clouds disperse, op 42 no 3; The nymph, op 56 no 1 (1897-98). EMI 5 65716 2 10

20:00 SHOWCASING AUSTRALIAN ARTISTS Richard Tognetti Prepared by Jennifer Foong

Shostakovich, D. Five satires, op 109 (1960). EMI 7243 5 65716 2 4 15 Galina Vishnevskaya, sop; Mstislav Rostropovich, pf ( 2 above) 14:30 CLARINET DELIGHTS Prepared by Frank Morrison Beethoven, L. Trio in B flat, op 11 (1797). Benny Goodman, cl; Fritz Magg, vc; Leon Pommers, pf. Music Masters 5027-2-C 19 Holland, D. Ballad (1952). Clive Amadio, cl; Olga Krasnik, pf. Jade JADCD 1058 5 Brahms, J. Sonata in E flat, op 120 no 2 (1894). Gervase de Peyer, cl; Gwenneth Pryor, pf. Chandos CHAN 8563 21 Honegger, A. Sonatina (1921). Thomas Friedli, cl; Ulrich Koella, pf. Claves 50-9322 5 34

Bach, J.S. Partita no 3 in E, BWV1006 (1720). Richard Tognetti, vn. ABC 476 805-1 19 Beethoven, L. Romance no 1 in G, op 40 (c1802; arr. Müller-Schott). Daniel MüllerSchott, vc; Australian CO/Richard Tognetti. Orfeo C 080 031 A 6 Boccherini, L. Quintet in C, op 57 no 6, La ritarata notturno di Madrid (1797). Richard Tognetti, vn; Lorna Cumming, vn; Colin Cornish, va; Cameron Retchford, vc; Geoffrey Lancaster, fp. Fine Music concert recording 22 Mendelssohn, F. Sinfonia no 10 in B minor (1823). Australian CO/Richard Tognetti. Sony SK 62005 9 Bach, J.S. Sonata no 2 in A, BWV1015 (bef. 1725). Richard Tognetti, vn; Daniel Yeadon, va da gamba, vc; Neal Peres da Costa, hpd, org. ABC 476 594-2 14

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21:30 A CAPPELLA INTERLUDE Prepared by Gerald Holder Pärt, A. Magnificat (1989). Tallis Scholars/ Peter Phillips. Gimmel CDGIM 049 7 Poulenc, F. Chansons françaises (1945-46). Groupe Vocale de France/John Aldis. EMI 5 65151 2 19 22:00 MUSICAL PORTRAITS Famous Americans Prepared by Robert Small Glass, P. The light (1987). Bournemouth SO/ Marin Alsop. Naxos 8.559325 24 Daugherty, M. The Gospel according to Sister Aimee, for organ, brass and percussion (2012). Paul Jacobs, org; Pacific SO/Carl St Clair. Naxos 8.559749 20 Copland, A. Suite: Billy the kid (1938). New Zealand SO/James Judd. Naxos 8.559106 21 Diamond, D. Suite, from the ballet Tom (1936). Seattle SO/Gerard Schwarz. Delos DE 3141 23 Daugherty, M. Pedal to the metal; Rosa Parks Boulevard, from Motorcity triptych (2000). Detroit SO/Neeme Järvi. Naxos 8.559372 19

Sister Aimee (Aimee Semple McPherson) was a Canadian-American Pentecostal evangelist and media celebrity in the 1920s and 1930s, famous for founding the Foursquare Church.

Friday 25 MAY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Di Cox Bach, J.S. Violin concerto no 2 in E, BWV1042 (bef. 1730; transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito. CBS MK 39560 18 Bloch, E. Prayer (1923-24; transcr. Antonini). I Musici de Montréal; Yuli Turovsky. Chandos CHAN 8800 5 Mozart, W. Excerpts from The marriage of Figaro, K492 (1786; transcr. Wendt). Melbourne Windpower/Richard Runnels. Move MD 3110 16 Gounod, C. Waltz, from Faust (1859; transcr. Liszt). Geoffrey Saba, pf. IMP PCD 858 11 Albinoni, T. Concerto in D minor, op 9 no 2 (pub. 1721; arr. Thilde). Maurice André, tpt; London PO/Jésus López-Cobos. EMI CMS 7 69880-2 9 Rachmaninov, S. Vocalise, op 34 no 14 (1915; arr. Parhamovsky). Maxim Vengerov, vn; Vag Papian, pf; Virtuosi. EMI 5 57164 2 6 Strauss, R. Introduction and moonlight music, from Capriccio (1942; arr. 1945). Vienna PO/André Previn. DG 437 790-2 14 10:30 CONCERT HALL Prepared by James Nightingale Mills, R. Bamaga diptych (1986). Queensland SO/Richard Mills. ABC OZM 1002 18 Haydn, J. Cello concerto no 2 in D, Hob. VIIb:2 (1783). Academy of St Martin in the Fields/Mstislav Rostropovich, vc & dir. EMI 5 65701 2 25 Glazunov, A. Symphony no 6 in C minor, op 58 (1896). USSR Ministry of Culture SO/ Gennady Rozhdestvensky. Melodiya MEL 46005-2 40 12:00 A JAZZ HOUR with Barry O’Sullivan

13:00 SOUND OF THE TRUMPET Prepared by Gael Golla Hindemith, P. Sonata (1939). Håkan Hardenberger, tpt; Roland Pöntinen, pf. Philips 426 144-2 16 Vivaldi, A. Double trumpet concerto in C, RV537. Crispian Steele-Perkins, tpt; Michael Meekes, tpt; City of London Sinfonia/Nicholas Kraemer. Naxos 8.553204 7 Franceschini, P. Sonata à 7 in D (1680). Trumpet Consort Friedemann Immer. Harmonia Mundi RD 77027 7 Handel, G. The trumpet shall sound, from Messiah, HWV56 (1742). Teddy Tahu Rhodes, bass-bar; Leanne Sullivan, baroque tpt; O of the Antipodes/Antony Walker. ABC 476 3335 4 Hummel, J. Trumpet concerto in E (1803). Virtuosi Saxoniae; Ludwig Güttler, tpt & dir. Berlin Classics 0012892BC 17 14:00 DANCES AND FANTASIES Prepared by Michael Morton-Evans Czerny, C. Brilliant fantasy no 1, after Schubert, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp. Helios CDH55074 17 Sor, F. Six valses faciles, op 44bis. Robert Kubica, gui; Wilma van Berkel, gui. Naxos 8.553302 12 Verdi, G. Fantasy for flute on La traviata. Patrick Gallois, fl; London FO/Ross Pople. DG 445 822-2 12 Villa-Lobos, H. Little round dances (1925). Debora Halász, pf. BIS CD-912 20 Beethoven, L. Viennese dances, WoO17 nos 5 and 6 (c1819). Convivium Musicum/ Erich Keller. EMI 1 66450 2 4 Palomo, L. Dance of Marialuna. Pepe Romero, gui; Seville RSO/Rafael Frühbeck de Burgos. Naxos 8.557135 14 Mussorgsky, M. Pictures at an exhibition (1874; orch. Ravel). Vienna PO/Valery Gergiev. Philips 468 526-2 32 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

20:00 EVENINGS WITH THE ORCHESTRA The symphonies of Franz Schmidt Prepared by Paul Cooke Schubert, F. Concert piece in D, D345 (181617). Gidon Kremer, vn; London SO/Emil Tchakarov. DG 431 168-2 10 Atterberg, K. Symphony no 6 in C, op 31, Dollar (1927-28). Norrköping SO/Jun’ichi Hirokami. BIS CD-553 33 Schubert, F. Concerto in A minor for viola d’amore and strings, D821, Arpeggione (1824; arr.). Alexander Labko, va d’amore; RIAS Sinfonietta/Jirí Stárek. Musica Mundi 316 023 F1 23 Schmidt, F. Symphony no 3 in A (1927-28). Chicago SO/Neeme Järvi. Chandos CHAN 9000 42 22:00 BAROQUE AND BEFORE Strings and bows Prepared by Brian Drummond Vivaldi, A. Double concerto in G minor, RV531. Maurizio Naddeo, vc; Antonio Fantinuoli, vc; Europa Galante/Fabio Biondi. naïve OP 3086 11 Praetorius, M. Six dances, from Terpsichore (pub. 1612). Collegium Terpsichore/Fritz Neumeyer. DG 469 244-2 15 Ferrabosco, A. jnr Divisions on O sacra convivium. Elizabeth Rumsey, treble viol; Susan Christie, treble viol; Catherine Upex, tenor viol; Fiona Ziegler, tenor viol; Imogen Granwal, bass viol; Joëlle Morton, bass viol. Fine Music concert recording 7 Anon. DS 11:11 (arr. Fulton, Kammen). Shira Kammen, vielle, rebec; Cheryl Ann Fulton, hp; Peter Maund, perc. Nonesuch 979 240-2 7 Lully, J-B. Ballet de Xerxès (1660). Aradia Baroque Ensemble/Kevin Mallon. Naxos 8.554003 19 Corelli, A. Concerto grosso in D, op 6 no 4 (pub. 1714). Ensemble 415/Chiara Banchini, Jesper Christiansen. Harmonia Mundi HMC 901406.07 11 Purcell, H. Suite, from The Gordian knot unty’d (1691). Aradia Ensemble/Kevin Mallon. Naxos 8.570149 17 Bach, J.S. Violin concerto in E, BWV1042 (bef. 1730). Itzhak Perlman, vn; English CO/ Daniel Barenboim. EMI CDB 7 62988 2 20 May 2018

fineMusic 102.5

Saturday 26 MAY 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

Saint-Saëns, C. Marche militaire française. Royal Australian Navy RAN-005 5 Phillip Anderson, cond (3 above)

9:05 PERIODS AND THEIR PEOPLE Late and post-romantic 1875-1915 Prepared by James Nightingale

Sparke, P. Orient Express. Steven Stanke, cond. Royal Australian Navy RAN-013 8

Dukas, P. Overture: Polyeucte (1891). BBC PO/Yan Pascal Tortelier. Chandos CHAN 241-32 15

Royal Australian Navy Band (all above)

Schoenberg, A. Six little piano pieces, op 19 (1911). Glenn Gould, pf. Sony SMK 62020 5 Boulanger, L. Les sirènes (1911). Amanda Pitt, sop; Andrew Ball, pf; New London Chamber Choir/James Wood. Hyperion CDA66726 6 Brahms, J. Sonata no 3 in D minor, op 108 (1886-88). Simon Fischer, vn; Raymond Fischer, pf. Biddulph 80229-2 23 Ravel, M. Shéhérazade (1903). Magdalena Kozená, mezz; Berlin PO/Simon Rattle. DG 479 0065 18 Strauss, R. Dance of the seven veils, from Salome, op 54 (1905). Sydney SO/Stuart Challender. ABC 434 716-2 10 10:30 SMALL FORCES Prepared by James Nightingale Roussel, A. Divertissement for piano and wind quintet, op 6 (1906). Eric Le Sage, pf; Les Vents Français. Warner Classics 0825646231850 7 Arne, T. Trio sonata no 1 in A (1757). Collegium Musicum 90. Chandos CHAN 0666 16 Haydn, J. Fortepiano trio no 18 in A, Hob. XV:18 (1794). Ensemble of the Classic Era. ABC 472 561-2 19 Tomasi, H. Printemps (1963). Jacques Castagner, fl; Robert Casier, ob; André Boutard, cl; Jean-Marie Londeix, sax; Michel Bergès, hn; Gérard Faisandler, bn. EMI 5 72360 2 10 11:30 ON PARADE Prepared by Paul Hopwood Klohs, M. Ship without a name (2009). Royal Australian Navy RAN-009 11 36

