FEBRUARY 2016
MAGAZINE
SSO presents Scheherazade.2
With Leila Josefowicz
Soprano Greta Bradman
Her musical calling card
Joe Chindamo & ZoĂŤ Black
Re-imagining classical greats
Australian String Quartet New era and a new season
Coming up in Feb & Mar From Beethoven to jazz and a much-loved concert hall favourite. Enjoy five stunning concerts at the Sydney Opera House. CLASSICAL
Vladimir Ashkenazy’s
2016 BEETHOVEN CELEBRATION
starts in Feb with five symphonies and acclaimed pianist Garrick Ohlsson and violinist James Ehnes.
Beethoven Alive
Beethoven Triumphant
Beethoven Ascendant
Enjoy Three Beethoven Symphonies on one night! Your journey starts at the beginning with Symphony No.1 and continues with Symphony Nos. 7 & 8.
Experience the mighty Emperor Piano Concerto alongside the serenity of the Fourth Symphony.
Da da da dum! It’s the Fifth Symphony of course, and the majestic Violin Concerto performed by the acclaimed James Ehnes!
THU 4 FEB | 1.30PM FRI 5 FEB | 11AM* SAT 6 FEB | 2PM MON 8 FEB | 7PM
APT MASTER SERIES
WED 10 FEB | 8PM FRI 12 FEB | 8PM SAT 13 FEB | 8PM
SPECIAL EVENT PREMIERE PARTNER CREDIT SUISSE
WED 17 FEB | 8PM THU 18 FEB | 8PM FRI 19 FEB | 8PM
BEETHOVEN Piano Concerto No.5 (Emperor) Symphony No.4
BEETHOVEN Symphony No.1* Symphony No.8 Symphony No.7*
BEETHOVEN Violin Concerto Symphony No.5
Vladimir Ashkenazy conductor Garrick Ohlsson piano
Vladimir Ashkenazy conductor James Ehnes violin
Vladimir Ashkenazy conductor
Swing Symphony
Jazz at Lincoln Center Orchestra with Wynton Marsalis Wynton Marsalis and his acclaimed orchestra team up with David Robertson and the SSO in a jazz tour de force.
FRI 26 FEB | 8PM SAT 27 FEB | 8PM BERNSTEIN Fancy Free – Ballet BERNSTEIN Prelude, Fugue and Riffs MARSALIS Swing Symphony Australian premiere David Robertson conductor • Wynton Marsalis trumpet Francesco Celata clarinet • Jazz at Lincoln Center Orchestra
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Scheherazade Her story continues
Enjoy a much-loved classic of the concert hall with a powerful new violin concerto.
THU 3 MAR | 1.30PM EMIRATES METRO SERIES
FRI 4 MAR | 8PM RIMSKY-KORSAKOV Scheherazade ADAMS Scheherazade.2 – Dramatic Symphony for violin and orchestra Australian premiere David Robertson conductor Leila Josefowicz violin
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CONTENTS
EDITOR’S DESK
VOL 43 No 2
A musician with formidable strength and commitment as well as an incredible stage presence, will be playing for Sydney audiences early next month. Canadian-American Leila Josefowicz, a champion of contemporary music and composition, presents a new work by John Adams written specifically for her. Under the baton of David Robertson, the work that draws on Rimsky-Korsakov’s Scheherazade and is aptly named Scheherazade.2, will have the violin as its hero. Josefowicz tells Fine Music magazine that she is thrilled to be returning to Sydney and presenting Scheherazade.2 which she describes as a monumental piece. “It’s a very different mentality than standing up to play a violin concerto. This is truly a work that is dramatic on a whole new level. It’s almost a theatrical piece in which I have to act. I am Scheherazade and she has to stand up to many obstacles,” she says. Pick up the full story on the next page. In this issue we also feature interviews with a number of high-profile artists preforming in Australia: namely soprano Greta Bradman, Australian String Quartet violist Stephen King and soon to arrive new Artistic Director of the ACO Collective (formerly ACO2) Finnish violinist Pekka Kuusisto. Last year was a watershed one for Greta Bradman that was topped off by her being announced as Limelight Magazine’s ‘Australian Artist of the Year’ for 2015. She spoke to Fine Music magazine about her plans, her CD recording with Richard Bonynge and the English Chamber Orchestra, and her upcoming Australia tour. Read the story on page 4. With a new line-up the Australian String Quartet launches headlong this month into a full 2016 season, performing works by Matthew Hindson and John Adams to start with, says the group’s violist Stephen King (page 6). In this issue of Fine Music magazine you will also hear from Pekka Kuusisto, Joe Chindamo and Artistic Director of regional festival Four Winds, being held in Bermagui, NSW. There’s also reviews of recently released classical and jazz recordings and a selection of events happening in Sydney over the next month. If you like the music of Beethoven, you might find yourself spoiled for choice. Enjoy!
