Fine Music Magazine January 2018 by 2MBS Fine Music Sydney

JANUARY 2018

MAGAZINE

ROSSINI 150 Was Fame too much for Rossini?

MUSIC OF 1868 Sesquicentenary Events

SIMPLY SHOSTAKOVICH A 20th Century Giant

BELSHAZZARâ&#x20AC;&#x2122;S FEAST The Writing on the Wall

COMING UP

FEBRUARY

A Mozart Celebration

Taikoz and the SSO

Celebrate the genius of Mozart when leading pianist Emanuel Ax performs six great Piano Concertos, alongside the final three symphonies directed by Chief Conductor David Robertson.

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

EMIR AT ES ME T RO SERIES & APT MAST ER SERIES

22–24 FEBRUARY

1–10 FEBRUARY

FOR THE DIARY

2017/18 SEASON STARTS OCTOBER 28

Anne-Sophie Mutter plays Tchaikovsky

A Night at the Speakeasy

In the special event of 2018, we welcome back ‘the queen of the violin’ to play Tchaikovsky’s brilliant Violin Concerto! Ms Mutter has sold-out all her past performances with the SSO – don’t miss out!

Enter the shady world of the 1920s speakeasy for an evening of moonshine and martinis in a transformed Concert Hall. Rhapsody in Blue and other 20s hits!

29–30 JUNE

14–16 JUNE

TICKETS FROM $39*

sydneysymphony.com

T I C K E T S A L S O AVA I L A B L E AT :

OR CALL 8215 4600

Mon–Sat 9am–8.30pm Sun 10am–6pm

MON–FRI 9AM–5PM

ALL CONCERTS AT THE SYDNEY OPERA HOUSE * Selected performances. Prices correct at time of publication and subject to change. Booking fees of $5-$8.95 may apply depending on method of booking.

SYDNEYOPERAHOUSE.COM 9250 7777

CONTENTS

FROM THE CHAIR

VOL 45 No 1 2 5 6 7 8 9 10 42 43 44 45 46 47

Was Fame too much for Rossini? Sesquicentenary Events Berlioz and the Orchestra Musical Families Australia Day Celebrations An Opera Smorgasbord Musical Eras Simply Shostakovich Program Guide and Composer List Classical CD Reviews Belshazzar’s Feast Jazz CD Reviews The Influence of Jazz A Thelonius Monk Celebration Time Goes Fast … 18th Century Ballad Operas The Volunteer Known to All: Sue Nicholas

Welcome to 2018! May I wish you a healthy and prosperous New Year. January is usually the quietest month for concerts of classical music in Sydney, with most performers enjoying a well-earned break. However, here at Fine Music, we are flat out preparing for one of the biggest broadcasts in our history. Fine Music has been invited by the NSW Premier’s Department to be the radio broadcast partner for Sydney’s Australia Day celebrations: the first time that this honour has ever been awarded to a community radio station. In conjunction with Channel 10, the television broadcast partner, we will be broadcasting live, on all of our platforms, the events from Circular Quay on Friday 26 January. There will be two programs: 11.30am-12.30pm: Salute to Australia 7.30pm-9.30pm: Live from The Quay While there will be only limited classical music content in the evening concert, I hope you will still enjoy this unique departure from our regular programming and understand that this is a wonderful opportunity for us to make Fine Music known to many new listeners. January is also one of the two occasions in the year when we look to refresh our regular program schedules. Articles about new programs being introduced in January are available on pages 6, 7 and 8. If I may be allowed a personal comment, I am particularly delighted to see the return of Evenings with the Orchestra on Fridays at 8pm, after a break of several years. This allows the exploration of the work of orchestras 1974 - and 2014 conductors or of the orchestral music of specific composers and eras in much more detail than is possible in regular programming.

40 YEARS

Whatever your taste, I do hope you enjoy the new line-up and let me wish you great listening on Fine Music 102.5 and Fine Music DAB+ Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 (digital) in 2018. Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com David Brett Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Chair, Music Broadcasting Society Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay. ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES Editor: Elaine Siversen Assistant Editor: Elizabeth Hill CO-OPERATIVE LTD Sub-editors and Proof readers: Chris Blower, Di Cox, Elizabeth Hill, Sue Jowell, Maureen Meers, Helen Milthorpe Our Mission is to be Sydney’s preferred fine music broadcaster, Contributors: Chris Blower, David Brett, David Garrett, Paolo Hooke, broadcasting classical, jazz and other fine music genres for the Sue Jowell, Randolph Magri-Overend, Michael Morton-Evans, James enjoyment and encouragement of music. We currently broadcast on Nightingale, Barry O’Sullivan, Elaine Siversen The views expressed by contributors to this magazine do not necessarily FM and DAB+, streaming both from www.finemusicfm.com. Another aim is to be part of Sydney’s cultural landscape networking with musical reflect or represent the views of the publisher, Fine Music 102.5 and arts communities to support and encourage local musicians and Images: Allen Ford music education and to use our technical and broadcast resources to Program Logos: Simon Moore further this aim. Distribution Coordinator: Sissy Stewart Art Direction: Liza-Jane Smith liza@designcampaign.com.au Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Honorary Patron: Prof. Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Subscribe to Fine Music Magazine: visit www.finemusicfm.com or Richard Tognetti AO email friends@finemusicfm.com Cover image: Gioachino Rossini (Tower Grove Park, St Louis, Missouri) Emerging Artists Patron: Toby Thatcher January 2018

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WAS FAME TOO MUCH FOR ROSSINI? DAVID GARRETT’S VIEW OF THE COMPOSER’S GENIUS Who was the most famous of all composers, in his lifetime? The historian suggests: ‘Rossini’. It is hard for us to realise just how overwhelmingly popular Gioachino Rossini was in the 1820s. In 1823 the French novelist Stendhal began his unreliable but highly readable Life of Rossini: “Since Napoleon died, there is one man left about whom people speak every day in Moscow as in Naples, in London as in Vienna, in Paris as in Calcutta. This man’s fame knows no bounds other than those of civilization itself, and he isn’t even 32 yet!” Stendhal wondered whether there was in the whole of Europe any person who had never heard the aria Tu che accendi … Di tanti palpiti, from Tancredi. The afterglow of this composer’s fame is still with us, as in the name of a beef dish, tournedos Rossini, especially created for the bon vivant. Six years after Stendhal wrote his book Rossini, at the height of his fame, retired. He stopped composing operas. He had composed 39 by 1829, including some of the most popular by any composer. Rossini’s death, of which we mark the 150th anniversary in 2018, came after he hadn’t composed an opera for almost 40 years. Why should we celebrate Rossini? Not only because he was the most famous composer of his day, perhaps of any day, whose tunes were whistled around the world. Nor just for his wit, such as his quip that Wagner’s music contains some ‘fine moments, but also some bad quarters-of-an-hour’. Nor even because his life presents such an intriguing question: why did Rossini virtually stop composing for over 20 years, after the premiere of his opera William Tell, when he was only 38? He lived in Paris and became further celebrated, once his health had recovered, for his wit, his epicurean tastes and his Saturday evening receptions. His guests were a discriminating selection of the most talented musicians and writers of the day, all paying courteous deference to his devoted companion and later wife, the former demi-mondaine Olympe Pélissier.

[his] tunes were whistled around the world

”

Fame, then a ‘great renunciation’

”

Rossini’s The barber of Seville is the greatest comic hit in the history of opera. Even before the curtain goes up, the audience is delighted by a tune familiar to 2

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millions. In the 1950s the French singing group Les quatre barbus (The Bearded Foursome) sang J’ai de la barbe (I have a beard) to this tune, possibly the first Rossini music I heard. Bugs Bunny shaved Elmer Fudd, and Jerry Seinfeld eluded his own barber to the same music. Rossini, lover of irony, must have reflected wryly that the overture was originally written, not for this comedy, but for a serious opera. When Rossini met Beethoven in Vienna, he was stung by what Beethoven meant as a compliment, praising The barber of Seville, and advising Rossini, “Never try to do anything but opera buffa”. Even 40 years later, Rossini was still smarting. In the ironic preface to his Petite messe solennelle, Rossini says to God, “I was born for comic opera, as you know”. Rossini and Beethoven were the musical giants of their day. Rossini was the more famous of the two, since he was a composer for the theatre.

His celebrity can only be compared with the composers of world-wide hit musicals in our day. Rossini’s retirement at the height of his fame became known as ‘the great renunciation’. The reason remains an enigma. Perhaps it was the death of his parents? Perhaps he was out of sympathy with new trends in opera and singing? More likely his ill-health, which may have been a disease of the urinary tract, was making him neurasthenic and depressive. Most interesting is writer and composer Robert Donington’s suggestion that Rossini had ‘some strange inability to tolerate great success’ prompting the thought that Rossini could afford to retire, in more ways than one. He never gave up composing entirely, except when his health forbade it. He wrote mainly for his own pleasure and for his circle of intimates. Rossini was secretive and self-deprecating about this music, deflecting questioners with his famous irony.

Rossini never disappeared from the repertory completely: the popularity of The barber of Seville ensured that. In the 1920s the combined talents of vibrant Spanish mezzosoprano Conchita Supervia and conductor Vittorio Gui showed that Rossini’s other comic operas, such as The Italian girl in Algiers and La Cenerentola, could be brought to life when their mezzo leading roles were sung in the right keys and with the right vivacity. Meanwhile, curiosity turned to the jottings Rossini made during his ‘great renunciation’, many published under the title Sins of Old Age. Respighi quarried these and the Matinées and Soirées musicales for the brilliant Diaghilev ballet La boutique fantasque (1919) and the Sins of Old Age began to be recorded and broadcast. The late Rossini manner, deliberately simple and antipretentious, sometimes anticipates Les Six and neo-classicism (right down to some Erik Satie-like titles, such as Hygienic prelude for morning use). Rossini was both reactionary and prophet! Finally, the world is revising its judgment on the many serious operas of Rossini, such as Semiramide, Tancredi and Otello. The recent revival of the art of bel canto would have pleased Rossini. (He said the powerful tenor Tamberlik, Verdi’s Alvaro in The force of destiny, was welcome at his soirées as long as he left his top C sharp on the hook behind the door.) When sung as intended, Rossini’s serious operas reveal stage conviction along with fine musical invention. Rossini was always treated with some suspicion by German and German-influenced musicians. They may have been jealous. Weber, himself struggling to establish a German style for the stage, left a performance of Rossini’s La Cenerentola before it finished, exclaiming, “I am running away. Now I’m beginning to like the stuff myself!” In 1824

the German philosopher Hegel explained this prejudice against Rossini’s music: ‘because it is made for Italian throats, just as velvets and silks are made for elegant young women and Strasbourg pâtés for gourmets. This music must be sung as the Italians sing it, and then no other music excels it’. Rossini foresaw that his own reputation would decline along with the kind of singing he favoured. He wrote matchlessly for singers. I once had a girlfriend who was at the beginning of a career as a singer. Her roles included several of Rossini’s coloratura mezzo parts. One day after practising this music she exclaimed: “David, it’s amazing. Rossini exactly understood my voice!” Rossini’s first wife was one of the most celebrated singers of the day, Isabella Colbran, for whom he composed leading roles in many operas, including Semiramide, Otello and Moses in Egypt. Rossini’s standing in critical esteem depends on his vocal music. Those whose bias leans toward instrumental music will mainly know Rossini’s overtures. Their trademarks are a reduction to musical essentials, especially rhythm. Then there is Rossini’s love of sheer noise, achieved by brilliantly skillful orchestral means. This grabbed the attention of the public, as they went about the talkative business of attending the Italian opera house, meeting-place, casino, refreshment bar and theatre all rolled into one. Finally the famous ‘Rossini crescendo’, the piling up of instruments and volume while repeating a simple musical figure.

in imitating Haydn and, above all, Mozart, ‘the admiration of my youth, the desperation of my mature years, and the consolation of my old age’.

”

Only once did Rossini break his self-imposed silence, when he was forced to go public with music written as a private commission. There was intense interest, and the first performance of the Stabat Mater, in Paris on 7 January 1842, was a triumph. Among the soloists were superstars: soprano Grisi, tenor Mario, and bass Tamburini. One review raved that, since Haydn’s The Creation was first heard in Paris, no musical event had so impressed or moved the public. The Stabat Mater, more operatic than ecclesiastical in style, stands between the vocal virtuosity of Rossini’s youthful Messa di Gloria, and the more searching sacred style of the Petite messe solennelle scored for voices, piano and harmonium: not ‘petite’ at all, but the longest of the Sins of Old Age.

Rossini was both reactionary and prophet!

”

One of Rossini’s disarming qualities is a lightly ironic modesty. The Germans, said Rossini, have always been the greatest harmonists and the Italians the greatest melodists: “But from the moment the north produced a Mozart, the Italians were beaten on our own ground ... So, if this music is to cease being recognised as supremely beautiful, sublime, we old backnumbers can heartily bless our approaching demise, which will enable us to go and hear it in Paradise in the company of its author”.

Rossini was a master craftsman, capable of writing quickly under great pressure. Cenerentola was said to have been composed in 24 days, Barber in 13. Every composer had to be capable of that in the Italian opera factory of the day. The wonder is that Rossini produced such enduring work.

Rossini was too modest. Questioned in old age, he admitted that he did have some claim to immortality. “Do you know what will survive me? The third act of William Tell, the second act of Otello and The barber of Seville from one end to the other.”

Most of Rossini’s instrumental music has only fairly recently been revived, mainly from Sins of Old Age, but also the string sonatas Rossini claimed to have composed (aged 12) ‘having not even had a lesson in thorough-bass’. These sonatas show the boy’s delight and skill

To commemorate the death of Rossini in November 1868, Fine Music celebrates his operas on the second Wednesday of every month in At the Opera beginning with The barber of Seville on Wednesday 10 January at 8pm. January 2018

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THE VOICES OF KATE MCKINNON DAVID TENNANT JOHN CENA

HUGH JACKMAN AS P.T.BARNUM WITH MICHELLE WILLIAMS & ZAC EFFRON

THE GREATEST SHOWMAN NOW SHOWING ANDREW GARFIELD “A GORGEOUS, ROMANTIC DRAMA” INDIEWIRE “IT’S HARD TO RESIST” EMPIRE

BREATHE NOW SHOWING

BRENDAN GLEESON BEN WHISHAW HUGH GRANT

FERDINAND

PADDINGTON 2

NOW SHOWING

MATT DAMON “PERFECT…. AS BRIGHT AS A BUTTON AND AS SHARP AS A TACK.” GUARDIAN “CAPTIVATING,FUNNY..A DEEPLY HUMANE FILM” H/WOOD REPORTER

“A MASTERFUL WORK” GUARDIAN. “CINEMATIC ART” PLAYLIST. “A VOLUPTUOUS COMING OF AGE ROMANCE SET IN NORTHERN ITALY” TIME OUT N.Y.

DOWNSIZING

CALL ME BY YOUR NAME

NOW SHOWING

RIDLEY SCOTT DIRECTS MARK WAHLBERG, CHRISTOPHER PLUMMER & MICHELLE WILLIAMS

ALL THE MONEY IN THE WORLD NOW SHOWING

GARY OLDMAN SENSATIONAL AS CHURCHILL. A DELICIOUSLY UNSUBTLE TESTAMENT TO THE POWER OF WORDS AND THEIR INFINITE CAPACITY TO INSPIRE.

“GUILLERMO DEL TORO CHANNELS POURS HIS HEART, SOUL AND CONSIDERABLE CRAFT INTO AN EXQUISITE CREATURE FABLE.” SCREEN INTERNATIONAL.

DARKEST HOUR

THE SHAPE OF WATER

FROM JAN 11

FROM JAN 18

FRANCES MCDORMAND. “BRILLIANT! ONE OF THE BEST OF THE YEAR” ROGEREBERT.COM. “ENORMOUS FUN” TIMEOUT (UK)

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

FROM PIXAR ALANNA UBACH BENJAMIN BRATT GAEL GARCÍA BERNAL

COCO NOW SHOWING “CHARMING, SHARP AND FUNNY… THE KIND OF INTELLIGENT AND ARTFUL FRENCH COMEDY THAT DOESN’T COME AROUND SO OFTEN NOWADAYS” H/WOOD REPORTER

JUST TO BE SURE NOW SHOWING

TOM HANKS & MERYL STREEP DIRECTED BY STEVEN SPIELBERG

THE POST FROM JAN 11

NOW SHOWING NEW OZ COMEDY STARS GUY PEARCE, KYLIE MINOGUE DIRECTED BY STEPHAN ELLIOTT

SWINGING SAFARI FROM JAN 18

A MAJESTIC OUTBACK WESTERN BY DIRECTOR WARWICK THORNTON (SAMSON AND DELILAH) HAMILTON MORRIS, BRYAN BROWN, SAM NEILL.

SWEET COUNTRY FROM JAN 25

SESQUICENTENARY EVENTS

JAMES NIGHTINGALE WITH MUSIC OF 1868 and, in Paris, Hamlet by Ambroise Thomas. In the world of operetta, Offenbach’s La belle Hélène debuted in New York in November. During 2018 Fine Music will be bringing you special programs on or near the date of the premiere performances of these significant works.

Max Bruch In 2018, Fine Music will be celebrating a number of sesquicentenaries: that is, births, deaths and premieres in music which occurred in 1868, 150 years ago. 1868 was a momentous year in many regards. The arrival of the ship Hougoumont in Western Australia marked the end of penal transportation from the United Kingdom, while in New South Wales, Alfred, Duke of Edinburgh, survived an assassination attempt. In the USA, President Andrew Johnson was impeached in the Congress, an impeachment overturned in the Senate by just a single vote and, in London, the first traffic lights were installed in Westminster. In music, the passing of the composer Gioachino Rossini in November was perhaps the most significant occurrence and throughout 2018, the operas of Rossini will be featured in At the Opera on the second Wednesday of each month, beginning with The barber of Seville. Other deaths in music included Franz Berwald while composers born in 1868 include Scott Joplin and Granville Bantock.

In January we have two special programs in our year-long Sesquicentenary Series. The first is to honour the premiere performance of Violin concerto no 1 by Max Bruch. This work would become so popular and so loved that it has almost come to define Bruch’s career. It’s incredible to think that Bruch’s 60 years of composing could be overshadowed by one piece, this First Violin Concerto, but so it is in the case of this composer. In our program to celebrate 150 years since the premiere of his Violin Concerto, we will also explore some of Bruch’s other music. The second special program in January is to celebrate Bruckner’s Mass no 3 in F minor. This Mass appeared just before Bruckner began his symphonic writing and to put it into context, this special program features music by composers who were influential upon Bruckner in his formative years. Foremost among these was Richard Wagner, whose opera Tristan und Isolde Bruckner encountered at its premiere in 1865. The experience changed the course of Bruckner’s

However, perhaps the most vivid picture of the musical life of 1868 comes from the works premiered in that year, amongst them, Tchaikovsky’s First symphony, Brahms’ A German Requiem, Saint-Saëns’ Piano concerto no 2 and Grieg’s only Piano Concerto. Throughout 2018 we’ll be celebrating these works and many others with special programs, marked in the Fine Music Magazine Program Guide with the sesquicentenary logo. On the opera stage, 1868 brought us premieres of Wagner’s Die Meistersinger von Nürnberg

Anton Bruckner

career, ending his fascination with the rules of contrapuntal composition and encouraging him to adopt the Romantic grandeur for which his symphonies are renowned. Bruckner’s career was as an organist in Vienna. In Paris at the same time, another Wagnerian organist was making a career, César Franck. The inclusion of some organ music by Franck in this program is a way of noting the similarities between the two men, both of whom were organists, Wagnerians, and subject to considerable critical opposition in their lifetimes. In this program there is a work by Franz Liszt who, like Bruckner, was a devout Catholic, a faith expressed in several of his works. His piano tone poem, Legend of St Francis of Paola walking on the waves, composed in the early 1860s, was based upon a painting by Eduard von Steinle which Liszt owned. To compose a work of music based upon a piece of visual art was an innovation of the Romantic style of which Liszt was a leading figure. Also composed in 1868 was Bruckner’s hymn, Pange lingua, and this short choral piece will open the program. The contrast between Pange lingua and the Mass in F minor is stark. The hymn is an intimate setting of a devotional text dating back to St Thomas Aquinas, while the Mass is a monumental hour of music which takes us through the Ordinary of the Catholic Mass with choir, soloists, double winds, four horns, two trumpets, three trombones, timpani, strings and organ. In true Brucknerian manner, the score was revised four times and only published in 1924. For us today this work, 150 years on, presents a window into Bruckner’s dramatic conception of God’s word and a major step towards his symphonic masterpieces. Please join us for the Sesquicentenary programs throughout 2018 on Fine Music beginning in January with the Bruch Violin Concerto program on Friday 5 at 1pm; Rossini’s opera The barber of Seville on Wednesday 10 at 8pm; Bruckner’s choral works in Sunday Special on Sunday 28 at 3pm.

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BERLIOZ AND THE ORCHESTRA

ELAINE SIVERSEN WELCOMES THE RETURN OF A FAVOURITE Modern Orchestration. Berlioz gained a reputation as a brilliant orchestrator, and for his own compositions he often specified huge orchestral forces and conducted several concerts with more than 1000 musicians including vocal soloists, choirs and instruments and sometimes a military band.

After reading the famous book by Hector Berlioz, Les soirées de l’orchestre (Evenings with the Orchestra), Rachel Pollock posted this on the internet: “Reading this book was like being in a dysfunctional relationship with a dead genius”. This book, a scathing satire of provincial musical life in 19th century France, is ingenious and entertaining and takes the form of tales, real or imagined we cannot say, by members of a small-town opera orchestra during mediocre performances of operas. It was only one of many publications written by the composer, the most important being his Grand Treatise on Instrumentation and

Berlioz began conducting out of frustration with other conductors who failed to understand his advanced progressive works with their extended melodies and rhythmic complexity. He travelled to London and many European cities, including St Petersburg and Moscow, in order to conduct his orchestral works and to present them to audiences as he intended them to be heard. His work as a conductor convinced Charles Hallé, Hans von Bülow and others that he was the greatest conductor of his era. A second edition of the Treatise was also published with a new chapter detailing aspects of conducting. The Treatise established his reputation as a master of orchestration and the work was closely studied by Gustav Mahler and Richard Strauss, both also recognised as amongst the great orchestrators. When he was a student, Nikolai Rimsky-Korsakov, later also renowned as an orchestrator, attended the concerts

which Berlioz conducted in Moscow and St Petersburg. He was greatly influenced by Berlioz’ writings when he was compiling his own textbook on orchestration. Evenings with the Orchestra is more overtly fictional than his two other major books (the other being Mémoires), but the stories recounted are all the funnier due to the ring of truth as many of the 25 highly inventive tales were most probably based on factual incidents. In January, Fine Music returns a favourite orchestral domain to our broadcasting. Evenings with the Orchestra was named after his book but was intended as a tribute to Berlioz as a conductor and orchestrator. The programming domain was first introduced in 2001 and was broadcast weekly for 13 years. Now, after a break of three years, the Programming Committee is bringing back this popular program. Unlike the satire in Berlioz’ book, there won’t be mediocre orchestras and soloists performing poorly but a wide variety of superb soloists, orchestras and conductors who will not disappoint. Enjoy great orchestral concerts in Evenings with the Orchestra weekly on Fridays at 8pm.

MUSICAL FAMILIES Two musicians in one home, sharing not only their personal lives as husband and wife but also their artistry as performers, is the subject of both programs this month in Musical Families. Having written in the November Fine Music magazine, about Robert Schumann’s career and his wife Clara’s loving support, it is equally important to note that Robert in his turn encouraged and supported Clara as a composer and as a performing pianist. Long before her marriage, Clara had established herself as a concert pianist. She debuted at the Leipzig Gewandhaus at the age of nine and started touring as an 11-year-old. She captured the attention of 18-year-old Robert Schumann when she was nine years old and their friendship eventually led to love and a very happy marriage. The births of five children in seven years severely restricted Clara’s ability to compose and maintain a concert career. As the children grew older, she resumed her concert activities and she and Robert often toured together. 6

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After his death, she took on even more touring, mainly with their family friend, the violinist Joseph Joachim. Clara was considered to be one of the most distinguished pianists of her time and her influence over her 61-year concert career is said to have changed the format and repertoire of the piano recital and even the tastes of the listening public. Some 70 years after Clara’s death, New Year’s Eve 1966 was a momentous night for Englishborn Jacqueline du Pré and Argentinian-born Daniel Barenboim. It was the night they met and six months later they were married. Jacqueline was a child prodigy and was recognised early in her career as one of the most distinctive cellists of the second half of the 20th century. Her career was cut short by multiple sclerosis and she died at the age of 42. Daniel Barenboim began conducting lessons with Igor Markevitch in Salzburg at age nine and he was also

a piano prodigy, having given his first piano recital in Buenos Aires aged five. He went on to build a stellar career as both pianist and conductor. In an obituary for Jacqueline du Pré we read: “During the late 1960’s and early 1970’s, Miss du Pré and her husband, the conductor and pianist Daniel Barenboim, seemed a charmed couple. Often compared with Robert and Clara Schumann, they were admired for their energy, musicality and youthful glamour”. It was a magic partnership and they often performed and recorded together. Musical Families can be heard on Tuesdays 2 and 16 at 2pm.- ES

AUSTRALIA DAY CELEBRATIONS

It is very pleasing to find that Fine Music’s profile in the community has risen so significantly that the NSW Premier’s Department has appointed our radio station as a media partner to broadcast the Australia Day celebrations. 26 January, the anniversary of the arrival of the First Fleet from Great Britain in 1788, is a day in which Australians from many diverse backgrounds come together to celebrate our national day. As we know, it is a controversial date for some of our first Australians but it is also a day when we can all reflect and rejoice in the nation’s achievements and its

most successful multicultural identity as most of us are immigrants or descended from immigrants. Fine Music will be broadcasting the official Australia Day Salute from 11.30am to 12.30pm. This ceremony will involve the Australian Army, Australian Navy and Royal Australian Air Force. The Governor of New South Wales, on board HMAS Canberra in Sydney Cove, will receive the salute which will be relayed from the ship to Fine Music. On the foreshores of Sydney Harbour, school choirs will sing the National Anthem. In the afternoon, having resumed normal

programming, we’ll have a chamber music program with fine Australian artists and an Australia Day Concert beginning, tongue-in-cheek, with a work celebrating that wonderful line in our National Anthem, ‘our land is girt by sea’: a joyous work of Richard Mills called Seaside dances. To celebrate the European heritage which has enriched our lives time and time again through migration, two works composed in 1788 will follow. Remembering that not all of the Australian heritage is from our first peoples or from Europe, we remind you that our broadcasting at other times encompasses the music of other cultures, particularly in the World Music programs heard every Sunday at 1pm. We return to the live Australia Day celebrations at 7.30pm for another two hours before resuming our usual program. Live from The Quay is a harbourside show from Circular Quay with musical performances by an orchestra and many other entertainers. If you can’t be at the actual Australia Day events at Sydney Harbour, then let Fine Music be your companion in the celebrations of this special day. Please join us as Fine Music participates in the Sydney celebrations of Australia Day on 26 January at 11.30am and 7.30pm.

AN OPERA SMORGASBORD IN 2018 In the most dramatic operas, death is often the result of a tangled web of intrigue or misfortune. Many times the ‘star-crossed lovers’ die for love: betrayed (Aïda and Radamès, Tosca and Mario), thwarted (Romeo and Juliet), abandoned (Dido), punished (Norma), stabbed through jealousy (Pelléas, Tristan, Troilus, Turiddù), heartbroken (Mélisande, Isolde, Cressida), caused by insanity (Lucia di Lammermoor, Arturo and Edgardo) and misadventure (Euridice). In 2018, on the fourth Wednesday of every month, you can follow the misfortunes of all of these lovers in Died for Love, a monthly series in At the Opera. Ghoulish it may be, but what glorious music! The main feature of At the Opera this year is the series of operas on the second Wednesday of the month to celebrate the wonderful music of Gioachino Rossini who died 150 years ago. On the first and third Wednesdays, the operas will fall into two categories. The plan for the third Wednesday is to offer some wellknown operas for your continuing enjoyment: operas by Purcell, Berlioz, Massenet, Mozart, Handel, Britten and Vivaldi. However, on the

first Wednesday of the month, we’ll tantalise you with the lesser known operas of Samuel Arnold, Janácek, Peri, Granados, Cavalli, Mercadante, Boismortier, Cesti, Schreker, Salieri, Hasse and Tchaikovsky. Interspersed with these well-known and lesser known operas will be some to recognise special events such as the premieres of Hamlet by Ambroise Thomas (1868), Puccini’s Il trittico (1918), Bartók’s Duke Bluebeard’s castle (1918) and Wagner’s Die Meistersinger von Nürnberg (1868). Pelléas et Mélisande will be broadcast in March as part of special programming to commemorate the 100th anniversary of the death of Claude Debussy in 1918. As part of the celebrations for the 200th anniversary of the birth of Charles Gounod, we will present Faust and Roméo et Juliette in June. Most importantly, the recording of Faust which you will hear was specifically purchased recently for our library by a member of our Committee to ensure that we would be able to bring this opera to you. After unsuccessfully searching London record stores, he found it at La Scala, Milan.