Clifford, H. A naval occasion (1893; arr. Duthoit). Royal Australian Navy RAN-002 4

12:00 SCHOOL JAZZ LIVE The second of two heats in the inaugural FINE MUSIC School Jazz Combos Competition 14:30 MAZURKA TIME Prepared by Frank Morrison Chopin, F. Mazurka in B, op 56 no 1 (1843). Vladimir Ashkenazy, pf. Decca 448 086-2 4 Ponce, M. Mazurka (1932). Horst Klee, gui. Koch 310 177 H1 4 Delibes, L. Mazurka, from Coppélia (1870). Sydney SO/Christopher Nicholls. ABC 438 195-2 5 Hasselmans, A. Mazurka, op 31. Susan Drake, hp. Hyperion CDA66340 4 Wieniawski, H. Obertass mazurka, op19 (c1860). Ruggiero Ricci, vn; Joanna Gruenberg, pf. Unicorn-Kanchana UKCD 2048 2 Strauss, J. II Violet, mazurka on Russian themes, op 256 (1861). CSSR State PO/Alfred Walter. Marco Polo 8.223201 3 15:00 THE DUKE OF CHANDOS’ DELIGHT A Handel tercentenary Handel, G. Acis and Galatea, dramatic pastoral in two acts. Libretto by John Gay, John Hughes and Alexander Pope, after Ovid. First performed Cannons (Middlesex), 1718. Claron McFadden, sop; Robert Harre-Jones, ct; John Mark Ainsley, ten; Rogers Covey-Crump, ten; Michael George, bass; King’s Consort/Robert King. Hyperion CDA 66361/62 1:27 Si, t’intendo inumano ... S’agita in mezzo all’onde, from Aci, Galatea e Poliferno (1708). Carolyn Watkinson, cont; London Baroque/ Charles Mediam. Harmonia Mundi HMC 901253/54 6 Haydn, J. Overture to Acide, Hob.Ia:5 (1762). Haydn Sinfonietta/Manfred Huss. BIS 1818 7

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Handel, G. Chandos anthem no 4: O sing unto the Lord a new song (1717-18). Lynne Dawson, sop; Ian Partridge, ten; The Sixteen Ch & O/Harry Christophers. Chandos CHAN 0554-57 20 Overture; O the pleasure of the plains, from Acis and Galatea (c1718; arr. Mendelssohn 1828-29). North German Radio Choir; Gottingen FO/Nicholas McGegan. Carus 83.420 9 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Chorus: Yes men 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Rodgers, R. Excerpts from Carousel (1945). Katrina Murphy, Joanna Riding, Michael Hayden, Meg Johnson, voices. First Night OCRCD 6042 19 Rózsa, M. Excerpts from Spellbound (1945). Victor SO/Miklós Rózsa. History 20.3120-HI 13 Porter, C. Excerpts from Anything goes (1934). Howard McGillin, Patti LuPone; members of the new Broadway cast. RCA Victor 7759-2-RC 19 20:00 INFLUENCES AND CONNNECTIONS Baldassare Galuppi Prepared by Elaine Siversen Lotti, A. Psalm 50 (51): Miserere mei Deus in D minor (1736). Ensemble Métamorphoses de Paris/Maurice Bourbon. Arion ARN 68154 11 Pescetti, G. Andante, from Sonata in C minor. Sergio de Pieri, org. Move MD 3294 4 Vivaldi, A. Concerto in A for solo violin and another solo violin as a far echo, RV552 (c1740). Sonatori de la Gioiosa Marca DHM 88985317042 16 Albinoni, T. Oboe concerto in G, op 9 no 6 (pub. 1722). Pierre Pierlot, ob; Jacques Chambon, ob; I Solisti Veneti/Claudio Scimone. Apex 0927490202 10 Galuppi, B. A questa bianca mano, from Penelope (1741). Max Emanuel Cencic, ct; Armonia Atenea/George Petrou. Decca 478 8094 9

Saturday 26 MAY

Sunday 27 MAY

Louis-Nicholas Clérambault

Giovanni Paisiello

Handel, G. Overture; M’hai resa infelice, from Deidamia, HWV42 (1741). Emma Kirkby, sop; Brandenburg Consort/Roy Goodman. Hyperion CDS44271/3 8

0:00 CLASSIC-ALL THROUGH THE NIGHT

Galuppi, B. Sonata in C. Matteo Napoli, pf. Naxos 8.572490 13

9:00 MUSICA SACRA Prepared by Paul Cooke

Vogler, G. Overture to Athalie (1786). London Mozart Players/Matthias Bamert. Chandos CHAN 10504 3

Gounod, C. Messe chorale. Ensemble vocal de Lausanne; Daniel Fuchs, org; Michel Corboz, cond. apex 8573 89235 2 28

Bach, C.P.E. Oboe concerto in E flat, Wq165 (1765). Camerata Bern; Heinz Holliger, ob d’amore & dir. Philips 454 450-2 20 Hasse, J. Ah non è ver, ben mio, from Piramo e Tisbe (1768). Vince Yi, ct; Armonia Atenea/George Petrou. Decca 478 8094 5 Galuppi, B. Sonata for two organs. Luigi Celeghin, org; Bianka Pezic, org. Naxos 8.557131 6 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess

6:00 SUNDAY MORNING MUSIC with David Garrett

Marsh, J. Evening canticles, St Paul’s service (2010). Girls’ Choir of St Catharine’s College, Cambridge; William Fairbairn, org; Edward Wickham, cond. Resonus RES10170 8

12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 THREE RHAPSODIES Prepared by James Nightingale Bridge, F. Dance rhapsody (1908). BBC National O of Wales/Richard Hickox. Chandos CHAN 10729(6) X 19 Debussy, C. Première rapsodie (1910). Catherine McCorkill, cl; Kathryn Selby, pf. Fine Music concert recording 8 Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Daniil Trifonov, pf; Philadelphia O/Yannick Nézet-Séguin. DG 479 4970 25

10:00 THE CLASSICAL ERA Prepared by Denis Patterson

15:00 SUNDAY SPECIAL A German requiem Prepared by Tom Forrester-Paton

Weber, C.M. Overture to Der Freischütz (1821). Los Angeles PO/Zubin Mehta. Decca 475 7470 9 Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Liwei Qin, vc; Melbourne SO/David Stanhope. ABC 456 356-2 19

Arne, T. Symphony no 4 in C minor (1767). Bournemouth Sinfonietta/Kenneth Montgomery. LP EMI ESD 1060241 12

Cherubini, L. String quartet no 2 in C (1829). Quartetto David. BIS CD-1003 28

Paisiello, G. Keyboard concerto no 4 in G minor (c1788). Pietro Spada, pf; Santa Cecilia CO. Brilliant Classics 94224 26

Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). Tasmanian SO/ Sebastian Lang-Lessing. ABC 476 3623 39

Spohr, L. Octet in E flat for winds and strings, op 32 (1814). Vienna Octet. Decca 466 580-2 25

Rutter, J. Gloria (1974). St Albans Cathedral Choirs; Ensemble DeChorum; Tim Winpenny, org; Andrew Lucas, cond. Naxos 8.572653 17

Boïeldieu, A. Overture to Le calife de Bagdad (1800). New Philharmonia O/Richard Bonynge. Decca 440 844-2 8

Clérambault, L-N. Love stung by a bee (1710). Nancy Argenta, sop; Trio Sonnerie. Harmonia Mundi HMU 907081 15

Giuseppe Sinopoli

Tartini, G. Violin sonata in D (c1745-60). Locatelli Trio. Hyperion CDA66485 20 Hummel, J. Sonata in B, op 5 no 1 (1798). Zlatko Topolski, vn; Hans Kann, pf. Tuxedo TUX 1026 20

1868

A Sesquicentenary Event Schumann, R. Sechs Gedichte und Requiem, op 90 (1850). Thomas E. Bauer, bar; Uta Hielscher, pf. Naxos 8.557079 17 Brahms, J. Intermezzo, op 118 no 4 (1892). Darryl Coote, pf. Move MCD 029 5 Schumann, C. Three romances, op 22 (1853). Lisa Batiashvili, vn; Alice Sara Ott, pf. DG 479 0086 9 Brahms, J. A German requiem, op 45 (186568). Lucia Popp, sop; Wolfgang Brendel, bar; Prague Philharmonic Ch; Czech PO/ Giuseppe Sinopoli. DG 419 737-2 1:17 May 2018

fineMusic 102.5

Sunday 27 MAY

Monday 28 MAY

Corelli, A. Sonata no 1 in D. Andrew Manze, vn; Richard Egarr, hpd. Harmonia Mundi HMX 2907541.45 12 Sarasate, P. de Carmen fantasy, op 25 (c1883). Leila Josefowicz, vn; Academy of St Martin in the Fields/Neville Marriner. Philips 454 440-2 14 Enescu, G. Piano trio in A minor (1911-16). Alexandra Wood, vn; members of Schubert Ensemble. Chandos CHAN 10790 21 Andrew Manze 17:00 HOSANNA Prepared by Jeremy Hall Hymn: Holy, Holy, Holy! Lord God Almighty. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP12103 3 Stainer, J. Psalm 97. Choir of St Paul’s Cathedral; Andrew Lucas, org; John Scott, cond. Hyperion CDP11008 4 Britten, B. Festival Te Deum, op 32 (1944). Choir of Jesus College, Cambridge; Benjamin Morris, org; Mark Williams, cond. Signum Classics SIGCD409 6 Stainer, J. I saw the Lord. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond. Hyperion CDA67557 7 Mozart, W. Gloria, from Mass in C, K167 (1773); Ave verum corpus in D, K618 (1791). Cologne Chamber Choir; Collegium Cartusianum/Peter Neumann 4 Byrd, W. O lux beata Trinitas (pub. 1575). The Sixteen/Harry Christophers. Coro COR16140 4 Grechaninov, A. The cherubic hymn. Holst Singers/Stephen Layton. Hyperion CDA66928 4 Hymn: I bind unto myself today. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP12103 6 Bach, J.S. Fugue in E flat, BWV552 (1739). Marie-Claire Alain, org. Erato B004RUF022 8 18:00 MASTERS OF THE VIOLIN Prepared by Mariko Yata Kreisler, F. Prelude and allegro in the style of Pugnani. Mischa Elman, vn; Joseph Seiger, pf. Vanguard OVC 8028 6 38

19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Beethoven, L. Overture to Leonore, op 72a no 3 (1806). Bavarian RSO/Colin Davis. CBS MDK 44790 16 Chabrier, E. La Sulamite, scène lyrique (1884). Suzanne Mentzer, mezz; Female voices from Toulouse-Midi-Pyrenees Choirs; Toulouse Capitole O/Michel Plasson. EMI 7 54004 2 17 Jolivet, A. Harp concerto, op 25 (1952). Alice Giles, hp; Adelaide SO/David Porcelijn. ABC 454 506-2 18 Hovhaness, A. Symphony no 50, op 360, Mount Saint Helens (1982). Seattle SO/ Gerard Schwarz. Naxos 8.559717 32 20:30 NEW HORIZONS Prepared by Paul Cooke Vine, C. Suite from The tempest (1990). Tasmanian SO/Ola Rudner. ABC 476 226-7 22 Hartke, S. Caoine (1980). Michelle Makarski, vn. ECM New Series 1587 8 Kats-Chernin, E. Ornamental air (2007). Swedish CO/Michael Collins. Chandos CHAN 10756 22 Tulve, H. L’équinoxe de l’âme. Arianna Savall, sop, triple harp; NYYD Quartet/JaanEik Tulve. ECM New Series 2243 11 Matthews, C. Memorial (1993). London SO/ Michael Tilson Thomas. Collins 14702 16 22:00 AFTER HOURS JAZZ with Kevin Jones

Kreisler attempted to pass off some of his own works as being from unknown manuscripts of early composers.