2 COVER STORY
Violinist Leila Josefowicz & the SSO
4 Interview with soprano Greta Bradman 6 New era of Australian String Quartet 7 Joe Chindamo’s re-imagining of Bach 9 Pekka Kuusisto takes reins at ACO Collective 13 The Four Winds Festival in Bermagui, NSW 14 What’s On – Sydney and surrounds 16 CD Reviews 18 Jazz CD Reviews 19 Swinging on the Vine 20 Young Virtuosi 21 Flashback with Derek Parker 23 February Program Highlights 56 Crossword and Trivia Quiz Digital Channel Fine Mus - page 22
40 YEARS 1974 - 2014
Paula Wallace - Editor
Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Philip Tower, Circular Quay. ABN 64 379 540 010 Art Direction: Design Campaign - liza@designcampaign.com.au Printing: Megacolour, Unit 6, 1 Hordern Place. Camperdown, NSW, 2050 Distribution coordinator: Sissy Stewart Advertising Enquiries: sponsorship@finemusicfm.com Editor: Paula Wallace Sub editor: Gael Golla Contributors: Annabelle Drumm, Callum Close, Nicky Gluch, Derek Parker, Michael Morton-Evans, Gwynn Roberts, Kevin Jones, Barry O’Sullivan, Jeannie McInnes, Patrick D Maguire, Tom Forrester-Paton, Frank Shostakovich, Emyr Evans, Michael Muir, David Groves, Judy Deacon, Solomon Frank, Paul Dean. Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email friends@finemusicfm.com The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5. Correction: In the January issue of Fine Music magazine, the CD reviews that appear on page 18 were attributed to Kevin Jones which is incorrect The reviews were authored by Barry O’Sullivan and should have been attributed to him. Cover image: Violinist Leila Josefowicz. Image – Chris Lee
Fine Music presents New Australian Music for HSC A series of radio programs that explore Australian composers from the last 25 years, presented by Jason Noble. The programs will be broadcast on Fine Music digital and available for replay from finemusicfm.com Check the Fine Music website for more details.
40
YEARS 1974 - 2014
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LEILA JOSEFOWICZ PLAYS JOHN ADAMS’ SCHEHERAZADE DRAMATIC ON A WHOLE NEW LEVEL
Leila Josefowicz. Image – Chris Lee
She tells Fine Music magazine: “I knew even by the time I was eight years old that this was something I excelled in and something that I enjoy doing. I knew music was something that I felt great expressing. “As a young person especially, it feels great to know that you are good at doing something special. So this was something I was very aware of from a young age.” Her talent continued to blossom as, once the commitment solidified in her mind, she 2
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found her own routine, dedication and pace to put the consistent effort into daily practice. In a recent Proms interview she recounted an early insight: “I think the thing what really made the difference was [realising] that this work I’m doing is actually going to pay off for me, it’s not just work for work’s sake so, it helped me to be further and further encouraged”.
”
Next month, Sydney Symphony Orchestra audiences will be thrilled to see the Australian premiere of a new work fronted by a violinist of formidable strength and commitment. Leila Josefowicz, born in Canada in 1977 and raised in the United States, was drawn to the violin from the very beginning. Starting at the age of threeand-a-half, she was enrolled in a Suzuki method school where the whole family learnt. Her increasing enthusiasm led her parents to direct her towards a more formal music education in Los Angeles and Philadelphia.