Tomb scene from Aïda Another opera of note will be the first known opera by a woman, La liberazione di Ruggiero by Francesca Caccini, daughter of the renowned Renaissance composer, Giulio Caccini. We’ll be honouring International Women’s Day with a broadcast of this opera in March. Please join us At the Opera every Wednesday at 8pm for a smorgasbord of opera which will keep you thoroughly entertained. The Programming Committee January 2018

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MUSICAL ERAS

PLACING COMPOSERS INTO CONTEXT Many people wonder where different composers belong in the musical timeline. On Fine Music we offer programs which cover every century of notated music. We also present programs focusing on designated periods such as Baroque or Classical or Romantic, plus those centuries before and after including this current one which, while still relatively new, has a wide variety of musical styles to offer. The parameters of these periods of music are not precise, with many composers working in what we now call two different musical eras. For instance the dividing line between Renaissance and Baroque is somewhat blurred, and Baroque Wind Players there are even early and late divisions very romantic. The greatest composer of the within the Baroque, known as the Low and High Baroque. We regard the end of the Classical Era was Beethoven, who died a year Baroque as being about 1759-60 after the earlier than Schubert and probably composed deaths of J.S. Bach, Handel and Rameau. as much romantic-sounding music as Schubert. The Classical Era which follows tends to end with the death of Schubert who many think to be a Romantic but, in fact, wrote in Classical form. So much of his music sounds

As you can see, the dividing lines are quite arbitrary but they give us handy labels to attach to composers and their music so that we can place them in the context of their times.

Even the Romantic Era had an early and a late period. Consider the differences in the music of composers such as Chopin and Schumann and then of composers towards the end of the 19th century such as Wagner and Richard Strauss. Also the division between that era and the Modern Era is rather blurred with a number of ‘romantic’ composers, including Elgar and Glazunov, ‘shuffling off this mortal coil’ in the 1930s. To assist our listeners in placing some composers in context, we begin a new weekly domain called Periods and Their People. Each month, programmers of this domain will create programs on the same musical era progressing to the next time span over a period of six months. - The Programming Committee Periods and Their People will be heard every Saturday morning from 9.05am beginning in January with music of the Late Baroque (1700-1759).

Music in the tropics...

Sounds like paradise.

Festival of Chamber Music Australian

TOWNSVILLE 27 JULY — 5 AUGUST 2018

Experience world-leading chamber music in the tropical winter warmth of North Queensland. Over 30 of the world’s finest musicians will travel to Townsville for ten days of superb music making. Enjoy concerts, conversations and new connections in a wonderfully friendly atmosphere.

January 2018

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AFCM.COM.AU ARTISTIC DIRECTOR KATHRYN STOTT SAVE THE DATE START PLANNING YOUR WINTER ESCAPE NOW SIGN UP TO FESTIVAL E-NEWS Artist: Karen Gomyo. Photo: Gabrielle Revere. Image: Magnetic Island by Stephen Worner.

SIMPLY SHOSTAKOVICH

PAOLO HOOKE EXPLORES THE MUSIC OF A 20TH CENTURY GIANT

Enigmatic … tortured … shackled genius … a life coloured grey: Dmitri Shostakovich’s extraordinary life witnessed tragedy and tumultuous events. This year, over the course of 12 programs in a series called Simply Shostakovich, we’ll traverse the composer’s compositions: from his first foray into music, Scherzo for orchestra, op 1 from his student days at the Leningrad Conservatory to his final composition, Viola sonata, op 147 written just weeks before his death. Shostakovich, a towering figure in music, chronicled the horrors of Stalinism and wrote the memoir of the Russian tragedy of the 20th century. He composed his Symphony no 5 at the height of the ‘Great Terror’ in 1937, in response to Stalin’s editorial attack on him in 1936. Beneath its coded language of compliance, the symphony voices the suppressed thoughts of a tormented generation, its slow movement a requiem to the countless victims of Stalinism. “The majority of my symphonies are tombstones,” said Shostakovich in his memoirs Testimony. “Too many of our people died and were buried in places unknown to anyone, not even their relatives. I’m willing to write a composition for each of the victims,

but that’s impossible, and that’s why I dedicate my music to them all.”

the Stalin years. The second movement, with its concentrated fury, is a demonic whirlwind of a scherzo as relentless as the tyrant himself.

Symphony no 7, known as Leningrad, written in 1941 and misinterpreted as a blunt propaganda tool against the Nazi invasion, is in Shostakovich’s words “… about terror, slavery, the bondage of spirit. The Seventh is not just about fascism, but also about our [Soviet] system, about any tyranny and totalitarianism in general.” In his Symphony no 8 of 1943, Shostakovich showed himself to be the tragic poet of 20th century music. According to the writer Ilya Ehrenburg, the composer ‘confronts us with the voice of the chorus in ancient Greek tragedy’.

Writing music was the composer’s deliverance from, and his answer to, the persecution which he endured. Shostakovich, with his enormous creative will and inner strength, mastered the secret of artistic survival in a cruel age. His abiding principle was, as he told his close friend Isaak Glikman: “If they cut off both [my] hands, I will compose music anyway holding the pen in my teeth”.

Shostakovich’s protest against tyranny came at enormous personal cost. 1948 was another year of tribulation when he was censured, with other Russian composers, at a conference and forced to publicly recant. He wrote the third movement of his Violin concerto no 1 during the conference. “In the evenings, when those disgusting, shameful debates [at the sessions] were over for the day, I would come home and work on the third movement of the violin concerto. I finished it and I think it turned out well.” The concerto tells the story of the suffering of an individual with the violin playing an autobiographical role. Shostakovich’s suffering arose from his relations with several sinister figures which brought him sorrow and a bitterness colouring his life grey. Stalin was the principal of these vile figures. He wanted to control and manipulate Shostakovich as an artist. Stalin would reward and punish the composer, giving him prizes one minute and then censuring his work the next. “Stalin liked to put a man face to face with death and then make him dance to his own tune”, says Shostakovich in Testimony. For Shostakovich, Stalin was the very symbol of tyranny. The Tenth Symphony of 1953 is a bitter musical portrait of Stalin and

Yet Shostakovich, particularly in his early years, had another side, cheeky and witty. We’ll explore works like the orchestral suite Hypothetically murdered, a brilliant example of the composer’s light-hearted side. Shostakovich wrote the music in 1931 for a theatre show which combined slapstick comedy and biting political satire. The score was lost but fortunately piano sketches survived and it was reconstructed and orchestrated by the composer Gerard McBurney. Shostakovich’s music is madcap and mischievous. We’ll also feature his music for New Babylon, a 1929 film which contrasts the ‘decadent’ bourgeoisie with the ‘healthy’ working class. Shostakovich’s marvellously ambitious and brilliantly inventive score, played continuously with the film, draws on French operetta with its polkas and can-cans. The Limpid stream ballet from 1935 is set on a collective farm and puts workers en pointe, with wacky scenes of brazen vaudeville including a dog riding a bicycle, probably the first such instance in Russian ballet. Shostakovich’s music is catchy and vivacious with folk melodies, dance numbers and an assortment of waltzes and prestos. All this awaits and much more, in our fascinating journey through the music of Dmitri Shostakovich, the tormented genius of 20th century music. Simply Shostakovich will be heard in Sunday Special every month from January to December 2018 on the third Sunday commencing 21 January at 3pm. January 2018

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Monday 1 JANUARY 12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 TRAINS Prepared by Stephen Wilson

Rossini, G. Un petit train de plaisir comicoimitatif (1857-68). Marco Sollini, pf. Chandos CHAN 10520 11

Alkan, C-V. The railway, op 27 (pub. 1844). Laurent Martin, pf. Naxos 8.553434 5

Swann, D. Slow train (1963). Donald Swann, ten, pf; Michael Flanders, bar. EMI 5099960845924 4

0:00 CLASSIC-ALL THROUGH THE NIGHT

Britten, B. Night Mail (1936). Simon Russell Beale, narr; Birmingham Contemporary Music Group/Martyn Brabbins. Decca 478 5364 6

Reich, S. Different trains (1988). Kronos Quartet. Nonesuch 979 176-2 27

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

Agnew, R. Trains (1935). Tamara Anna Cislowska, pf. ABC 476 629-8 2

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1822 Prepared by Di Cox

Dreyfus, G. Suite fom A steam train passes (1974). Queensland SO/George Dreyfus. Move MD 3098 10

Felix Mendelssohn

Weber, C.M. Overture to Euryanthe, op 81 (1822-23). Philharmonia O/Neeme Järvi. Chandos CHAN 8766 10 Mendelssohn, F. Sinfonia no 8 in D (1822). Orpheus CO. DG 437 528-2 26 Schubert, F. Fantasy in C, D760, Wanderer (1822; orch. Liszt). Jorge Bolet, pf; London PO/Georg Solti. Decca 425 689-2 22 Rossini, G. Terra amica, ove respira, from Zelmira (1822). Rockwell Blake, ten; Ambrosian Singers; London SO/Maximiano Valdes. Arabesque Z 6612 11 Glinka, M. Variations on a theme by Mozart (1822). Victor Ryabchikov, pf. BIS CD-981 13 10:30 CONCERT HALL Prepared by Paul Hopwood Respighi, O. Ancient airs and dances, suite no 2 (1924). Australian CO/Christopher Lyndon-Gee. Omega OCD 1007 20 Delius, F. Violin concerto (1916; ed. Beecham). Tasmin Little, vn; Welsh National Opera O/Charles Mackerras. Argo 433 704-2 24 Brahms, J. Symphony no 2 in D, op 73 (1877). Vienna PO/Carlos Kleiber. Artists FED 013/14 37 10

Villa-Lobos, H. The little train of the Caipira, from Bachianas brasileiras no 2 (1930). London SO/Eugene Goossens. Price-less D24924 5

Theodorakis, M. The train leaves at eight. Agnes Baltsa, mezz; Kostas Papadopoulos, bouzouki; Athens Experimental O/Stavros Xarhakos. DG 419 236-2 4 Glass, P. Night train, from Einstein on the beach (1975). Philip Glass Ensemble/Michael Riesman. Elektra 7559-79323-2 20 Lumbye, H. Copenhagen steam railway galop (1847). Odense SO/Peter Guth. Unicorn-Kanchana DKP(CD)9089 4 Vriend, J. Study no 2 for men’s choir: El tren (1999). Albert van Ommen, ten; Netherlands Chamber Choir/Klaas Stok. Radio Nederland MCCP123 6

15:00 A HUNDRED YEARS APART Prepared by Frank Morrison Berwald, F. Trio in C (1845). Joszef Modrian, vn; György Kertész, vc; Kálmán Dráfi, pf. Naxos 8.555002 27 Shostakovich, D. Trio no 2 in E minor, op 67 (1944). Vienna Piano Trio. Nimbus NI 5572 28 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

“The Blues are a sort of bittersweet jazz song or dance song.”

CONTINUING PROGRAM SERIES Sunday Special, Master Key prepared by Anne Irish and James Nightingale: Sunday 7 at 3pm Musical Families prepared by Jennifer Foong: Tuesday 2, 16 at 2pm Dvorák and the Symphony prepared by Frank Morrison: Friday 5, 19 at 2.30pm PROGRAMS NOT TO BE MISSED Verdi Explored: Wednesday 3, 10, 17, 24, 31 at 3pm Showcasing Australian Artists: Streeton Trio plays Czech Masterpieces: Thursday 4 at 8pm Spartacus (Khachaturian): Saturday 13 at 3pm At the Opera, The Fairy Queen (Purcell): Wednesday 17 at 8pm Dancing Butterflies (Puccini’s Ballet: Madame Butterfly arr. Lanchbery and Offenbach’s Ballet: The Butterfly): Saturday 27 at 3pm

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

Tuesday 2 JANUARY Three romances, op 94 (1849). John Anderson, ob; Gordon Back, pf. ASV WHL 2100 13 Schumann, C. Mysterious whispers here and there, op 23 no 3 (1853). Wolfgang Holzmair, bar; Imogen Cooper, pf. Philips 462 610-2 3 Prelude and fugue in D minor, op 16 no 3 (1845). Helene Boschi, pf. Calliope CAL 9211 5

Edouard Lalo 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 Bach, J.S. Toccata in D minor, BWV913 (1707-08). Sony SM2K 52612 17 Bizet, G. Chromatic variations, op 3 (1868). Sony 88697417292 14 Glenn Gould, pf (2 above) Ravel, M. Piano concerto in G (1931). Martha Argerich, pf; London SO/Claudio Abbado. DG 476 114-7 22 Stanford, C. Villiers Trio no 3, op 138, Per aspera ad astra (1918). Gould Piano Trio. Naxos 8.570416 21 Schumann, R. Nicht schnell, from Drei Romanzen, op 94 (1849). Martha Argerich, pf; Mischa Maisky, vc. DG 469 524-2 4 10:30 CONCERT HALL Prepared by Anne Irish Khachaturian, A. Suite no 3 from Spartacus (1943). Scottish NO/Neeme Järvi. Chandos CHAN 8927 16 Lalo, E. Cello concerto in D minor (1876). Paul Tortelier, vc; City of Birmingham SO/ Louis Frémaux. EMI 7 69457 2 27 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Royal Liverpool PO/Charles Mackerras. EMI 5 65788 2 39

Otto Nicolai 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 OPERA IN CONCERT Prepared by Giovanna Grech Nicolai, O. Overture to The merry wives of Windsor (1849). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 773-6 8 Verdi, G. Pur ti riveggo, mia dolce Aïda, from Aïda (1871). Maria Callas, sop; Franco Corelli, ten; Paris National Opera TO/ Georges Prêtre. EMI CDC 7 54437 2 10 Donizetti, G. Vien, Leonora, from La favorita (1840). Dmitri Hvorostovsky, bar; Philharmonia O/Ion Marin. Philips 434 912-2 6 Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). Sydney SO/Robert Pikler. Chandos CHAN 6587 17 Verdi, G. Di Provenza il mar, from La traviata (1853). Danil Shtoda, ten; Thomas Hampson, bar; O of the Age of Enlightenment/Richard Armstrong. EMI 5 57113 2 8

Schumann, R. Evening pieces, op 73 (1849). Steven Isserlis, vc; Dénes Varjon, pf. Hyperion CDA67661 11 Schumann, C. Variations on a theme of Robert Schumann, op 20 (1853). Yoshiko Iwai, pf. Naxos 8.553501 11 Schumann, R. Sonata no 1 in A minor, op 105 (1851). Lydia Mordkovitch, vn; Gerhard Oppitz, pf. Chandos CHAN 8529 17 Schumann, C. Trio in G minor, op 17 (1846). Joseph Silverstein, vn; Colin Carr, vc; Veronica Jochum, pf. Pro Arte CDD 395 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. String quartet no 12 in F, op 96, American (1893). The Lindsays. ASV DCS 446 27 Schumann, R. Three romances, op 94 (1849). Albrecht Mayer, ob; Markus Becker, pf. Decca 478 3564 14

14:00 MUSICAL FAMILIES Robert and Clara Schumann Prepared by Jennifer Foong

Bowen, Y. Sonata no 5 in F minor, op 72 (pub. 1923). Stephen Hough, pf. Hyperion CDA66838 22

Schumann, R. Overture to Genoveva, op 81 (1850). Polish National RSO/Johannes Wildner. Naxos 8.550608 8

Danzi, F. Sonata in E flat, op 28 (1805). Michael Thompson, hn; Philip Fowke, pf. Naxos 8.553570 23

Variations on a theme by Clara Wieck, op 14 (1833). Byron Janis, pf. Mercury 434 333-2 7

Matthus, S. Nachtlieder (1987). Dietrich Fisher-Dieskau, bar; Maria Graf, hp; Cherubini Quartet. EMI CDC 7 54520 2 26 January 2018

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Wednesday 3 JANUARY Haydn, J. Symphony in G, Hob.I:47 (1772). Australian CO/Christopher Hogwood. Fine Music Tape Archive 23 12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses 13:00 LIGHT Prepared by Randolph Magri-Overend

Igor Stravinsky 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Emyr Evans Stravinsky, I. Symphony of psalms (1929). Romand Chamber Choir; Lausanne Pro Arte Choir; Brassus Choral Society; Suisse Romande O/Neeme Järvi. Chandos CHAN 9240 21 Concerto for two pianos (1931-35). Katia Labeque, pf; Marielle Labeque, pf. Philips 420 822-2 18

Davies, P. Maxwell Maxwell’s reel, with northern lights. Royal PO/Peter Maxwell Davies. Collins 15202 17 Puccini, G. E lucevan le stelle, from Tosca (1899). Plácido Domingo, ten; Philharmonia O/Giuseppe Sinopoli. DG 459 362-2 4 Bach, J.S. Cantata, BWV195: Dem Gerechten muss das Licht immer wieder aufgehen (c1742). Jan Patrick O’Farrell, treb; René Jacobs, alto; Harry van der Kamp, bass; Hanover Boys’ Choir; Heinz Hennig Collegium Vocale; Leonhardt Consort/Gustav Leonhardt. Teldec 2564 69943-7 19

Three movements from Petrushka (1921). Freddy Kempf, pf. BIS SACD-1810 15

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.

Scherzo à la russe, original jazz band version (1944). O of St Luke’s/Robert Craft. Naxos 8.557505 4

15:00 VERDI EXPLORED Part 1 Prepared by Michael Morton-Evans

Ragtime (1919). Igor Stravinsky, pf. Sony SM3K 46 291-302 3

Haydn, J. Overture to The Creation, Hob. XXI:2 (1797). Haydn Sinfonietta of Vienna/ Manfred Huss. Schwann 3-1484-2 5

Italian suite, from Pulcinella (1920). Mischa Maisky, vc; Martha Argerich, pf. DG 477 5323 18

10:30 CONCERT HALL Prepared by Denis Patterson Liszt, F. Symphonic poem no 1: What one hears on the mountain (1848-49/50/54). New Zealand SO/Michael Halász. Naxos 8.557846 29 Godard, B. Piano concerto no 2 in G minor, op 148 (1893). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA68043 29 12

Steiner, M. Charge, from The charge of the Light Brigade (1936). Moscow SO/William Stromberg. Naxos 8.570154-55 10

Verdi, G. Ah! Sgombro è il loco alfin, from Oberto (1839). Huguette Tourangeau, mezz; Suisse Romande O/Richard Bonynge. ABC 475 070-2 7 Deh! lasciate a un’alma amante, from King for a day (1840). Juan Diego Flórez, ten; Giuseppe Verdi Symphony Ch & O/Carlo Rizzi. Decca 475 550-2 6

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

Giuseppe Verdi Overture to Nabucco (1842). La Scala PO/ Riccardo Muti. Sony SBK 89738 7 Va, pensiero, sull’ali dorata, from Nabucco. Opera Australia Ch; State O of Victoria/Carlo Felice Cillario. ABC 462 006-2 5 Prelude to Act III, from I Lombardi (1843; arr. Loeb 2014). Livia Sohn, vn; Geoff Nuttall, va; Benjamin Loeb, pf. Naxos 8.573403 4 Qual voluttà trascorrere, from I Lombardi. Frances Alda, sop; Enrico Caruso, ten; Marcel Journet, bass; Walter B Rogers, cond. RCA GD 60495 4 La mia Letizia, from I Lombardi. Rolando Villazón, ten; Munich Radio O/Marcello Viotti. Virgin 5 45626 2 4 2 Prelude to Ernani (1844). BBC PO/Edward Downes. Chandos CHAN 9510 3 Ascolta o Dei, from Ernani (1844). Thomas Hampson, bar; O of the Age of Enlightenment/Richard Armstrong. EMI 5 57113 2 6 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by James Nightingale Arnold, S. Polly. Ballad opera in three acts. Libretto by John Gay. First performed London, 1777.

Wednesday 3 JANUARY POLLY: Laura Albino, sop MRS DUCAT: Eve McLeod, sop JENNY DIVER: Marion Newman, mezz CAWWAWKEE: Bud Roach, ten MORANO: Matthew Grosfeld, bass DUCAT: Jason Nedecky, bar Aradia Ensemble/Kevin Mallon. Naxos 8.660247 1:19 Synopsis at finemusicfm.com/Listen/Opera Barton, A. The disappointment (1767; arr. Samuel Adler). Ballad comic opera in two acts and epilogue. Libretto by the composer. First performed 1767; revised version first performed Washington DC, 1976. QUADRANT: Milford Fargo, ten PARCHMENT: Arden Hopkin, voice RATTLETRAP: William Sharp, bar RACCOON: Joseph Bias, voice MEANWELL: Tonio di Paolo, ten WASHBALL: John Maloy, ten McSNIP: Richard Hudson, voice TOPINLIFT: Richard Reif, bar MOLL PLACKET: Elaine Bonazzi, mezz LUCY: Ruth Denison, voice TRUSHOOP: John Denison, voice Eastman Philharmonia Chamber Ensemble/ Samuel Adler. LP Turnabout TV-S 34650 37 Synopsis at finemusicfm.com/Listen/Opera Handel, G. Concerto grosso in D minor, op 6 no 10 (1739). English Concert/Trevor Pinnock. Archiv 410 899-2 15 22:30 MUSIC OF THE 1920’S Prepared by Gael Golla Ravel, M. La valse (1921). Detroit SO/Paul Paray. Mercury 478 5092 12 Poulenc, F. Trio (1926). Alex Oguey, ob; Gillian Smith, bn; Fiona McCabe, pf. Fine Music concert recording 12 Elgar, E. The herald (1925); The prince of sleep (1925). London Symphony Ch/Vernon Handley. Hyperion CDA67019 9 Milhaud, D. Sonatina (1922). Kurt Redel, fl; Noël Lee, pf. Arion ARN 68238 9 Honegger, A. Pastorale d’été (1920). Bournemouth Sinfonietta/Tamás Vásáry. Chandos CHAN 8993 8 Villa-Lobos, H. Francette et Pia. Duo Agostino. Fine Music concert recording 15 Stravinsky, I. Wind octet (1922-23/52). Columbia Chamber Ensemble/Igor Stravinsky. Sony SM3K 46 291-302 15

Thursday 4 JANUARY 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

13:00 WOODWIND TRIOS Prepared by Gael Golla

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

Beethoven, L. Trio in B flat, op 11, Gassenhauer trio (1798). Jörg Widmann, cl; Jan Vogler, vc; Ewa Kupiec, pf. Berlin 0012862BC 20

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Paul Cooke

Arnold, M. Trio, op 6 (1942). Judith Pearce, fl; Roger Chase, va; Brian Wightman, bn. Hyperion CDA66172 11

Massenet, J. Fantasy (1896-97). Truls Mørk, vc; Suisse Romande O/Neeme Järvi. Chandos CHSA 5137 17

Poulenc, F. Trio (1926). François Leleux, ob; Jean-François Duquesnoy, bn; Emmanuel Strosser, pf. Harmonia Mundi HMN 911556 13

Vaughan Williams, R. The lark ascending (1914/20). Nicola Benedetti, vn; London PO/ Andrew Litton. Decca 478 5338 16

Hyde, M. Trio in G (1948). Christine Draeger, fl; Anne Brisk, cl; James Muir, pf. Walsingham 2WAL8036-2CD 11

Rachmaninov, S. Vocalise, op 34 no 14 (1915). Truls Mørk, vc; Jean-Yves Thibaudet, pf. Virgin 5 45119 2 6

Herzogenberg, H. Trio in D, op 61 (1889). Ingo Goritzki, ob; Barry Tuckwell, hn; Ricardo Requejo, pf. Claves 50 803 25

Trad. Walk, my beloved. Julie Fowlis, voice; Nicola Benedetti, vn; Tony Byrne, gui; Ewan Vernal, db; Éamon Doorley, bouzouki; Phil Cunningham, accordion. Decca 478 6690 4

14:30 FROM ENGLAND Prepared by Randolph Magri-Overend

Lidholm, I. Fantasia on Laudi (1977). Truls Mørk, vc. Simax PSC 1023 5 Tartini, G. Sonata in G minor, Devil’s trill (pub. 1734). Nicola Benedetti, vn; Catherine Rimer, vc; Thomas Dunford, theorbo; Christian Curnyn, hpd. Decca 476 4342 14 Ravel, M. Chansons madécasses (1926). Katerina Karnéus, mezz; Emmanuel Pahud, fl; Truls Mørk, vc; Stephen Kovacevich, pf. EMI 5 56982 2 14 10:30 CONCERT HALL Prepared by Rex Burgess Schumann, R. Overture, scherzo and finale, op 52 (1841-45). Seattle SO/Gerard Schwarz. Naxos 8.571214 18 Myaskovsky, N. Cello concerto in C minor, op 66 (1944-45). Mstislav Rostropovich, vc; Philharmonia O/Malcolm Sargent. EMI 5 65701 2 28 Martinu, B. Symphony no 3 (1944). Ukraine NSO/Arthur Fagen. Naxos 8.553349 36 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

Walton, W. Coronation march: Orb and sceptre (1952-53). English CO/Martin Neary. Cantoris-Griffin CSACD3050 9 Elgar, E. Cello concerto in E minor, op 85 (1918-19). Jacqueline du Pré, vc; London SO/John Barbirolli. EMI CMS 7 63283 2 30 Purcell, H. Dido’s lament, from Dido and Aeneas (1689). Renée Fleming, sop; Edin Karamazov, lute. Decca 478 1077 4 Vaughan Williams, R. Symphony no 5 in D (1938-43/51). Royal PO/Yehudi Menuhin. Virgin VC 90733-2 39 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 SHOWCASING AUSTRALIAN ARTISTS Part 1: Streeton Trio plays Czech masterpieces Recorded for FINE MUSIC by Andrew Dixon on 27 August 2017 Dvorák, A. Piano trio in E minor, op 90, Dumky (1891). 33 Suk, J. Elegy for piano trio, op 23 (1902). 5 Smetana, B. Piano trio in G minor, op 15 (1855). 29 Streeton Trio (all above) January 2018

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Friday 5 JANUARY

Thursday 4 JANUARY

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen

Sviatoslav Richter Part 2: Encore Haydn, J. Piano trio in G, Hob.XV:25, Gypsy rondo (1795). Streeton Trio. Fine Music concert recording 15 21:30 KURT WEILL INTERLUDE Prepared by Frank Morrison Weill, K. Symphonic nocturne: Lady in the dark (1940; arr. Robert Russell Bennett). Bournemouth SO/Marin Alsop. Naxos 8.557481 18 Buddy on the nightshift (1942). Anne Sofie von Otter, mezz; NDR SO/John Eliott Gardiner. DG 479 1044 2 Youkali, tango habanera (c1935). David Frühwirth, vn; Henri Sigfridsson, pf. Avie AV0042 5 22:00 MUSICAL PORTRAITS Of Heroes Prepared by Rex Burgess Wallace, W. Symphonic poem no 5: Sir William Wallace (1905). BBC Scottish SO/ Martyn Brabbins. Hyperion CDA66848 21 Clérambault, L-N. Cantata: La mort d’Hercule (1716). Luc Coadou, bass; Les Solistes du Concert Spirituel. Naxos 8.553743 15 Beethoven, L. 15 Variations and a fugue in E flat on an original theme, op 35, Eroica (1802). Sviatoslav Richter, pf. Olympia OCD 339 24

Bruch, M. Adagio in E minor on Celtic themes, op 56 (1890-91). Julius Berger, vc; Polish National RSO/Antoni Wit. EBS 6060 8 Mompou, F. Variations on a theme of Chopin (1938-57; arr. Loveday). Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 476 6088 25 Pasculli, A. Grand concerto on themes from Verdi’s opera, The Sicilian Vespers. Ivan Paisov, ob; Natalia Shcherbakova, pf. Naxos 8.570567 15 Andriessen, H. Variations and fugue on a theme by Johann Kuhnau (1935). The Hague Residency O/Ferdinand Leitner. Olympia OCD 504 12 Saint-Saëns, C. Variations on a theme from Beethoven, op 35 (1874). Pamela Page, pf; Max Olding, pf. Fine Music concert recording 19 10:30 CONCERT HALL Prepared by Giovanna Grech Cimarosa, D. Overture to Alessandro nell’Indie (1781). Toronto CO/Kevin Mallon. Naxos 8.570279 10 Janácek, L. Idyll for string orchestra (1878). Los Angeles CO/Gerard Schwarz. Nonesuch 79033-2 27 Shostakovich, D. Symphony no 12 in D minor, op 112, The year 1917 (1960-61). Concertgebouw O/Bernard Haitink. Decca 425 067-2 43 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 BRUCH VIOLIN CONCERTO Prepared by James Nightingale

1868

A Sesquicentenary Event

Handel, G. Vivi, tiranno! from Rodelinda, HWV19 (1725). Andreas Scholl, ct; O of the Age of Enlightenment/Roger Norrington. Decca 466 196-2 6

Bruch, M. String quintet in E flat (1918). Kazuki Sawa, va; Henschel Quartet. Neos Classics NEOS 30901 19

Strauss, R. A hero’s life, op 40 (1897-98). Sydney SO/Edo de Waart. ABC 476 595-7 45

Bruch, M. Fantasy, op 11 (1860). Martin Berkofsky, pf; David Hagan, pf. Turnabout TV 34732 10