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Gian Francesco Malipiero 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: 1934 Prepared by Derek Parker Copland, A. El salón México (1934-36). Detroit SO/Antal Dorati. Decca 414 273-2 10 Castelnuovo-Tedesco, M. Sonata, op 77, Omaggio a Boccherini (1934). Emanuele Buono, gui. Naxos 8.573362 17 Stravinsky, I. Divertimento after the ballet Le baiser de la fée (1934/49). Royal Concertgebouw O/Gennady Rozhdestvensky. Radio Nederland RCO11004 24 Lehár, F. Meine lippen, sie küssen so heiss, from Giuditta (1934). Anna Netrebko, sop. DG 479 7679 6 Glanville-Hicks, P. Three gymnopédies (1934). Stables Ensemble. Wirripang WIRR 037 8 Malipiero, G. Quartet no 4 (1934). Orpheus String Quartet ASV DCD 457 14 10:30 CONCERT HALL Prepared by Derek Parker Mozart, W. Overture to Les petits rien, K299b (1778). Pygmalion/Raphaël Pichon. Erato 0825646016259 3 Henselt, A. Piano concerto in F minor, op 16 (1844). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66717 30 Walton, W. Symphony no 1 in B flat minor (1931-35). London SO/Colin Davis. LSO Live LS00681 46

Monday 28 MAY

Tuesday 29 MAY

12:00 SWING SESSIONS with John Buchanan 13:00 THE BIRDS Prepared by Stephen Wilson Respighi, O. The birds (1927). London SO/ István Kertész. Decca 478 6420 20 Holbrooke, J. The birds of Rhiannon, op 87 (1925). National SO of Ukraine/Andrew Penny. Marco Polo 8.223721 13 Granados, E. The lover and the nightingale. Linda Kouvaras, pf. Move MCD 042 6 Haydn, J. String quartet in C, Hob.III:39, Bird (1781). Gagliano Quartet. Fine Music Tape Archive 17 Handel, G. Organ concerto in F, The cuckoo and the nightingale, HWV295 (1739). Akademie für Alte Musik Berlin/Richard Egarr. Harmonia Mundi HMX2908417.24 16 Rautavaara, E. Cantus arcticus, concerto for birds and orchestra, op 61 (1972). Lahti SO/ Osmo Vänskä. BIS CD-1038 17 Vaughan Williams, R. The lark ascending (1914/20). Nigel Kennedy, vn; City of Birmingham SO/Simon Rattle. EMI 5 62813 2 18

Ian Munro

Raymond Leppard

0:00 CONTEMPORARY COLLECTIVE

Rachmaninov, S. Symphony no 3 in A minor, op 44 (1935-36/38). St Petersburg PO/Mariss Jansons. EMI 5 62809 2 38

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Master pianists Prepared by Chris Blower Mozart, W. Sonata no 21 in E minor, K304 (1778). Mark Steinberg, vn; Mitsuko Uchida, pf. Decca 478 2540 16 Saint-Saëns, C. Rhapsody d’Auvergne in C, op 73 (1884). Ian Munro, pf; Tasmanian SO/David Porcelijn. ABC 465 424-2 10

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 TIME AND AGAIN Prepared by Derek Parker Strauss, Josef. Zeit-Bilder, op 51 (1858). Johann Strauss O/Jack Rothstein. Chandos CHAN 10684(3) X 8 Grieg, E. From Holberg’s time, op 40 (1884). Gothenburg SO/Neeme Järvi. DG 478 5182 19

15:00 WATER, WATER EVERYWHERE Prepared by Yola Center

Schoenberg, A. Three piano pieces (1894). Mitsuko Uchida, pf. Philips 456 982-2 12

Schumann, R. Winter time II, op 68 no 39, from Album for the young (1832-45). Angela Brownridge, pf. Helios CDH55039 3

Handel, G. Water music, HWV348-50 (c1715/36; arr. Harty). Ulster O/Bryden Thomson. Chandos CHAN 6583 16

Benjamin, A. Pastorale, arioso and finale (1948). Ian Munro, pf. Tall Poppies TP 105 13

Martinu, B. Half time (1924). Brno State PO/ Petr Vronsky. Supraphon SU 3058-2011 9

Schubert, F. Das Wandern; Wohin?; Halt!; Danksagen an den Bach, from Die schöne Müllerin, D795 (1823). Ian Bostridge, ten; Mitsuko Uchida, pf. EMI 5 57827 2 18

Britten, B. A time there was, from Suite on English folk tunes, op 90 (1974). Britten Sinfonia/Nicholas Daniel. Harmonia Mundi HMU 807573 16

Respighi, O. Fountains of Rome (1914-16). Royal PO/Enrique Bátiz. Naxos 8.550539 17 Debussy, C. La mer (1903-05). Cleveland O/ Lorin Maazel. Decca 480 6630 23 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ NICE N’EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Beethoven, L. Trio in B flat, op 11 (1798). Catherine McCorkill, cl; Julian Smiles, vc; Ian Munro, pf. Fine Music concert recording 18 10:30 CONCERT HALL Prepared by Sheila Catzel

14:00 CLASSICAL CONCERTOS Prepared by Gael Golla Boccherini, L. Cello concerto no 11 in C. Raphael Wallfisch, vc; Northern CO/Nicholas Ward. Naxos 8.557589 17

Bizet, G. Overture: Patrie, op 19 (1873). Detroit SO/Paul Paray. Mercury 478 5092 11

Stamitz, C. Clarinet concerto no 3 in B flat. Sabine Meyer, cl; Academy of St Martin in the Fields/Iona Brown. EMI CDC 7 54842 2 14

Ries, F. Piano concerto in C, op 123 (1806). Christopher Hinterhuber, pf; New Zealand SO/ Uwe Grodd. Naxos 8.557638 32

Mozart, W. Double concerto in C, K299 (1778). William Bennett, fl; Osian Ellis, hp; English CO/Raymond Leppard. ASV DCA 532 27 May 2018

fineMusic 102.5

Wednesday 30 MAY

Tuesday 29 MAY

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

Conradin Kreutzer Haydn, J. Trumpet concerto in E flat, Hob. VIIe:1 (1796). Geoffrey Payne, tpt; Melbourne SO/Michael Halász. ABC 982 697-6 15 Beethoven, L. Triple concerto in C, op 56 (1803-04). Itzhak Perlman, vn; Yo-Yo Ma, vc; Berlin PO/Daniel Barenboim, pf & dir. EMI 5 55516 2 35 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Kreutzer, C. Grand septet in E flat for clarinet, horn and string quintet, op 62. Nash Ensemble. LP CRD 1090 32 Rachmaninov, S. Sonata in G minor, op 19 (1901). Heinrich Schiff, vc; Elisabeth Leonskaja, pf. Philips 412 732-2 35 Kats-Chernin, E. The spirit and the maiden. Muses Trio. musestrio.com 903494 44380 16 Saint-Saëns, C. Piano quartet in B flat, op 41 (1875). Members of Nash Ensemble. Hyperion CDA67431/2 30

Composed in 1875, 22 years after his first piano quartet, the second work in this genre by Saint-Saëns (his opus 41) was also his last composition in this medium. It was a year in which he married Marie-Laure Truffot, their son was born and he composed the Fourth Piano Concerto and the biblical poem, Le déluge. 40

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Frank Morrison Pleyel, I. String trio in D, op 10 no 2. Members of Consortium Classicum/Dieter Klöcker. cpo 999 743-2 11 Sonatina in B flat (c1787-88). Masha Dimitrieva, pf. Gramola 98816 12 String quartet in B flat, op 2 no 5 (1784). Enso Quartet. Naxos 8.557497 18 Symphony in F minor (1786). Capella Istropolitana/Uwe Grodd. Naxos 8.554696 24 Oboe quartet in G, op 28 no 1 (c1780). Feit Concertino. LP Schwann VMS 1043 15 10:30 CONCERT HALL Prepared by James Nightingale Schubert, F. Fantasia in F minor, D940 (1828; arr. Motti). American SO/Leon Botstein. Koch 3-7307-2 18 Dvorák, A. Cello concerto in B minor, op 104 (1895). Yo-Yo Ma, vc; New York PO/Kurt Masur. Sony SK 67173 41 Hindemith, P. Pittsburgh symphony (1958). BBC PO/Yan Pascal Tortelier. Chandos CHAN 9530 24 12:00 JAZZ SKETCHES with Robert Vale 13:00 AMERICANO Bernstein, L. Three dance episodes, from On the town (1944). Bournemouth SO/Marin Alsop. Naxos 8.559177 11 Copland, A. Appalachian Spring (1943-44). Cincinnati Pops O/Erich Kunzel. Telarc 80339 25 Ives, C. Symphony no 3, The camp meeting (1903-04). Eastman-Rochester O/Howard Hanson. Mercury 478 5092 21 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 RICHARD STRAUSS EXPLORED Part 5 Prepared by Michael Morton-Evans Strauss, R. An alpine symphony, op 64, mvt 5, Entering the forest (1911-15). Cleveland O/ Vladimir Ashkenazy. Decca 425 112-2 5

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How beautiful music is, from Die schweigsame Frau (1935). Thomas Quastoff, bass-bar; Berlin Opera O/Christian Thielemann. DG 471 493-2 4 Die Liebe der Danae, symphonic fragment (1952). Slovak PO/Zdenék Kosler. Naxos 8.550342 10 Duet concertino, mvts 2 and 3 (1947). Joy Farrall, cl; Julie Andrews, bn; Britten Sinfonia/ Nicholas Cleobury. EMI 5 65581 2 12 Four last songs, op posth (1948). Kiri Te Kanawa, sop; Vienna PO/Georg Solti. Decca 478 6419 19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Opera oscura: a serenata for the sovereign of Salzburg Haydn, M. Andromeda und Perseus. Opera in two acts. Libretto by Giambattista Varesco. First performed Salzburg, 1787. ANDROMEDA: Heike Porstein, sop PERSEUS: Christine Wolff, sop PHINEUS: Max Ciolek, ten CEPHEUS: Raimond Nolte, bass Cologne Vocal Ensemble; Saarbrücken RSO/ Reinhard Goebel. Oehms OC 911 1:46 Synopsis at finemusicfm.com/Opera Mozart, W. Or che il cielo a me ti rende, K374 (1781). Lena Lootens, sop; La Petite Bande/ Sigiswald Kuijken. Virgin VC 7 90753-2 7 22:00 FAVOURITE CLASSICS Prepared by Ron Walledge Ravel, M. Pavane for a dead princess (1905; orch. Ravel). Boston SO/Claudio Abbado. DG 479 0013 7 Kodály, Z. Suite from Háry János, op 15 (1927). Philharmonia Hungarica/Antal Dorati. Decca 443 006-2 23 Brahms, J. Double concerto in A minor, op 102 (1887). Issac Stern, vn; Leonard Rose, vc; Philadelphia O/Eugene Ormandy. Sony SM2K 66 941 34 Tchaikovsky, P. Symphony no 6 in B minor, op 74, Pathétique (1893). Leningrad PO/ Yevgeny Mravinsky. DG 447 423-2 45