”
… daring choice for me…
As a teenager, Josefowicz’ talent and stage presence were already gaining attention, enough to be given solo spots in front of symphony orchestras across the USA, Europe and Asia. With doors opening left, right and centre, by the age of 16, she had already built a profile. She had shared the stage with Johnny Carson and Bob Hope, debuted at Carnegie Hall in New York, and had a five-year recording contract already in hand with Philips. In a review of her Carnegie Hall debut, a reporter for the Inquirer wrote: “Her
performance ensures that no one will ever again say what an incredible musician Josefowicz is for her age. She is an incredible musician at any age. Technically, she was assured. Musically, she showed strong thoughts… about what she wants to say. “And then there’s that tone. In an age when individuality is often nothing more than a marketing concept, Josefowicz is a breath of fresh air. Her sound had both a shine and a depth, and from the first, the concerto glowed with great intensity…. The New York crowd gave her a standing ovation and several curtain calls.” Even at the age of 16, the Inquirer pointed out she was simply dressed with hair pinned up and didn’t pander to the cute and fluffy image of a child prodigy. Within a few years of that 1994 milestone debut, Josefowicz was heading into adulthood and began to form a very clear vision of how she wanted to define her career. “When I got into my early 20s it was clear that I was starting to get perceived
differently. I had decided to do a very big change in my repertoire choices that is much more contemporary music. “This was a daring choice for me and for a lot of audiences and orchestras. It was definitely something that I feel passionate about and was driven only by that passion.” Daring indeed but when you have passion, courage, talent and beauty at your disposal backed up with a tenacious intention, again the doors must open. The more she supported and performed the work of living classical composers with their contemporary classics, the more they became devoted to her. In recognition of her passionate advocacy and genuine commitment to supporting the work of contemporary classical composers, Josefowicz was awarded a MacArthur Foundation Fellowship. She now regularly works with and has had pieces written for her by such living composers as Oliver Knussen, Esa-Pekka Salonen, Steve Mackey, Colin Matthews, Thomas Adès and American John Adams whose work she brings with her to Sydney.
A force in music
Josefowicz’s close relationship to Adams’ music goes back to 2001, when she performed the composer’s Violin Concerto at the age of 23. “John has been a dear dear family friend for many years starting from when I was 21. We had a very long history together and a really brilliant one, I am very thankful for it. We worked on so many of his other works until this new piece [Scheherazade.2] was written,” said Josefowicz. When asked how the creative process worked between them as the piece was being composed she said, “In many ways he knew everything about my style and my mentality around playing before he even got started. I consider this a great gift”. The new work was one Adams found inspiration for during a trip to Paris with his wife. They were visiting the Institut du Monde Arabe à Paris, a fabulous Museum housed in the 5th arrondissement which, at the time, had an exhibit featuring artwork based on the texts collected in the book One Thousand and One Nights. He was entranced by the character of Scheherazade and the challenges she faced in inventing stories all those nights to save her life from a brutal husband who would normally put a wife to death after the first night. Adams headed back to the States and started to research Scheherazade further discovering a great depth and wealth of
colour in the character. He was surprised that throughout the Arabian Night folk tales, women in general not just Scheherazade, were treated very brutally which, in looking at modern-day media reports of a few stalwart Arab countries these stories, are just as valid today as when they were written as far back as 600 AD. Nineteenth-century Russian composer, Rimsky-Korsakov had written his own Scheherazade which is regularly played in modern day concert halls so Adams titled his work Scheherazade.2 a Dramatic Symphony for Violin & Orchestra. As a co-commission of the SSO, the piece was written for Leila Josefowicz, specifically her grace, beauty and virtuosic talents which are reminiscent of the lead character. In the process of composition, Adams asked himself “What would a modern day Scheherazade be like?” He says: “Someone inventive, fearless and beautiful enough to face up to the perpetrators of continuing physical and mental brutality against women, not just in the Middle East but also in America”. Adams said he saw Josefowicz as the embodiment of an empowered woman bold enough to take on such a challenge.