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Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). Janine Jansen, vn; Gewandhaus O/Riccardo Chailly. Decca 475 8328 24 14:00 SINGING THE BAROQUE A recital by Fiona Campbell and David Walker Prepared by Rex Burgess Steffani, A. Volate, momenti, from La libertà contenta (1693). 2 Handel, G. I was born to weep, from Julius Caesar in Egypt. 8 Monteverdi, C. I gaze on you from The coronation of Poppea (1642). 4 Cavalli, F. I live for you from La Calisto (1652). 5 Handel, G. To thee, thou glorious son of worth, from Theodora (1750). 5 Fiona Campbell, mezz; David Walker, ct; Ironwood/ Neal Peres da Costa (all above) Vexations 840 840-1101 14:30 DVORÁK AND THE SYMPHONY Prepared by Frank Morrison Bizet, G. Suite no 1 from Carmen (1873-74). Philharmonia O/Herbert von Karajan. EMI CDM 1 66424 2 9 Raff, J. Piano concerto in C minor, op 185 (1873). Jean-François Antonioli, pf; Lausanne CO/ Lawrence Foster. Claves CD 50-8806 35 Offenbach, J. J’en prendrai un, deux, trois, from Pomme d’api (1873). Frederica von Stade, mezz; Scottish CO/Antonio de Almeida. RCA 09026 68116 2 2 Dvorák, A. Symphony no 3 in E flat, op 10 (1873). Czech PO/Jirí Belohlávek. Decca 478 6757 35 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small Mozart, W. Piano concerto no 23 in A, K488 (1786). Romola Costantino, pf; Australian CO/Peter Seymour. Fine Music Tape Archive 27

Saturday 6 JANUARY

Friday 5 JANUARY Koehne, G. Rain forest (1982). Australian Youth O/Christoph Eschenbach. ABC 426 478-2 15 Elgar, E. Symphony no 2 in E flat, op 63 (1911). Royal Concertgebouw O/André Previn. Radio Nederland RCO11004 49 Westlake, N. Suite from Antarctica (1992). Timothy Kain, gui; Tasmanian SO/David Porcelijn. Tall Poppies TP169 22 22:00 BAROQUE AND BEFORE Early music for the New Year Prepared by Susan Bell

Jean-Philippe Rameau

Emmanuel Pahud

Anon. Summer is icumen in: Worldes bliss have a good day. Hilliard Ensemble/Paul Hillier. Harmonia Mundi HMA 1951154 4

0:00 CLASSIC-ALL THROUGH THE NIGHT

Hummel, J. Andante, from Concerto in G (c1816). Craig Ogden, gui; Alison Stephens, mand. Chandos CHAN 9780 5

Parsley, O. Spes nostra à 5 5

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

Encina, J. del Oy comamos y bebamos à 4. 2 Royal Wind Music (2 above) Pan Classics PC 10377 Hume, T. Cease leaden slumber; The Queenes New-yeares gift (1607). Daniel Taylor, ct; Francis Colpron, rec; Stephen Stubbs, lute; Paul Audet, lute; Réjean Poirier, org, hpd; Les Voix Humaines. Naxos 8.554126 7 Lully, J-B. Overture and suite from Amadis (1684). Collegium Aureum/Reinhard Peters. LP Harmonia Mundi HM 20322 23 Bach, J.S. New Year chorales, BWV613615, from The little organ book (1713-15). Francesco Cera, org; Swiss RT Choir/Diego Fasolis. Brilliant Classics 94639 10 Handel, G. Overture to Teseo, HWV9 (1713). English CO/Richard Bonynge. Decca 466 434-2 6 Bach, J.S. Cantata, BWV41: Jesu, nun sei gepreiset (1725). Yukari Nonoshita, sop; Robin Blaze, ct; Jan Kobow, ten; Dominik Wörner, bass; Bach Collegium Japan/ Masaaki Suzuki. BIS CD-9033/35 28 Handel, G. Concerto grosso in D, op 3 no 6. Alastair Ross, org; English Baroque Soloists/ John Eliot Gardiner. Erato 2292-45981-2 7 Roman, J. Excerpts from New Year cantata (1726). Ilona Maros, sop; Béla Szilágyi, bar; Capella Savaria/Pál Németh. Hungaroton HCD 12943 8 Machaut, G. de My end is my beginning. Orlando Consort. Archiv 457 618-2 6

6:00 SATURDAY MORNING MUSIC with Stephen Wilson

9:05 PERIODS AND THEIR PEOPLE Late Baroque 1700-1759 Prepared by Paul Cooke Bach, C.P.E. Trio sonata in A, Wq146 (1731/47). Ensemble of the Classic Era. ABC 456 365-2 12 Fasch, J. Concerto in D. Reinhold Friedrich, tpt; Alain de Rudder, tpt; Zoltan Varga, hn; Lehel Rónai, hn; Lajos Lencsés, ob; László Párkányi, ob; Aladár Tüske, bn; Budapest Strings/Hans-Martin Linde. Capriccio 5073 11 Handel, G. Da tempeste, from Julius Caesar, HWV17 (1724). Yvonne Kenny, sop; Australian Brandenburg O/Paul Dyer. ABC 465 428-2 6 Bach, J.S. Violin concerto in E, BWV1042 (1717-23). Hilary Hahn, vn; Los Angeles CO/ Jeffrey Kahane. DG 474 199-2 16 Marais, M. Tombeau pour M. de Sainte Colombe. Rolf Lislevand, theorbo; Jordi Savall, bass viol; Jérôme Hantaï, bass viol; Pierre Hantaï, hpd. Auvidis/Valois V 4640 7 Rameau, J-P. Suite from Anacréon (1754). Capella Savaria/Mary Térey-Smith. Naxos 8.553746 22 10:30 MUSIC FOR SMALL FORCES Prepared by Brian Drummond Paganini, N. Sonata no 1 in E (c1828). Luigi Alberto Bianchi, vn; Maurizio Preda, gui. Dynamic CDS 34 11

Haydn, J. Quartet in D, Hob.III:8 (bef. 1765). Nils-Erik Sparf, vn; Lars Brolin, va; Olof Larsson, vc; Jakob Lindberg, lute. BIS CD-360 22 Bax, A. Quintet for harp and strings (1919). Mobius. Naxos 8.554507 14 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Sousa, J.P. Willow blossoms. Allentown Band/Ronald Demkee. Radio WWFM 2 3 Suppé, F. Overture to Light Cavalry (1866). CWS (Manchester) Band/Alex Mortimer. LP Fontana STFL 529 6 Fillmore, H. Teddy Trombone. Allentown Band/Ronald Demkee. AMP 21188 3 Tate, A. Somewhere a voice is calling (1911). Yorkshire Imperial Metals Band/Trevor Walmsley. LP Music for Pleasure MFP 5974 2 Rodgers, R. Slaughter on Tenth Avenue. Allentown Band/Ronald Demkee. AMP 23192 9 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 FEATURING EMMANUEL PAHUD Prepared by Gael Golla Bach, J.S. Triple concerto in A minor, BWV1044 (c 1729). Marco Rizzi, vn; Christiane Jacottett, hpd; Brescia and Bergamo Festival CO/Agostino Orizio. Fonè 90F 18-1 21 January 2018

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Saturday 6 JANUARY 17:30 STAGING MUSIC Prepared by Angela Cockburn Updating the action 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 Sergei Taneyev Prepared by Paul Cooke Jacques Offenbach Villa-Lobos, H. Jet whistle. Rebecca Rust, vc. Marco Polo 8.223527 11 Ravel, M. Chansons madécasses (1926). Katerina Karnéus, mezz; Truls Mørk, vc; Stephen Kovacevich, pf. EMI 5 56982 2 14 Jolivet, A. Sonatine (1961). Paul Meyer, cl. EMI 5 57948 2 10 Mozart, W. Flute concerto no 1 in G, K313 (1778). Berlin PO/Claudio Abbado. EMI 5 57128 2 25 Emmanuel Pahud, fl (all above) 14:30 THE BACHS Prepared by Brian Drummond Bach, J.S. Sonata in G, BWV1021 (1730-34). Catherine Mackintosh, vn; Jennifer Ward Clarke, vc; Maggie Cole, hpd. Chandos CHAN 0602/3 8 Bach, W.F. Trio no 1 in D (c1762). Alain Marion, fl; Marzio Conti, fl; Daniele Roi, hpd. Fonè 89 F 04-28 CD 9 Bach, C.P.E. Trio sonata no 1 in B flat, Wq158 (1754). Brisbane Baroque Trio. Jade JADCD 1030 6 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Offenbach, J. The Grand Duchess of Gerolstein. Operetta in three acts and four tableaux. Libretto by Henri Meilhac and Ludovic Halévy. First performed Paris, 1867. GRAND DUCHESS OF GEROLSTEIN: Huguette Tourangeau, mezz PRINCE PAUL: Richard Stilwell, ten BARON PUCK: Douglas Perry, bass FRITZ: John Walker, ten WANDA: Susan Belling, sop GENERAL BOUM: Donald Gramm, bar Sante Fé Opera Ch & O/John Crosby. Gala GL 100.552 2:12 Synopsis at finemusicfm.com/Listen/Opera 16

Taneyev, S. Symphony no 2 in B flat (1875-78, ed. Blok). Moscow RT SO/Vladimir Fedoseyev. Melodiya 33C 10-08045-46 32 Tchaikovsky, P. Piano concerto no 3 in E flat, op 75 (1892-93). Naxos 8.557257 16 Andante and finale, from Piano concerto no 3, op 79 (1893; orch. Taneyev). 20 Konstantin Scherbakov, pf; Russian PO/Dmitry Yablonsky (2 above) Viardot, P. Violin sonatina in A minor (1874). Reto Kuppel, vn; Wolfgang Manz, pf. Naxos 8.573607 11 Medtner, N. Sonata no 2 in D minor, op 11, Elegy (1904-06). Geoffrey Tozer, pf. Chandos CHAN 9153 7 Taneyev, S. My thoughts arise and fade, op 17 no 2. Vassily Svenko, bass-bar; Alexander Blok, pf. Hyperion CDA67274 1

Sunday 7 JANUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Elaine Siversen Boulanger, L. Psalm 130: Out of the depths (1917). Sally Bruce-Payne, mezz; Julian Podger, ten; Monteverdi Choir; London SO/ John Eliot Gardiner. DG 463 789-2 27 Rameau, J-P. Motet: Deus noster refugium (1713-15). Véronique Gens, sop; Isabelle Desrochers, sop; Jean-Paul Fouchécourt, ct; Hervé Lamy, bar; Peter Harvey, bass-bar; Marcos Louriero de Sa, bass-bar; Stephan Imboden, bass; Le Concert Spirituel/Hervé Niquet. Virgin 5 61526 2 25 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Rossini, G. Overture to Maometto II (1820). Academy of St Martin in the Fields/Neville Marriner. Philips 473 967-2 12 Schubert, F. The shepherd on the rock, D965 (1828). Jennifer Bates, sop; Nigel Westlake, cl; David Bollard, pf. Tall Poppies TP011 12 Kozeluch, L. Wind sextet no 3 in E flat. Consortium Classicum. Orfeo 442 981 12

Prokofiev, S. String quartet no 2 in F, op 92 (1941). Chilingirian Quartet. Chandos CHAN 8929 20

Pugnani, G. String quartet no 3 in A. Ensemble L’Astrée. Symphonia SY 93S21 22

22:00 SATURDAY NIGHT AT HOME Prepared by Paul Cooke

Kuhlau, F. Piano concerto in C, op 7 (1810). Michael Ponti, pf; Odense SO/Othmar Maga. Unicorn-Kanchana DKPCD 9110 30

Spohr, L. Double string quartet, op 65 (1823). Melos Ensemble. EMI 5 65995 2 20 Reinecke, C. Symphony no 1 in A, op 79 (1858). Rhenish PO/Alfred Walter. Naxos 8.555397 28 Moszkowski, M. Piano concerto in E, op 59 (1898). Piers Lane, pf; BBC Scottish SO/Jerzy Maksymiuk. Hyperion CDA66452 37 Britten, B. Symphonic suite from Gloriana, op 53a (1954). Keiron Moore, ob; Osian Ellis, hp; London SO/Steuart Bedford. Naxos 8.557196 27

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Haydn, J. Symphony in D, Hob.I:6, Morning (1761). English Concert/Trevor Pinnock. Archiv 423098-2 21 12:00 SPEAK EASY, SWING HARD with Richard Hughes The Golden Era of jazz, as seen through the knowledge and experience of one of Australia’s leading exponents 13:00 WORLD MUSIC: Whirled Wide with Carole Garland Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia

Sunday 7 JANUARY Bach, J.S. Prelude and fugue in C sharp minor, BWV849 (1722). Angela Hewitt, pf. Hyperion CDA67741/4 8 Moscheles, I. Melodic contrapuntal study, op 137 no 9, after J.S. Bach’s Prelude no 4 in C sharp minor (1864). Jirí Bárta, vc; Hamish Milne, pf. Hyperion CDA67521 3

Abt, F. The resounding day has now died away. 6 Klein, B. How lovely is your dwelling Lord. 5 Taipei Male Choir/Frieder Bernius (2 above) Carus 2.602/99 18:00 MOZART PIANO Prepared by Paul Hopwood

Berwald, F. Violin concerto in C sharp minor, op 2 (1820). Arve Tellefsen, vn; Royal PO/Ulf Björlin. EMI CDM 5 65073 2 21

Mozart, W. Double concerto in E flat, K365 (1779). Zoltán Kocsis, pf; Dezsö Ránki, pf; Hungarian State O/János Ferencsik. Fidelio 1812 25

14:00 CRY! Prepared by Randolph Magri-Overend

Beethoven, L. Sonata no 14 in C sharp minor, op 27 no 2, Moonlight (1801). Alfred Brendel, pf. Brilliant Classics 94272 16

Quartet no 2 in E flat, K493 (1786). Menuhin Festival Piano Quartet. Mediaphon MED 72.117 27

Sculthorpe, P. Earth cry (1986). William Barton, did; Queensland SO/Michael Christie. ABC 481 1909 11

Sibelius, J. Theme and variations in C sharp minor (1888). Tempera Quartet. BIS CD-1376 6

Górecki, H. Mama, nie placz, nie (1963). Yvonne Kenny, sop; Adelaide SO/Takuo Yuasa. ABC 476 5700 9

Chopin, F. Waltz in C sharp minor, op 64 no 2 (1846-47); Fantasy impromptu in C sharp minor, op 66 (1835). Cristina Ortiz, pf. IMP PCD 872 8

Giacomo Puccini

Massenet, J. De cet affreux combat … Pleurez! Pleurez mes yeux! from Le Cid (1885). Kiri Te Kanawa, sop; Royal Opera House O/Jeffrey Tate. EMI CDC 7 49863 2 5 Puccini, G. Signore, ascolta! … Non piangere, Liù … Ah! Per l’ultima volta, from Turandot (1920-24; compl. Alfano 1926). Montserrat Caballé, sop; Luciano Pavarotti, ten; Piero de Palma, ten; Pier Francesco Poli, ten; Tom Krause, bar; Nicolai Ghiaurov, bass; John Alldis Choir; London PO/Zubin Mehta. Decca 460 805-2 8

Kabalevsky, D. Symphony no 1 in C sharp minor, op 18 (1932). North German RPO/Eiji Oue. cpo 999 833-2 20 Prokofiev, S. Pushkin waltz in C sharp minor, op 120 no 2 (1949). Ukraine NSO/Theodore Kuchar. Naxos 8.553624 4 17:00 HOSANNA Prepared by Stephen Matthews

Bimba, bimba, non piangere, from Madama Butterfly (1904). Leontyne Price, sop; Elizabeth Bainbridge, mezz; Plácido Domingo, ten; New Philharmonia O/Nello Santi. RCA RD 85999 16

Hymns. Brightest and best of the sons of the morning; The growing limbs of God the Son; O worship the Lord in the beauty of holiness. Choir of St Paul’s Cathedral; Huw Williams, org; John Scott, cond. Helios CDH 55443 10

15:00 SUNDAY SPECIAL Master key: C sharp minor Prepared by Anne Irish

Pärt, A. Nunc dimittis. Schola Cantorum/ Hordur Askelsson. BIS CD-2200 6

Alkan, C-V. Chamber concerto in C sharp minor, op 10 no 2 (1834). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66717 8

Bach, J.S. Excerpts from Cantata BWV14. Holland Boys’ Choir; Netherlands Bach Collegium/Pieter Jan Leusink. Brilliant Classics 94365/4 12

Rachmaninov, S. Prelude in C sharp minor, op 3 no 2 (c1892). Sergei Rachmaninov; pf. Telarc 80489 4 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

Handel, G. Envy! Eldest born of Hell!, from Saul, HWV53 (1738). Dresden Chamber Choir; Dresden Baroque O/Hans-Christoph Rademann. Carus 83 248 2 Martin, M. I saw the Lord. Choir of New College, Oxford/Robert Quinney. Novum NCR 1391 10

19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Bach, W.F. Harpsichord concerto in F minor. Harmonices Mundi/Claudio Astronio. Brilliant Classics 9407 18 Winter, P. Sinfonia concertante in B flat for clarinet, bassoon, horn and violin, op 11 (pub. c1803). Consortium Classicum; Academy of St Martin in the Fields/Iona Brown. EMI 747 98 106 19 Corelli, A. Concerto grosso in C, op 6 no 10 (pub. c1712). Musica Amphion/Pieter-Jan Belder. Brilliant Classics 94112/10 12 Haydn, J. Symphony in D, Hob.I:61 (1776). Stuttgart CO/Denis Russell Davies. Sony 88697443312-23 27 20:30 NEW HORIZONS Prepared by Calogero Panvino Ferneyhough, B. Unity capsule (1976). Laura Chislett, fl. Vox Australis VAST 007-2 16 Edwards, R. Symphony, Da pacem, Domine (1992). Sydney SO/David Porcelijn. ABC 438 610-2 29 Dench, C. Sulle scale delle Fenice (1986-89). Laura Chislett, fl. Vox Australis VAST 007-2 10 Edwards, R. Maninyas, violin concerto (1988). Dene Olding, vn; Sydney SO/Stuart Challender. ABC 438 610-2 25 22:00 AFTER HOURS JAZZ with Kevin Jones

“It’s impossible to study the development of classical music without bumping into the Christian church.” – David W. Barber January 2018

fineMusic 102.5

Monday 8 JANUARY Dreyschock, A. Piano concerto in D minor, op 137 (c1850). Piers Lane, pf; BBC Scottish SO/ Niklas Willén. Hyperion CDA67086 24 12:00 SWING SESSIONS with John Buchanan 13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell

Granville Bantock 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: 1918 Prepared by Raj Gopalakrishnan Griffes, C. Poem for flute and orchestra (1918). Sharon Bezaly, fl; The Hague Residency O/Neeme Järvi. BIS BIS-1679 10 Puccini, G. O mio babbino caro, from Gianni Schicchi (1918). Anna Netrebko, sop; Mahler CO/Claudio Abbado. DG 474 8002 3 Villa-Lobos, H. The baby’s family, no 1 (1918). Sonia Rubinsky, pf. Naxos 8.554489 15 Alfvén, H. Élégie, op 38 (1918). Norrköping SO/Niklas Willén. Naxos 8.557828 12 Schmitt, F. Légende, op 66 (1918). Guido Bäumer, sax; Aladár Rácz, pf. Odradek ODRCD337 11 Elgar, E. Quartet in E minor, op 83 (1918). Goldner String Quartet. Hyperion CDA67857 28 10:30 CONCERT HALL Prepared by Derek Parker Bach, J.S. Orchestral suite no 3 in D, BWV1068 (c1729-31). Bach Collegium Japan O/Masaaki Suzuki. BIS SACD-1431 23 Bantock, G. Pagan symphony: Et ego in Arcadia vixi (1927-28). Royal PO/Vernon Handley. Hyperion CDA66630 36 18

Couperin, F. Concert no 5 in F, from Les goûts-réunis. Heinz Holliger, ob; Josef Ulsamer, va da gamba; Christiane Jaccottet, hpd. Archiv 427 167-2 11 Ibert, J. Trio (1937-42). Kees Hülsmann, vn; Marien van Staalen, vc; Ernestine Stoop, hp. Olympia OCD 469 16 Pleyel, I. Quartet. Christoff Ogg, cl; Regula Schneider, bshn; Markus Niederhauser, bshn; Andreas Ramseier, bshn. Claves CD 50-9212 17 Brahms, J. Quartet no 3 in C minor, op 60 (1855-75). Marc-André Hamelin, pf; Leopold String Trio. Hyperion CDA67471/2 35 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Bach, J. Christian Symphony in B flat, op 9 no 1. Hanover Band/Anthony Halstead. cpo 999 487-2 10

Tuesday 9 JANUARY 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 Brahms, J. Intermezzo in E flat minor, op 118 no 6 (1892). EMI CDC 7499342 5 Elgar, E. Quintet in A minor, op 84 (1918-19). Maggini String Quartet. Naxos 8.553737 36 Peter Donohoe, pf (2 above) Chopin, F. Ballade no 1 in G minor, op 23 (1831-35). Cetra CDAR 2002 9 Debussy, C. Voiles, from Préludes, bk 1 (1909-10). Memoria ABM 999-001 4 Beethoven, L. Sonata no 3 in C, op 2 no 3. PGP 11012 26 Arturo Benedetti Michelangeli, pf (3 above) 10:30 CONCERT HALL Prepared by Paul Hopwood

Stanford, C. Villiers Clarinet concerto in A minor, op 80 (1904). Emma Johnson, cl; Royal PO/Charles Groves. ASV DCA 787 21

Borodin, A. Overture to Prince Igor (1887; orch. Glazunov). Royal Liverpool PO/Charles Mackerras. Virgin VC 7 91174-2 11

Elgar, E. Symphony no 2 in E flat, op 63 (1911). Royal Concertgebouw O/André Previn. Radio Nederland RCO11004 49

Beethoven, L. Piano concerto no 1 in C, op 15 (1795). Australian CO/Stephen Kovacevich, pf & dir. EMI CD-EMX 2177 37

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

Nielsen, C. Symphony no 1 in G minor, op 7 (1890-93). Gothenburg SO/Myung-Whun Chung. BIS CD-614/616 34

19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson After François Couperin composed Concerts royaux for Louis XIV, he followed them with the Nouveau concerts with a subtitle Les goûts réunis or ‘the reunited tastes’ of French and Italian styles.

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

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Weber, C.M. Overture to Oberon (1826). Berlin PO/Herbert von Karajan. DG 419 070-2 9 Verdi, G. Parmi veder le lagrime, from Rigoletto (1851). José Carreras, ten; London PO/Jésus López Cobos. Award AWCD 29122 6

Tuesday 9 JANUARY Schubert, F. Impromptu in F minor, D935 no 1 (1827). Lili Kraus, pf. Vanguard 08 4068 71 10 Tchaikovsky, P. Marche slave, op 31 (1876). Chicago SO/Fritz Reiner. RCA 0902661958 2 10 Weiner, L. Pereg recruiting dance, op 40. Hagai Shaham, vn; Arnon Erez, pf. Hyperion CDA67735 6

Béla Bartók Handel, G. Verdi prati, selve amene, from Alcina, HWV34 (1735). Renata Tebaldi, sop; New Philharmonia O/Richard Bonynge. ABC 475 070-2 4 Mascagni, P. Intermezzo, from Cavalleria rusticana (arr. Langford). Phillip McCann, cornet; John Foster Black Dyke Mills Band/ Peter Parkes. Chandos CHAN 4502 3 Saint-Saëns, C. Mon cœur s’ouvre à ta voix, from Samson and Delilah (1877). Denyce Graves, mezz; Monte Carlo PO/Marc Soustrot. Fnac 592056 6

Mozart, W. Sonata in B flat, K358 (1773-74). Peter Frankl, pf; Tamás Vásáry, pf. ASV DCA 792 16 Debussy, C. Sonata (1916-17). Jósef Szigeti, vn; Béla Bartók, pf. Hungaroton HCD 12326-28 12 Dohnányi, E. Ruralia hungarica, op 32b (1924). Sonia Wieder-Atherton, vc; Sinfonia Varsovia/Christophe Mangou. naïve V 5178 11 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker

Wednesday 10 JANUARY 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 Telemann, G. Luther cantata: Herr, wir liegen für dir, TWV1:781. Bach Consort, Leipzig; Saxon Baroque O/Gotthold Schwarz. cpo 777 753-2 11 Concerto for three trumpets, timpani and orchestra, TWV54:D3. Akademie für Alte Musik. Harmonia Mundi HMM 902261 10 Excerpts from Johannes-Passion. Collegium Instrumentale, Brugense/Patrick Peire. Et’cetera KTC1518 11 Arias from the Leipzig Opera (1704-18). Jan Kobow, ten; United Continuo Ensemble. Panclassics PC 10237 10 Tafelmusik trio in E minor. Musica Antiqua Köln. Archiv 477 8714 12

18:00 SYDNEY SYMPHONY 2017 Produced by Andrew Bukenya

Excerpt from Oratorio: Holder Friede, heil’ger Glaube, Reformation (1755). Bavarian Radio Choir; Bavarian CO. Sony 88985373872 20

What’s on in concerts during the next month

Reinhard Goebel, cond (2 above)

Meyerbeer, G. Bellah! ma chèvre chérie! Dors, petite, from Dinorah (1859). Joan Sutherland, sop; Suisse Romande O/Richard Bonynge. Decca 475 6302 6

19:00 THE JAZZ BEAT with Lloyd Capps

10:30 CONCERT HALL Prepared by Sheila Catzel

20:00 RECENT RELEASES with James Nightingale

Bellini, V. Eccomi. Oh! quante volte, from I Capuleti e i Montecchi (1830). Angela Gheorghiu, sop; Turin Regio Theatre Ch & O/ John Mauceri. Decca 452 417-2 9

22:00 CHAMBER SOIRÉE Prepared by Rex Burgess

Haydn, J. Symphony in E flat, Hob.I:22, Philosopher (c1764). City of Birmingham SO/ Simon Rattle. EMI 5 55509 2 18

Mussorgsky, M. Kromi forest scene, from Boris Godunov (1874). Bolshoi Ch & SO/ Alexander Lazarev. Erato 4509-91723-2 7

14:00 ALUMNI OF THE FRANZ LISZT ACADEMY Prepared by Frank Morrison Dvorák, A. Overture: Carnival, op 92 (1891). London SO/Istvan Kertész. Decca 417 724-2 9 Beethoven, L. Sonata no 34 in F minor, WoO47 no 2 (c1783). Jenö Jandó, pf. Naxos 8.550255 11 Bartók, B. Violin concerto no 1 (c1908). Gyorgy Pauk, vn; Polish NSO/Antoni Wit. Naxos 8.554321 20

Dohnányi, E. Sonata in B flat minor, op 8 (1899). Maria Kliegel, vc; Jenö Jandó, pf. Naxos 8.554468 27 Chausson, E. Trio in G minor, op 3 (1881). Charmian Gadd, vn; Georg Pedersen, vc; Bernadette Balkus, pf. Fine Music concert recording 32 Bottesini, G. Gran quintetto, op 99 (1858). Turin Regio Theatre String Quintet. Chandos CHAN 10867 28 Buys, J. Romantic serenade (1905). Raphael Quartet. Olympia OOCD 508 26

Coleridge-Taylor, S. Violin concerto in G minor, op 80 (1912). Anthony Marwood, vn; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67420 32 Elgar, E. Variations on an original theme, op 36, Enigma (1898-99). London PO/Bryden Thomson. Chandos CHAN 8610 31 12:00 JAZZ SKETCHES with Robert Vale 13:00 THE RENAISSANCE AND BAROQUE Prepared by Albert Gormley Frescobaldi, G. Toccata, from Il primo libro delle canzoni (pub. 1628). Ensemble ConSerto Musico/Roberto Loreggian. Brilliant Classics 94111 2 January 2018

fineMusic 102.5

Wednesday 10 JANUARY

Thursday 11 JANUARY 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 Emyr Evans

Giovanni Pierluigi da Palestrina

Marilyn Horne

Monteverdi, C. Every lover is a warrior, from Eighth book of madrigals (pub. 1638). Consort of Musicke/Anthony Rooley. Virgin VC 7 91156-2 15

Ballet music from Macbeth. Bologna Comunale TO/Riccardo Chailly. Decca 425 108-2 10

Bloch, E. Nigun, Improvisation no 2 from Baal Shem (1923). Joshua Bell, vn; Samuel Sanders, pf. Decca 475 6715 7

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

Brahms, J. Sonata no 3 in D minor, op 108 (1886-88). Maxim Vengerov, vn; Daniel Barenboim, pf. Teldec 0630-17144-2 22

14:00 IN CONVERSATION with Michael Morton-Evans

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

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

20:00 AT THE OPERA

Kreisler, F. Caprice viennois (c1819). Joshua Bell, vn; Paul Coker, pf. Decca 444 409-2 5

1792-1868

Palestrina, G. da Missa Papae Marcelli (pub. 1567). Tallis Scholars/Peter Phillips. Gimell CDGIMB 400 37

GIOACHINO ROSSINI

Verdi, G. Notte perpetua, from I due Foscari (1844). Philharmonia O/José Cura, ten & dir. Erato 8573802322 5

Prepared by Elaine Siversen

Overture to Joan of Arc (1845). Richard Bonynge, cond. Decca 466 431-2 8

Rossini, G. The barber of Seville. Opera in two acts. Libretto by Cesare Sterbini. First performed Rome, 1816.