Thursday 31 MAY 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 Jennifer Foong Saint-Saëns, C. Introduction and rondo capriccioso in A minor, op 28 (1863). Royal PO/Barry Wordsworth. Decca 475 011-2 9 Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). Gewandhaus O/Riccardo Chailly. Decca 475 8328 24 Janine Jansen, vn (2 above) Tchaikovsky, P. Valse-scherzo, op 34 (1877). Boris Belkin, vn; New PO/Vladimir Ashkenazy. Decca 476 7488 8 Telemann, G. Quartet in E minor (1730). Jean-Pierre Rampal, fl; Mstislav Rostropovich, vc; Mathias Spaeter, lute. Sony SK 44568 9 Schubert, F. Sonata no 1 in D, D384 (1816). Daniel Barenboim, pf. Sony SM2K 64528 13 Bach, J.S. Double concerto in C minor, BWV1060 (1723). Harold Gomberg, ob; New York PO/Leonard Bernstein, hpd & dir. Sony SMK 66 471 17 Isaac Stern, vn (3 above) 10:30 CONCERT HALL Prepared by Rebecca Zhong

Gershwin, G. Rhapsody in blue (1924; arr. Grofé). Peter Donohoe, pf; London Sinfonietta. EMI CDC 7 54280 2 16 Prokofiev, S. Scythian suite, op 20, Ala and Lolli (1914). Birmingham SO. EMI 7 54577 2 20 Mozart, W. Non più di fiori vaghe catene, from La clemenza di Tito, K621 (1791). Magdalena Kozená, mezz; O of the Age of Enlightenment. DG 477 6727 7 Arnold, M. Guitar concerto (1958-59). Julian Bream, gui; City of Birmingham SO. EMI 7 54661 2 23 Simon Rattle, cond (all above) 14:30 THE ART OF JACQUELINE DU PRÉ Prepared by Ron Walledge Beethoven, L. Allegretto in B flat, WoO39 (1812). Pinchas Zukerman, vn; Daniel Barenboim, pf. EMI CMS 7 63124 2 5 Handel, G. Sonata in G minor (arr. Slatter). Ernest Lush, pf. EMI CZS 5 68132 2 11 Haydn, J. Cello concerto no 1 in C, Hob. VIIb:1 (c1761-65). English CO. EMI CMS 7 63283 2 26 Beethoven, L. Trio in B flat, op 97, Archduke (1810-11). Pinchas Zukerman, vn. EMI CMS 7 63124 2 41 Daniel Barenboim, pf (2 above) Jacqueline du Pré, vc (all above)

Grieg, E. Suite no 1 from Peer Gynt, op 46 (1874-75). Bournemouth SO/Paavo Berglund. EMI CDM 1 66419 2 16

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

Saeverud, H. Piano concerto, op 31 (1950). Noriko Ogawa, pf; Stavanger SO/Alexander Dmitriev. BIS CD-962 27

19:00 THE NEW JAZZ STANDARD with Frank Presley

Sinding, C. Symphony no 1 in D minor, op 21 (1890/95). Oslo PO/Øivin Fjeldstad. NKFCD 50016-2 40 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 UNDER THE BATON OF SIMON RATTLE Prepared by Gael Golla Britten, B. A time there was, from Suite on English folk tunes, op 90 (1974). Peter Walden, cora; City of Birmingham SO. Decca 478 5364 15

20:00 SHOWCASING AUSTRALIAN ARTISTS Sydney Symphony Fellows 2017 Recorded for FINE MUSIC by Greg Ghavalas Ligeti, G. Mysteries of the macabre: Three arias from Le grande macabre (arr. Elgar Howarth). David Elton, tpt. 10 Pärt, A. Fratres (1977; arr. 2007). 11 Rautavaara, E. Wind octet (1962). 16 Glazunov, A. In modo religioso, op 38. 4 Tchaikovsky, P. Souvenir de Florence, op 70 (1891). 35

Sydney Symphony Fellows 2017/Roger Benedict (all above) Jongen, J. Andante espressivo (1900). Roger Benedict, va; Timothy Young, pf. Melba MR 301126 5 21:30 THE DOUBLE REEDED INSTRUMENTS Prepared by Mariko Yata Albinoni, T. Adagio, from Oboe concerto in D minor, op 9 no 2 (pub. 1722). Diana Doherty, ob; Sinfonia Australis/Mark Summerbell. ABC 481 0116 5 Saint-Saëns, C. Sonata in G, op 168 (1921). Ursula Leveaux, bn; Ian Brown, pf. Hyperion CDA67431/2 12 Sibelius, J. The swan of Tuonela, op 22 no 3 (1895/97). Susan Tyte, cora; Adrian Shepherd, vc; Scottish NO/Alexander Gibson. Chandos CHAN 6508 8 22:00 MUSICAL PORTRAITS Romeo and Juliet Prepared by Randolph Magri-Overend Prokofiev, S. Dances from Romeo and Juliet (1934; arr.). Beryl Kimber, vn; Geoffrey Parsons, pf. LP ABC RRCS 569 7 Liszt, F. Les adieux, reverie on Gounod’s Romeo and Juliet. Leslie Howard, pf. Hyperion CDS44542 11 Lambert, C. Ballet: Romeo and Juliet (1926). State O of Victoria/John Lanchbery. Chandos CHAN 9865 31 Prokofiev, S. Suite no 3, from Romeo and Juliet, op 101 (1946). Scottish NO/Neeme Järvi. Chandos CHAN 8508 18 Delius, F. Suite, from A village Romeo and Juliet (1907). London PO/Carl Davis. Virgin VC 7 90716-2 26 Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). Polish State PO/Kenneth Jean. Naxos 8.550231 16 May 2018

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The following composers have works of at least five minutes on the May dates listed Abrahamsen, H. b1952 13 Agricola, A. c1446-1506 4 Albéniz, I. 1860-1909 18,23 Albinoni, T. 1671-1751 25,26 Albrechtsberger, J. 1736-1809 4,22 Alwyn, W. 1905-1985 12 Antill, J. 1904-1986 4 Arensky, A. 1861-1906 7,22 Arne, T. 1710-1778 26,27 Arnold, M. 1921-2006 31 Atterberg, K. 1887-1974 25 Aubert, J. 1689-1753 18 Bach, C.P.E. 1714-1788 22,23,26 Bach, J. Christian 1735-1782 12 Bach, J.S. 1685-1750 1,3,4,12,14,17,20,24,25,27,31 Bach, W.F. 1710-1784 6 Ball, E. 1903-1989 5 Bartók, B. 1881-1945 10,16,18,19 Bax, A. 1883-1953 3,19,22 Beach, A. 1867-1944 5 Beethoven, L. 1770-1827 1,7,8,12,14,15,17,18,19,20,21, 22,24,27,29,31 Bellini, V. 1801-1835 23 Benedict, J. 1804-1885 18 Benjamin, A. 1893-1960 13,19,29 Bennett, W. Sterndale 1816-1875 7 Berkeley, L. 1905-1989 22 Berlin, I. 1888-1989 12 Berlioz, H. 1803-1869 3,4,12,17,20,31 Bernart de Ventadorn. c1125-c1195 18 Bernstein, L. 1918-1990 12,30 Berwald, F. 1796-1868 21,22 Bingham, S. 1882-1972 12 Bizet, G. 1838-1875 4,29 Bliss, A. 1891-1975 14,22 Boccherini, L. 1743-1805 3,6,24,29 Bochsa, N. 1789-1856 23 Boïeldieu, A. 1775-1834 27 Borodin, A. 1833-1887 7,11 Boulanger, L. 1893-1918 26 Boulez, P. 1925-2016 19 Brahms, J. 1833-1897 1,5,7, 8,9,11,12,13,16,24,26,27,30 Bridge, F. 1879-1941 15,17,19,27 Britten, B. 1913-1976 1,7,9,10,17,20,22,27,29,31 Broadstock, B. b1952 13 Brouwer, L. b1939 3 Bruch, M. 1838-1920 6,10,12,31 Bruckner, A. 1824-1896 8,17 Brüll, I. 1846-1907 5,14 Brumby, C. 1933-2018 13 Busoni, F. 1866-1924 1,24 Buxtehude, D. 1637-1707 13 Caix d’Hervelois, L. de c1675-c1760 18

Castelnuovo-Tedesco, M. 1895-1968 17,28 Cavalli, F. 1602-1676 2 Chabrier, E. 1841-1894 27 Chaminade, C. 1857-1944 16 Chance, A. b1994 3 Charlton, R. b1955 4,14 Charpentier, M-A. 1635-1704 20 Cherubini, L. 1760-1842 9,12,26 Chopin, F. 1810-1849 1,3,4,10 Cimarosa, D. 1749-1801 23 Clementi, M. 1752-1832 8,13 Clérambault, L-N. 1676-1749 26 Coleridge-Taylor, S. 1875-1912 23 Copland, A. 1900-1990 24,28,30 Corelli, A. 1653-1713 6,11,25,27 Corrette, M. 1709-1795 18 Cras, J-E. 1445-1518 10 Czerny, C. 1791-1857 16,25 d’Indy, V. 1851-1931 5 Daugherty, M. b1954 24 Davies, P. Maxwell 1934-2016 3 Davis, C. b1936 12 Debussy, C. 1862-1918 5,7,9,12,20,24,27,28 Delius, F. 1862-1934 5,22,31 Diamond, D. 1915-2005 24 Dittersdorf, C. 1739-1799 6,22 Dohnányi, E. 1877-1960 15 Donizetti, G. 1797-1848 7,17 Dukas, P. 1865-1935 19,20,26 Duruflé, M. 1902-1986 20 Dussek, J. 1760-1812 10,12 Dvorák, A. 1841-1904 1,5,8,10,16,20,24,30 Elgar, E. 1857-1934 4,6,12,14,15,18,22 Enescu, G. 1881-1955 27 Ewazen, E. b1954 12 Eychenne, M. b1933 20 Falla, M. de 1876-1946 3 Fauré, G. 1845-1924 4,10,14,15,21 Ferneyhough, B. b1943 6 Ferrabosco, A. jnr c1575-1628 25 Févin, A. de c1474-1512 4 Fibich, Z. 1850-1900 2,22 Field, J. 1782-1837 5 Frahm, N. b1982 20 Françaix, J. 1912-1997 20 Franceschini, P. c1650-1680 25 Franck, C. 1822-1890 6,15 Galuppi, B. 1706-1785 26 Gaultier, E. 1575-1651 18 Geminiani, F. 1687-1762 19 Gershwin, G. 1898-1937 3,21,31 Giuliani, M. 1781-1829 15 Glanville-Hicks, P. 1912-1990 14,17,28