Pushing boundaries
Josefowicz is thrilled to be returning to Sydney which she finds incredibly beautiful. She’s also delighted to be presenting Adams’ Scheherazade.2 that premiered in March and which she describes as a monumental piece. “It’s a very different mentality than standing up to play a violin concerto. This is truly a work that is dramatic on a whole new level. It’s almost a theatrical piece in which I have to act. I am Scheherazade and she has to stand up to many obstacles. “The piece is a huge journey, one that starts with her as a young girl or an innocent woman and then overcomes huge things along the way. It’s a piece that’s about the strength of women and standing up to evil forces and overcoming them.” Reviews from the premier with the New York Philharmonic in March were positive with the New York Times reporting: “Ms. Josefowicz, playing this formidable violin part from memory, gave a stunning performance, by turns commanding and vulnerable, slashing and sensual. The ovation was tremendous”. When asked about being in the moment of performance Josefowicz struggles to find the words to describe it. “It feels like you’re not really inside your body. You have this vision, this image of what you want in your
head and you do your damnedest to get that across.” In preparing for any performance Josefowicz has her principles firmly in her mind: “There are of course so many steps. The first one begins with having good preparation in terms of practising in terms of practicing. One cannot feel good about what they are going to do if they haven’t practised enough. “The next step is to have a lot of compassion for yourself and that performing can be very difficult. It is easy for me to be very judgmental about my performance. But music in the end is about feeling, about being human and celebrating that, so spontaneity is very very important to me.” Josefowicz always aims to keep travelling abroad to shorter trips so she’s not far from her young family. “I think I have a very fantastic job actually for being a mother as well! The time that I am home working I am also around the kids a lot. I am not out of the house all day long which I really really appreciate. The times that I am away of course are hard for me, but I know I am doing this for my family as well as myself.” It will be a whistle stop trip to Australia with a series of concerts in Sydney during March, with the Sydney Symphony Orchestra under the baton of Chief Conductor and Artistic Director David Robertson.
- Annabelle Drumm EVENT Scheherazade Her Story Continues Sydney Symphony Orchestra 2 March, 6.30pm 3 March, 1.30pm 4 March, 8pm Rimsky-Korsakov; Scheherazade Adams: Scheherazade.2 - Dramatic Symphony for violin and orchestra Australian premiere and SSO co-commission David Robertson, conductor Leila Josefowicz, violin www.sydneysymphony.com February 2016
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National tour for celebrated soprano Fine Music talks to Greta Bradman Bonynge described Bradman’s voice as the “true old fashioned bel canto sound – the sort we only dream about today”. It was during rehearsals for the Melbourne performance of Rodelinda, where Bradman played the title role that Maestro Bonynge approached her to work together on a recording project. “By then, I’d already been mapping out what a project might look like” said Bradman. “The label was willing to give us a lot of freedom in the repertoire and the direction of the album”.
Soprano Greta Bradman. Image – Albert Comper
Later this year, Australian soprano, Greta Bradman will be undertaking a national tour, celebrating the success of her Decca Classics album My Hero, released in 2015. With reportedly “rare warmth and timbral richness”, Bradman is sure to delight audiences around the country. Fine Music Magazine spoke to her about the upcoming tour, musical influences and her journey thus far. Since turning fully professional in 2010, Greta Bradman has had a whirlwind few years which has culminated in a stunning collaborative recording with Richard Bonynge and the English Chamber Orchestra. After performing in India with the Australian World Orchestra under the great Zubin Mehta, this “watershed year” for Bradman was topped off by her being announced as Limelight Magazine’s ‘Australian Artist of the Year’ for 2015. “In a way, the album pays homage to my musical heroes, including Richard, and many of the composers who have educated me in terms of singing and using my voice” said Bradman. “In 2010 and 2012, I did some recording for another label and that was a wonderful experience” recalls Bradman. “I’d done quite a number of studio recordings for broadcasts on ABC Classic FM and quite a few Sunday live concerts, as well as a number of independent recordings during my University years.” 4
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For Bradman, it was important that her album be representative of who she is as an artist. “None of the recordings that I’d made to date really represented who I am as a live performing artist, and I wanted an album that reflected some of the singing that I had done often.” It was also integral that the album showcased her unique sound: “I’d come to realise how important it was to have a calling card that represents who I am”.