Nel suo bel volto ... Sotto una quercia, from Joan of Arc. Carlo Bergonzi, ten; Ambrosian Singers; Nello Santi, cond. LP Philips 6747 193 6 New Philharmonia O (2 above) Overture to Alzira (1845). BBC PO/Edward Downes. Chandos CHAN 9510 7 Miserandi avanzi ... Irne lungi, from Alzira. Carlo Bergonzi, ten; New Philharmonia O/ Nello Santi. LP Philips 6747 193 5 Prelude to Attila (1846). BBC PO/Edward Downes. Chandos CHAN 9510 3 Shouting and pillage, from Attila. Ambrosian Singers; Royal PO/Lamberto Gardelli. ABC 480 7518 2 Overture to Macbeth (1847). German Opera O/Giuseppe Sinopoli. Philips 468 183-2 4 20

Saint-Saëns, C. Introduction and rondo capriccioso, op 28 (1863). Maxim Vengerov, vn; Israel PO/Zubin Mehta. Teldec 9031-73266-2 9

COUNT OF ALMAVIVA: Paolo Barbacini, ten ROSINA: Marilyn Horne, mezz BARTOLO: Enzo Dara, bass FIGARO: Leo Nucci, bar BASILIO: Samuel Ramey, bass La Scala Theatre Ch & O/Riccardo Chailly. Sony 88697527362 2:36 Synopsis at finemusicfm.com/Listen/Opera

Waxman, F. Carmen fantasie (1947). Israel PO/Zubin Mehta. Teldec 9031-73266-2 10 Rachmaninov, S. Vocalise, op 34 no 14 (1915; arr. Parhamovsky). Virtuosi; Vag Papian, pf. EMI 5 57164 2 6 Ravel, M. Tzigane, concert rhapsody (1924). Philharmonia O/Antonio Pappano. EMI 5 57593 2 10 Maxim Vengerov, vn (3 above) Prokofiev, S. Five melodies, op 35 bis. Joshua Bell, vn; Olli Mustonen, pf. Decca 440 926-2 12 10:30 CONCERT HALL Prepared by Giovanna Grech

23:00 SONS OF BACH Prepared by Albert Gormley

Suppé, F. Overture to The jolly robbers (1867). Sydney SO/Patrick Thomas. ABC 476 4570 7

Bach, C.P.E. Sinfonia no 1 in D, Wq183 no 1 (1775-76). English CO/Raymond Leppard. Philips 426 081-2 11

Franck, C. Symphonic poem: Les éolides (1876). Belgian NO/André Cluytens. EMI 5 65153 2 10

Bach, J.C.F. Symphony in C (1770). Leipzig CO/Morten Schuldt-Jensen. Naxos 8.572217 17

Wolf-Ferrari, E. Concertino in A flat, op 34 (1947). Diego Dini Ciacci, cora; Padua and Veneto O/Zsolt Hamar. cpo 777 157-2 26

Bach, C.P.E. Cello concerto in A minor, Wq170 (1750). Miklós Perényi, vc; Ferenc Liszt CO/János Rolla. Harmonia Mundi QUI 903026 26

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Nielsen, C. Symphony no 4, op 29, The inextinguishable (1914-16). BBC SO/Andrew Davis. Virgin VC 7 91210-2 35

Thursday 11 JANUARY 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 SKETCHES Prepared by Angela Bell MacDowell, E. Woodland sketches, op 51 (1896). James Barbagallo, pf. Marco Polo 8.223631 19 Walton, W. A wartime sketchbook (arr. Palmer). Academy of St Martin in the Fields/ Neville Marriner. Chandos CHAN 8870 25

Part 2: French chamber

0:00 CONTEMPORARY COLLECTIVE

Ravel, M. Introduction and allegro for harp, flute, clarinet and string quartet (1905). Louise Johnson, hp; Australia Ensemble. Fine Music Tape Archive 10

3:00 CLASSICAL TILL DAWN

Dubois, P.M. Suite for violin, clarinet and piano (1968). Hazelwood Trio. Fine Music Tape Archive 10 21:30 GREETINGS FROM CUBA Prepared by Frank Morrison

Bowen, Y. Three sketches, op 43 (1916). Joop Celis, pf. Chandos CHAN 10593 10

Salas y Castro, E. Carol for four voices, soloist and violins, Un musiquito nuevo (1797). Coro Exaudi de Cuba/Maria Felicia Pérez. Jade 32413-2 7

Strong, G. Suite no 1, from A notebook of sketches (c1890). Moscow SO/Adriano. Naxos 8.559078 15

Nin, J. Suite espagnole (1930). David Pereira, vc; David Bollard, pf. Tall Poppies TP010 9

Burleigh, H. Southland sketches (1916). Arnold Steinhardt, vn; Victor Steinhardt, pf. Naxos 8.559235 11

Roldán, A. Suite de La rebambaramba (192728). New World SO/Michael Tilson Thomas. Argo 436 737 -2 9

14:30 AN 18TH CENTURY CONCERT Prepared by Rex Burgess

22:00 MUSICAL PORTRAITS Romeo and Juliet Prepared by Elaine Siversen

Rebel, J-F. Ballet: Les élémens (1737). Australian CO/Christopher Hogwood. Fine Music Tape Archive 23 Stuck, J-B. Héraclite et Démocrite. Jennifer Smith, sop; Thierry Félix, bar; Les Musiciens du Louvre/Marc Minkowski. Archiv 449 144-2 26 Leclair, J-M. Violin concerto in G minor, op 10 no 6 (1745). Chouchane Siranossian, vn; Munich Hofkapelle/Rüdiger Lotter, vn & dir. DHM 88875115832 17 Garnier, J-F. Simphonie concertante. Claude Villevieille, ob; Talich CO/Jan Talich. Koch 3-1475-2 16 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: Brahms at Mittagong Recorded for FINE MUSIC by Denis Eddy Brahms, J. Trio no 2 in C, op 87 (1880-82). Nathan Waks, vc. 28 Trio in E flat, op 40 (1865). Hector McDonald, hn. 29 John Harding, vn; John Winther, pf (2 above)

Friday 12 JANUARY

Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). Sydney SO/Robert Pikler. Chandos CHAN 6587 17 Prokofiev, S. Ten pieces from Romeo and Juliet, op 75 (1937). Nikolai Demidenko, pf. Hyperion CDA67018 36 Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/79/80). Oslo PO/Mariss Jansons. EMI 574113 2 19 Gounod, C. Ah! je veux vivre, from Romeo and Juliet (1859). Joan Sutherland, sop; Royal Opera House O/Francesco Molinari-Pradelli. Decca 475 6302 3 L’amour! l’amour! Ah! lève-toi, soleil, from Romeo and Juliet. Rolando Villazón, ten; French RPO/Evelino Pidò. Virgin 5 45719 2 4 Dieu! quel frisson court dans mes veines! ... Amour, ranime mon courage, from Romeo and Juliet. Nicole Cabell, sop; London PO/ Andrew Davis. Decca 475 7661 6 Salut, tombeau sombre et silencieux, from Romeo and Juliet. Rolando Villazón, ten; French RPO/Evelino Pidò. Virgin 5 45719 2 6 Rorem, N. Romeo and Juliet (1977). Fenwick Smith, fl; David Leisner, gui. Naxos 8.559674 20

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Beethoven, L. Romance no 2 in F, op 50 (1798; transcr. 1803; arr. Müller-Schott). Daniel Müller-Schott, vc; Australian CO/ Richard Tognetti. Orfeo C 080 031 A 8 Falla, M. de Seven popular Spanish songs (1915; transcr. Maréchal, Llobet). Anne Gastinel, vc; Pablo Márquez, gui. naïve V5182 14 Fauré, G. Sonata no 1 in A, op 13 (1875-76; transcr. Yo Yo Ma). Yo Yo Ma, vc; Kathryn Stott, pf. Sony SK 87287 25 Mendelssohn, F. On wings of song, op 34 no 2 (1835; arr. Maisky); Schiflied, op 71 no 4 (c1847; arr. Maisky); Song without words in A, op 62 no 6 (1845; arr. Platti). Mischa Maisky, vc; Sergio Tiempo, pf. DG 471 565-2 8 Mozart, W. Symphony no 38 in D, K504, Prague (1786; arr. Hummel). Friedemann Eichhorn, vn; Martin Rummel, vc; Uwe Grodd, fl; Roland Krüger, pf. Naxos 8.572841 26 10:30 CONCERT HALL Prepared by Frank Morrison Rossini, G. Overture to The thieving magpie (1817). National PO/Riccardo Chailly. Decca 400 049-2 9 Biscogli, F. Concerto in D. Maurice Bourge, ob; Maurice Allard, bn; Maurice André, tpt; Württemberg CO/Jörg Faerber. EMI CMS 7 69880 2 23 Strauss, R. An alpine symphony, op 64 (1911-15). Philadelphia O/André Previn. EMI 5 74116 2 49 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 IT’S ALL ABOUT THE GIRLS Prepared by Mariko Yata Hildegard of Bingen. Ave, generosa. Margaret Philpot, cont. Hyperion CDS44251 5 January 2018

fineMusic 102.5

Friday 12 JANUARY Mendelssohn, Fanny. Sonata in G minor (1843). Heather Schmidt, pf. Naxos 8.570825 18

0:00 CLASSIC-ALL THROUGH THE NIGHT

Beach, A. Theme and variations in A minor, op 80 (1920). Ambache. Chandos CHAN 9752 21

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

Smyth, E. Serenade in D (1890). BBC PO/ Odaline de la Martinez. Chandos CHAN 9449 35

9:05 PERIODS AND THEIR PEOPLE Late Baroque 1750-1759 Prepared by Robert Small

6:00 SATURDAY MORNING MUSIC with David Garrett

Vivaldi, A. Concert for the Prince of Poland. Academy of Ancient Music/Andrew Manze. Harmonia Mundi HMU 907230 1:05

Caccini, F. Lasciatemi qui solo (1618). Maria Christina Kiehr, sop; Concerto Soave. Ambronay AMY025 7 Schmidt, Heather. Piano concerto no 2 (2001). Christina Petrowska Quilico, pf; Kitchener-Waterloo SO/Daniel Warren. Centrediscs CMCCD 17011 25 15:00 MORNING Prepared by Randolph Magri-Overend Suppé, F. Overture to Morning, noon and night in Vienna. Sydney SO/Joseph Post. ABC RRCS 1472 8

Alban Berg Bartók, B. Concerto for orchestra (1943). Melbourne SO/Hiroyuki Iwaki. Virgin VC 7 91106-2 37 Berg, A. Violin concerto (1935). Daniel Hope, vn; BBC SO/Paul Watkins. Warner 2564 60291-2 29 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic

Donizetti, G. Les bonnes âmes du pays ... Le jour naissait dand le bocage, from The daughter of the regiment (1840). Joan Sutherland, sop; Heather Begg, mezz; Gregory Yurisich, bass-bar; Elizabethan Sydney O/Richard Bonynge. ABC 472 094-2 11

Telemann, G. Trio sonata in D minor (1718). 7

Strauss, R. Die Heil’gen drei Könige aus Morgenland. Gundula Janowitz, sop; Academy of London/Richard Stamp. Virgin 5 61324 2 6

Bach, C.P.E. 12 Variations in D minor on Folie d’Espagne, Wq118 no 9 (1777). Andreas Staier, hpd. Harmonia Mundi RD 77025 9

Rubbra, E. The morning watch, op 55 (1941). BBC Welsh National Ch/Richard Hickox. Chandos CHAN 9441 13

Telemann, G. Trio sonata in D, TWV41d6 (1718). 9

Britten, B. Matinées musicales after Rossini, op 24 (1941). English CO/Alexander Gibson. EMI 1 66442 2 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps

Bach, J.S. Sonata in B minor, BWV1030 (1736-37). 17 Members of Paradiso Musicale (2 above) BIS CD 1895

Bach, C.P.E. Sonata in G minor, Wq88 (1759). 17

Telemann, G. Concerto in E minor for recorder, flute and strings. Musica Antiqua Cologne/Reinhard Goebel. DG 469 664-2 13 10:30 SMALL FORCES Prepared by Paul Hopwood Dvorák, A. Piano trio no 1 in B flat, op 21 (1875). Raphael Trio. Newport NCD 60074 31 Haydn, J. Quartet in D (c1765; arr. from String quartet, op 2 no 2). Karin Schaupp, gui; members of Flinders Quartet. ABC 476 4435 23 11:30 ON PARADE Prepared by Robert Small Vaughan Williams, R. Tuba concerto (1954). James Gourlay, tuba. 13 Hindson, M. RPM, headbanger. 10 Davis, L. Keystone cops. 2 Leyland Band/Michael Fowles (all above) Faber 0-571-52287-4 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

Telemann, G. Trio sonata in G minor, TWV42:g9. 8

14:00 BELSHAZZAR’S FEAST Prepared by Chris Blower

Bach, C.P.E. Trio sonata in F, Wq163 (1755). 10

Walton, W. Belshazzar’s feast (1931/48/57). Christopher Purves, bar; Huddersfield Choral Society; Leeds Philharmonic Ch; Laudibus; Simon Lindley, org; English Northern PO/Paul Daniel. Naxos 8.555869 34

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Members of Paradiso Musicale (4 above) BIS CD 1895

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Katy Rogers-Davies

Bach, J.S. Sonata no 1 in B minor, BWV1014 (bef. 1725). Richard Tognetti, vn; Daniel Yeadon, vc; Neal Peres da Costa, hpd. ABC 476 594-2 13

Sibelius, J. Belshazzar’s feast, op 51 (1906). Lilli Paasikivi, mezz; Lahti SO/Osmo Vänskä. BIS CD-735 20

Bach, C.P.E. Sonata in E minor, Wq59 no 1 (1784). Andreas Staier, fp. Harmonia Mundi RD 77025 9

Khachaturian, A. Ballet: Spartacus (1943). RIAS Chamber Choir; German SO/Michail Jurowski. Capriccio C5112 2:17

Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). Royal Concertgebouw O/Nikolaus Harnoncourt. Teldec 4509-91184-2 26 Mahler, G. Rückert-Lieder (1902). Peter Coleman-Wright, bar; Sydney SO/Edo de Waart. Sydney Symphony SSO201204 20 22

Saturday 13 JANUARY

Telemann, G. Concerto primo in G, from Paris quartets (1736). Musica ad Rhenum. Brilliant Classics 94104 10

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

15:00 SPARTACUS

Rachmaninov, S. Étude-tableau in E flat minor, op 39 no 5 (1916-17). Mikhail Pletnev, pf. DG 471 157-2 5

Saturday 13 JANUARY

Sunday 14 JANUARY

17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Chorus: peasants 18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Herrmann, B. Excerpts from Hangover Square (1941). Chandos CHAN 10577 17 Excerpts from Citizen Kane (1941). Orla Boylan, sop. Chandos CHAN 10577 12 BBC PO/Rumon Gamba (2 above) Excerpts from Vertigo (1958). Sinfonia of London/Muir Matheson. Mercury 422 106-2 20 20:00 INFLUENCES AND CONNECTIONS Nicolai Myaskovsky Prepared by Rex Burgess

Johann Nepomuk Hummel 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Robert Small

Rimsky-Korsakov, N. Overture to May night (1880). Bournemouth SO/Paavo Berglund. EMI CDM 1 66428 2 8

Rutter, J. Gloria (1974). Choir of King’s College, Cambridge; Choir of Gonville and Caius College, Cambridge; City of Birmingham SO/Stephen Cleobury. EMI 5 57952 2 18

Lyadov, A. Variations on a theme by Glinka, op 35 (1894). Stephen Coombs, pf. Hyperion CDA66986 16

Josquin Desprez. Ave Maria, Virgo serena. Gabrieli Consort/Paul McCreesh. DG 477 7635 7

Glazunov, A. Spring, op 34 (1891). Moscow SO/Igor Golovschin. Naxos 8.553838 14 Myaskovsky, N. Alastor, op 14, symphonic poem after Shelley (1913). Russian Federation SO/Yevgeny Svetlanov. Warner Classics 69689-8 25 String quartet no 6 in G minor, op 49 (193940). Taneyev Quartet. Russian RD 11 031 23 Prokofiev, S. Piano concerto no 4 in B flat, op 53 (1931). Jean-Efflam Bavouzet, pf; BBC PO/Gianandrea Noseda. Chandos CHAN 10802(2) 24 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Saint-Saëns, C. Suite from ballet Javotte (1896). Monte Carlo PO/David Robertson. Auvidis V 4688 21 Mendelssohn, F. Songs without words, bk 1, op 19b (1842-44). Daniel Barenboim, pf. DG 453 061-2 15 Dvorák, A. Quartet no 9 in D minor, op 34 (1877). American String Quartet. apex 79671 2 30 Wallace, W. Creation symphony (1899). BBC Scottish SO/Martyn Brabbins. Hyperion CDH55465 47

Zelenka, J. Litaniae lauretanae (1741-44). Nancy Argenta, sop; Michael Chance, ct; Christoph Prégardien, ten; Gordon Jones, bass; Stuttgart Chamber Choir; Tafelmusik Baroque O/Frieder Bernius. Harmonia Mundi RD 77922 28 10:00 THE CLASSICAL ERA Prepared by Di Cox Giuliani, M. Introduction, theme with variations and polonaise. Pepe Romero, gui; Academy of St Martin in the Fields/Neville Marriner. Philips 454 262-2 20

Antal Dorati Dussek, J. Sonata in C minor, op 35 no 3 (pub. 1797). Gabriella dall’Olio, hp. Claves 50 9301 7 Dittersdorf, C. Symphony in C, The four ages of the world (pub. 1767). Failoni O/ Hanspeter Gmür. Naxos 8.553368 17 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 with Anna Tranter 14:00 BAROQUE CHAMBER AND ORCHESTRAL Prepared by Andrew Dziedzic Zelenka, J. Capriccio no 5 in G (1729). NeuEröffnete O/Jürgen Sonnentheil. cpo 999 629-2 17 Bach, J.S. Sonata in A, BWV1032 (1736-37). Pauliina Fred, fl: Aapo Häkkinen, hpd. Naxos 8.573376 12 Zelenka, J. Simphonie à 8 concertanti in A minor (1723). Neu-Eröffnete O/Jürgen Sonnentheil. cpo 999 629-2 25

Hummel, J. Piano trio no 1 in E flat, op 12 (c1803). Borodin Trio. Chandos CHAN 9529 21

15:00 SUNDAY SPECIAL Alumni of the Franz Liszt Academy Prepared by Frank Morrison

Ryba, J. Pastorely. Magdalena Kožená, mezz; Capella Regia Musicalis/Robert Hugo. Archiv 477 8365 10

Kodály, Z. Dances of Galánta (1933). Philharmonia Hungarica/Antal Dorati. Decca 443 006-2 15

Haydn, J. Andante and variations in F minor, Hob.XVII:6 (1793). Sviatoslav Richter, pf. Stradivarius STR 33343 13

Bruch, M. Kol nidrei, op 47 (1881). János Starker, vc; London SO/Antal Dorati. Mercury 432 001-2 10

Weber, C.M. Clarinet concerto no 2 in E flat, op 74 (1811). Thea King, cl; London SO/Alun Francis. Hyperion CDA66088 23

Mozart, W. Mentre ti lascio, oh figlia, K513 (1787). Lászlo Polgár, bass; Franz Liszt CO/ Raymond Leppard. Sony SK 45 855 8 January 2018

fineMusic 102.5

Sunday 14 JANUARY Bartók, B. String quartet no 4 (1928). Takács Quartet. Decca 476 280-2 23 Elgar, E. Overture: Cockaigne, op 40, In London Town (1900-01). Philadelphia O/ Eugene Ormandy. Sony SB2K 63247 15 Mahler, G. In diesem Wetter, from Kindertotenlieder (1901-4). Bernardette Greevy, mezz; Irish NSO/János Fürst. Naxos 8.554156 7 Bach, J.S. Italian concerto in F, BWV971 (1735). András Schiff, pf. Decca 475 193-2 12 Gounod, C. Ballet music from Faust (1859). Royal Opera House O/Georg Solti. Decca 476 2724 16 17:00 HOSANNA Prepared by Meg Matthews Hymns. All creatures of our God and King; Ye that know the Lord; King of glory. Massed choirs of RSCM; Martin How, org; Michael Laird Brass Ensemble/Lionel Dakers. Argo 421 418-2 12

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 Serenade in D, op 41 (1803). Emmanuel Pahud, fl; Eric Le Sage, pf. naïve V 4863 24 19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello Berlioz, H. Overture to Benvenuto Cellini, op 23 (1836-38). New York PO/Pierre Boulez. Sony SM3K 64 103 10 Walton, W. Viola concerto (1928-29/36/61). Yehudi Menuhin, va; New Philharmonia O/ William Walton. EMI 5 65003 2 26 Rachmaninov, S. Symphony no 1 in D minor, op 13 (1895). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00141 47 20:30 NEW HORIZONS Prepared by James Nightingale Torke, M. Saxophone concerto (1993). John Harle, sax; Albany SO/David Alan Miller. Argo 443 529-2 17

Bach, J.S. Chorale; Opening chorus, from Cantata, BWV125: Mit Fried und Freud ich fahr dahin (1725). Holland Boys’ Choir; Netherlands Bach Choir/Jan Leusink. Brilliant Classics 94365/33 6

Ford, A. War and peace: No man’s land (2004). Anna McMichael, vn; Claire Edwardes, perc. ABC 481 4828 7

Schubert, F. Heilig, heilig, heilig Mein Heiland, from German Mass, D872 (1827). Vienna Boys’ Choir; Ch Viennesis; Arno Hartmann, org; Bruno Weill, cond. Sony-Vivarte SK 53984 4 Poulenc, F. Two movements from Stabat Mater (1950). Choir of Radio France; French NO/Charles Dutoit. Decca Eloquence 476 2947 5 Stanhope, P. Ubi caritas (2012). Megan Cronin, sop; Sydney Chamber Choir/Paul Stanhope. ABC 481 6296 5 Eccard, J. Grant us peace; Our Father in highest Heaven. North German CO/Maria Jürgensen. MDG 902 1694-6 3 24

18:00 BEETHOVEN PIANO Prepared by Paul Hopwood

Eccard, J. When to the temple Mary went. North German CO/Maria Jürgensen. MDG 902 1694-6 3

Mozart, W. Excerpts from Cantata: Davide Penitente, KV469 (1785). Margaret Marshall, sop; Südfunk-Chor; Stuttgart RSO/Neville Marriner. Philips 422 522-2 7

Monday 15 JANUARY

Clifford Curzon 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: 1875 Prepared by Frank Morrison Taneyev, S. Overture in D minor (1875). Novosibirsk Academic SO/Thomas Sanderling. Naxos 8.570584 15 Saint-Saëns, C. Piano quartet in B flat, op 41 (1875). Quatuor Élyséen. Arion ARN 68242 31 Brahms, J. Abendregen, op 70 no 4 (1875). Margaret Price, sop; James Lockhart, pf. Orfeo C 058 831 A 5

Raum, E. Les ombres (1989). Erika Raum, vn; David Moroz, pf. Centrediscs CMCCD 15410 10

Dvorák, A. Serenade in E, op 22 (1875). London PO/Christopher Hogwood. Decca 448 981-2 31

Chin, U. Akrostichon-Wortspiel (199193). Piia Komsi, sop; Ensemble Intercontemporain/Kazushi Ono. Kairos 0013062KAI 16

10:30 CONCERT HALL Prepared by Derek Parker

Narushima, T. Hidden sidetracks (2011). Ensemble Offspring. www.ensembleoffspring.com 11 Salonen, E-P. Nyx (2010). Finnish RSO/EsaPekka Salonen. DG 479 0628 19 22:00 AFTER HOURS JAZZ with Kevin Jones British composer, Robert Simpson, called Rachmaninov’s First Symphony “a powerful work in its own right, stemming from Borodin and Tchaikovsky, but convinced, individual, finely constructed, and achieving a genuinely tragic and heroic expression”.

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

Massenet, J. Overture to Phèdre (1873). Detroit SO/Paul Paray. Mercury 478 5092 9 Brahms, J. Piano concerto no 1 in D minor, op 15 (1854-58). Clifford Curzon, pf; London SO/George Szell. Decca 417 641-2 50 Vogler, G. Symphony in D minor (1782). London Mozart Players/Matthias Bamert. Chandos CHAN 10504 19 12:00 SWING SESSIONS with John Buchanan 13:00 LIFT A GLASS Prepared by Derek Parker Schubert, F. Overture to Der Spiegelritter, D11 (1811). Prague Sinfonia/Christian Benda. Naxos 8.570328 9

Monday 15 JANUARY

Tuesday 16 JANUARY 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 Bach, J.S. Concerto in F, BWV97, Italian (1735). Alicia de Larrocha, pf. Philips 456 886-2 13

Giacomo Meyerbeer Masek, V. Theme and variations for solo glass harmonica. Bruno Hoffmann, glass hp. LP Fono FSM 53233 8 Schnittke, A. Soundtrack: The glass harmonica (1968). Berlin RSO/Frank Strobel. Capriccio C7196 21 Rota, N. The legend of the Glass Mountain (1948). Philip Fowke, pf; RTE Concert O/ Proinnsias O Duinn. Naxos 8.578005/06 4 Sousa, J.P. Suite from People who live in glass houses (1909). Royal Norwegian Navy Band/Keith Brion. Naxos 8.559397 12 14:00 BEST OF GERMANY Wagner, R. Prelude, from Die Meistersinger von Nürnberg (1866-67). Chicago SO/Daniel Barenboim. Teldec 4509-99595-2 10

Schubert, F. Impromptu in F minor, D935 no 1 (1827). Decca 411 711-2 10 Beethoven, L. Quintet in E flat, op 16 (1796). George Pieterson, cl; Han de Vries, ob; Brian Pollard, bn; Vicente Zarzo, hn. Decca 414 291-2 27 Radu Lupu, pf (2 above) Granados, E. El amor y la muerte, from Goyescas (pub. 1911). Decca 433 920-2 12 Turina, J. Symphonic rhapsody, op 66 (1931; arr. C. Halffter). 9 Alicia de Larrocha, pf (2 above) Brahms, J. Rhapsody in B minor, op 79 no 1 (1879). Radu Lupu, pf. Decca 417 599-2 10 10:30 CONCERT HALL Prepared by Brian Drummond

Weber, C.M. Piano concerto no 1 in C, op 11 (1810). Peter Rösel, pf; Staatskapelle Dresden/Herbert Blomstedt. Brilliant Classics 99935 20

Haydn, J. Overture to L’incontro improvviso, Hob.XXVIII:6 (1775). Haydn Sinfonietta, Vienna/Manfred Huss. Schwann 3-1723-2 7

Meyerbeer, G. Ballet: Les patineurs (1894; arr. Lambert 1937). Israel PO/Jean Martinon. Decca 476 2742 21

Lutyens, E. En voyage (1944). Royal PO/ Simon Joly. Lyrita SRCD.214 15

Schumann, R. Liederkreis, op 24 (1840). Toby Spence, ten; Ian Brown, pf. Hyperion CDA66930 21 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). San Francisco SO/ Herbert Blomstedt. Decca 478 6787 37 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field

Bruch, M. Scottish fantasy, op 46 (1880). Kyung Wha Chung, vn; Royal PO/Rudolf Kempe. Decca 448 597-2 28 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). London SO/Claudio Abbado. Decca 458 176-2 30 12:00 JAZZ RHYTHM with Jeannie McInnes

Maxim Vengerov Wagner, R. No! leave it covered, from Parsifal (1882). Bryn Terfel, bass-bar; Berlin PO/Claudio Abbado. DG 471 348-2 8 Mussorgsky, M. Leave-taking and death of Boris, from Boris Godunov (1874). Neli Bozhkova, mezz; Milen Paounov, ten; Nikolai Ghiaurov, bass; Bulgarian a Cappella Choir; Sofia State PO/Emil Chakarov. LP Balkanton KKO 1004 11 Prokofiev, S. Suite, from The love for three oranges, op 33a (1919). Scottish NO/Neeme Järvi. Chandos CHAN 8729 15 14:00 MUSICAL FAMILIES Daniel Barenboim and Jacqueline du Pré Prepared by Jennifer Foong Brahms, J. Sonata no 3 in D minor, op 108 (1886-88). Maxim Vengerov, vn. Teldec 0630-17144-2 22 Mahler, G. Aus! Aus, from Lieder und Gesäng aus der Jugendzeit! (1887-90). Dietrich Fischer-Dieskau, bar. EMI 4 76780 2 2 Mendelssohn, F. Songs without words, bk 2, op 30 (1835). DG 453 061-2 16 Wolf, H. Ihr jungen Leut; Wir habe beide lange Zeit geschwiegen, from Italian songbook (1891; transcr. Heyse). Christa Ludwig, cont. DG 459 335-2 4 Daniel Barenboim, pf (4 above)