Glass, P. b1937 6,24 Glazunov, A. 1865-1936 5,7,25 Glinka, M. 1804-1857 22 Gnattali, R. 1906-1988 8 Godowsky, L. 1870-1938 14 Goossens, E. 1893-1962 16 Gossec, F-J. 1734-1829 16 Gottschalk, L. 1829-1869 3 Gounod, C. 1818-1893 3,25,27 Gourzi, K. b1962 13 Grainger, P. 1882-1961 14,20 Granados, E. 1867-1916 28 Grieg, E. 1843-1907 4,5,13,19,29,31 Hamelin, M-A. b1961 6 Handel, G. 1685-1759 6,13,20,26,28,31 Harrison, S. b1965 13 Hartke, S. b1952 27 Harvey, J. 1939-2012 6 Hasse, J. 1699-1783 26 Haydn, J. 1732-1809 1,3,5,8, 20,21,22,25,26,28,29,31 Haydn, M. 1737-1806 6,12,20,30 Henselt, A. 1814-1889 3,28 Herbert, V. 1859-1924 17 Herzogenberg, H. 1843-1900 2 Hill, M. 1889-1986 4 Hindemith, P. 1895-1963 20,25,30 Holbrooke, J. 1876-1958 28 Holst, G. 1874-1934 13 Honegger, A. 1892-1955 17,24 Hotteterre, J-M. 1674-1763 21 Hovhaness, A. 1911-2000 27 Howells, H. 1892-1983 14 Hughes, R. 1912-2007 7 Hummel, J. 1778-1837 6,22,25,27 Humperdinck, E. 1854-1921 19 Hyde, M. 1913-2005 1,19 Ireland, J. 1879-1962 14,20,22 Isaac, H. c1450-1517 4 Isaacs, M. b1958 19 Itri, M. 1640-1711 11 Ives, C. 1874-1954 30 Jacob, G. 1895-1984 22 Jadin, L. 1768-1853 12 Janácek, L. 1854-1928 6 Jolivet, A. 1905-1974 27 Jongen, J. 1873-1953 12 Josquin Desprez. c1440-1521 4 Kats-Chernin, E. b1957 8,24,27,29 Khachaturian, A. 1903-1978 1,21 Klohs, M. 20th c 26 Kodály, Z. 1882-1967 30 Koehne, G. b1956 9 Korngold, E. 1897-1957 1 Kozeluch, L. 1747-1818 10,22

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

May 2018

fineMusic 102.5

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

Kreisler, F. 1875-1962 27 Kreutzer, C. 1780-1849 29 Kreutzer, R. 1766-1831 5 Krommer, F. 1759-1831 20,24 Kuhlau, F. 1786-1832 15 La Rue, P. de c1460-1518 4,13 Lalo, E. 1823-1892 1 Lambert, C. 1905-1951 31 Lang, D. b1957 13 Lassus, O. de c1530-1594 20 Lauro, A. 1917-1986 3 Le Gallienne, D. 1915-1963 6 Lehár, F. 1870-1948 19,28 Lekeu, G. 1870-1894 19 Leo, L. 1694-1744 17 Ligeti, G. 1923-2006 31 Lilburn, D. 1915-2001 6 Liszt, F. 1811-1886 2,3,5,10,11,17,21,24,31 Locke, M. c1621-1677 2 Lolli, A. c1725-1802 23 Lord, J. 1941-2012 18 Lotti, A. c1667-1740 26 Lully, J-B. 1632-1687 25 Lyadov, A. 1855-1914 6 MacCunn, H. 1868-1916 17 MacDonald, A. b1958 3 MacDowell, E. 1860-1908 5 Mahler, G. 1860-1911 2,18 Malipiero, G. 1882-1973 28 Marais, M. 1656-1728 11 Marsh, J. 1752-1828 27 Martinu, B. 1890-1959 29 Massenet, J. 1842-1912 3,12 Massonneau, L. 1766-1848 21 Matthews, C. b1946 27 Mayerl, B. 1902-1959 10 Méhul, É-N. 1763-1817 12,23 Mendelssohn, F. 1809-1847 4,12,13,17,21,24,26 Mendelssohn, Fanny. 1805-1847 15 Messiaen, O. 1908-1992 3,16,19 Meyerbeer, G. 1791-1864 21 Milhaud, D. 1892-1974 4,20 Mills, R. b1949 25 Montéclair, M. de 1667-1737 18 Monteverdi, C. 1567-1643 13 Moscheles, I. 1794-1870 18 Mozart, W. 1756-1791 1,5, 8,10,13,15,17,20,22,24,25,2 9,30,31 Mussorgsky, M. 1839-1881 11,25 Myaskovsky, N. 1881-1950 1 Myslivecek, J. 1737-1781 6 Nelson, M. 20th c 4 Nicolai, O. 1810-1849 21 Nielsen, C. 1865-1931 12 Novák, V. 1870-1949 24 Ockeghem, J. 1430-1497 4 Offenbach, J. 1819-1880 3,19 Paisiello, G. 1740-1816 23,27 Palomo, L. b1938 25

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

Parry, H. 1848-1918 5,12 Pärt, A. b1935 24,31 Penderecki, K. b1933 14 Pfitzner, H. 1869-1949 20 Phalèse, P. 1510-1573 18 Piazzolla, A. 1922-1992 3,8,15,17 Pleyel, I. 1757-1831 30 Porter, C. 1891-1964 26 Poulenc, F. 1899-1963 3,15,24 Praetorius, M. c1571-1621 13,25 Price, D. 20th c 5 Prokofiev, S. 1891-1953 3,9,11,24,31 Purcell, H. 1659-1695 10,11,13,25 Rachmaninov, S. 1873-1943 1,7,8,11,18,25,27,29 Radulescu, H. 1942-2008 19 Raff, J. 1822-1882 5 Rautavaara, E. 1928-2016 17,28,31 Ravel, M. 1875-1937 9,11,12,15,17,21,26,30 Reich, S. b1936 6 Respighi, O. 1879-1936 2,4,24,28 Reubke, J. 1834-1858 1 Rich, R. 20th c 20 Richter, M. b1966 20 Ries, F. 1784-1838 29 Rimsky-Korsakov, N. 1844-1908 24 Riotte, P. 1776-1856 6 Ritter, A. 1811-1885 6 Rodgers, R. 1902-1979 26 Röntgen, J. 1855-1932 15 Rosenhain, J. 1813-1894 8 Rosenmüller, J. c1619-1684 11 Rossini, G. 1792-1868 4,7,9,15 Roussel, A. 1869-1937 26 Routley, N. 20th c 16 Rózsa, M. 1907-1995 2,26 Rubinstein, A. 1829-1894 7,11,18 Rutter, J. b1945 27 Saeverud, H. 1897-1988 31 Saint-Saëns, C. 1835-1921 10,11,13,15,21,29,31 Salieri, A. 1750-1825 18 Sammartini, G. 1693-1750 20 Sanfilippo, B. b1965 20 Sanz, G. 1640-1710 11 Sarasate, P. de 1844-1908 27 Schein, J. 1586-1630 11 Schmidt, F. 1874-1939 25 Schoenberg, A. 1874-1951 26,29 Schubert, F. 1797-1828 1,4 ,5,6,7,10,13,19,20,21,23,25, 29,30,31 Schultz, A. b1960 4 Schumann, C. 1819-1896 27 Schumann, R. 1810-1856 1,2,3,7,8,11,13,21,22,27 Sculthorpe, P. 1929-2014 17

mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder

Sheng, B. b1955 14 Shostakovich, D. 1906-1975 6,10,11,13,24 Sibelius, J. 1865-1957 4,6,8,11,13,18,31 Sinding, C. 1856-1941 31 Skryabin, A. 1872-1915 6,14,22 Smetana, B. 1824-1884 12,17 Sondheim, S. b1930 12 Sor, F. 1778-1839 3,17,25 Sparke, P. b1951 26 Spohr, L. 1784-1859 13,27 Stainer, J. 1840-1901 27 Stamitz, C. 1745-1801 13,29 Stanford, C. Villiers 1852-1924 20 Stockhausen, K. 1928-2007 19 Strauss, J. II 1825-1899 1 Strauss, Josef. 1827-1870 29 Strauss, R. 1864-1949 2,9,16,17,23,25,26,30 Stravinsky, I. 1882-1971 9,10,11,15,20,28 Strong, G. 1856-1948 10 Suk, J. 1874-1935 24 Sullivan, A. 1842-1900 5,13 Suppé, F. 1819-1895 1 Sutherland, M. 1897-1984 19 Szymanowski, K. 1882-1937 3 Taneyev, S. 1856-1915 6 Tárrega, F. 1852-1909 3 Tartini, G. 1692-1770 3,27 Tavener, J. 1944-2013 16 Tchaikovsky, P. 1840-1893 1,2,3,4,5,7,11,18,19,26,30,31 Telemann, G. 1681-1767 6,31 Ten Holt, S. b 1963 16 Tirao, C. 1941-2007 8 Tomasi, H. 1907-1971 26 Traetta, T. 1727-1779 23 Tulve, H. b1992 27 Turnage, M-A. b1960 13 Vanhal, J. 1739-1813 17 Vasks, P. b1946 6,16 Vaughan Williams, R. 18721958 4,7,28 Veale, J. 1922-2006 17 Verdi, G. 1813-1901 12,15,25 Villa-Lobos, H. 1887-1959 25 Vine, C. b1954 27 Viotti, G. 1755-1824 4,12,20 Vivaldi, A. 1678-1741 17,24,25,26 Wagner, R. 1813-1883 15,16,18,19 Wallace, W. 1860-1940 17 Walton, W. 1902-1983 11,28 Weber, B. 1766-1842 8 Weber, C.M. 1786-1826 2,7,14,15,16,24,26 Whitacre, E. b1970 13 Wilby, P. b1949 12 Williamson, M. 1931-2003 3 Younan, E. 21st c 17 Zelenka, J. 1679-1745 9 Zemlinsky, A. 1871-1942 14

sax: saxophone sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin

BIRGIT NILSSON’S WIT

ANECDOTES FROM RANDOLPH MAGRI-OVEREND bouffant hairstyle was real, Nilsson answered, “I don’t know. I haven’t pulled it yet!” Her verbal battles with Bing are legendary. When asked if he thought Nilsson was difficult, Bing, likening her to a juke-box, replied: “Not at all. You put enough money in, and a glorious voice comes out”. In retaliation, when Nilsson was preparing her tax form, she was asked if she had any dependents and answered: “Yes, just one. Rudolf Bing!”

Birgit Nilsson, whose 100th birthday anniversary we’re celebrating this month, had a wicked sense of humour. Her humour extended in particular to Rudolf Bing, then Metropolitan Opera director, conductor Herbert von Karajan and, to some extent, fellow artist and tenor, Franco Corelli plus the odd barb towards our very own Joan Sutherland with whom she once had a disagreement. Once, when asked if she thought Sutherland’s

There was also some comradely rivalry between Nilsson and Franco Corelli. They both tried to outdo each other by holding their top C as long as possible in Act II of Turandot. After Nilsson held her note a fraction longer, Corelli stormed off in a fit of pique and ranted to Bing that he couldn’t continue the performance. Bing, who was used to Corelli’s tantrums, advised the tenor to bite Nilsson’s ear when Calaf next kissed Turandot in Act III. Corelli didn’t but he mentioned it to Nilsson, whereupon Nilsson, as soon as practicable, cabled Bing that she’d had to cancel the next two performances because she was suffering from rabies!

On another occasion, when Nilsson outlasted Corelli in the high note stakes Corelli took his revenge at the end of his aria Nessun dorma. When Turandot sang La mia gloria e finita (My glory is over), Calaf was supposed to respond with No! Essa incomincia! (No! Your glory begins!). Instead Corelli sang Si! Essa finisce! (Yes! Your glory is over!) Once, when asked what her favourite roles were, Nilsson answered, “Isolde made me famous but Turandot made me rich”. She sang Isolde 33 times and Turandot 52. One of her famous recordings was of her singing Brunnhilde in the pioneer LP recording with Decca of Wagner’s Ring Cycle. The project took from 1958 to 1965. Finally, when Nilsson’s cord holding her string of pearls snapped and fell on the floor Herbert von Karajan commented: “Expensive pearls bought with your Metropolitan fees?” “No!” snapped Nilsson. “Imitation, bought from your Vienna fees!” Birgit Nilsson’s voice will be celebrated on Tuesday 15 May at 1pm.