Meeting a ‘hero’ Greta Bradman studied at the Wales International Academy of Voice (through the support of the Australian International Opera Awards), where she worked intensively with Dennis O’Neill CBE. Whilst in Wales, she worked with a number of inspiring musicians and vocalists who had a “different and very exciting perspective on what I should be singing, and how I should be singing” said Bradman. Her voice is unique in its tone and timbre and she was encouraged to “not shy away from my full voice, but rather embrace its idiosyncrasies, like the natural darkness in its sound”. Bradman recalls that “Richard [Bonynge] and I spent one hour together and he said at the end of the hour, “we have to find a reason to work together soon- as soon as possible’’.
She continues: “I approached Cyrus Meher-Homji (Head of Classics and Jazz at Universal Music) and told him this was the album that I would like to record with the label first”. The CD is a collection of a number of different works that all mean something different to Bradman. Rather than being an album of ‘Opera’s Greatest Hits’, Bradman and Bonynge decided that there needed to be works that weren’t as well known, and ones that could be used for radio air play, as well as some personal favourites and a few unexpected numbers. Bradman said “It was a real joy recording things like Vanne, lasciami from Il Trovatore and the Rodelinda arias, because I had debuted them with Richard. Also, Casta Diva, because the role of Norma was something that I didn’t dare touch, but Dennis O’Neill was absolutely adamant that I had to learn it while I was at WIAV”. “Richard and I just absolutely adored the process, and recording things like When you wish upon a star, which I remember from when I was a little girl, was just amazing. “Other things like Cherry Ripe, was something that Richard and I had found in his garage the week before the recording, and I just love it so much. “Watching Thomas Hancox (Flautist with the English Chamber Orchestra) playing this amazing obbligato in Cherry Ripe with the whole orchestra smiling will be one of my enduring memories of those four days recording in St. Silas Church- it was just really lovely,” said Bradman. Much of the organisation on the album was done by Greta, and her love and
enthusiasm for the project was evident from the very beginning. The support of Decca, and its belief in the project, was especially important to the success of the endeavour.
Close to home During the Australian Winter of 2016, Bradman begins her national tour My Hero- Live in Concert, where she will be travelling to various regional centres and capital cities. “I think it’s so important to get out there and perform in regional areas, because it’s just so enjoyable and I love country towns,” says Bradman. “I really enjoy the people, spaces and the venues are beautiful and often have really interesting history to them”. Bringing music to young people in rural places is also something that Bradman is passionate about. The tour is based around the album, but also includes a taste of Bradman’s broader repertoire. She has said that there will be “something for everyone” with some bigger operatic arias, as well
as songs that will be recorded on her next album. Perhaps most importantly, there are works from her childhood that she holds very dear to her heart. “It’s a cross section of music that has been really important to me, that I’ve sung a lot and that I adore” says Bradman. “The great thing about classical music is that it does transcend generations, and a lot of the music I sing comes from my grandparents, or even their grandparents’ generation. “It means that there is this great continuance across generations, especially in the audiences, meaning that there are things that they can expect to hear music that they grew up enjoying, as well as enjoying the works they may not know or have heard of.” Bradman’s grandfather, cricketer Sir Donald Bradman, played a role in shaping her musical learnings by instilling a love of classical music, and the operatic repertoire. “He also instilled in me a really exacting standard, not only of the music by way of
who he had me listen to, but also the way we would talk about it, and it was always this innovative way of thinking in order to improve your craft,” Bradman said. As for being named Australian Artist of the Year for 2015, Bradman says: “It’s both humbling and energising to have this recognition from critics and audiences, and I am really excited by the year ahead”. There’s plenty coming up for Greta Bradman, including concerts throughout Australia, the United Kingdom and Europe. “I’m super excited,” she says, “it’s going to be full on, but I’m so grateful that I’m getting to sing, especially around the world, and having it as a way of seeing the world too”.