19:00 JAZZ PULSE with Chris Wetherall

13:00 LOVE OR LEAVE Prepared by Randolph Magri-Overend

Fauré, G. Élégie in C minor, op 24 (1880). Gerald Moore, pf. EMI CZS 5 68132 2 7

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Vaughan Williams, R. The loves of Joanna Godden (1946). Ladies of Manchester Chamber Choir; BBC PO/Rumon Gamba. Chandos 10529(3) 15

Beethoven, L. Trio in C minor, op 1 no 3 (1794-95). Pinchas Zukerman, vn; Daniel Barenboim, pf. EMI CMS 7 63124 2 26

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

January 2018

fineMusic 102.5

Wednesday 17 JANUARY

Tuesday 16 JANUARY

13:00 THE SLAVONIC SPIRIT Prepared by Susan Briedis Dvorák, A. Songs my mother taught me, from Gypsy melodies, op 55 (1880). Anna Netrebko, sop; Prague Philharmonia/ Emmanuel Villaume. DG 477 7639 3 Shostakovich, D. Romance, from The gadfly (1955). Royal Liverpool PO/Libor Pesek. Sony 88697290382 6

Zoltán Kodály

Franz Krommer

Elgar, E. Cello concerto in E minor, op 85 (1919). Philadelphia O/Daniel Barenboim. Sony SB2K 63247 31

0:00 CONTEMPORARY COLLECTIVE

Jacqueline du Pré, vc (3 above)

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Mendelssohn, Fanny. Trio in D, op 11 (1846). Oliver Butterworth, vn; Michael Evans, vc; Frank Wibaut, pf. Hyperion CDH55078 27

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jennifer Foong Krommer, F. Quartet in B flat, op 46 no 1 (1804). Eckart Hübner, bn; Johannes Lüthy, vn; Steuart Eaton, va; Reinhard Latzko, vc. cpo 999 297-2 20 Quintet no 2 in E flat. Nancy Ambrose King, ob; Solomia Soroka, vn; Eva Stern, va; Joseph Kam, va; Natalia Khoma, vc. Naxos 8.557669 24

Popper, D. Hungarian rhapsody, op 68 (pub.1894). Bennett Tsai, vc; Joshua Tsai, pf. 3MBS concert recording 8

Partita in B flat for wind octet. Collegium Musicum Prague. LP Supraphon 1111 2973G 13

Kodály, Z. String quartet no 2, op 10 (191618). Melos Quartett. DG 479 0529 18

Symphony no 1, op 12 (1798). Swiss-Italian O/Howard Griffiths. cpo 555 099-2 24

Raff, J. Duo on themes from Wagner’s Lohengrin, op 63 no 3 (1853). Livia Sohn, vn; Benjamin Loeb, pf. Naxos 8.570202 9

10:30 CONCERT HALL Prepared by Michael Field

Coleridge-Taylor, S. Piano quintet in G minor, op 1 (1893). Members of Nash Ensemble. Hyperion CDA67590 26 Fauré, G. Trio in D minor, op 120 (1923). Augustin Dumay, vn; Frédéric Lodéon, vc; Jean-Philippe Collard, pf. EMI CMS 7 62545 2 20

“The only love affair I have ever had was with music.” - Maurice Ravel 26

3:00 CLASSICAL TILL DAWN

Copland, A. Suite: Appalachian Spring (1943-44). Melbourne SO/Benjamin Northey. ABC 481 0863 25 Strauss, R. Horn concerto no 1 in E flat, op 11 (1883). Dennis Brain, hn; Philharmonia O/ Wolfgang Sawallisch. EMI 7 47834 2 15 Bax, A. Symphony no 5 in C sharp minor (1931-32). London PO/Bryden Thomson. Chandos CHAN 8669 43 12:00 JAZZ SKETCHES with Robert Vale

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Tchaikovsky, P. Hymn of the cherubim. Dumka National Choir of Ukraine/Yevhen Savchuk. Brilliant Classics 94412 8 Prokofiev, S. Suite, from The love for three oranges, op 33a (1919). Philadelphia O/ Eugene Ormandy. Sony SBK 53 261 16 Trad. Elegy. Dmitri Hvorostovsky, bar; Ossipov Russian Folk O/Nikolai Kalinin. Philips 454 395-2 6 Borodin, A. Polovtsian dances, from Prince Igor (1890; compl. and orch. RimskyKorsakov, Glazunov). London Symphony Ch & O/Georg Solti. Decca 478 2826 14 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 VERDI EXPLORED Part 3 Prepared by Michael Morton-Evans Dall’ infame banchetto ... Tu del mio Carlo, from I Masnadieri (1847). Joan Sutherland, sop; London SO/Richard Bonynge. Decca 480 4670 9 Ballet music from Jerusalem (1847). BBC PO/Edward Downes. Chandos CHAN 9594 23 Air de Medora: Non so le tetre, from Il corsaro (1848). Montserrat Caballé, sop; Radio France Lyric O/Gian-Franco Masini. Rodolphe RCP 32455 6 Overture to La battaglia di Legnano (1849). BBC PO/Edward Downes. Chandos CHAN 9510 9 O fed negar potessi, from Luisa Miller (1849). Giuseppe di Stefano, ten; Florence Maggio Musicale O/Bruno Bartoletti. Decca 467 908-2 5 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

Wednesday 17 JANUARY

Thursday 18 JANUARY

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

0:00 CONTEMPORARY COLLECTIVE

20:00 AT THE OPERA Prepared by Colleen Chesterman

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

Purcell, H. The fairy queen. Opera in five acts. Libretto attr. Thomas Betterton after Shakespeare. First performed London,1692. POET: Simon Lobelson, bar NIGHT: Alison Morgan, sop MYSTERY: Sally-Anne Russell, mezz SECRECY: Paul McMahon, ten SLEEP: Stephen Bennett, bass CORIDON: Jamie Allen, ten MOPSA: Stephen Bennett, bass PHOEBUS: Jamie Allen, ten SPRING: Miriam Allen, sop SUMMER: Jenny Duck-Chong, mezz, Paul McMahon, ten WINTER: Stephen Bennett, bass HYMEN: Stephen Bennett, bass FAIRIES, NYMPH, SHEPHERDS, ATTENDANTS: Sara Macliver, sop; Belinda Montgomery, sop; Sally-Anne Russell, mezz, Jaimie Allen, ten; Paul McMahon, ten; Brett Weymark, ten; Corin Bone, bar; Stephen Bennett, bass Cantillation; O of the Antipodes/Antony Walker. ABC 476 287-9 2:24 Synopsis at finemusicfm.com/Listen/Opera Ode for St Cecilia’s Day: Welcome to all the pleasures (1683). Deller Consort; Kalmar O of London; Walter Bergmann, hpd; Alfred Deller, ct & dir. Vanguard OVC 8027 19 23:00 ROMANTIC CHAMBER HOUR Prepared by Andrew Dziedzic Czerny, C. Brilliant fantasy no 1, after Schubert, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp. Helios CDH55074 17 Klughardt, A. Schilflieder, op 28 (1873). Albrecht Mayer, ob; Tabea Zimmerman, va; Markus Becker, pf. Decca 478 3564 19 Dvorák, A. Five bagatelles, op 47 (1878). The Lindsays. ASV DCS 446 17 The 1692 performance of The Fairy Queen was a marathon affair: five spoken acts of an adaptation of Shakespeare’s A Midsummer Night’s Dream with well over two hours of Purcell’s music. The audience loved it and it was a great success. Today’s versions rely mainly on Purcell’s music.

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Robin Mitchell Elgar, E. Cello concerto in E minor, op 85 (1918-19). Royal PO/Charles Groves. RPO 8012 28 Fauré, G. Elegy, op 24 (1880). Jean Hubeau, pf. Erato 2292-45738-2 7 Dvorák, A. Rondo in G minor, op 94 (1891). Royal PO/Charles Groves. RPO 8012 8 Paul Tortelier, vc (3 above) Glazunov, A. Elegy in G minor, op 44 (1893). Roland Pöntinen, pf. BIS CD-358 6 Martinu, B. Rhapsody-concerto (1952). Malmö SO/James DePreist. BIS CD-501 21 Denisov, E. Chamber music for viola, harpsichord and strings (1982). Annelie de Man, hpd; New Sinfonietta Amsterdam/Lev Markiz. BIS CD-518 11 Nobuko Imai, va (3 above) 10:30 CONCERT HALL Prepared by Giovanna Grech Glière, R. Overture to Shakh-Senem (1926/34). BBC PO/Vassily Sinaisky. Chandos CHAN 9518 16 Frankel, B. Serenata concertante, op 37 (1960). David Lale, vc; Alan Smith, vn; Stephen Emerson, pf; Queensland SO/ Werner Andreas Albert. cpo 999 422-2 13 Dohnányi, E. Ruralia hungarica, op 32b (1924). West Australian SO/Jorge Mester. ABC 438 197-2 24 Rimsky-Korsakov, N. Symphony no 1 in E minor, op 1 (1865/84). Bergen PO/Dmitri Kitaienko. Chandos CHAN 9178 28 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Turina, J. Three Andalusian dances, op 8 (1912). Jordi Masó, pf. Naxos 8.557150 12 Albéniz, I. Jerez, from Iberia suite (1905-08). Trio Campanella. Naxos 8.557064 10 Bartók, B. Five Hungarian folk tunes (1928). Vilma Medgyaszay, sop; Béla Bartók, pf. Hungaroton HCD 12326-28 5 Stanford, C. Villiers Irish rhapsody no 3, op 137 (1913). Raphael Wallfisch, vc; Ulster O/ Vernon Handley. Chandos CHAN 7002 14 Parry, J. Myfanwy. Melbourne Welsh Male Voice Choir. Move MCD 070 5 Chopin, F. Polonaise, op 40 no 1, Military (1838). Lang Lang, pf. Sony 88697829332 6 Vaughan Williams, R. Five variants of Dives and Lazarus (1939). London PO/Bryden Thomson. Chandos CHAN 8502 13 14:30 THE ROMANTIC ORCHESTRA Prepared by Brian Drummond Berlioz, H. Overture: Roman carnival, op 9 (1844). Montreal SO/Charles Dutoit. Decca 452 480-2 9 Bizet, G. Roma suite (1869). Munich RO/ Lamberto Gardelli. Orfeo C 184 891 A 33 Saint-Saëns, C. Symphony in F, Urbs Roma (1856). French RTO/Jean Martinon. Brilliant Classics 94360 41 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 Stephanie McCallum Prepared by Jennifer Foong Meyerbeer, G. Overture to Le prophète (c1850). Erin Helyard, pf. www.trptk.com TTK0005 13 Saint-Saëns, C. Romance, op 37 (1871). Geoffrey Collins, fl. Fine Music Tape Archive 6

13:00 NATIONALISM IN MUSIC Prepared by Gael Golla

Liszt, F. Obermann Valley, from Years of pilgrimage (1848-64). ABC 476 124-2 13

Enescu, G. Rumanian rhapsody in A, op 11 no 1 (1901). Rumanian RTO/Iosif Conta. Marco Polo 8.223146 12

Beethoven, L. Sonata no 4 in C, op 102 no 2 (1815). Georg Pedersen, vc. Fine Music concert recording 20 January 2018

fineMusic 102.5

Thursday 18 JANUARY Alkan, C-V. Symphonie, from 12 Studies in the minor keys, op 39 nos 4 to 7 (1857). Tall Poppies TP081 28

0:00 CONTEMPORARY COLLECTIVE

Stephanie McCallum, pf (all above) 21:30 TROMBONE TIME Prepared by Derek Parker

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

Keller, D. Tribute to the trombones. United States Air Force Band/Lowell E. Graham. Altissimo ALT60162 3

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

Weber, C.M. Romance (1784). Timothy Dowling, tb; Anthony Baldwin, pf. Fine Music Tape Archive 7 Haydn, M. Trombone concertino in F, from Serenade, MH61 (1763). Norbert Salvenmoser, tb; Salzburger Hofmusik/ Wolfgang Brunner. cpo 777 538-2 5 Poulenc, F. Sonata (1922/45). Hervé Joulain, hn; Guy Touvron, tpt; Jacques Mauger, tb. Naxos 8.553613 9 22:00 MUSICAL PORTRAITS Falstaff and the Houses of Plantagenet and Lancaster Prepared by Paul Cooke Tallis, J. Incidental music: Edward II. Stefan Cassomenos, pf. Move MCD 463 12 Purcell, H. Retir’d from any mortal’s sight, from King Richard II (1681). Musicians of the Globe/Philip Pickett. Philips 446 218-2 4 Nicolai, O. Overture to The merry wives of Windsor (1849). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 4621 8 Verdi, G. Ehi! paggio! ... L’onore! from Falstaff (1893). Bryn Terfel, bass-bar; Metropolitan Opera O/James Levine. DG 479 0494 5 Beethoven, L. Ten variations on La stessa, la stessissima, from Salieri’s Falstaff, WoO73 (1799). Ronald Brautigam, fp. BIS SACD-1673 9 Elgar, E. Falstaff, symphonic study in C minor, op 68 (1913). English Northern Philharmonia/David Lloyd-Jones. Naxos 8.553879 34 Vaughan Williams, R. From Act IV, scene 1 of Sir John in love (1929). Felicity Palmer, sop; Wendy Eathorne, sop; John Winfield, ten; Raimund Herincx, bar; John Noble, bar. LP EMI SL 980 11 Walton, W. Suite: Henry V (1944; arr. E. Watson). Robert Portal, narr; Black Dyke Mills Band/James Watson. ASV CD WHL 2093 25 28

Friday 19 JANUARY 3:00 CLASSICAL TILL DAWN

Kreisler, F. Lotus land, after Cyril Scott. Nigel Kennedy, vn; Katherine Gowers, vn; John Lenehan, pf. EMI 5 56626 2 5 Ruders, P. Concerto in pieces, Purcell variations (1995). BBC SO/Andrew Davis. Bridge 9098 17 Marcello, A. Oboe concerto in C minor (transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito. CBS MK 39560 12 Liszt, F. Sailors’ prayer, after Meyerbeer’s L’Africaine (1865). Leslie Howard, pf. Hyperion CDS44538 8 Malipiero, G. Vivaldiana (1952). Veneto PO/ Peter Maag. Naxos 8.555515 15 Debussy, C. The sunken cathedral, from Preludes, bk 2 (1910; orch. Stokowski). New Philharmonia O/Leopold Stokowski. Decca 4783691 7 Shostakovich, D. Ten preludes, from 24 Preludes for piano, op 34 (1932-33; arr Tziganov). Julian Rachlin, vn; Itamar Golan, pf. Warner Classics 2564619492 15 10:30 CONCERT HALL Prepared by Denis Patterson Rossini, G. Overture to Ricciardo e Zoraïde (1818). Prague SO/Christian Benda. Naxos 8.572735 9 Paganini, N. Violin concerto no 1 in B, op 6 (1815). Boris Belkin, vn; Israel PO/Zubin Mehta. Decca 476 7488 38

13:00 IT’S TRADITION Prepared by Angela Bell Trad. The downfall of dancing. Lucie Skeaping, sop; The City Waites. Naxos 8.557672 6 The gold ring set. Jordi Savall, treble viol, lyra viol; Andrew Lawrence-King, hp. Alia Vox AVSA 9878 12 Dinaresade. Ensemble Oni Wytars; Ensemble Unicorn. Naxos 8.553132 14 Simple gifts, Lord of the dance. Benjamin Luxon, bar; Bill Crofut, voice, banjo; Maggie Holtzberg, fiddle; Carver Blanchard, gui, lute; Jim Cowdry, mand; Christopher Brubeck, bass. Omega OCD 3003 5 Cuncti simus concanentes. Renaissance Players/Winsome Evans. Tall Poppies TP229 12 14:00 SLOW AND SUBLIME Prepared by Chris Blower Haydn, J. String quartet in E flat, Hob.III:64, mvt 2 (1790). Kodály Quartet. Nimbus 8.550674 5 Elgar, E. Sonata in E minor, op 82, mvt 2 (1918). Nigel Kennedy, vn; Peter Pettinger, pf. Chandos CHAN 8380 10 Beethoven, L. Quintet in C, op 29, mvt 2 (1802). Pinchas Zukerman, va; Tokyo String Quartet. RCA 661 284-2 10 14:30 DVORÁK AND THE SYMPHONY Prepared by Frank Morrison Borodin, A. String quartet no 1 in A (187479). Borodin Quartet. Le Chant du Monde LDC 278 793 36 Duparc, H. Ecstasy, from Mélodies (1874/84). Martine Mahé, mezz; Vincent le Texier, bar; Noël Lee, pf. Pierre Verany 793061 3 Dvorák, A. Symphony no 4 in D minor, op 13 (1874). Scottish NO/Neeme Järvi. Chandos CHAN 8608 43

Goldmark, K. Symphony no 2 in E, op 35 (1887). Philharmonia O/Yondani Butt. ASV DCA 934 32

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

12:00 A JAZZ HOUR with Barry O’Sullivan

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

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

Friday 19 JANUARY

Saturday 20 JANUARY Dinicu-Heifetz. Hora staccato. Central Band of the Royal Air Force/Eric Banks. EMI CDC 7 47885 2 2

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

0:00 CLASSIC-ALL THROUGH THE NIGHT

Goossens, E. Divertissement, op 66 (195660). Melbourne SO/Vernon Handley. ABC 476 763-2 19

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

Schubert, F. Entr’acte to Rosamunde, Act III. Virtuosi Brass Band/Eric Ball. Virtuosi VR 7303 7

Butterworth, G. Rhapsody: A Shropshire lad. Sydney SO. LP ABC/HMV OXLP 7621 12

9:05 PERIODS AND THEIR PEOPLE Late Baroque 1750-1759 Prepared by Frank Morrison

Wagner, R. Procession to the minster. Black Dyke Mills Band/James Watson. AMP Volume 24 6

Walton, W. Violin concerto in B minor (1939). Jascha Heifetz, vn; Cincinnati SO. Naxos 8.110939 28

Bach, J.S. Cantata, BWV211: Schweigt stille, plaudert nicht, Coffee (c1734-35). Júlia Varády, sop; Dietrich Fischer-Dieskau, bass; Aldo Baldin, ten; Academy of St Martin in the Fields/Neville Marriner. Philips 476 2758 27

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Ginastera, A. Suite from ballet, Panambí, op 1a (1936). London SO. Price-less D 24924 13 Mendelssohn, F. Symphony no 3 in A minor, op 36. Sydney SO. LP ABC/HMV OXLP 7620 35 Eugene Goosens, cond (4 above)

6:00 SATURDAY MORNING MUSIC with Stephen Wilson

Corelli, A. Sonata in G minor, op 5 no 5 (1700). Chiara Banchini, vn; Kathy Gohl, vc; Luciano Contini, theorbo; Jesper Christensen, hpd. Harmonia Mundi 901307 11

22:00 BAROQUE AND BEFORE Names lost in the mist of time Prepared by Elaine Siversen

Rameau, J-P. Suite from Les Indes galantes. O of La Chapelle Royale/Philippe Herreweghe. Harmonia Mundi HMP390808 15

Anon, English. We be soldiers three; Bonny sweet Robin; Kemp’s jig; He that will an alehouse keep. Deller Consort/Alfred Deller. Harmonia Mundi HMA 190202 8

Boyce, W. Trio sonata no 5 in D (1747). Parley of Instruments Baroque O/Peter Holman. Hyperion CDA67151/2 7

Anon, Peruvian. Marizápalos a lo humano. Harp Consort/Andrew Lawrence King. Harmonia Mundi HMX 2907293 7 Anon, Russian. The Divine Liturgy of Saint John Chrysostom. Chorale Sofia/Dmitri Rouskov. Harmonia Mundi HMA 190641 55 Anon, Swiss? Concertino in G. Philip Swanton, org; Annerös Hulliger, org. Schwann 3-1284-2 13 Anon, Italian. Tarantella la carpinese. Mina Kanaridis, voice; Australian Brandenburg O/ Paul Dyer. ABC 476 3828 6 Anon, Austrian. Sonata in C à 6. Flanders Recorder Quartet; Musica Antiqua Cologne/ Reinhard Goebel. Archiv 453 442-2 8 Anon, English. Songs for Shakespeare’s plays. Deller Consort/Alfred Deller. Harmonia Mundi HMA 190202 12

A little-known Sydney stenographer, Joan Sutherland, made her operatic début in the title role of Eugene Goossens’ Judith.

Handel, G. Concerto grosso no 10 in D minor, HWV328 (1739). Academy of Ancient Music/Andrew Manze. Harmonia Mundi HMU 907228.29 15 10:30 SMALL FORCES Prepared by Frank Morrison Chadwick, G. Quartet no 4 in E minor (1896). Portland String Quartet. Northeastern NR 234 28 Bloch, E. Baal shem (1923). Eudice Shapiro, vn; Ralph Berkowitz, pf. Vanguard 08 4054 71 15 Martinu, B. Piano trio no 1: Cinq pièces brèves (1930). Florestan Trio. Hyperion CDA67730 11 11:30 ON PARADE Music that’s band Prepared by Owen Fisher

13:00 SATURDAY POT-POURRI Prepared by Randolph Magri-Overend 15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Lehár, F. Giuditta. Operetta in five scenes. Libretto by Paul Knepler and Fritz LöhnerBeda. First performed Vienna, 1934. GIUDITTA: Deborah Riedel, sop MANUEL: Jeffrey Carl, bar OCTAVIO: Jerry Hadley, ten DUKE: Andrew Busher, voice English CO/Richard Bonynge. Telarc CD-80436 1:18 Synopsis at finemusicfm.com/Listen/Opera Excerpts from The land of smiles (1929). Helen Donath, sop; Brigitte Lindner, sop; Siegfried Jerusalem, ten; Martin Finke, ten; Bavarian Radio Ch; Munich RSO/Willy Boskovsky. EMI CDM 7 69597 2 50 17:30 STAGING MUSIC Prepared by Angela Cockburn Romeo and Juliet, part 1 18:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell 20:00 INFLUENCES AND CONNECTIONS Antonio Vivaldi Prepared by Calogero Panvino

Anderson, L. The minstrel boy. Allentown Band/Ronald Demkee. AMP 2E 119 4

Vivaldi, A. Mandolin concerto in C, RV425 (1725). Avi Avital, mand; Venice Baroque O. DG 479 4017 8

Liszt, F. Hungarian rhapsody no 2. Besses o’ th’ Barn Band/Frank Bryce Astor. GGS 798 4

Bach, J.S. Concerto no 1 in D, after Vivaldi, BWV972 (1713-14). Nicholas Parle, hpd. MBS 26 CD 8 January 2018

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Sunday 21 JANUARY

Saturday 20 JANUARY Kreisler, F. Violin concerto in C, in the style of Vivaldi (c1905). Gil Shaham, vn; Orpheus CO. DG 439 933-2 11 Casella, A. Paganiniana, divertimento, op 65 (1942). Swiss-Italian RO/Christian Benda. Naxos 8.553706 18 Malipiero, G. Quartet no 2, Stornelli e ballate (1923). Orpheus String Quartet ASV DCD 457 15 Stravinsky, I. Threni - id est lamentationes Jeremiae prophetae (1958). Bethany Beardslee, sop; Beatrice Krebs, cont; James Wainner, ten; William Lewis, ten; Mac Morgan, bar; Robert Oliver, bass; Schola Cantorum; Columbia SO/Igor Stravinsky. Sony SM3K 46 291-302 30 Haydn, J. Meditation on death, Hob.XXVc:3 (bef. 1799). Netherlands Chamber Choir; Glen Wilson, fp; Uwe Gronostay, cond. Globe GLO 5080 3 Vivaldi, A. Violin concerto in E, RV269, Spring, from The four seasons (pub.1725). Stuttgart CO/Karl Munchinger. Richter, M. The four seasons recomposed: Spring. Berlin Concert Hall CO/André de Ridder. 10 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Janácek, L. Suite from Jenufa (1904; arr. Breiner). Vesa-Matti Leppanen, vn; New Zealand SO/Peter Breiner. Naxos 8.570555 31 Cherubini, L. String quartet no 2 in C. Quartetto David. BIS CD-1003 28 Berlioz, H. La captive, op 12 (1832). Catherine Robbin, mezz; Lyon Opera O/John Eliot Gardiner. Apex 0927 49583 2 8 Brahms, J. Three intermezzi, op 117 (1892). Marc-André Hamelin, pf. Hyperion CDA67471/2 16 Saint-Saëns, C. Violin concerto no 2 in C, op 58 (1858). Ulf Hoelscher, vn; New Philharmonia O/Pierre Dervaux. Brilliant Classics 94308 28

“Without craftsmanship, inspiration is a mere reed shaken in the wind.” - Johannes Brahms 30

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Bach, J.S. Cantata, BWV111: Was mein Gott will, das g’scheh Allzeit (1725). Yukari Nonoshita, sop; Robin Blaze, ct; Andreas Weller, ten; Peter Kooij, bass; Bach Collegium Japan/Masaaki Suzuki. BIS CD-9033/35 17 Charpentier, M-A. Assumption Mass (16981702). St James’s Singers and Baroque Players/Ivor Bolton. Teldec 0630-12465-2 38 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Boccherini, L. Piano quintet in A minor, op 56 no 2 (1797). Les Adieux. Harmonia Mundi GD77053 18 Glinka, M. Sonata in D minor (1825-28). Norbert Blume, va; Olga Tverskaya, fp. Opus 111 OPS 30-230 18 Bach, C.P.E. Oboe concerto in E flat, Wq165 (1772). Hans-Peter Westermann, ob; Freiburg Baroque O/Thomas Hengelbrock. Harmonia Mundi RD77187 23 Hummel, J. String quartet in E flat, op 30 no 3 (1804). Delmé Quartet. Helios CDH55166 27 Haydn, J. Symphony in G minor, Hob.I:83, Hen (1785). Amsterdam Baroque O/Ton Koopman. Erato 2292-45807-2 22 12:00 SPEAK EASY, SWING HARD with Richard Hughes 13:00 WORLD MUSIC: Whirled Wide with Linda Marr 14:00 NIGHT AFTER NIGHT Prepared by Randolph Magri-Overend Glinka, M. Spanish overture no 2, Memory of a summer night in Madrid (1851). Armenian PO/Loris Tjeknavorian. ASV DCA 1075 10 Mussorgsky, M. St John’s night on Bald Mountain (1869-72; orch. Stokowski 1922). BBC PO/Matthias Bamert. Chandos CHAN 9445 10 Mendelssohn, F. Scherzo; Intermezzo; Nocturne; Wedding march, from A midsummer night’s dream, op 61 (1842). Slovak PO/Anthony Bramall. Naxos 8.554433 20

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Schumann, R. Moonlit night, from Liederkreis, op 39 (1840). Sena Jurinac, sop; Franz Holetschek, pf. Westminster 471 269-2 4 Strauss, J. II Treu sein dasliegt mir nicht; Komm’ in die Gondel; Ach, wie so herrlich, from A night in Venice (1883). Erich Kunz, bar. Testament SBT 1059 9 15:00 SUNDAY SPECIAL Simply Shostakovich: Part 1 Prepared by Paolo Hooke Shostakovich, D. Scherzo in F sharp minor, op 1 (1919). USSR Ministry of Culture SO/ Gennady Rozhdestvensky. Melodiya 74321 59058 2 5 Three fantastic dances, op 5 (1920). Vladimir Ashkenazy, pf. Decca B0001846-02 4 Theme and variations, op 3 (1922). USSR Ministry of Culture SO/Gennady Rozhdestvensky. Melodiya 74321 59058 2 16 Five preludes (1920-21). Vladimir Ashkenazy, pf. Decca B0001846-02 6 Six transcriptions. Alla Ablaberdyeva, sop; Yevgeny Nesterenko, bass; Soloists Ensemble; Leningrad PO; Moscow PO; USSR SO; USSR Ministry of Culture SO/Gennady Rozhdestvensky. Melodiya 74321 59058 2 18 Piano trio no 1 in C minor, op 8 (1925). Kalichstein-Laredo-Robinson Trio. Arabesque Z6698 12 Scherzo in E flat, op 7 (1924). USSR Ministry of Culture SO/Gennady Rozhdestvensky. Melodiya 74321 59058 2 4 Symphony no 1 in F minor, op 10 (1924-25). Chicago SO/Leonard Bernstein. DG 477 7587 35 The donkey and the nightingale, from Two fables after Ivan Krylov, op 4 (1922). Chamber Choir of the Moscow Conservatory; Moscow PO/Gennady Rozhdestvensky. Melodiya 74321 59058 2 5 17:00 HOSANNA Prepared by Richard Munge Hymns. O Thou who camest from above; Christ whose glory fills the skies. St Michael’s Singers, Coventry; David Poulter, org; Paul Leddington Wright, cond. The Hymn Makers KMCD 891 5 Stainer, J. Evening canticles in B flat. Choir of Ely Cathedral; Stephen le Provost, org; Arthur Wills, cond. Helios CDH 88006 10