A VOICE OF BEAUTY AND POWER

PAUL COOKE REMEMBERS FLORENCE AUSTRAL In the second half of the 19th century two opera singers were born in the Melbourne suburb of Richmond, where one, Nellie Melba, has been commemorated with a plaque, a park, a conservatorium of music and, in Melbourne, a record label; the other singer, as far as I know, not at all. Florence Wilson was born on 16 April 1892, becoming Florence Fawaz when her mother remarried. She didn’t seriously consider a career in music until she won prizes in competitions in Ballarat in 1913, enabling her to study at Fritz Hart’s Albert Street Conservatorium and later at the University of Melbourne Conservatorium. She left Australia in 1919 to study Italian opera in New York but later moved to London where she made her professional debut singing in a restaurant followed by an appearance at Albert Hall in a Sunday concert, adopting the professional name of Florence Austral. On 16 May 1922 at Covent Garden she made her operatic debut as Brünnhilde in Wagner’s Die Walküre with the British National Opera Company with which she toured Britain,

voice’. She made more than 100 recordings of songs and operatic arias and duets. In 1925 she married flautist John Amadio. For the next 20 years, while based in London, they toured North America and Europe and in 1934-35 toured Australia with the new Royal Grand Opera Company. Poor health, deteriorating vocal powers and the rise of new dramatic sopranos prompted a return to Australia in 1945. She taught at the University of Melbourne and then accepted Eugene Goossens’ offer of a position at the new Newcastle Conservatorium. singing Wagner and the title role in Verdi’s Aïda. In 1923 she appeared with Nellie Melba in the BNOC’s season. Although there was no love lost between them, Melba was impressed by her tonal purity and powerful high notes. Similarly Fred Gaisberg, recording engineer and producer at HMV, was of the opinion that ‘in the early 1920s Florence Austral was the most important recording artist we had, thanks to the beauty, power and compass of her

She died on 15 May 1968, aged 76 years. For a time Newcastle Conservatorium awarded an annual Florence Austral Memorial Scholarship. The Australian Museum of Clothing and Textiles in East Maitland has in its collection a red and black blouse of hers, a beautiful example of 1920s women’s day wear and a reminder of the time when she was a star on the international stage. We remember Florence Austral 50 years after her death in a program at 1pm on 16 May. May 2018

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What’s On BOCCHERINI’S GUITAR

arrangement by the French guitarist Pierre Jean Porro for violin, guitar and cello. The String quartet no 3 in C minor by Manuel Canales, composer to the Spanish King, is a brilliant but little-known gem of the string quartet oeuvre which transports the listener to Spain.

Australian Haydn Ensemble/ Skye McIntosh Simon Martyn-Ellis, period classical guitar Sunday 27 May, 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music Bookings: (02) 9250 7777 or www.sydneyoperahouse.com Information: www.australianhaydn.com.au Be transported to Spain with Latin-inspired works including Boccherini’s Fandango Quintet, Canales’ String quartet no 3 and Haydn’s Seven last words. The Ensemble welcomes classical period guitarist Simon Martyn-Ellis as our special guest featuring in Boccherini’s Quintet. HAYDN: THE CREATION Taryn Fiebig, Nicholas Jones, Adrian Tamburini Sydney Philharmonia Festival Chorus The Metropolitan Orchestra/Brett Weymark Saturday 26 May 2018, 5pm Centennial Hall, Sydney Town Hall Pre-concert talk 4.15pm, Northern Foyer by Fine Music presenter Meg Matthews Bookings and information: sydneyphilharmonia.com.au Tel: 8274 6200 Joseph Haydn’s visionary masterpiece depicts nothing less than the creation of the universe, in music of sublime imagination and power. The Creation has remained a muchanticipated highlight of choral seasons

Although he was Italian, Boccherini’s years living in Spain inspired this fiery and exciting chamber work. The program also includes Mozart’s famous Violin sonata, K304 in a rarely-performed

Haydn’s String quartet, op 51, The seven last words of Christ our Saviour on the Cross, represents Haydn’s only connection to Spain. This powerful work was originally scored for full orchestra and was later arranged by him for string quartet.

ever since, a delight to hear and to sing, resplendent with Classical optimism, grace and grandeur. As befits this expansive and festive work, the Sydney Philharmonia Festival Chorus and The Metropolitan Orchestra perform in the ornate splendour of Centennial Hall at Sydney Town Hall, with soloists led by luminous award-winning soprano Taryn Fiebig. Haydn said that he hoped The Creation would ‘become a source from which the careworn ... will for a while derive peace and refreshment’. As you’ll discover, his wish has come true. The warm humanity, colour and tunefulness of Haydn’s greatest creation is a life-affirming haven for audiences everywhere.

ENJOY, LEARN, DISCUSS LECTURE SERIES: Carlo Gesualdo, Composer, Prince and Murderer Presenter: Robert Small Sunday 20 May, 2.30pm Fine Music Centre 72-76 Chandos St, St Leonards Bookings and information: 9439 4777 or finemusic.fm.com

striking harmonies of the Renaissance, but whose life and legacy were forever shaped by his murder of his wife and her lover. In this talk Robert will tell Gesualdo’s story and explore his incredible music and its place in history. It’s an interesting place because Gesualdo wrote intensely expressive madrigals and sacred music in a chromatic language not heard again until the late 19th century. Robert will be joined by Consort 8, Sydney’s unique Renaissance ensemble, to perform examples of Gesualdo’s Carlo Gesualdo is one of the most mysterious music including Moro, lasso, al mio duolo which figures in music, a Prince composing the most takes erotic suffering as its central image. 44

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MUSICAL FAMILIES CATHERINE PEAKE LOOKS AT MUSICAL COUPLES they continued their musical careers and the promotion of human rights, having established public platforms for both in the United States.

Vishnevskaya and Rostropovich Two married couples, who are the focus this month, present very different examples of thework/life partnership in music. All four had established independent musical careers before their marriages which presented them with opportunities for collaboration. Mstislav Rostropovich was one of the foremost cellists of the 20th century, and his wife, Galina Vishnevskaya, was a noted operatic soprano and recitalist. Both from Russia and advocates of freedom of expression, they emigrated to the United States after harassment from the Soviet government. With the establishment of the new regime, they returned to Russia where

Rostropovich began performing in public from an early age. He became known for commissions and compositions which were written for him as well as for his performance of the traditional repertoire. Later he became a conductor, notably with the National Symphony Orchestra, Washington. After a successful career on the stage, Vishnevskaya also moved into other musical areas and opened her own opera theatre in Moscow in 2002, the Galina Vishnevskaya Opera Centre. Rostropovich and Vishnevskaya collaborated in numerous performances and recordings. The French pianist Pascal Rogé is a worldrenowned exponent of French music, having been trained at the Paris Conservatoire. Here he was encouraged by American concert pianist Julius Katchen to understand Debussy by visiting art galleries to see the work of impressionist painters such as Monet and to

read the poetry of poets such as Mallarmé. He has played with most of the major orchestras under world-renowned conductors and has pursued a recording career in parallel with performance and teaching. The marriage of concert pianist Ami Hakuno and Pascal Rogé has led to their deep exploration of the performance of piano works for four hands. Born in Tokyo, Ami attended the Juilliard School in New York and, along with her husband, has become an exponent of French music. The duo performs works both written for, and transcribed for four hands, encompassing one or two pianos. They have performed together across the world, in concert halls, festivals and in recordings. In Japan, they recently performed the premiere of Ami suite, a piece written especially for them by the Japanese-American composer Paul Chiara. Hear performances by these musical couples on Tuesdays 1 and 15 May at 2pm.

VIENNA WOODS ELAINE SIVERSEN FOLLOWS THE BIRTH OF THE WALTZ The pamphlet Proof that Waltzing is the Main Source of Weakness of the Body and Mind of our Generation was published in 1797. Its main focus was the moral danger to those who indulged in dancing the Viennese waltz. This was the first dance in which the partners danced in close proximity. The advent of the waltz in polite society was the greatest change in dance form in the history of social dancing. Before this, all European social dances were communal sequence dances with very little contact between partners. It’s unclear who devised the dance form but the Viennese waltz soon became very popular in the early 19th century with the compositions of Joseph Lanner, Johann Strauss I and Johann Strauss II. The elder Strauss gradually developed a rustic peasant dance into the sophisticated Viennese waltz in three-quarter time with a short introduction and usually with a short coda and a stirring finish. Johann Strauss II followed the style of his father’s waltzes with the same rhythmic vitality and brief melodies. After 1860, consistent with the glittery style of 19th century Imperial Vienna, he added a new sophistication,

retaining the rhythmic drive of his father’s waltzes and adding the lyricism which also characterised the waltzes of Lanner. It is said that ‘the Strauss’ orchestration is often picturesque, especially in his introductions, while that of the waltzes themselves approaches a ‘Mozartian’ clarity’. Occasionally, Strauss illustrated aspects of his homeland perhaps hoping to appeal to an international audience. One of the most famous of these is Tales from the Vienna Woods. Although there are bird calls in the music, the idea represented is not so much of the woods but of the hospitality of the small inns there serving wine and food. The happy atmosphere evoked by the waltz made it very popular. There are three interesting innovations in this waltz. The introduction is one of the longest Strauss ever wrote for a waltz. It is more like a symphonic work for the concert hall than one for the dance hall and it has a major part for the zither. This instrument is generally associated with folk music performed at

country inns and homes in rural Austria and Southern Germany but the tunes Strauss wrote for the zither are not necessarily folkish. Tales from the Vienna Woods was composed 150 years ago in 1868 and we are featuring it in the program Vienna Life on 1 May at 1pm. May 2018

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Classical CD Reviews JULIAN YU: CUTETUDES Ke Lin, piano Move MD 3419

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I’m still wondering how to categorise this CD. It mostly consists of arranged versions of wellknown classical pieces such as Beethoven’s Für Elise (here tabled as What for Elise?). Each of the 26 pieces is whimsical; in fact one could almost call them quirky. Für Elise, for example, is interrupted occasionally by a fortissimo version of Beethoven’s Fifth Symphony; a track called On wings of stars is an arranged version of Twinkle, twinkle little star made to imitate Mendelssohn’s O for the wings of a dove.