- Callum Close EVENT My Hero- Live in Concert National Tour - Winter 2016 For more information visit: www.gretabradman.com
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Australian String Quartet’s new line up
Ready for a year of collaborative works It would seem that collaboration is at the heart of ASQ’s ethos. It is what prompted its commission of a new work by Australian composer Matthew Hindson. “We wanted to try something”, King explains, “that wasn’t your standard piano quintet or cello quintet but rather, especially with Matthew’s work, something with more rhythmic drive”. And so came the idea of vibraphones and percussion and with that the thought of Claire Edwardes. “We felt that would make a wonderful collaboration, the six of us,” said King.
ASQ violist Stephen King
For Stephen King (viola) and Sharon Draper (cello), members of the Australian String Quartet, 2015 was certainly a busy year. At the same time as performing their concert series with various guest artists they were also searching for two permanent violinists. With the intimacy of a quartet, this is not done by audition. Rather, as King explained in a recent interview, “we do it through word of mouth to people we know who love chamber music. It’s about finding a chemistry of people, people who are great instrumentalists but also are good friends”. They began by looking for a first violinist, choosing their friend Dale Barltrop, then concertmaster of the Vancouver Symphony Orchestra and then matched a second violinist to that. “We played with lots of different combinations to see what felt best and then we would play some concerts and from that point talked further to make sure we were mentally on the same page, that we had similar goals and aspirations,” King tells Fine Music magazine. The complementary violinist was found in Francesca Hiew. And so in 2016 the quartet is born anew. 6
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So fresh is the work it is as yet unnamed so Sydney audiences will have to make their way to the City Recital Hall on 1 March for the ‘big reveal’. The title of the program, Alleged Dances, is taken from the name of the other contemporary work, this time by John Adams. The original composition was for string quartet and recorded prepared piano but, with Adams’ permission, the ASQ have rearranged this for live percussion in honour of Edwardes. But the piece was also chosen for another reason, as King explains: “Because Dale is coming back from North America, we wanted to bring something of the US back to Australia and put an Australian bent on it”. The Alleged Dances program opens with the forward-looking 6th quartet of Beethoven, itself an alleged dance with the wild third movement where Beethoven “throws out the beat in such an alarming way. Every time you think you’ve found where the beat is, it moves by another beat again”. The concert ends with Schumann’s first string quartet, much loved by the ensemble for “it’s really beautiful writing and the more you hear the quartet the deeper and richer it becomes. It also has a fantastic finale and will be a great way to finish off the concert,” said King. Audiences have much to look forward to.
Sonic feast And what about the rest of 2016? In July the quartet will perform Tempesta, named for Joe Chindamo’s quartet of the same name and featured in the second half. The program opens with Weberns’s Fünf Sätze (Five Movements). In building its programs the ASQ will often use the contemporary piece first and says King, “the Webern is a piece that we absolutely love and want people to be more familiar with”. “The movements are incredible little gems and the craftsmanship of them is very similar to Haydn and so that became a pair (with Haydn’s String Quartet in C Major, op 20 no 2). “The Chindamo work then takes a different world and that’s more an influence of jazz… he’s really such a fresh voice, we find.” The program finishes with Mendelssohn’s String Quartet no 6 in F minor, op 80. “Like you would a good meal”, King concludes, “it’s all about the pairing of things and how they work together and across the program. By the end of the evening you should feel quite full or at least satisfied,” said King. Here’s to a year of musical feasts!