Sunday 21 JANUARY

Monday 22 JANUARY 12:00 SWING SESSIONS with John Buchanan

Britten, B. A New Year carol. Choristers of Canterbury Cathedral; Michael Harris, org; David Flood, cond. York 120 2

13:00 MUSIC FOR A FEW Prepared by Barrie Brockwell

Shaw, I. Balulalow. 2

Bach, J.S. Sonata in C, BWV529. Katharine Spreckelsen, ob; Jane Norman, va; Robert King, chamber org. Hyperion CDA 66843 13

Grier, F. Thou, O God, art praised in Sion. 11 Choir of Durham Cathedral; Keith Wright, org; James Lancelot, cond (2 above) Priory PRCD 562 Rutter, J. For the beauty of the earth; The Lord is my shepherd; All things bright and beautiful. Cambridge Singers; City of London Sinfonia/John Rutter. Decca 472-622-2 12 Hymns. Christ is made the sure foundation; O praise ye the Lord. Choirs & congregation of Grace Episcopal Church, Charlestown, South Carolina/J. Scott Bennett. Pro Organo 7148 7 Vierne, L. Finale, from Symphony no 1. Simon Preston, org. Decca 430 091-2 6 18:00 MOZART PIANO Prepared by Paul Hopwood Mozart, W. Sonata no 13 in B flat, K333 (1783-84). Maria João Pires, pf. DG 427 768-2 29 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 19:00 SUNDAY NIGHT CONCERT Prepared by Gerald Holder Rachmaninov, S. Symphonic dances, op 45 (1940). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 34 Stravinsky, I. Ballet: The firebird (1910). Sydney SO/David Robertson. Sydney Symphony SSO201402 50 20:30 NEW HORIZONS Prepared by Nev Dorrington Hovhaness, A. Symphony no 46, op 347, To the green mountains (1980) 28 Symphony no 39, op 321 (1980). Michael Long, gui. 40 KBS SO (2 above) Koch Classics 37208-2 Hackett, S. Momentum (1988). Steve Hackett, gui. Hackett Music 300HW 15 PGM 17 22:00 AFTER HOURS JAZZ with Kevin Jones

Franck, C. Prelude, fugue and variation, op 18 (1862). Amadeus Guitar Duo. Naxos 8.573440 9 Jessye Norman 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1891 Prepared by Derek Parker Chabrier, E. Bourée fantasque (1891). Jamina Gerl, pf. TyXart TXA16082 6 Grieg, E. Lyric suite, op 54 nos 1 to 4 (1891/1904). Cologne WDR SO/Eivind Aadland. Audite 92.669 17 Janácek, L. Suite: The beginning of a romance, op 3 (1891). Slovak PO/Libor Pesek. Naxos 8.555245 13

Mozart, W. Quintet in E flat, K407 (1782). Gerd Seifert, hn; Amadeus Quartet. DG 437 137-2 16 Brahms, J. Gypsy songs, op 103 nos 1 to 7 (1887-88). Jessye Norman, sop; Daniel Barenboim, pf. DG 459 469-2 12 Graun, C. Trio for horn, oboe and bassoon. Ricercar Consort. Ricercar RIC 049027 6 Alkan, C-V. Trio in G minor, op 30 (1840). Dong-Suk Kang, vn; Yvan Chiffoleau, vc; Olivier Gardon, pf. Timpani IC 1013 21 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Schumann, R. Overture to Manfred, op 115 (1848-49). Swedish CO/Thomas Dausgaard. BIS SACD-1619 11

Rachmaninov, S. Russian rhapsody in E minor (1891). Lilya Zilberstein, pf; Alexander Mogilevsky, pf. Warner Classics 0825646235940 9

Mendelssohn, F. Infelice (1843). Cecilia Bartoli, mezz; Maxim Vengerov, vn; O La Scintilla/Adám Fischer. Decca 475 9077 12

Tchaikovsky, P. Souvenir de Florence, op 70 (1891). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9387 34

Falla, M. de Nights in the gardens of Spain (1909-15). Javier Perianes, pf; BBC SO/ Josep Pons. Harmonia Mundi HMC 902099 24

10:30 CONCERT HALL Prepared by Derek Parker

Albéniz, I. Iberia (1906-08; orch. Arbós). Mexico State SO/Enrique Bátiz. ASV DCA 888 31

Vogler, G. Overture to the play, Hamlet (1778-79). London Mozart Players/Matthias Bamert. Chandos CHAN 10504 11 Godard, B. Piano concerto no 1 in A minor, op 31 (1875). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA68043 30 Raff, J. Symphony no 5 in E, op 177, Lenore (1872). Suisse Romande O/Neeme Järvi. Chandos CHSA 5135 40

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson January 2018

fineMusic 102.5

Tuesday 23 JANUARY Paganini, N. Violin concerto no 5 in A minor (1830). Salvatore Accardo, vn; London PO/ Charles Dutoit. DG 437 210 2 40 Martinu, B. Symphony no 2 (1943). Royal Scottish NO/Bryden Thomson. Chandos CHAN 8916 23 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 BROTHERS + SISTERS Prepared by Mariko Yata John Ogdon 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 Bach, J.S. Suite no 6 in E, BWV817, French (c1724). Decca 483 2150 15 Tchaikovsky, P. Last night, op 60 no 1 (1886). Elisabeth Söderström, sop. Decca 436 204-2 3 Vladimir Ashkenazy, pf (2 above) Chopin, F. Polonaise in C minor, op 40 no 2 (1839). IMP PCD 834 6 Rachmaninov, S. Russian rhapsody (1891). Brenda Lucas, pf. ASV DCA 636 10 John Ogdon, pf (2 above) Schubert, F. 12 Waltzes, D145 (1815-21). Vladimir Ashkenazy, pf. Decca 443 579-2 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 Shostakovich, D. Four verses of Captain Lebyadkin, op 146 (1975). Dietrich FischerDieskau, bar; Vladimir Ashkenazy, pf. Decca 433 319-2 11 10:30 CONCERT HALL Prepared by Michael Field Saint-Saëns, C. Suite algérienne, op 60 (1880). Swiss Italian O/Francis Travis. Chandos CHAN 9837 20 32

Debussy, C. Petite suite (1889). Katia Labèque, pf; Marielle Labèque, pf. Decca 4783691 11 Dvorák, A. Sonatina in G, op 100, B183 (1893). Gil Shaham, vn; Orli Shaham, pf. DG 479 2565 18 Puts, K. Dark vigil (1999). Ying Quartet. Quartz QTZ 2003 21 Falla, M. de Four Spanish pieces (1909; arr. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 476 6088 16 Saint-Saëns, C. La muse et le poète, op 132 (1910). Renaud Capuçon, vn; Gautier Capuçon, vc; Radio France PO/Lionel Bringuier. Erato 934134 2 8 17 14:30 THE BACHS Prepared by Brian Drummond Bach, J.M. In dulci jubilo. Franz Haselböck, org. Hänssler NR 98558 1 Ach, wie sehnlich wart’ ich der Zeit. Maria Zedelius, sop; Members of Musica Antiqua, Cologne/Reinhard Goebel. Archiv 419 253-2 7 Bach, J.S. In dulci jubilo, BWV608 (1708-15). Anton Heiller, org. Vanguard 08 9085 72 2 Halt im Gedächtnis Jesum Christ, BWV67 (1724). Paul Esswood, ct; Kurt Equiluz, ten; Max van Egmond, bass; Hanover Boys Choir; Collegium Vocale; Leonhardt Consort/Gustav Leonhardt. Teldec 2564 69943-7 12 15:00 CHAMBER AND CHURCH MUSIC IN THE EARLY 17th CENTURY Prepared by Albert Gormley Monteverdi, C. Altri canti d’Amor, from Eighth book of madrigals (pub. 1638). Consort of Musicke/Anthony Rooley. Virgin VC 7 91156-2 10

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Claudio Monteverdi Strozzi, B. Lagrime me. Romina Basso, mezz; Latinitas Nostra/Markellos Chryssicos. naïve V 5390 13 Gabrieli, G. In ecclesiis (1615). Thomas Elias, treb; Charles Brett, ct; William Kendall, ten; Peter Hall, ten; Ian Caddy, bass; Choir of King’s College, Cambridge; Philip Jones Brass Ensemble; Richard Farnes, org; Stephen Layton, org; Stephen Cleobury, cond. Decca 448 993-2 8 Monteverdi, C. Sestina: Lacrime d’amante al sepolcro dell’amata, from Sixth book of madrigals (pub. 1614). Delitiae Musicae/ Marco Longhini. Naxos 8.555312/13 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Schubert, F. Quintet in C, D956 (1828). Isaac Stern, vn; Alexander Schneider, vn; Milton Katims, va; Pablo Casals, vc; Paul Tortelier, vc. CBS MPK 44853 47 Brahms, J. Trio in A minor, op 114 (1891). Benny Goodman, cl; Fritz Magg, vc; Leon Pommers, pf. Music Masters 5027-2-C 26 Rheinberger, J. Nonet in E flat, op 139. Jaap Schröder, vn; Wiel Peeters, va; Anner Bijlsma, vc; Anthony Woodrow, db; Danzi Quintet. LP Bellaphon EA 23.045 37

Wednesday 24 JANUARY 0:00 CONTEMPORARY COLLECTIVE

Overture to The Sicilian Vespers (1855). Vienna PO/Giuseppe Sinopoli. Philips 468 183-2 9

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

Cielo di stelle orbato ... Vieni a mirar la cerula, from Simon Boccanegra (1857/81). Angela Gheorghiu, sop; Roberto Alagna, ten; Berlin PO/Claudio Abbado. EMI 5 56656 2 5

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Robin Mitchell

Overture to Aroldo (1857). Andrew Balio, tpt; State of Mexico SO/Enrique Bátiz. ASV DCA 856 11

Mendelssohn, Fanny. Notturno in G minor (1838). Irene Barbuceanu, pf. Schwann 3-1589-2 3 Six character pieces. Béatrice Rauchs, pf. BIS CD-885 27 Nachtreigen, op 3 no 7, from Gartenlieder (1846). Heidelberg Madrigal Choir/Gerald Kegelmann. Bayer BR 100 041CD 6 Trio in D, op 11 (1846). Oliver Butterworth, vn; Michael Evans, vc; Frank Wibaut, pf. Hyperion CDH55078 27 Overture (c1830). Women’s PO/JoAnn Falletta. Koch 3 7169 2H1 11 Allegro vivace, op 6 no 2 (1846). Irene Barbuceanu, pf. Schwann 3-1589-2 4 10:30 CONCERT HALL Prepared by Elaine Siversen Liszt, F. Mephisto waltz (1857). Detroit SO/ Paul Paray. Mercury 478 5092 11 Sinding, C. Violin concerto no 1 in A, op 45 (1898). Andrej Bielow, vn; North German RPO/Frank Beermann. cpo 777 114-2 22 Shostakovich, D. Symphony no 5 in D minor, op 47 (1937). Concertgebouw O/ Bernard Haitink. Decca 478 2826 50 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN CONCERT: GALA Prepared by Albert Gormley Verdi, G. Overture to Nabucco (1842). State of Mexico SO/Enrique Bátiz. ASV DCA 856 8 Rossini, G. Serbami ognor si fido, from Semiramide (1823). Joan Sutherland, sop; Marilyn Horne, mezz; London SO/Richard Bonynge. Decca 448 594-2 8

Renata Tebaldi Mascagni, P. Easter hymn, from Cavalleria rusticana (1890). Slovak Philharmonic Ch; Slovak RSO/Alexander Rahbari. Naxos 8.553963 7 Respighi, O. Povero cor (1909). 3 Vien de là lontano, from Quattro rispetti toscani (1915). 4 Andrea Catzel, sop; Reinild Mees, pf (2 above) Channel CCS 11998 Verdi, G. Prelude to Act II, from La traviata (1853). State of Mexico SO/Enrique Bátiz. ASV DCA 856 4 Tchaikovsky, P. Capriccio italien, op 45 (1880). Concertgebouw O/Bernard Haitink. Decca 478 5867 15 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 VERDI EXPLORED Part 4 Prepared by Michael Morton-Evans Verdi, G. Ah, più non ragiono, from Rigoletto (1851). Anna Netrebko, sop; Nancy Fabiola Herrera, mezz; Eric Halfvarson, bass; Metropolitan Opera Ch & O/ Asher Fisch. DG 477 9903 6 La donna è mobile, from Rigoletto. Luciano Pavarotti, ten; London SO/Richard Bonynge. Decca 478 2346 2 Ah si, ben mio, from Il trovatore (1853). Plácido Domingo, ten; Berlin German Opera O/ Nello Santi. Teldec 9031-73741-2 5

Prelude from Un ballo in maschera (1859). St Cecilia Academy O/Georg Solti. Decca 478 3705 4 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Died for love Prepared by Camille Mercep Verdi, G. Aïda. Opera in four acts. Libretto by Antonio Ghislanzoni. First performed Cairo, 1871. AÏDA: Renata Tebaldi, sop RADAMÈS: Mario del Monaco, ten AMNERIS: Ebe Stignani, mezz AMONASRO: Fernando Corena, bar Academy of Santa Croce Ch & O/Alberto Erede. Naxos 8110129-30 2:25 Synopsis at finemusicfm.com/Listen/Opera The lady and the fool (arr. Mackerras). Melbourne SO/John Lanchbery. ABC 442 377-2 10 Ave Maria, from Four sacred pieces (1889). Los Angeles Master Chorale; Los Angeles PO/Zubin Mehta. Decca 467 119-2 5 23:00 FOLK MUSIC TRANSFORMED Prepared by Elaine Siversen Trad. Swedish folk music suite (arr. Andersson). Marais Project. Move MCD 512 10

Overture to La traviata (1853). La Scala PO/ Riccardo Muti. Sony SBK 89738 4

Weiner, L. Hungarian folk dance suite, op 18 (1931). Philharmonia O/Neeme Järvi. Chandos CHAN 9029 28

Parigi o cara noi lasceremo, from La traviata. Cheryl Studer, sop; Luciano Pavarotti, ten; Metropolitan Opera O/James Levine. Decca 478 7583 4

Vaughan Williams, R. English folk song suite (1923). Royal Northern College of Music Wind O/Timothy Reynish. Chandos CHAN 9697 15 January 2018

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Thursday 25 JANUARY Bartók, B. Viola concerto (1945). Géza Németh, va; Budapest PO/András Kórodi. Hungaroton HCD 31050 20 Beethoven, L. Symphony no 5 in C minor, op 67 (1807-08). Vienna PO/Simon Rattle. EMI 5 57448 2 42 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 MY COUNTRY Prepared by Elaine Siversen Arnold, M. English dances, set 1, op 27 (1950). Philharmonia O/Robert Irving.

0:00 CONTEMPORARY COLLECTIVE

EMI 5 66120 2

3:00 CLASSICAL TILL DAWN

Villa-Lobos, H. Discovery of Brazil, suite no 3 (1937). Slovak RSO/Roberto Duarte. Marco Polo 8.223551 17

9:00 DIVERSIONS IN FINE MUSIC Great string players Prepared by Frank Morrison Schubert, F. String trio in B flat, D581 (1817). Grumiaux Trio. Philips 438 700-2 20 Mozart, W. Rondo in C, K373 (1781). Raymond Leppard, cond. Philips 426 977-2 5 Bach, J.S. Double concerto in D minor, BWV1060 (1735). Heinz Holliger, ob; Edo de Waart, cond. Philips 420 700-2 15 Arthur Grumiaux, vn; New Philharmonia O (2 above) Paganini, N. I palpiti, op 13 (arr. Kreisler). 10 Sarasate, P. de Gypsy airs, op 20 no 1 (1878). 8 Louis Persinger, pf (2 above) Decca 458 191-2 Respighi, O. Autumn poem (1920-25). Pacific SO/Keith Clark. Reference RR-15CD 15 Wieniawski, H. Polonaise in A, op 21 (pub. 1870). Joanna Gruenberg, pf. Unicorn-Kanchana UKCD 2048 9 Ruggiero Ricci, vn (4 above) 10:30 CONCERT HALL Prepared by Frank Morrison Saint-Saëns, C. Suite from ballet, Javotte (1896). Monte Carlo PO/David Robertson. Auvidis V 4688 21 34

Granados, E. Spanish dances, op 5 (18921900). Pro Arte Guitar Quartet. ASV CD WHL 2061 26 Dvorák, A. Slavonic dances, op 72 (1886). Michel Beroff, Jean-Philippe Collard, piano. EMI 5 69311 2 29 Weiner, L. Hungarian folk dance suite, op 18 (1931). Philharmonia O/Neeme Järvi. Chandos CHAN 9029 28 15:00 ABU HASSAN Prepared by Derek Parker Weber, C.M. Abu Hassan (1810-11). Nicolai Gedda, ten; Edda Moser, sop; Kurt Moll, bass; Bavarian State Opera Ch & O/Wolfgang Sawallisch. EMI 4 64327 2 39 Horn concertino in E minor, op 45 (1806/15). Stephen Stirling, hn; City of London Sinfonia/ Michael Collins. Chandos CHAN 10702 16 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 Pastoral symphony Recorded for FINE MUSIC by Greg Ghavalas on 27 August 2017 Vine, C. Symphony no 1 (1986). 12 Vaughan Williams, R. Suite for viola and orchestra (1934). Lisa Sung, va. 24

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Ku-ring-gai PO/Sadaharu Muramatsu (3 above) 21:30 TRIP THE LIGHT FANTASTIC Prepared by Brian Drummond Waldteufel, E. Love and Spring (1880). Slovak State PO/Alfred Walter. Marco Polo 8.223451 4 Chopin, F. Bolero in A, op 19 (1833). Nikolai Demidenko, pf. Hyperion CDA66597 8

Enrique Granados

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

Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808-08). 44

Susato, T. Suite from La danserye (pub. 1551; arr. Steele-Perkins). London Gabrieli Brass Ensemble. ASV QS 6013 7 Khachaturian, A. Sabre dance, from Gayaneh (1942/52/57). Royal Scottish O/ Neeme Järvi. Chandos CHAN 8945 2 22:00 MUSICAL PORTRAITS Queens real and imagined Prepared by Robert Small Strauss, J. II Overture to The queen’s lace handkerchief. Vienna PO/Riccardo Muti. DG 474 900-2 8 Respighi, O. Belkis, Queen of Sheba (1932). SBS Youth O/Matthew Krel. SBS YME-5CD 24 Haydn, J. Symphony in B flat, Hob.I:85, Queen (c1785). O of the Age of Enlightenment/Sigiswald Kuijken. Virgin VC 790844-2 28 Hume, T. Cease leaden slumber; The Queenes New-yeares gift (1607). Daniel Taylor, ct; Francis Colpron, rec; Stephen Stubbs, lute; Paul Audet, lute; Réjean Poirier, org & hpd; Les Voix Humaines. Naxos 8.554126 7 Handel, G. Ode for the birthday of Queen Anne, HWV74 (1713). Hélène Guilmette, sop; Sophie Klubmann, sop; Andreas Scholl, ct; Malcolm E. Bennett, ten; Andreas Wolf, bass; Vocalconsort Berlin; Akademie für Alte Musik/ Marcus Creed. Harmonia Mundi HMX2908417.24 25 Strauss, J. I Homage to Queen Victoria of Great Britain, op 103 (1838). London SO/ John Georgiadis. Chandos CHAN 8739 8 McCandless, P. Queen of Sydney. Riley Lee, shakuhachi; Imogen Manins, vc; David Jones, perc; Tony Gould, pf. Move MD 3364 8

Friday 26 JANUARY Grieg, E. To the Spring, from Lyric pieces, op 43 (1886). Zoltán Kocsis, pf. Philips 456 874-2 2

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

Mascagni, P. Voi lo sapete, from Cavalleria rusticana (1890). Pia Tassinari, sop; San Francisco Opera O/Gaetano Merola. Naxos 8.110144 4

9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Di Cox Britten, B. Variations on a theme of Frank Bridge, op 10 (1937). English Northern Sinfonia/Richard Hickox. ASV QS 6214 26 Bach, J.S. Chaconne, from Partita in D minor (1720; transcr. Busoni). Shura Cherkassky, pf. Decca 433 654-2 17 Chopin, F. Variations on a theme from Rossini’s Cinderella (1824; arr. H. Holliger). Heinz Holliger, ob; Ursula Holliger, hp. Philips 426 288-2 4 Boccherini, L. Quintet no 2 in E (c1797). Richard Savino, gui; Artaria Quartet. Harmonia Mundi HMU 907039 21 Corelli, A. Sonata in D minor, op 5 no 12, La follia (pub.1700; arr. Kreisler). Thomas Jones, vn; Rachel Valler, pf. Move MD 3173 12 10:30 CONCERT HALL Prepared by Chris Blower Edwards, R. Violin concerto, Maninyas (1988). Adele Anthony, vn; Adelaide SO/Arvo Volmer. Canary Classics CC09 26 Le Gallienne, D. Symphony no 1 (1953). Sydney SO/Wilfred Lehman. ABC AC 1076 28 11:30 THE AUSTRALIA DAY SALUTE A tri-service salute involving the Australian Army, Australian Navy and Royal Australian Airforce 12:30 A JAZZ HOUR with Barry O’Sullivan 13:15 AUSTRALIANS PLAY CHAMBER

Kreisler, F. Polichinelle. Shlomo Mintz, vn; Clifford Benson, pf. DG 477 5448 1 Georg Tintner Mendelssohn, F. Piano trio no 2 in C minor, op 66 (1845). Seraphim Trio. Fine Music concert recording 29 14:30 AUSTRALIA DAY CONCERT Prepared by Elaine Siversen Mills, R. Seaside dances. Queensland SO/ Richard Mills. ABC 432 251-2 24 Devienne, F. Flute concerto no 7 in E minor (1788). Marc Grauwels, fl; Walloon CO/ Bernard Labadie. Naxos 8.555918 18 Mozart, W. Symphony no 41 in C, Jupiter, K551 (1788). Symphony Nova Scotia/Georg Tintner. Naxos 8.557239 40 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 19:30 LIVE FROM THE QUAY An exciting harbourside show full of entertainment for the whole family 21:30 MINIATURES Prepared by Stephen Wilson Rachmaninov, S. Scherzo in D minor (1887). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 5

Chopin, F. Grand duo concertant in E on themes from Meyerbeer’s Robert le Diable (1832). Thomas Tsai, vc; Joshua Tsai, pf. Fine Music concert recording 13

Bizet, G. La fleur que tu m’avais jetée, from Carmen (1873-74). Roberto Alagna, ten; London PO/Richard Armstrong. EMI 5 554772 4

Brahms, J. Trio in A minor, op 114 (1891). Catherine McCorkill, cl; Julian Smiles, vc; Kathryn Selby, pf. Fine Music concert recording 26

Delibes, L. Intermezzo and Valse lente, from Sylvia (1876). New Philharmonia O/Charles Mackerras. EMI CDZ 7 62515 2 4

Clementi, M. Minuetto pastorale. Philharmonia O/Francesco d’Avalos. ASV DCS 247 4 22:00 BAROQUE AND BEFORE Musical architecture Prepared by Brian Drummond Victoria, T. de O magnum mysterium. Gabrieli Consort and Players/Paul McCreesh. Archiv 437 833-2 4 Anon. Untitled instrumental piece (1270). Sinfonye/Stevie Wishart. Hyperion CDA66685 5 Muffat, G. Suite I: Nobilis juventus, from Florilegium secundum (pub. 1698). Academy of Ancient Music/Christopher Hogwood. LP L’Oiseau-Lyre DSLO 591 12 Correa de Arauxo, F. Tiento no 23. Odile Bailleux, org. Erato 2292-45604-2 8 Morley, T. It was a lover and his lass, from The first booke of ayres or little short songs … (pub. 1600). Ian Partridge, ten; Konrad Ragossnig, lute. Cadenza CAD A 836 4 Handel, G. Sweet bird, from L’allegro, il penseroso ed il moderato, HWV55 (1740). Beverly Hoch, sop; Hong Kong PO/Kenneth Schermerhorn. IMP PCD 827 10 Telemann, G. Triple concerto in A, from Tafelmusik I (pub. 1733). Wilbert Hazelzet, fl; Rémy Baudet, vn; Richte van der Meer, vc; Musica Amphion/Pieter-Jan Belder. Brilliant Classics 94104 26 Bach, J.S. Magnificat, BWV243a (1723). Josie Ryan, sop; Judith Rough, sop; Anna Dowsley, cont; Andrei Leptev, ten; Alexander Knight, bass; Coro Innominato; Concertato/ Timothy Chung. Fine Music concert recording 37 January 2018

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Saturday 27 JANUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Late Baroque 1750-1759 Prepared by James Nightingale Rameau, J-P. Overture to Acante et Céphise. Les Talens Lyriques/Christophe Rousset. L’Oiseau-Lyre 455 293-2 5 Couperin, F. Les Bergeries, Rondeau, from Sixième ordre. Christophe Rousset, hpd. Harmonia Mundi HMX 2908601.30 5 Handel, G. Organ concerto in F, HWV295, The cuckoo and the nightingale (c1761). Simon Preston, org; English Concert/Trevor Pinnock. Archiv 479 1932 13 Bach, J.S. Cantata, BWV98: Was Gott tut, das ist wohlgetan (1727-29). Bach Collegium Japan/Masaaki Suzuki. BIS BIS-9052 13 Graupner, C. Trio sonata in C for bassoon, chalumeau and harpsichord, GWV201 (c1742). Members of Finnish Baroque O. Ondine ODE 1240-2 9 Telemann, G. Alster-Ouverture, TWV55:F11. Collegium Musicum 90/Simon Standage. Chandos CHAN 0547 28 10:30 SMALL FORCES From the Folk Prepared by James Nightingale Sculthorpe, P. Songs of sea and sky (1987/88). Nigel Westlake, cl; David Bollard, pf. Tall Poppies TP004 16 Chopin, F. Polonaise brillante in C, op 3 (1829-33). Mstislav Rostropovich, vc; Martha Argerich, pf. DG 477 8445 8

Darius Milhaud

Richard Bonynge

11:30 ON PARADE Prepared by Paul Hopwood

Ballet: Le boeuf sur le toit. London SO/Antal Dorati. Mercury 478 5092 19

Mozart, W. Overture to The magic flute, K620 (1791; arr. Kenyon). 7 Fonteyn, S. Pop looks Bach. 2 Lennon - McCartney. Ticket to ride. 3 Rolls Royce Coventry Band (three above) Sherwin, M. A nightingale sang in Berkeley Square (arr. Catherall). 5 Respighi, O. The pines of the Appian Way (arr. Graham). 5 Sellers Engineering Brass Band (two above) Zimmerman, C. Anchors aweigh. Regency Noble Footwear Band. 4 Soho CD051 (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 14:00 EXPLORING MILHAUD Prepared by Andrew Dziedzic Milhaud, D. Scaramouche, op 165b (1937). Duo Lechner Tiempo. Avanti 5414706 10312 9

Bartók, B. Rumanian folk dances (1915). Patricia Kopatchinskaja, vn; Fazil Say, pf. naïve V5146 6

La création du monde (1923; arr. Seidenburg). Turtle Island String Quartet; Ying Quartet. Telarc CD-80630 11

Haydn, J. Piano trio in G, Hob.XV:25, Gypsy rondo (1795). Streeton Trio Fine Music concert recording 15

Jérôme et Alissa, from Alissa, op 9 (1913/31). Carole Farley, sop; John Constable, pf. ASV DCA 810 4

Rojas, D. Llévame (2014). Jay Byrnes, sax; Michael Kluger, accordian; Daniel Rojas, pf. Saxophone Academy Sydney SASCD001 6

Sonatina, op 337 (1954). Jan Adamus, ob; Stanislav Bogunia, pf. Le Chant du Monde PR 240009 CM 201 10

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15:00 DANCING BUTTERFLIES Prepared by Chris Blower Puccini, G. Ballet: Madame Butterfly (1903; arr. Lanchbery 1954). O Victoria/John Lanchbery. ABC 454 499-2 1:20 Strauss, Josef. Butterflies, op 62 (1858). Berlin SO/Robert Stolz. Eurodisc 258 663 6 Offenbach, J. Ballet: The butterfly (1860). London SO/Richard Bonynge. LP Decca SXL 6588 55 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Kids: stuff and nonsense 18:00 SYDNEY SCHUBERT SOCIETY 1828 Prepared by Ross Hayes Schubert, F. Fantasie in F minor, D940 (1828). Anne Queffélec, pf; Imogen Cooper, pf. apex 0927 49812 2 19 Et incarnatus est, from Mass in E flat, D950 (1828). Susan Gritton, sop; Mark Padmore, ten; James Gilchrist, ten; Collegium Musicum 90/Richard Hickox. Chandos CHAN 10568(2) 7 String quintet in C, D.956, mvt 4 (1828). Dene Olding, vn; Dimity Hall, vn; Irena Marozova, va; Julian Smiles, vc; David Pereira vc. Tall Poppies TP011 10 Kriegers Ahnung, from Schwanengesang, D957 (1828). Mark Padmore, ten; Paul Lewis, pf. Harmonia Mundi HMU 907520 5