SCHUBERT: QUINTET IN A, D667, TROUT Anne-Sophie Mutter, violin; Daniil Trifonov, piano; Hwayoon Lee, viola; Maximilian Hornung, cello; Roman Patkolo, double bass DG 479 7570

✶✶✶✶ Music-making of the highest order is expected from superstar violinist, AnneSPINNING FORTH The Marais Project MOVE MCD 564

✶✶✶✶ To understand Jenny Eriksson and the Marais Project you must first understand the viola da gamba, the viol for the leg, as opposed to the viola da bracchio or viol for the arm, which is a violin. The viol first appeared in Spain in the mid to late 15th century and was most popular during Renaissance and Baroque times. How does it differ from a violin? It has a flat rather than a curved back, sloped rather than rounded shoulders, five to seven rather than four strings and is played upright, rather like a small cello. It was a favourite instrument of the French King Louis XIV and at the time Marin 46

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Also included are two excerpts from Julian Yu’s oriental version of Mussorgsky’s Pictures at an exhibition embellished with Chinese musical ornamentation and zither sounds. All are expertly played by pianist Ke Lin, a colleague of Yu. Julian Yu is no slouch at composing. In 1991 and 1994 respectively, he won the inaugural and subsequent Paul Lowin Prize for orchestral composition with Hsiang-Wen (Filigree clouds) and Three symphonic poems. There is no higher national award available to an Australian composer. However, if I must take this album to task it is that some of the tracks are so brief: some run as little as 51 and 43 seconds so that as soon as you’ve started appreciating their ingenuity, Sophie Mutter, and wunderkind pianist, Daniil Trifonov. Joined by three young soloists from the Anne-Sophie Mutter Foundation, they present a most dramatic and vigorous interpretation of Schubert’s famous Quintet. The piece is unique in having five movements instead of four and, influenced by Hummel’s instrumentation, being composed for piano quartet with double bass instead of a second violin. The imbalance created by two stars combining with lesser-known musicians is evident, particularly in the fourth movement Theme and variations. The violin introduces the theme based on Schubert’s song Die Forelle. The piano takes over in variation 1 followed by viola in variation 2 with cello and double bass in variation 3. Mutter indulges in loud high trills in her variation 1 accompaniment and tends to overpower the viola in variation 2. Variation 4 in a minor key is positively frenetic.

they’ve ‘been and gone’! Perhaps, Mr Yu might think of including audience participation in his next project or perhaps even arranging them for orchestra and lengthening each individual piece. The work begins with a forceful double octave triple arpeggio by Trifonov. It is bright and energetic, although somewhat rushed. The second movement Andante is flowing and melodious, typically Schubertian. The third movement Scherzo is very lively and features accents, sforzandi and fortepiano expression marks, offset by the calm Trio where pianissimo predominates. The Finale, like the first movement Allegro vivace, is played with an excessively aggressive approach. For greater subtlety, playfulness and elegance, the Richter and Brendel versions are preferable. The remaining works on the CD are the serene single movement Notturno in E flat, D897, and two Schubert songs, Ständchen and Ave Maria, arranged for violin and piano. Jennifer Foong

Marais was the world’s leading composer for the instrument. When Jenny founded the Marais Project she stated that she wanted to play the viol in a way which reflected the fact that she lived in Australia. At the centre of this CD is the music of the French Baroque, an arrangement by Jenny of Marais’ The tomb of Marais the Younger and a seven-movement suite by his pupil Louis de Caix d’Hervelois. The Australian element follows with Spinning forth, Paul Cutlan’s suite for viola da gamba and harpsichord, and Llew and Mara Kiek’s The streets of Forbes. Another element is added with a work by the Swedish composer Hjort Anders Olsson arranged by the group’s theorbo player, Tommie Andersson. The strange thing is that all these works not only

sound absolutely delightful, but also sound as though they could have been written in the 18th century. That’s the viola da gamba for you! Michael Morton-Evans

Classical CD Reviews

FROM DARKNESS TO LIGHT Prokofiev, Shostakovich, Rachmaninov Catherine Hewgill, cello; Vladimir Ashkenazy, piano Decca 481 6562

✶✶✶✶ Prokofiev’s Sonata for cello and piano, op 119, was written four years before his death. From 1948 he and other composers were accused of writing ‘formalist’ music not suitable for public consumption by the Zhdanov Decree. His sonata, inspired by a performance by Mstislav Rostropovich of Miaskovsky’s Cello sonata no 2, had to undergo two auditions before it was able to be performed in public. Even now, some reviews see it as ‘a caustic response to authorities’, others as ‘utterly conservative but which still pushes expressive buttons in quiet ways’.

CHOPIN EVOCATIONS Daniil Trifonov, piano Mahler CO/Mikhail Pletnev DG 479 7518

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The Russian pianist and composer Daniil Trifonov first came to world attention when he BACH CELLO SUITES Zoe Knighton Move MD 3422

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The Bach Cello Suites are in many ways the mother lode of the cello repertoire, universal and timeless, imposing and intimate. Their interpretation is an Everest for all cellists to climb, not only to overcome the daunting technical challenges to achieve an almost out-of-body state of meditation, but also to communicate this transcendence to audiences. It is worth reading Zoe Knighton’s fascinating sleeve note to this commanding recording before launching into listening to her recital. She uses language such as ‘ominous and angst ridden’, ‘gay abandon’, ‘courteous’

By contrast, Shostakovich’s Sonata for cello and piano, op 40, his first important chamber work, was written in relative artistic freedom (denunciation of his work was just around the corner), although perhaps in emotional turmoil as he had fallen in love with a young student and separated from his wife. The sonatas are performed expressively by Catherine Hewgill (Principal Cello of the SSO) and Vladimir Ashkenazy (former Chief Conductor of the SSO). Hewgill writes that the album title ‘reflects the many very dark passages in each of the two sonatas, which ultimately seem to resolve themselves into the possibility of universal light and hope’. Certainly, the beauty of some of the cello passages could suggest that, but I’m not sure the interplay of savage humour and romantic abandon is ever resolved.

became a medallist at the 2010 Warsaw XVI International Chopin Piano Competition and won First Prize at the 2011 Arthur Rubinstein International Piano Master Competition in Tel Aviv, as well as many other notable awards. He’s also known to Sydney audiences, performing to great acclaim in March last year with the SSO under the baton of Spanish conductor Gustavo Gimeno. His recent double album contains the two Chopin piano concertos and Chopin solo works, as well as pieces by Mompou, Schumann, Tchaikovsky, Grieg and Barber which pay homage to the genius of Chopin who, in Trifonov’s words, ‘revolutionised the expressive horizons of the piano’. The orchestration of the concertos has been controversially re-worked by the conductor of the Mahler Chamber Orchestra, Mikhail and ‘immense power’ to describe this music. To help me appreciate Ms Knighton’s performance I fetched a good edition of the manuscript and read the music as she played, which amply confirmed her formidable technique and imagination. Zoe Knighton presents a completely satisfying recording of the suites. She has developed an overall conception of the music which leads to a very rewarding listening experience, with beautiful phrasing, tasteful rubato, interesting but not intrusive ornaments in the French style on repeats and a clear vision of the character of each movement. Especially thrilling are her great swoops down to the lowest notes which resonate with a magisterial growl. This recording is thoroughly recommended to both new listeners and those who may already

The album is completed by an arrangement of Rachmaninov’s Vocalise, which perhaps could have been better programmed between the two more astringent major works. Paul Cooke Pletnev. The slow pace invited criticism from The Guardian (‘plodding, disengaged tempi ... for which even the sparkling clarity of Trifonov’s playing can’t really compensate’) and Gramophone (‘The opening of the reorchestrated E minor Concerto has all the energy of someone dragging themselves off the sofa after a heavy lunch’). Personally, I found those criticisms a bit harsh, and they certainly can’t be applied to Trifonov’s solo performances which are poetic and utterly beguiling, and rendered with almost hypnotic virtuosity. Highlights for me were the Variations on a theme by Chopin by Frédéric Mompou, and Mozart’s Variations on Là ci darem la mano played here as a piano solo piece. David Ogilvie

have another set of the cello suites in their collection. Robert Small [Our reviewer reduced the star rating as there were no notes about Zoe Knighton or her cello. However, this does not diminish her performance – Ed.] May 2018

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Jazz CD Reviews CHILD’S PLAY Australian National Jazz Orchestra/Nick Mulder 54 Records CD 5403

✶✶✶✶✶ The Australian National Jazz Orchestra made its debut performance at the inaugural Sydney Conservatorium International Jazz Festival Music Workshop. Its final concert performance was recorded live and is now released on the non-profit, peer-reviewed music label 54 Records, launched in 2017 by musician/ educator David Theak. It features a dazzling line-up of Australian jazz talent with cameos from Mat Jodrell on trumpet, Dave Panichi on lead trombone, James Muller on guitar, Roger Manins on tenor saxophone and Hugh Barrett on piano. Five of the six tracks are new works by the Melbourne-based composer Nick Mulder, who also conducts, and the sixth is the

AFTER THE FALL Keith Jarrett Trio ECM 2590

✶✶✶✶ CRUMP CAKE ORCHESTRA Crumpcakeorchestra.com

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“The Jazz Police is someone who is complaining, complaining all the time.” That spoken word from the title track appears about two minutes into this disc and acts like a red flag to the establishment. The sound of this 20-piece orchestra is a kind of 21st century reimagining of the Daly-Wilson Big Band which, in the 1970s, was also entertaining on the edge of jazz. Inspired by Robert Glasper and Duke Ellington, Adelaide-based orchestrator and arranger, Evan Bassani has re-arranged music by the Adelaide electro duo voiceROM. The 14 tracks are punctuated by a number of short textural thresholds which serve to 48

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alluring Duke Ellington composition Prelude to a kiss. The ensemble of cutting-edge musicians is exemplary, and the album’s running time and recording quality more than acceptable and capturing perfectly the magic of that performance which I had the enjoyment of attending. If one track was to stand out perhaps it would be A blue interlude with the stunning featured trumpet playing of Mat Jodrell along with the hearty tenor saxophone of Roger Manins. The title track, Child’s play, is Muller’s turn to shine and what a star guitarist he is. All sparkle and polished technique of a world-class standard. Awesome stuff indeed! However, this recording is not all about flashy solos, but more about the way that they This just released double disc was recorded in 1998 after Keith Jarrett’s absence from the scene after a lengthy period recuperating from chronic fatigue syndrome. Known as The Standards Trio, the musicians decided to stage a concert in New Jersey as an experiment to test Jarrett’s recovery, and as far as experiments go it appears it was successful. The 12-song set spanning more than 100 minutes captured on a DAT machine abounds with dense harmonies, classic hard bop and superb musicianship, if at times somewhat muted compared to previous performances on the Trio’s recordings, Tokyo ’96 and Whisper Not (1999). change your focus from quirky theme to musical oddity. There is plenty of funk and rhythmic drive in these mostly up-tempo pieces and the dynamism of the arrangements make maximum use of the various horn sections. The solos are infrequent but satisfying while there is plenty of fun and humour especially in the spoken word and voice manipulation. The highlight is a two-part piece Ballad of one of the trumpet players from the Shaolin Afronauts. The first part starts with a simple snare beat and solo trumpet stating the melody over a sustained synthesiser before the full trumpet and trombone sections join. The second part lifts the tempo and includes the whole orchestra channelling a glorious Stevie Wonder Master Blaster moment. The piece reaches its climax with Maynard

help to shape the music, together with an extraordinary ensemble of talented players which is truly a fusion of contemporary big band music, jazz orchestra and modern jazz. Barry O’Sullivan All the arrangements are outstanding including the opening track which is an expansive treatment of The masquerade is over, with a caressing three-minute intro by Jarrett. A rollicking Autumn leaves ends beautifully with Gary Peacock’s walking bass and Jack DeJohnette’s empathetic cymbals. Bebop highlights include a rousing rendition of Charlie Parker’s Scrapple from The Apple and Bud Powell’s Bouncin’ with Bud. The recording stands alone as an outstanding example of just playing standards and what these three musicians can create with their almost telepathic musical communication. Barry O’Sullivan

Fergusonesque screaming trumpets. No wonder this orchestra was a hit at the 2012 Adelaide Fringe Festival. Frank Presley