Saturday 27 JANUARY Hasse, J. Overture to Artaserse (1730). Les Talens Lyriques/Christophe Rousset. Auvidis K 1005 6 Per questo dolce amplesso. Vivica Genaux, mezz; Akademie für Alte Musik/René Jacobs. Harmonia Mundi HMG 501 778 6 Pallido il sole. Andreas Scholl, ct; O of the Age of Enlightenment/Roger Norrington. Decca 466 196-2 4 Bach, W.F. Sonata no 2 in A (1731-46). Guy Penson, hpd. Ricercar RIC 051043 14 Carl Czerny Der Hirt auf dem Felsen, D965 (1828). Felicity Lott, sop; Michael Collins, cl; Ian Brown, pf. IMP PCD 868 12 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Dukelsky, V. Excerpts from Cabin in the sky (1943). Ethel Waters, Lena Horne, Eddie Anderson, Duke Ellington, voices. Sony 88697638532 20 Porter, C. Suite from Kiss me, Kate (1948). O/Richard Hayman. Naxos 8.578039-40 10 De Paul, G. Excerpts from Seven brides for seven brothers (1954). Jane Powell, sop; Howard Keel, bar. Sony 88697638802 19 20:00 INFLUENCES AND CONNECTIONS Johann Adolf Hasse Prepared by Elaine Siversen Keiser, R. Liebe sag’, was fängst du an? from Croesus (1710/30). Dorothea Röschmann, sop; Akademie für Alte Musik/ René Jacobs. Harmonia Mundi HMX 2908150.52 5 Porpora, N. Cello concerto in G. Giovanni Sollima, vc; European Community CO/Eivind Aadland. Helios CDH88025 17 Nobil onda, from Adelaide (1723). Cecilia Bartoli, mezz; Il Giardino Armonico/Giovanni Antonini. Decca 478 1521 5 Hasse, J. Quanto affano (arr. Porpora). Four Nations Ensemble/Andrew Appel. ASV GAU 192 3 Scarlatti, A. Filli e Clori. Jane Edwards, sop; Miriam Allen sop; Chacona/Rosalind Halton. ABC 476 617-0 17

Hasse, J. Cervo al bosco, from Cleofide (1731). Flavio Ferri-Benedetti, alto; Il Basilico. Pan Classics PC 10341 6 Pisendel, J. Violin concerto in D. Concerto Amstersdam/Jaap Schröder, vn & dir. Pro Arte CDD 330 12 Hasse, J. Fugue and grave in G minor (c1735). Musica Antiqua Cologne/Reinhard Goebel. Archiv 453 435-2 10 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Czerny, C. Grande variations de bravura sur deux motifs, from DFE Auber’s opera, Fra Diavolo (1830). Rosemary Tuck, pf; English CO/Richard Bonynge. Naxos 8.573254 18

Sunday 28 JANUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Villa-Lobos, H. Magnificat-alleluia (1958). Elizabeth McCormack, mezz; Corydon Singers; Corydon O/Matthew Best. Hyperion CDA66638 7 Ampt, R. Elijah on the mountain. Amy Johansen, org. Move MD 3293 8 Hummel, J. Mass in D, op 111 (1808). Collegium Musicum 90/Richard Hickox. Chandos CHAN 0681 38 10:00 THE CLASSICAL ERA Prepared by Denis Patterson Grétry, A-E-M. Overture to Le Magnifique (1773). English CO/Richard Bonynge. Decca 466 434-2 10 Stamitz, A. Viola concerto in B flat. Jan Peruska, va; Prague Philharmonia/Jirí Belohlávek. Supraphon SU 3929-2 21 Bach, C.P.E. Symphony in A, Wq 182 no 4. O of the Age of Enlightenment/Rebecca Miller. Signum SIGCD395 12

Ravel, M. Suite from Mother Goose (190810; arr. McIntyre). Canberra Wind Soloists. ABC 434 718-2 14

Chopin, F. Sonata no 2 in B flat minor, op 35 (1839). Roger Woodward, pf. Fine Music concert recording 25

Sullivan, A. Ballet: Pineapple Poll (arr. Mackerras 1951). Philharmonia O/Charles Mackerras. Decca 43810-2 45

Rossini, G. Overture to Semiramide (1823). Melbourne SO/Hiroyuki Iwaki. ABC 442 368 12

Liszt, F. Fantasy on themes from Mozart’s The marriage of Figaro and Don Giovanni (1842). Leslie Howard, pf. Hyperion CDS44541 22 Strauss, R. Sextet from Capriccio, op 85 (1942). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9131 13 After Handel heard the soprano Faustina Bordoni sing in Vienna, he invited her to London to star in his opera Alessandro. After two seasons, she returned to Venice and married the celebrated opera composer, Johann Adolf Hasse. He composed several operas for her and they had a long and happy marriage.

Spohr, L. Symphony no 6 in G, op 116, Historical (1840). Swiss Italian O/Howard Shelley. Hyperion CDA67788 26 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide with Anna Tranter 14:00 FRENCH SUITES Prepared by Gael Golla Poulenc, F. French suite (1935). Anthony Gray, pf. ABC 481 1835 12 Hindemith, P. Suite of French dances (1958). Philharmonia O/José Serebrier. ASV DCA 945 9 January 2018

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Sunday 28 JANUARY Bach, J.S. Suite no 4 in E flat, BWV815, French (c1722). Angela Hewitt, pf. Hyperion CDA67121/2 18 Milhaud, D. French suite, op 248 (1944). Royal Northern College of Music Wind O/ Timothy Reynish. Chandos CHAN 9897 15 15:00 SUNDAY SPECIAL Bruckner’s Mass no 3 Prepared by James Nightingale

1868

A Sesquicentenary Event

Byrd, W. Sanctus; Benedictus; Agnus Dei, from Mass for four voices. Choir of Winchester Cathedral/David Hill. Decca 467 611-2 8 Harris, W. Bring us, O Lord God. Cambridge Singers/John Rutter. 4 Hymn. How shall I sing that Majesty? Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP12101 4

Bruckner, A. Pange lingua (1868). Choir of St Bride’s Church/Robert Jones. Naxos 8.550956 5

Harris, W. Flourish for an occasion. David Dunnett, org. Regent REGCD175 5

Franck, C. Prelude, fugue and variation, op 18 (1862). Piet Kee, org. Chandos CHAN 8891 11

18:00 BEETHOVEN PIANO Prepared by Paul Hopwood

Brahms, J. Two motets, op 29 (1860). RIAS Chamber Choir/Marcus Creed. Harmonia Mundi HMC 901591 13 Wagner, R. Prelude; Liebestod, from Tristan and Isolde (1857-59). Chicago SO/Daniel Barenboim. Teldec 4509-99595-2 17 Liszt, F. Legend of St Francis de Paule marchant sur les flots (1863). Leslie Howard, pf. Hyperion CDS44512 8 Bruckner, A. Mass in F minor (1867-68). Ingela Bohlin, sop; Ingeborg Danz, cont; Hans-Jörg Mammel, ten; Alfred Reiter, bar; RIAS Chamber Choir; Champs-Élysées O/ Philippe Herreweghe. Hamonia Mundi HMC 901976 55 17:00 HOSANNA Prepared by Jeremy Hall Shephard, R. Jesu, dolcis memoria. Choir of Wellington Cahedral; Andrew Macmillan, org; Philip Walsh, cond. Herald HAVPCD 191 4 Hymns. Praise, my soul, the King of Heaven; I to the hills; Dear Lord and Father of mankind. Cantus Choro; Norman Kaye, org; Peter Chapman, cond. Move MD 3032 9 Harwood, B. Magnificat and Nunc dimittis in A flat. Choir of Hereford Cathedral; Huw Williams, org; Roy Massey, cond. Priory PRCD 535 8 Howells, H. Like as the hart. Cambridge Singers; Wayne Marshall, org; John Rutter, cond. Collegium COLCD 118 5 38

Mathias, W. Let the people praise Thee, O God. Choir of St Paul’s Cathedral; Andrew Lucas, org; John Scott, cond. Hyperion SPCC2000 5

Beethoven, L. Piano concerto no 2 in B flat, op 19 (1794-95). Melvyn Tan, fp; London Classical Players/Roger Norrington. EMI CDC 7 49509 2 27 Trio in C minor, op 1 no 3 (1794-95). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf. EMI CMS 7 63124 2 26 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Rimsky-Korsakov, N. Overture: Russian Easter Festival, op 36 (1888). Paris O/ Gennady Rozhdestvensky. EMI CDM 1 66428 2 16 Medtner, N. Piano concerto no 2 in C minor, op 50 (c1920-27). Geoffrey Tozer, pf; London PO/Neeme Järvi. Chandos CHAN 9038 36 Honegger, A. Symphony no 3, Liturgique (1945-46). Bavarian RSO/Charles Dutoit. Erato ECD 88045 30 20:30 NEW HORIZONS Prepared by Paul Cooke Vali, R. Flute concerto (1998). Alberto Almarza, fl; Boston Modern O Project/Gil Rose. Naxos 8.557224 27 Liebermann, L. Gargoyles, op 29 (1989). Joyce Yang, pf. Avie AV2229 11 Pavlova, A. Symphony no 1, Farewell Russia (1994). Russian PO/Konstantin Krimets. Naxos 8.557157 26 Jenkins, K. In these stones horizons sing. Bryn Terfel, bass-bar; Serendipity; Côr Caerdydd and Cytgan; Adiemus Wind and Brass; West Kazakhstan PO/Karl Jenkins. EMI 5 57966 2 16 22:00 AFTER HOURS JAZZ with Kevin Jones

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Monday 29 JANUARY 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: 1886 Prepared by Mariko Yata Fibich, Z. Overture: A night at Karlstejn Castle (1886). Czech NSO/Marek Štilec. Naxos 8.573310 10 Grieg, E. Lyric pieces, op 43 (1886). Leif Ove Andsnes, pf. Virgin VC 7 59300 2 14 Brahms, J. Trio no 3 in C minor, op 101 (1886). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf. EMI 7 54725 2 21 Saint-Saëns, C. The carnival of the animals (1886). David Strange, vc; Anthony Goldstone, pf; Ian Brown, pf; Royal PO/ Owain Arwel Hughes. ASV QS 6124 22 Satie, E. Ogives (1886). Reinbert de Leeuw, pf. Philips 462 162-2 13 10:30 CONCERT HALL Prepared by Brian Drummond Lyadov, A. Polonaise in C, op 49. USSR Academic SO/Yevgeny Svetlanov. Melodiya MA 19303 8 Moeran, E.J. Rhapsody no 2 (1924/41). London PO/Adrian Boult. Lyrita SRCD.248 13 Mendelssohn, F. Piano concerto no 2 in D minor, op 40 (1837). András Schiff, pf; Bavarian RSO/Charles Dutoit. Decca 414 672-2 22 Beethoven, L. Symphony no 7 in A, op 92 (1811-12). West-Eastern Divan O/Daniel Barenboim. Decca 478 3511 37 12:00 SWING SESSIONS with John Buchanan 13:00 CELLO DELIGHTS Prepared by Andrew Parker Bach, J.S. Suite no 3 in C, BWV1009 (c1720). Yo-Yo Ma. vc. CBS M2K 37867 19 Beethoven, L. String trio in C minor, op 9 no 3 (1797-98). Leopold Trio. Hyperion CDA67254 23

Monday 29 JANUARY

Tuesday 30 JANUARY 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 Emyr Evans Bach, J.S. Partita in B flat, BWV825 (1731). Vladimir Ashkenazy, pf. Decca 478 2163 17

Luigi Boccherini Boccherini, L. String quartet in E minor, op 32 no 2 (pub. 1781). Quartetto Esterházy. Teldec 4509-95988-2 16 Haydn, J. Cello concerto no 2 in D, Hob. VIIb:2 (1783). Anner Bijlsma, vc; Tafelmusik O/Jean Lamon. Harmonia Mundi RD 77757 23 14:30 THOUGHTS OF TRAVEL Prepared by Gael Golla Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Berlin PO/Herbert von Karajan. EMI CDM 1 66433 2 10

Gershwin, G. Overture to Strike up the band (1932; arr. Rose). Howard Shelley, pf; BBC PO/Yan Pascal Tortelier. Chandos CHAN 9325 7 Beethoven, L. Piano trio in B flat, op 97, Archduke (1810-11). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf. EMI CDC 7 47010 2 37 Rachmaninov, S. Dissonance, op 34 no 13 (1912). Joan Rodgers, sop; Howard Shelley, pf. Chandos CHAN 9477 6 Kreisler, F. Liebesfreud (c1926; arr. Rachmaninov). Howard Shelley, pf. Hyperion CDS 44048 7

Milhaud, D. Scaramouche, op 165c (1937). Pekka Savijoki, sax; Margit Rahkonen, pf. BIS CD-209 9

Shostakovich, D. Prelude and fugue in E flat minor, op 87 no 14 (1950-51). Vladimir Ashkenazy, pf. Decca 466 066-2 7

Tchaikovsky, P. Capriccio italien, op 45 (1880). Kirov O/Valery Gergiev. Philips 442 775-2 15

10:30 CONCERT HALL Prepared by Denis Patterson

Liszt, F. Tarantella, from Venice and Naples, supplement to Années de Pèlerinage, vol 2 (1859). Leslie Howard, pf. Hyperion CDS44510 9 Saint-Saëns, C. Africa, op 89 (1891). Stephen Hough, pf; City of Birmingham SO/ Sakari Oramo. Hyperion CDA67331/2 10 Dvorák, A. String quartet in F, op 96, American (1893). Takács Quartet. Decca 476 280-2 26 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Ross Hayes 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Verdi, G. Overture to Stiffelio (1850). BBC PO/Edward Downes. Chandos CHAN 9594 10 Berlioz, H. Les nuits d’été, op 7 (184041). Anne Sofie von Otter, mezz; Antoine Tamestit, va; Les Musiciens du Louvre/Marc Minkowski. naïve V 5266 29 Stanford, C. Villiers Symphony no 3 in F minor, op 28, Irish (1887). Bournemouth SO/ David Lloyd-Jones. Naxos 8.570355 43 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 MISATTRIBUTIONS AND DOUBTFUL ATTRIBUTIONS Prepared by Stephen Wilson

Stravinsky, I. Suite from Pulcinella (191920). Academy of St Martin in the Fields/ Neville Marriner. Decca 443 577-2 23 Dragonetti, D. Double bass concerto in A. Gary Karr, db; Berlin RSO/Uros Lajovic. LP Schwann VMS 2063 16 Witt, F. Symphony in C, Jena. Sinfonia Finlandia/Patrick Gallois. cpo 777 486-2 26 14:30 MUSIC OF J.M. KRAUS Prepared by Frank Morrison Kraus, J.M. Trio in D (1787). Jaap Schröder, vn; Kari Ottesen, vc; Lucia Negro, fp. Musica Sveciae MSCD 415 20 Ich bin vernügt. Martin Hummel, bar; Glen Wilson, pf. Naxos 8.557452 2 Symphony in A. Swedish CO/Petter Sundkvist. Naxos 8.554472 19 Töne Leise, goldne Saite, from Zum Geburtstage des Königs (1782). Barbara Bonney, sop; Drottningholm Court TO/ Thomas Schuback. Musica Sveciae MSCD 424 7 Violin concerto in C (1777). Takako Nishizaki, vn; New Zealand SO/Uwe Grodd. Naxos 8.570334 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Dussek, J. Duet in F, op 26 (1794). Masumi Nagasawa, hp; Richard Egarr, pf. Etcetera KTC1436 17 Brahms, J. Piano quartet in C minor, op 60 (1875). Sonus Quartet. Fine Music concert recording 32

Vavilov, V. Ave Maria (arr. Chichon). DG 479 2071 6

Korngold, E. String sextet, op 10 (1914-16). Jennifer Stumm, va; Bartholomew LaFollette, vc; Doric String Quartet. Chandos CHAN 10707 34

Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708). Peter Hurford, org. Decca 425 013-2 9

Mozart, W. Quintet in A, K581 (1789). Ludmila Peterková, cl; Bennewitz Quartet. Supraphon SU 4061-2 30 January 2018

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Wednesday 31 JANUARY Celeste Aïda, from Aïda. Plácido Domingo, ten; Berlin German Opera O/Nello Santi. Teldec 9031-73741-2 5 Ingemisco, from Requiem (1974). Andrea Bocelli, ten; Mariinsky TO/Valery Gergiev. Decca 478 7732 4 Sanctus, from Requiem Mass (1874). Joan Sutherland, sop; Marilyn Horne, mezz; Luciano Pavarotti, ten; Martti Talvela, bass; Vienna State Opera Ch; Vienna PO/Georg Solti. Decca 478 3640 3 Giuseppe Martucci

Thomas Arne

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson

13:00 THE BAROQUE VIOLIN Prepared by Paul Hopwood

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Locatelli, P. Violin concerto in A, op 3 no 11 (pub. 1733). Elizabeth Wallfisch, vn; Raglan Baroque Players/Nicholas Kraemer. Hyperion CDS44391/3 18

20:00 AT THE OPERA Opera oscura: Metastasio Englished

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Frank Morrison Martucci, G. Andante, op 69 no 2. George Ives, vc; Philharmonia O/Francesco d’Avalos. ASV DCA 689 11 Three pieces, op 84 (1906). Rosa Feola, sop; Iain Burnside, pf. Opus Arte OA CD9039 D 8 Notturno, op 70 no 1 (1891). La Scala PO/ Riccardo Muti. Sony SK 53 280 7 Sonata, op 22. Marco Fornaciari, vn; Daniele Roi, pf. Fonè 88 F 02-22 12 Piano concerto no 2 in B flat minor, op 66 (1884-85). Francesco Caramiello, pf; Philharmonia O/Francesco d’Avalos. ASV DCA 691 41 10:30 CONCERT HALL Prepared by Soumiya Amalan Smetana, B. Overture to The bartered bride (1866). BBC PO/Gianandrea Noseda. Chandos CHAN 10518 6 Bach, J.S. Violin concerto in D minor, from Piano concerto, BWV1052 (1717-23; arr. Reitz). Joseph Szigeti, vn; New Friends of Music O/Fritz Stiedry. Naxos 8.110979 23 Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). Simon Bolívar SO/Gustavo Dudamel. DG 479 0250 53 40

Corelli, A. Sonata in D minor, op 5 no 7 (pub. 1700). Eduard Melkus, vn; Garo Atmacayan, vc; Karl Scheit, lute; Huguette Dreyfus, hpd, org. Archiv 427 161-2 6 Telemann, G. Sonata for two violins in E minor. Collegium Musicum 90/Simon Standage. Chandos CHAN 0525 11 Bach, J.S. Double concerto in D minor, BWV1043 (1730-31). Itzhak Perlman, vn; Isaac Stern, vn; New York PO/Zubin Mehta. Sony SMK 66 471 16 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 VERDI EXPLORED Prepared by Michael Morton-Evans Verdi, G. Hymn of the nations (1862). Francesco Meli, ten; Turin Regio Theatre Ch & O/Gianandrea Noseda. Chandos CHAN 10659 13 La vergine decli angeli, from La forza del destino (1862/69). Bernice Zandona, sop; Cantorion Sydney Choir; Rachel Harding, pf; Mavis Wong, pf; Sion Llwyd, cond. Cantorion Sydney 20140131 3 Ballet music from Don Carlos (1867). Monte Carlo National Opera O/Antonio de Almeida. Philips 422 846-2 16 Grand march and ballet music from Aida (1871). Bologna Comunale TO/Riccardo Chailly. Decca 425 108-2 6

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Arne, T. Artaxerxes. English opera in three acts. Libretto by composer, after Metastasio. First performed London, 1762. ARTAXERXES: Christopher Ainslie, ct ARTABANES: Andrew Staples, ten ARBACES: Caitlin Hulcup, mezz RIMENES: Daniel Norman, ten MANDANE: Elizabeth Watts, sop SEMIRA: Rebecca Bottone, sop Classical Opera Company/Ian Page. Linn CKD 358 2:18 Synopsis at finemusicfm.com/Listen/Opera Bach, J. Christian Perché tarda è mai la morte, from Artaserse (1760). Philippe Jaroussky, ct; Le Cercle de l’Harmonie/ Jérémie Rhorer. Virgin 5099969-456404 3 22:30 ROMANTIC CHAMBER Prepared by Paul Hopwood Alkan, C-V. Concert sonata in E, op 47 (1856). Yvan Cihiffoleau, vc; Olivier Gardon, pf. Timpani IC 1013 32 Borodin, A. Sonata in B minor (1860). Ottó Kertész Jr, vc; Ilona Prunyi, pf. Marco Polo 8.223172 22 Bruch, M. Kol nidrei, op 47 (1881). Jacqueline du Pré, vc; Gerald Moore, pf. EMI CZS 5 68132 2 10 Debussy, C. Sonata for flute, viola and harp (1915). Members of Nash Ensemble. Virgin VC 7 91148-2 17

The following composers have works of at least five minutes on the JANUARY dates listed Abt, F. 1819-1885 7 Albéniz, I. 1860-1909 18,22 Alfvén, H. 1872-1960 8 Alkan, C-V. 1813-1888 7,18,22,31 Ampt, R. b1949 28 Andriessen, H. 1892-1981 5 Arne,T. 1710-1778 31 Arnold, M. 1921-2006 4, 25 Arnold, S. 1740-1802 3 Bach, C.P.E. 1714-1788 6,10,12,21,28 Bach, J. Christian 1735-1782 8 Bach, J.C.F. 1732-1795 10 Bach, J.S. 1685-1750 2,3,5, 6,7,8,12,14,16,20,21,22,23,2 5,26,27,28,29,30,31 Bach, W.F. 1710-1784 6,7,27 Bantock, G. 1868-1946 8 Bartók, B. 1881-1945 9,12,14,18,25,27 Barton, A. 18th c 3 Bax, A. 1883-1953 6,17 Beach, A. 1867-1944 12 Beethoven, L. 1770-1827 2, 4,7,9,12,14,16,18,19,25,28, 29,30,31 Bellini, V. 1801-1835 9 Berg, A. 1885-1935 12 Berlioz, H. 1803-1869 2,11,14,18,20,30 Berwald, F. 1796-1868 1,7 Biscogli, F. fl..c1740 12 Bizet, G. 1838-1875 2,5,18 Bloch, E. 1880-1959 11,20 Boccherini, L. 1743-1805 21,26,29 Borodin, A. 1833-1887 9,17,19,31 Bottesini, G. 1821-1889 9 Boulanger, L. 1893-1918 7 Bowen, Y. 1884-1961 2,11 Boyce, W. 1711-1779 20 Brahms, J. 1833-1897 1,8,9,11,15,16,20,22,23,26, 28,29,30 Britten, B. 1913-1976 1,6,12,26 Bruch, M. 1838-1920 5,7,14,16,31 Bruckner, A. 1824-1896 28 Burleigh, H. 1866-1949 11 Butterworth, G. 1885-1916 19 Buys, J. 1868-1933 9 Byrd, W. 1543-1623 28 Caccini, F. 1587-1640 12 Casella, A. 1883-1959 20 Chabrier, E. 1841-1894 22 Chadwick, G. 1854-1931 20 Charpentier, M-A. 1635-1704 21

Chausson, E. 1855-1899 9 Cherubini, L. 1760-1842 20 Chin, U. b1961 14 Chopin, F. 1810-1849 7,9,18,23,25,26,27,28 Cimarosa, D. 1749-1801 5 Clérambault, L-N. 1676-1749 4 Coleridge-Taylor, S. 18751912 10,16 Copland, A. 1900-1990 17 Corelli, A. 1653-1713 7,20,31 Correa de Arauxo, F. c1583-1654 26 Couperin, F. 1668-1733 8 Czerny, C. 1791-1857 17,27 Danzi, F. 1763-1826 2 Davies, P. Maxwell 19342016 3 De Paul, G. 1919-1988 27 Debussy, C. 1862-1918 9,19,23,31 Delibes, L. 1836-1891 26 Delius, F. 1862-1934 1 Dench, C. b1953 7 Denisov, E. 1929-1996 18 Devienne, F. 1759-1803 26 Dittersdorf, C. 1739-1799 14 Dohnányi, E. 1877-1960 9,18 Donizetti, G. 1797-1848 2,12 Dragonetti, D. 1763-1846 30 Dreyfus, G. b1928 1 Dreyschock, A. 1818-1869 8 Dubois, P.M. 1930-1995 11 Dukelsky, V. 1903-1969 27 Dussek, J. 1760-1812 14,30 Dvorák, A. 1841-1904 2,4, 5,9,13,15,17,18,19,23,25,29 Edwards, R. b1943 7,26 Elgar, E. 1857-1934 3,4,5,8,9,10,14,16,18,19 Enescu, G. 1881-1955 18 Falla, M. de 1876-1946 12,22,23 Fasch, J. 1688-1758 6 Fauré, G. 1845-1924 12,16,18 Ferneyhough, B. b1943 7 Fibich, Z. 1850-1900 29 Ford, A. b1957 14 Franck, C. 1822-1890 11,22,28 Frankel, B. 1906-1973 18 Gabrieli, G. c1556-1612 23 Garnier, J-F. 1755-1825 11 Gershwin, G. 1898-1937 30 Ginastera, A. 1916-1983 19 Giuliani, M. 1781-1829 14 Glass, P. b1937 1 Glazunov, A. 1865-1936 13,18 Glière, R. 1875-1976 18

Glinka, M. 1804-1857 1,21 Godard, B. 1849-1895 3,22 Goldmark, K. 1830-1915 19 Goossens, E. 1893-1962 19 Górecki, H. 1933-2010 7 Gounod, C. 1818-1893 14 Granados, E. 1867-1916 16,25 Graun, C. 1704-1759 22 Graupner, C. 1683-1760 27 Grétry, A-E-M. 1741-1813 28 Grieg, E. 1843-1907 22,29 Grier, F. b1956 21 Griffes, C. 1884-1920 8 Hackett, S. b1950 21 Handel, G. 1685-1759 3,4,5,6,20,25,26,27 Harwood, B. 1859-1949 28 Hasse, J. 1699-1783 27 Haydn, J. 1732-1809 3,4,6, 7,10,13,14,16,21,25,27,29 Herrmann, B. 1911-1975 13 Herzogenberg, H. 1843-1900 4 Hindemith, P. 1895-1963 28 Hindson, M. b1968 13 Honegger, A. 1892-1955 3,28 Hovhaness, A. 1911-2000 21 Howells, H. 1892-1983 28 Hume, T. c1569-1645 5,25 Hummel, J. 1778-1837 6,14,21,28 Hyde, M. 1913-2005 4 Ibert, J. 1890-1962 8 Janácek, L. 1854-1928 5,20,22 Jenkins, K. b1944 28 Jolivet, A. 1905-1974 6 Josquin Desprez. c1440-1521 14 Kabalevsky, D. 1904-1987 7 Khachaturian, A. 1903-1978 2,13 Klughardt, A. 1847-1902 17 Kodály, Z. 1882-1967 14,16 Koehne, G. b1956 5 Korngold, E. 1897-1957 30 Kozeluch, L. 1747-1818 7 Kraus, J.M. 1756-1792 30 Kreisler, F. 1875-1962 19,20,30 Krommer, F. 1759-1831 17 Kuhlau, F. 1786-1832 7 Lalo, E. 1823-1892 2 Le Gallienne, D. 1915-1963 26 Leclair, J-M. 1697-1764 11 Lehár, F. 1870-1948 20 Lidholm, I. 1921-2017 4 Liebermann, L. b1961 28 Liszt, F. 1811-1886 3,18,19,24,27,28,29

Key Music duration is shown after the record and citation

SO: Symphony Orchestra PO: Philharmonic Orchestra NO: National Orchestra RO: Radio Orchestra FO: Festival Orchestra CO: Chamber Orchestra TO: Theatre Orchestra

RSO: Radio Symphony Orchestra RTO: Radio & Television Orchestra Prom O: Promenade Orchestra Ch & O: Chorus & Orchestra NSO: National Symphony Orchestra alto: male alto

ban: bandoneon bar: baritone bshn: basset horn bass: bass bn: bassoon bass-bar: bass-baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

Locatelli, P. 1695-1764 31 Lully, J-B. 1632-1687 5 Lutyens, E. 1906-1983 16 Lyadov, A. 1855-1914 13,29 MacDowell, E. 1860-1908 11 Machaut, G. de c1300-1377 5 Mahler, G. 1860-1911 12,14 Malipiero, G. 1882-1973 19,20 Marais, M. 1656-1728 6 Marcello, A. 1684-1750 19 Martin, M. b1976 7 Martinu, B. 1890-1959 4,18,20,23 Martucci, G. 1856-1909 31 Mascagni, P. 1863-1945 24 Masek, V. 1755-1831 15 Massenet, J. 1842-1912 4,7,15 Mathias, W. 1934-1992 28 Matthus, S. b1934 2 McCandless, P. b1947 25 Medtner, N. 1880-1951 6,28 Mendelssohn, F. 1809-1847 1,12,13,15,16,19,21,22,26,29 Mendelssohn, Fanny. 1805-1847 12,16 Meyerbeer, G. 1791-1864 9,15,18 Milhaud, D. 1892-1974 3,27,28,29 Mills, R. b1949 26 Moeran, E.J. 1894-1950 29 Mompou, F. 1893-1987 5 Monteverdi, C. 1567-1643 10,23 Moszkowski, M. 1854-1925 6 Mozart, W. 1756-1791 5,6,7, 9,12,14,21,22,23,26,27,30 Muffat, G. 1653-1704 26 Mussorgsky, M. 1839-1881 9,16,21 Myaskovsky, N. 1881-1950 4,13 Narushima, T. 20th c 14 Nicolai, O. 1810-1849 2,18 Nielsen, C. 1865-1931 9,11 Nin, J. 1879-1949 11 Offenbach, J. 1819-1880 6,27 Paganini, N. 1782-1840 6,19,23,25 Palestrina, G. da c1525-1594 10 Pärt, A. b1935 7 Pasculli, A. 1842-1924 5 Pavlova, A. b1952 28 Pisendel, J. 1687-1755 27 Pleyel, I. 1757-1831 8 Popper, D. 1843-1913 16 Porpora, N. 1686-1768 27 Porter, C. 1891-1964 27