A HISTORY OF JAZZ IN AUSTRALIA JEANNIE McINNES INTRODUCES THE 20-PART SERIES How can a music with its beginnings as a local semi-folk tradition in New Orleans come to be a leading soundscape of the 20th century and become an international sound tapestry of modernism of its time? In the preface to his 1987 publication The Oxford Companion to Australian Jazz, Bruce Johnson comments on the bewildering rate that the 20th century music called jazz evolved. That rate is not just in the America of its birth, but in almost every country around the world. Last year we celebrated the centenary of recorded jazz, where the emergence of a new music was so aligned and intertwined with the emergence of a recording technology encouraging its dissemination that the two were shared widely. This meant that jazz became the first new music to be available, albeit with delay, around the world. As musicians and bands began introducing jazz songs and sounds into their repertoire, so came the beginnings of our local adaptation of this musical genre. The Great Depression, however, stunted the appeal of such a lively and spirited music and when Australian popular music again adopted jazz, it was under the name ‘swing’, played by dance bands such as those led by Frank Coughlan at Sydney’s Trocadero and the ABC Dance Band of Jim Davidson. This style was greatly invigorated by the influx of around a million US service personnel who passed through during the early 1940s. Following the enormous changes of WW2, Australian jazz again came to the fore. In 1946, the world’s first and longest surviving jazz festival was inaugurated as the Australian Jazz Convention, focusing on ‘traditional’ styles of jazz. Figures such as Graeme and Roger Bell and Ade Monsbourgh were not only important here in their home country, but also took their music to Czechoslovakia, France and Britain in the late 1940s and early 1950s, becoming leaders in the worldwide revival of jazz. At the same time other musicians were turning their attention towards more ‘modern’ styles. The Australian Jazz Quartet (and at times Quintet) was formed by three expats living in Canada. Bryce Rohde, Jack Brokensha and Errol Buddle, along with Dick Healey and several other US musicians, toured and recorded extensively. On home soil, we have been blessed with a plethora of excellent jazz musicians, each making their own interpretations through collective playing, improvising, exploring and developing their jazz sounds. Dave Dallwitz created jazz suites with a uniquely Australian bent, such as his Ned Kelly and Ern Malley Suites, while Ian Pearce and Tom Pickering were an integral part of a thriving scene in Tasmania. John Sangster evolved from the

trumpet to drums, vibes and percussion to become one of our leading composers. Other household names included Frank Traynor, Frank Johnson and Dick Hughes. Our musicians have continued to play on the world stage as well. Bob and Len Barnard became highly respected wherever they performed, as did Don Burrows and George Golla. James Morrison is known internationally having performed and recorded with many jazz greats. Our jazz musicians continue to play internationally, with numerous examples of performances worldwide. It is possible to list hundreds of names, but this becomes meaningless without reference to the music. Dr Bruce Johnson, author, researcher, historian, honorary Professor (Universities of Technology Sydney, Glasgow and Turku in Finland), musician and former jazz presenter here at (then) 2MBS-FM had just published The Oxford Companion to Australian Jazz (1987) when he produced and presented a multi-award winning radio series A History of Jazz in Australia. Airing from June 1988 to March 1990, this 20-part series explored not only the music, but the social context of

its time. It begins with the birth of jazz in New Orleans and takes us on a journey through our own sounds of jazz to the time of broadcast. Through it all, Bruce has firmly positioned the music into the milieu in which it was created and also taken a few detours along the way. In Fine Music’s move from old to new studio premises, these original programs have been carefully protected, and have now been retrieved, digitised and renewed for rebroadcast to mark their 30th anniversary. In them, Bruce discusses the music and musicians, with many examples to illustrate the journey. All of the music is played in full. Much of it is known to aficionados, but much is also unavailable and seldom heard. All of it is immensely interesting, and Bruce’s analysis illuminating. This is a series you will not want to miss. The programs will be played at noon on the first and third Sundays of the month, beginning on 6 May. After broadcast you will then also be able to listen again to each via our website as part of our Jazz on Demand programs under the jazz tab. May 2018

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FINE MUSIC ARTISTS-IN-RESIDENCE ENSEMBLES FIND ‘A PLACE TO CALL HOME’ “The love of field and coppice, / Of green and shaded lanes. / Of ordered woods and gardens / Is running in your veins ...” (My Country, Dorothea Mackellar) Ah! New South Wales! We are so rich with musical talent but our plains do run so wide. Year after year, we see our best talent take flight, to America, to Europe, in the hope of training and new opportunities. Sometimes it helps to look in closer corners, down the Streeton Trio greenish lanes of Chandos Street, perhaps? is testament to the idea that chamber music Since 2014, the Music Broadcasting Society of and musicians can have a proudly Australian NSW, through its radio station Fine Music, has identity whilst thriving internationally. This is been offering ensembles the chance to be its something Fine Music looks to foster. Artists-in-Residence. The Omega Ensemble Myee Clohessy of the Acacia Quartet described and the Acacia Quartet have flourished through the Residency as an experience which helped this partnership and in 2017 the Streeton her ensemble to realise its potential. The Trio became the latest ensemble to take up Acacia’s time at Chandos Street provided the residence in Studio C at Fine Music. Like the opportunity to go to Berlin to record the music Acacia Quartet (named for the wattle flower) of Günter Raphael. Now back in Australia, the the members of the Streeton Trio wear their Ensemble recently performed at the Bowral Australian connection with pride. Named after Autumn Music Festival (directed by Clohessy) the Australian painter Arthur Streeton, the Trio where Fine Music was a media partner. It is no

wonder that Clohessy encourages other ensembles to apply when the Residency need only be the start of an ongoing relationship. So what does the Residency entail? The artists are offered the benefits of being associated with a radio station, as opposed to performing in a concert venue. This is a residency which allows ensembles to realise their dreams of recording. For a year, Fine Music becomes a place to call home: space is provided to rehearse and to hold meetings, sound engineers are available to record, and the ensemble’s concerts are recorded and broadcast. This isn’t a pipe dream; it’s right there in front of you. Ensembles: Apply now for this opportunity to collaborate with an organisation which believes in nurturing local talent and which will assist you in furthering your careers. – Nicky Gluch To apply, go to finemusicfm.com/artistsin-residence. The closing date for 2019 is 15 June.

EMERGING MUSICIANS WORKSHOPS ELIZABETH HILL TELLS OF A NEW FINE MUSIC INITIATIVE

A young conductor once nervously approached Simon Rattle to ask his advice on whether he should pursue conducting as a career. Rattle’s answer was “If you’re asking that question, then probably not!” It was a way of saying that the student’s sense of vocation and motivation had to be rock-solid even to stand a chance.

A series of workshops is being developed which aims to position Fine Music at the forefront of assisting Mathisha Panagoda young musicians who are starting a professional career in music. wants your job and will take it while smiling at Workshop presenters currently include Fine you”. His advice: create your own voice, be Music’s Michael Morton-Evans and Jayson different, be unique, do something interesting, McBride, and Mathisha Panagoda and but still be relevant to your audience base. Martin Slattery, lawyers (and accomplished musicians) from our event sponsor, Carroll & We are so fortunate that Fine Music has O’Dea Lawyers. volunteers with a wealth of experience and advice to help emerging young musicians Considering a career in music is certainly not who are about to establish themselves as for the faint hearted. Every young musician has professionals, and who themselves may one many pitfalls to navigate when starting out on day be our future presenters, programmers the path of a career in music. There are difficult and volunteers. questions to be asked, and answered, and the competition is fierce. As Michael Morton- Nine aspiring musicians and composers who Evans told the group: “Everyone out there attended the first workshop on 24 February 50

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this year were given invaluable insights and advice on preparing for a career in the music industry. Michael Morton-Evans discussed career trajectory, musical identity, finding a unique voice, creating a story and how to handle interviews, with several attendees being selected at random for mock interviews. Mathisha Panagoda and Martin Slattery addressed the business side of being a professional musician and covered everything from copyright, contracts, insurances, business models, negotiations and fees to social media and more. They were extremely supportive and have kindly offered to give some pro bono advice in the future. The workshop ended with an unannounced bonus: live broadcast experience. Jayson McBride spoke about the recording process, how to prepare for it, and how to get the most out of it, and arranged a tour of the recording studio. With Jayson’s support, Fine Music will be recording some of these young musicians and, by the end of the year we hope to have enough material for a specific Emerging Musicians Program.

A GRANDMOTHER’S MUSICAL LEGACY SUE JOWELL TALKS TO PAUL COOKE

The divide between the coalfields of South Maitland and Fine Music in Chandos Street is geographically wide. However, thanks to the wisdom of Paul Cooke’s grandmother, that divide has been bridged for her grandson. “My grandmother felt that if any of her five kids were going to stay out of the mines in the South Maitland coalfields it would be through something like music. So it happened:

my father became a violist in the Sydney Symphony Orchestra and later a teacher of violin and viola at home, at Newington and at MLC Burwood.” Also it was music which brought Paul’s parents together at an eisteddfod in Newcastle. There can be no doubt that his parents instilled in him a love of music, although he fondly remembers that he ‘survived the strains of Walton’s Viola Concerto deconstructed in the next room’. His love of music began as a teenager when he discovered Mahler, Messiaen, and Henze. The names of Haydn, Hummel and Schubert joined the list of favourites much later. Another aspect of his family’s legacy was a love of teaching. For nearly 35 years Paul taught at schools up and down the Newell Highway in western New South Wales until he became the teacher-librarian at Maitland Grossmann High School where he also taught English and Studies of Religion. The notion of creating something new today for the benefit of those who follow tomorrow is clearly important to Paul. He is a volunteer with the Sydney Harbour Federation Trust

whose role it is to integrate sites into the life of the city thereby creating a lasting legacy for all to enjoy. With this in mind, when Fine Music advertised the position of Work Experience Coordinator in 2014, Paul was quick to apply and he was obviously the perfect choice. “I have enjoyed providing opportunities for Year 10 students to experience the range of activities in music broadcasting which are available,” he says. Like his colleagues at Fine Music, Paul’s creative skills have found new outlets through programming and writing articles and reviews for the Magazine and serving on the Programming Committee where, it is reported, he is making a great contribution including recently organising the programming project in March for the 100th anniversary of Debussy’s death. Thus, it is the legacy of Paul’s grandmother who indirectly instilled in him that love of music, that passion, which regularly drives him down the long highway to Chandos Street from his home in Newcastle.

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

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THE STEFAN KRUGER SCHOLARSHIP A PATHWAY TO SUCCESS musicians aged 21 to 30 the chance to establish a foothold in the profession. It is a unique award as it helps to nurture the third dimension of these musicians, in that way differing from a fellowship, which nurtures the second. Allow me to explain.

Cameron Lam, 2018 Kruger Scholar. Stefan Kruger did not seek fame or recognition; rather he dreamed of continuity. A great classical music lover, Kruger chose to ensure that Fine Music would have a future. This man was so generous that it was felt that the favour had to be repaid. If Kruger wanted to invest in the next generation, Fine Music would too. The Kruger Scholarship is proudly administered by the Music Broadcasting Society of NSW, which operates the radio station Fine Music. The Scholarship gives

Musicians, be they performers or composers, in Classical or Jazz, spend tireless hours honing their craft. The time spent practising scales or writing short sketches contributes to the first dimension; becoming a musician with a lower-case m. The second dimension is all about performance. For instrumentalists and singers, this means gigs or symphonic positions. For a composer, this is about having your work played. Fellowships become highly contested as musicians hope to hone these skills, to gain the upper-case M and become a Musician. The Kruger Scholarship presupposes these two dimensions and in doing so it helps to establish the third: identity, publicity and permanence. The words are arbitrary but the ideas are central to what it takes to be a

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professional musician. Part of what it means to graduate from a conservatoire to the ‘real world’ is for musicians to find the path they want to tread. Do you want to be a soloist or chamber musician? Compose for voice or large groups? Then, with this idea in mind, the next step is about letting the world know ‘this is who I am’. This scholarship is for people with a dream. It’s there to nurture those with a project in mind, there for those who say ‘if only’. ‘If only’ you had financial backing. Well now you will. ‘If only’ you had recording opportunity. Fine Music provides that as well. The Kruger Scholarship will open your mind; and then it will open doors. It’s a partnership of which Fine Music is very proud and we can’t wait to see what you will achieve. Don’t wait: grasp this opportunity and see where the future leads. It’s what Stefan Kruger would have wanted. – Nicky Gluch For information about the Stefan Kruger Scholarship go to finemusicfm.com/sks. Applications for the 2019 Scholarship close on 1 July.

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