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

Poulenc, F. 1899-1963 3,4,18,28 Prokofiev, S. 1891-1953 6,11,13,16,17 Puccini, G. 1858-1924 7,27 Pugnani, G. 1731-1798 7 Purcell, H. 1659-1695 17 Puts, K. b1972 23 Rachmaninov, S. 1873-1943 4,11,13,14,21,22,23,30 Raff, J. 1822-1882 5,16,22 Rameau, J-P. 1683-1764 6,7,20,27 Raum, E. 20th c 14 Ravel, M. 1875-1937 2,3,4,6,11,27 Rebel, J-F. 1666-1747 11 Reich, S. b1936 1 Reinecke, C. 1824-1910 6 Respighi, O. 1879-1936 1,25,27 Rheinberger, J. 1839-1901 23 Rimsky-Korsakov, N. 18441908 13,18,28 Rodgers, R. 1902-1979 6 Rojas, D. b1974 27 Roldán, A. 1900-1939 11 Roman, J. 1694-1758 5 Rorem, N. b1923 11 Rossini, G. 1792-1868 1,7,10,12,19,24,28 Rubbra, E. 1901-1986 12 Ruders, P. b1949 19 Rutter, J. b1945 14,21 Ryba, J. 1765-1815 14 Saint-Saëns, C. 1835-1921 5,9,11,13,15,18,20,23,25,29 Salas y Castro, E. 17251803 11 Salonen, E-P. b1958 14 Sarasate, P. de 1844-1908 25 Satie, E. 1866-1925 29 Scarlatti, A. 1659-1725 27 Schmidt, Heather. b1974 12 Schmitt, F. 1870-1958 8 Schnittke, A. 1934-1998 15 Schubert, F. 1797-1828 1,7,9,12,15,16,20,23,25,27 Schumann, C. 1819-1896 2 Schumann, R. 1810-1856 2,4,15,22 Sculthorpe, P. 1929-2014 7,27 Shostakovich, D. 1906-1975 1,5,17,19,21,23,24,30 Sibelius, J. 1865-1957 7,13 Sinding, C. 1856-1941 24 Smetana, B. 1824-1884 4,31 Smyth, E. 1858-1944 12 Sousa, J.P. 1854-1932 15 Spohr, L. 1784-1859 6,28 Stainer, J. 1840-1901 21 Stamitz, A. 1750-c1789 28

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

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Stanford, C. Villiers 18521924 2,8,18,30 Steiner, M. 1888-1971 3 Strauss, J. I 1804-1849 25 Strauss, J. II 1825-1899 21,25 Strauss, Josef. 1827-1870 27 Strauss, R. 1864-1949 4,12,17,27 Stravinsky, I. 1882-1971 3,20,21,30 Strong, G. 1856-1948 11 Strozzi, B. 1619-1664 23 Stuck, J-B. 1680-1755 11 Suk, J. 1874-1935 4 Sullivan, A. 1842-1900 27 Suppé, F. 1819-1895 6,11,12 Susato, T. d c1561 25 Tallis, J. 1911-1996 18 Taneyev, S. 1856-1915 6,15 Tartini, G. 1692-1770 4 Tchaikovsky, P. 1840-1893 6,9,11,17,22,24,29 Telemann, G. 1681-1767 10,12,13,26,27,31 Torke, M. b 1961 14 Turina, J. 1882-1949 18 Vali, R. b1952 28 Vaughan Williams, R. 1872-1958 4,13,16,18,24,25 Vavilov, V. 1925-1973 30 Verdi, G. 1813-1901 2,3,9,10,24,30,31 Viardot, P. 1821-1910 6 Vierne, L. 1870-1937 21 Villa-Lobos, H. 1887-1959 3,6,8,25,28 Vine, C. b1954 25 Vivaldi, A. 1678-1741 13,20 Vogler, G. 1749-1814 15,22 Vriend, J. b1938 1 Wagner, R. 1813-1883 15,16,20,28 Wallace, W. 1860-1940 4,13 Walton, W. 1902-1983 4,11,13,14,18,19 Waxman, F. 1906-1962 11 Weber, C.M. 1786-1826 1,9,14,15,18,25 Weill, K. 1900-1950 4 Weiner, L. 1885-1960 9,24,25 Westlake, N. b1958 5 Wieniawski, H. 1835-1880 25 Winter, P. 1754-1825 7 Witt, F. 1834-1888 30 Wolf-Ferrari, E. 1876-1948 11 Zelenka, J. 1679-1745 14

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

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Classical CD Reviews BACH’S FRENCH SUITES, BWV812-817 Vladimir Ashkenazy, piano Decca 483 2150

✶✶✶✶✶ There are actually eight J.S. Bach French Suites but, on this album, there are six: BWV812-817. For reasons best known to himself Bach never published any of his suites and, although he revised them extensively during his lifetime, he was never satisfied with BWV818 and BWV819. It was left to Bach’s biographer, Johann Forkel, to prepare an edition in the early 1800s and since then BWV812-817 have become known as the French Suites. According to some musicologists there is nothing very French about some of the dances in the

INTO SILENCE Tamara-Anna Cislowska, piano Tasmanian SO/Johannes Fritzsch ABC 481 6295

✶✶✶✶ KRYSTIAN ZIMERMAN Franz Schubert Piano Sonatas, D959 and D960 DG 479 7588

✶✶✶✶✶ “My 60th birthday was approaching and I thought it was time to find the courage for works such as these and the last Beethoven sonatas.” Although Krystian Zimerman has played these last sonatas of Schubert for 30 years, it’s interesting that he has only recently felt ready to record his performances of them for posterity. The maturity of his playing shines through these magnificent sonatas which are amongst the jewels of the piano repertoire. Zimerman says that, in these sonatas, Schubert moved into a new phase with daring radical harmonies 42

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suites but Forkel assures us that they were composed ‘in the French taste’ meaning that they are not subject to ‘German structure and counterpoint’. Each suite is in a different key but what is surprising is that Vladimir Ashkenazy is the artist performing the suites. Don’t get me wrong; Ashkenazy is a wonderful pianist and he performs the suites with great credit. What is unusual (and I may be wrong here) is that he has only recorded one previous baroque piece and that is another of Bach’s ‘greatest hits’, The well-tempered Clavier. To date he has recorded mostly Romantic and 20th century pieces, so to suddenly switch to an earlier era is unusual. The suites may sound like finger exercises for advanced pupils but Ashkenazy Opening with a glorious tinkling of piano which evokes snowflakes gently floating past a window, Into Silence is a recording of works from Baltic composers associated with the new simplicity: Arvo Pärt, Henryk Górecki, Peteris Vasks and Georgs Pelecis. The first work, Pelecis’ Concertino bianco, is at once evocative and sentimental, filled with a sense of space and quiet beauty, at least in its first two movements. The third is an exuberant folksy romp which reminds me of Bartók, Stravinsky and Dvorák, but somehow simpler. That is perhaps the wonder of this music: that it sounds simple but is, in reality, sophisticated. All of the composers on this recording have been described as exponents of the New Simplicity in contemporary classical music. The disc includes several classics of this style, and polyphony but that the slow movements of the sonatas are ‘maybe the saddest music I know’. His interpretation brings out the deep pathos of these movements. In parts, Schubert’s apparent resignation to his impending death gives way to a fiery tempest, perhaps defiance. These nuances and abrupt changes of mood and tempo are superbly played by Zimerman. In other movements, he brings out the singing character of the music. This is accentuated by the keyboard which Zimerman made himself and had fitted to the grand piano. Similar to the type of keyboard used by Schubert, the hammer strikes a different point of the strings than in the modern piano enhancing its ability to sustain a singing sound. He concedes that the tuning may sound strange to some but I found it clear and true to pitch.

takes it in his stride and, as always, his artistry and style stand out. - Randolph Magri-Overend such as Pärt’s Pari intervallo and Für Alina. It also includes works of rhythmic and dissonant character, such as Górecki’s Piano concerto op 40, a piece which is much warmer on the piano than the original version for harpsichord and strings. The most endearing aspect of Into Silence is the balance between works of contemplation, such as Vasks’ Cantabile and the more directly descriptive works, such as Górecki’s Pieces in olden style. The performances from Tamara-Anna Cislowska and the Tasmanian Symphony Orchestra are vital and considered, bringing this music to life with clarity and conviction. This beautiful recording will transport you to a world of snow and encourage you to contemplate the infinite. - James Nightingale

This is a superb disc of masterful sonatas played by a sensitive and mature pianist, well worth a place in any collection. - Elaine Siversen

MENE MENE TEKEL UPHARSIN CHRIS BLOWER SEES THE WRITING ON THE WALL In the same hour came forth fingers of a man’s hand, and wrote over against the candlestick upon the plaster of the wall of the king’s palace: and the king saw the part of the hand that wrote. – Daniel 5:5 reads ‘MENE, MENE, TEKEL, UPHARSIN’. Daniel interprets the MENE to mean that God had numbered Belshazzar’s kingdom and finished it; TEKEL to mean that Belshazzar had been weighed and found wanting; and UPHARSIN (also written as PERES) to mean a Persian victory over Babylon. The drama of the writing on the wall and its interpretation is now brought to its fulfilment as Belshazzar keeps his promise and Daniel is clothed with scarlet, a chain of gold put about his neck and a proclamation issued that he should be the third ruler in the kingdom. All of these honours, however, are short-lived. That night, Belshazzar is slain and Darius the Median takes the kingdom.

The scene is the royal palace in Babylon (about 85km south of present-day Baghdad); the time around 539 BC. King Nabonidus is absent and his son Belshazzar is acting as regent. Belshazzar has ‘made a great feast’ to which 1000 of his lords have been invited with their wives. That such a large feast should be held by a monarch like Belshazzar is not at all unusual. What is unusual is that King Nabonidus had left Babylon to fight the Medes and the Persians and has already been captured. The whole surrounding territory and related provinces have already been conquered. Only Babylon with its massive walls and fortifications remains intact. The feast may be a way of reasserting the Babylonians’ faith in their gods and of bolstering their own courage. The storehouses of Babylon are still abundant with food and wine and there are plenty of both at this feast. Under the influence of much wine, the thought occurs to Belshazzar to bring in the gold and silver vessels which had been taken from the temple in Jerusalem by Nebuchadnezzar (probably Belshazzar’s grandfather) almost 70 years before. Sober, Belshazzar might not commit such a sacrilegious act. Now the king, and his princes, his wives, and his concubines

drink from these holy vessels and praise the gods of Babylon: gods of gold, silver, brass, iron, wood and stone. While all this is happening, suddenly there appear the fingers of a man’s hand which write on the plastered wall of the palace. The effect upon the king and his associates is immediate. His countenance changes colour and becomes pale. His thin courage, bolstered by wine drunk from vessels which Nebuchadnezzar had plundered and were seemingly a symbol of the power of the gods of Babylon, now deserts him. Clearly terrified, he calls for his magicians, scholars and soothsayers: in fact he is ready to listen to anyone who could interpret the writing. He offers the reward that, if one of them could read the writing and show the interpretation, he would be clothed with scarlet and have a chain of gold about his neck and become third ruler in the kingdom. Not one of them is able to do so. Someone (possibly Belshazzar’s mother) suggests Daniel, one of the captives whom Nebuchadnezzar had brought out of Jerusalem, who is well into his 80s. Scorning the offered reward and promising an unprejudiced interpretation, Daniel reads the writing. Transliterated into English, it

Fast-forward 2500 years when, in 1929, the young William Walton was asked for a work suitable for broadcasting, written for a small choir, soloist, and an orchestra not exceeding 15 players. As the project, the cantata Belshazzar’s feast, progressed, so did the forces for which it was written. It was given its first performance at the 1931 Leeds Festival with Malcolm Sargent conducting, and the first London performance in the same year under the baton of Adrian Boult. The cantata is in ten distinct sections, played continuously. After a brief, recited introduction, the Jews, in exile in Babylon, sing of their homeland Zion, in an emotional setting of Psalm 137: By the waters of Babylon, there we sat down: yea, we wept. The narrative begins, and we hear their horror, and then outrage, at the profanities of the king, followed by an exuberant march depicting the king and his court praising their gods. This leads to an eerie and economically orchestrated depiction of the writing on the wall, and the death that night of Belshazzar. The people celebrate their freedom, in a joyous song of praise interrupted by a lament over the fall of a great city. Walton’s Belshazzar’s feast, followed by incidental music of Sibelius to the play of the same name by Finnish writer Hjalmar Procopé, can be heard at 2pm on Saturday 13 January. January 2018

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Jazz CD Reviews INVENTIONS Tony Barnard and Casey Golden BSP 3504

✶✶✶✶✶ Two generations of the Barnard jazz dynasty have collaborated to create a stunning jewel of a recording. Now based in London, uncle, Tony Barnard and nephew, Casey Golden deliver modern original compositions and improvisations which fall somewhere between jazz, classical, world and folk music. Harp guitarist Tony and pianist Casey are both classically trained musicians but perform separately at Ronnie Scott’s and other top jazz venues. It’s such a pleasure to listen to the guitar, a beautiful classical musical instrument,

YIELD: PRELUDES AND FUGUES FOR PIANO Adrian Lim-Klumpes OCD036

✶✶✶✶

being nurtured into a jazz idiom, and a Steinway Grand being caressed into the unique technique employed by Golden. Soft and intelligent guitar progressions lead into the scintillating chops of Golden. Throughout the majority of Barnard and Golden’s Inventions, their compositions and arrangements are precise and well designed. From the delicate This is all there is, Where the clouds go and Rhapsodic to the jazz-inspired Sprawler and First place both artists display a fine and nuanced touch. It is a pleasure to listen to a harp guitar being played in this manner in an era where shredding and ‘playingasfastasyoupossiblycan’ for no apparent reason have become a norm. The pacing and tempo comfortably allow time to breathe and absorb the subtleties

and distinctions which are well crafted in this stellar debut. - Barry O’Sullivan

Yield is a collection of works showcasing Adrian Lim-Klumpes’ unique ability to develop improvised ideas into fully rounded and complex works. The album is a selection of performances captured in one six-hour session on a Steinway piano and is awash with his signature blending of minimalist lyrical piano jazz harmony with sampling and effects to create textures which shift in mood from track to track. There are obvious influences from J.S. Bach’s piano work The well-tempered Clavier with its arrangement into paired preludes and fugues which Bach composed ‘for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study’. Lim-Klumpes certainly fills this mould. The album speaks to the classical piano tradition

but Lim-Klumpes makes it clear that he is using the original meaning of fugare, that is, ‘the chase’ or ‘flight’, where one line pursues another. Yet equally, we hear influences from modern pianists Phillip Glass and Chris Abrahams. The tracks were created in pairs designed for the listener to hear corresponding echoes between pieces being led through a range of emotions from feelings of violence, loneliness and pain to those of peace, warmth, tenderness and fragility revealing new colours and dimensions with each hearing. Listeners will be enchanted by their transportation into Lim-Klumpes’ evocative aural world. This is highly recommended for lovers of digitally-manipulated piano harmonies executed creatively. - Barry O’Sullivan

THE INFLUENCE OF JAZZ ON CLASSICAL MUSIC After the recording of jazz music began in New York in 1917, its influence spread worldwide and the younger generation of classical composers embraced this new and exciting idiom as its rhythms and harmonics began to exert their influence. It took some time for these recordings to be heard in Europe, but in the 1930s there was a burst of compositional creativity, particularly amongst composers in London, Berlin and Paris.

later, to take on this new form and incorporate it into their own music.

The Mikado, 1987

Composed much earlier, Arthur Sullivan’s operetta The Mikado has a very distinct jazz influence so much so that a Jonathan Miller 1987 production included a tapdancing sequence which works perfectly. This writer has a VHS of that wonderful production and would not part with it. It gives a whole new perspective to our conception of jazz and its origins which are usually associated with the 44

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music of African-American slaves blended with hymn tunes and work songs of field hands in chain gangs. How can this be when Sullivan was composing mainly in the second half of the 19th century? It appears that live performances of ragtime were being heard in London and Europe at that time and it was such an exciting sound that it stimulated composers of the day, and

Kurt Weill’s The threepenny opera is a work very much influenced by jazz and, in France, Claude Debussy absorbed some of the early jazz influence. The later Parisian composers were also influenced to use jazz elements in their new compositions. As Marion Bauer expresses it, ‘the French composers throw themselves on jazz as hungry dogs on a bone’. Francis Poulenc, Erik Satie, Arthur Honegger, Georges Auric, Darius Milhaud and Maurice Ravel, as well as Russian expatriate, Igor Stravinsky, fell under its spell. Also in the United States, George Gershwin’s classical music is jazz-inspired. What a wonderful legacy has come to classical music from jazz!

A THELONIUS MONK CELEBRATION BARRY O’SULLIVAN REMEMBERS HIS 100TH ANNIVERSARY “Monk was renowned for his distinctive style in suits, hats, and sunglasses. He was also noted for an idiosyncratic habit observed at times during performances. While the other musicians in the band continued playing, he would stop, stand up from the keyboard and dance for a few moments before returning to the piano.”

Jazz pianist and composer, Thelonious Monk, whose 100-year birth anniversary fell on 10 October 2017, was the second most-recorded jazz composer after Duke Ellington. In the early to mid-1940s, he was the house pianist at Minton’s Playhouse, a jazz club and bar located at the Cecil Hotel in Harlem. Much of Monk’s style was developed during this time at Minton’s, when he participated in after-hour jam sessions which featured many leading jazz soloists of the time such as Charlie Christian, Charlie Parker and Dizzy Gillespie. The Thelonious Monk Institute of Jazz was established in 1986 by the Monk family and Maria Fisher. Its mission is to offer public school-based jazz education programs for young people around the globe, helping students develop imaginative thinking, creativity, curiosity, a positive self-image and a respect for their own and others’ cultural heritage. In addition to hosting an annual International Jazz Competition since 1987, the Institute also helped, through its partnership with UNESCO, designate 30 April 2012 as the first annual International Jazz Day. Sydney-based musician, Michael Griffin, was a semifinalist at the 2013 Thelonious Monk International Jazz competition. He subsequently lived and worked in New York and has developed a reputation both as a leader and sideman, performing widely throughout Australia and the USA. His debut album, Unexpected Greeting (ABC), received four stars in a review in The Australian and is listed in Music Australia’s Top 10 Australian Jazz albums. He visited the now defunct Minton’s Playhouse Jazz Club. “It was one of the most exciting things in my life to walk inside Minton’s Playhouse. The Melbourne saxophonist,

Angela Davis, who was based in New York at the time, was showing me around Harlem. When we got to Minton’s, the door was open so we went inside and it was incredible to walk around the club where Monk’s music was born. To enter the birth place of bebop was such a special moment for me,” said Griffin. Starting in the early 1940s, Monk developed into a major architect of the bebop style and immediately became an iconoclast within it. He helped devise its language of thick harmonies, zipping melodies and steamed-up rhythms. Although Monk maintained a rough piano style and wrote tunes to reflect it, his virtuosity worked on a level which was more tonal and more physical. Alto saxophonist Griffin set himself a mission to use transcriptions of Monk’s piano-playing in the very way in which Monk played the melodies and chords. Griffin arranged them for his horn section. “It truly is what makes it sound real,” Griffin said “I’ve based my latest line up, an octet, on the band which Monk took on an international tour in 1968: Phil Woods (alto sax), Charlie Rouse (tenor sax), Johnny Griffin (tenor sax), Ray Copeland (trumpet), Jimmy Cleveland (trombone), Larry Gales (bass) and Ben Riley (drums). We perform the songs which the band played (Ruby my dear, Blue Monk, Epistrophe and Oska, etc.) and they’re all favourites of mine. The songs are characterised by a fast tempo and complex chord progressions. What really makes Monk sound like Monk is the way in which he played melodies and chords. It’s an extremely unique way of playing.” Griffin added, “If I had just done a standard traditional arrangement of my hero’s tunes, it wouldn’t sound like genuine Monk”.

Many attribute Monk’s quirky behaviour to a mental illness. No reports or diagnoses were ever publicised but Monk would often become excited for two or three days then pace for days after that. After this he would withdraw and stop speaking. “To invent music like that you would have to be a little quirky,” Griffin went on. “Of course he wasn’t going to be the same as everyone else! He was in his own world and look what he created. They were always trying to label him with mental illness because he was different. I think he was just a very special creative man.” Michael Griffin’s Thelonious Monk Tribute Show featuring his Octet played at Foundry 616 in Sydney and at The Doo Bop Bar in Brisbane in December 2017. Griffin has plans to tour the show to Melbourne in 2018. A live recording by Fine Music’s Peter Nelson of Michael Griffin’s Thelonious Monk Tribute Show at Foundry 616 in Sydney will be featured along with the music of Thelonius Monk in a special edition of Barry O’Sullivan’s A Jazz Hour at 12 noon on 12 January.

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TIME GOES FAST … MICHAEL MORTON-EVANS’ 250TH CONVERSATION violinist Maxim Vengerov who began life in the Siberian town of Novgorod. It was so cold that he practised his violin in gloves with the ends cut off. Author David Malouf wanted to be a composer then changed his mind and took acting lessons. He said that he wasn’t a very good actor so he took up writing.

Spike Milligan Doesn’t time go fast when you’re having fun? I can’t believe that 24 January will mark my 250th In Conversation program. The Wednesdays seem to simply fly by, and with them have come some of the greatest names in music, literature and the arts in general. On one thing they’ve all agreed: nowhere else do they get the opportunity to talk about themselves for a whole hour without someone telling them to shut up! Some fascinating tales have emerged in those hours such as that of the great Russian

Most of my past 55 years have been spent interviewing people, starting back as a journalist in London’s Fleet Street and then with BBC television. After moving to Australia, I worked for News Corp and then ABC Radio. One thing became very clear from the outset. People are very appreciative when they realise you’ve really done your homework before speaking with them and they respond much more openly. I like to think that after an In Conversation program, listeners can say, when they next see the name on a concert program or in a newspaper, “I know that person”. Of course we never really get to know them more than they want us to, although it’s surprising how often interviewees have said to me afterwards: “God knows why I told you that!” With rare exceptions the programs are live to air. Adrenalin does a lot for both interviewer and interviewee. I never divulge the questions in advance, so there’s no opportunity to rehearse

answers and nobody has ever refused to answer any of them. One example of this was an extraordinary interview I did years ago with the late Spike Milligan. Not knowing what state of mind he might be in, manic or depressed, I’d prepared two different sets of questions. We began with the manic set and talked about how his mother had locked him in the airing cupboard whenever he wanted to practise his trumpet. As things progressed, I sensed that we were getting on well, so after 20 minutes I thought I’d try the other set and read him some lines from a poem he’d written many years earlier. “I can’t believe you’ve read that,” he said as his eyes filled with tears. He then began to talk freely about a failed suicide attempt and his despair at life in general. It was an astonishingly revealing and personal quarter of an hour which followed. There’s an old army saying: “Time spent in reconnaissance is rarely wasted”. The same can be said of radio interviews. Each month, In Conversation can be heard on Wednesdays at 2pm.

18TH CENTURY BALLAD OPERAS After the runaway success in 1728 of John Gay’s The beggar’s opera, with music by Johann Pepusch, Gay produced a sequel called Polly. It failed to excite the public’s interest even though the exotic new story, which takes Polly Peachum to the West Indies to marry an Indian prince, was highly topical at the time of Captain Cook’s voyages. In 1777 Samuel Arnold revived the opera, retaining its ballad tunes and adding new melodies of his own as well as some Scottish folk songs. He even included a Handel march and Jeremiah Clark’s famous Trumpet voluntary. The new opera was highly inventive, exuberant and cleverly re-orchestrated. Samuel Arnold, a writer of theatrical music, was the Director of the Marylebone Gardens where much of his popular music was performed. Later he was to write for the Little Theatre in Haymarket before becoming organist of the Chapel Royal in 1783 and of Westminster Abbey in 1793. In these latter years he published the first collected edition of Handel’s works which was the most comprehensive collection of that composer’s 46

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music prior to the appearance of the HändelGesellschaft edition in the 19th century. Arnold’s Polly is being broadcast together with the first known opera from the American colonies. Also a ballad opera, The disappointment is based on popular tunes of the time. The opera’s creator wrote under the pseudonym of Andrew Barton and it is believed that he was a prominent person as a contemporary reported that the opera was written by a ‘son of Philadelphia College’. This led to much speculation as to the composer’s identity. Three possible names were put forward but none was ever verified. It was intended that the first performance would be in Philadelphia in 1762 but it was cancelled at the last moment. It was not heard for another 200 years, with its first known performance taking place on 29 October 1976 at the Library of Congress in Washington as part of the Bicentennial celebrations of the United States of America. Join us At the Opera for these two ballad operas at 8pm on 3 January.

Samuel Arnold

THE VOLUNTEER KNOWN TO ALL SUE JOWELL TALKS TO SUE NICHOLAS

With the hundreds of volunteers working at Fine Music it is almost impossible to meet and get to know each and every one. However, should any volunteer be asked, “Do you know Sue Nicholas?” the answer would most assuredly be in the affirmative. She is, after all, the guardian of the ‘front door’ to Fine Music, through which any aspirant volunteer must enter. How many

of us have sat with some trepidation in reception awaiting that initial interview? What a relief it is, then, to be put at ease by the quiet charm and the calm demeanor of Volunteer Coordinator, Sue Nicholas.

she still does today. However, after leaving work, there was no question as to what she would do next. In 2001 she started, as most volunteers did then, by taking her place behind the reception desk at 76 Chandos Street.

With a background as a piano student, a degree in mathematics, a career as a High School mathematics teacher followed by 22 years in the IT industry as a programmer, project manager and manager of a department with a staff of 120, Sue has an analytical and perceptive mind. In addition, she can best be described as a ‘people person’ who loves music and who is, therefore, ideally suited to the work she does at the station.

In 2003 she assisted with the founding of the Volunteer Committee, becoming its Chair a year later. Sue has also served on the Board of Directors in various capacities including as Secretary and Treasurer. In addition, even today, she is never too busy to fill in as Receptionist should the need arise!

Sue has had a long association with Fine Music, or 2MBS-FM as it was when she first encountered it way back in the 70s, when she and her family first arrived in Sydney. Whilst working full time, she remained a loyal listener and also found time to assist with delivery of the magazine, something

At home, Sue enjoys quiet time at the piano playing Schubert, Chopin, Field, Liszt, Mozart and Beethoven ‘especially,’ she says, ‘the relaxing slow movements’. “In my working days,” she notes, “it was rare to find anyone with whom to share my love of music. Now at Fine Music, I am surrounded by people who all love music, especially classical music. This is very satisfying and is what I enjoy most about volunteering.”

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 JANUARY Soumiya Amalan, Charles Barton, Angela Bell, Peter Bell, Susan Bell, Chris Blower, David Brett, Susan Briedis, Barrie Brockwell, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Colleen Chesterman, Lyn Chong, Angela Cockburn, Liam Collins, Sam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Emyr Evans, Sepehr Fard, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Carole Garland, David Garrett, Nicky Gluch, Gabi Goddard, Gael Golla, Raj Gopalakrishnan, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, Richard Hughes, James Hunter, Leita Hutchings, Anne Irish, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Peter Kurti, Ray Levis, 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, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Andrew Parker, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Paul Roper, Darryl Rule, Genji Sato-Fraser, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Rob Thomas, Anna Tranter, Robert Vale, Simone Vitiello, Brendan Walsh, Christopher Waterhouse, Ken Weatherley, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Tom Zelinka PROGRAM SUB-EDITORS Jan Akers, Chris Blower, Di Cox, Colleen Chesterman, Melissa Evans, Amal Fahd, Ana Ferreira, Noelene Guillemot, Gerald Holder, Susanne Hurst, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Paul Belfanti, Tracy Chen, Helen Dignan, Lynden Dziedzic, Peter Goldner, Elizabeth Grey, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Anne Wiseman, Jonathan Wood STATION OPERATIONS Transmitter: Max Benyon; Studio operations: Roger Doyle; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Financial Administrator: Sue Ferguson; Marketing Manager: Mona Omar; Program Coordinator: Steve-Marc McCulloch; Administration Assistants: Krystal Li, Joe Goddard January 2018

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