- Nicky Gluch EVENT Alleged Dances Australian String Quartet 1 March, 7pm City Recital Hall
Beethoven: String Quartet in B flat major op 18 no 6 Matthew Hindson: New work for string quartet and percussion (World premiere) John Adams: Excerpts from John’s Book of Alleged Dances with hand percussion (arranged Edwardes) Schumann: String Quartet no 1 in A minor op 41 no 1 With guest percussionist Claire Edwardes www.asq.com.au
LATEST RELEASE OF UNIQUE MUSICAL DUO
Joe Chindamo and Zoë Black
“Because I was tossing this off, it wasn’t important; it was serious, but it was serious fun. So I just did it completely intuitively without judgement - which is of course when you’re at your most creative”. Chindamo estimates he completed writing for the project in about four months, while continuing to work as a performer and educator. The recording process also benefited from this kind of intuitive flow – two weeks earlier they had recorded their second album Dido’s Lament, and decided to record their New Goldberg Variations in its wake. Joe Chindamo and Zoë Black
Since 2011, pianist Joe Chindamo and violinist Zoë Black have carved out a unique musical niche as an unlikely duo. Chindamo made his name as a jazz pianist abroad, playing with greats such as Billy Cobham, Ray Brown and the Brecker Brothers; though his status as a ‘complete musician’ transcends genre, having worked extensively in the classical realm as a performer and composer. Zoë Black ascended swiftly through the classical music ranks, being made Assistant Leader of the Australian Chamber Orchestra at age 23, appearing also as a soloist with the Tasmanian and Melbourne Symphony Orchestras, and performing with the London Symphony Orchestra and the Wiener Kammerorchester. On their first two recordings Reimaginings (2012) and Dido’s Lament (2013), the duo re-imagined repertoire from classical greats (Bach, Mozart, Chopin, Copland), jazz greats (Ellington, Gershwin) and pop greats (Dolly Parton’s Jolene). Their imaginative arrangements and exquisite execution earned Dido’s Lament an ARIA nomination for best classical album in 2014. The duo’s third release is of a more singular nature: The New Goldberg Variations is a performance of J.S. Bach’s well-known Goldberg Variations, with a newly composed counterpart for violin. The album has received no shortage of glowing reviews, despite its potential for controversy.
“Let’s face it,” Chindamo tells Fine Music magazine, “When you say you’re going to write something in the style of Bach for the violin for a work that is so sanctified, people are sceptical, and I would be sceptical too. To be honest it surprised me more than anyone else that it turned out so well”.
Winning ‘energy’ ‘Surprise’ seems to have characterised the whole process of creating the New Goldberg Variations. Despite being his “daily bread and nightly prayer for many years,” Chindamo had no intention of performing the Goldberg Variations live. To him they served as a meditative practice, “somewhere I could go and get away from the rest of the world. That’s what Bach’s music tends to do for me”. That was until his partner and collaborator Zoë Black asked him to write her a part to play with him. “I wrote literally the first thing that came to mind for the Aria,” Chindamo remembers, “Zoë put down her vodka and tonic and picked up her violin and said ‘oh, that’s really beautiful’ – ten minutes later the first variation was done, and about 20 minutes later the second was done”. This seemingly offhand process speaks to Chindamo’s roots in jazz, where creative flow in the moment often trumps contrivance and deliberation.
“I think because we’d gone into the studio we had the buzz,” Chindamo explains. “You start to realise why some of the great jazz musicians sounded so good: because they were recording all the time. And we had that kind of energy about us.” The album’s success culminated in a performance at New York’s Carnegie Hall in September, perhaps the highest performing honour available for jazz and classical musicians alike. “It was the greatest experience of my musical life, and Zoë’s as well,” gushes Joe. “It’s funny, I’d given up cigarettes and the minute it was over the first thing I did was to go and buy a pack and I thought: I don’t care what happens to me now. That probably describes the feeling”. Chindamo’s music has largely resisted the label of ‘crossover,’ perhaps because he aims not to simply juxtapose the stylistic features of each genre but instead to synthesise musical traditions, drawing on the common building blocks that unite them. The New Goldberg Variations is a case in point. For more information visit: www.alfirecords.com/album/the-newgoldberg-variations
- David Groves
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NEW SEASON FOR ACO COLLECTIVE
KUUSISTO TAKES THE REINS
Finnish violinist, Pekka Kuusisto, kicks off the ACO’s 2016 national season in his new role as Artistic Director of ACO Collective (formerly known as ACO2). The program interweaves contemporary works by living composers along with pieces by Tippett, fellow countryman Sibelius, and Beethoven. Kuusisto describes previous projects with the ACO as “some of the most exciting, fun and educational experiences” of his musical life. “I owe a lot of my present capacity for ecstatic fiddling to my moments with them,” he says. Below are some more excerpts from our interview with Pekka Kuusisto. FM: As new Artistic Director of ACO Collective can you tell us what plans you have for the orchestra in terms of its development over the next year and what attracts you to this role? PK: There are too many dreams to fit into one interview. One thing that I’ve thought about recently is having everyone focus on the different aspects of a performance, and actively search for new ways to look at the whole thing. The concert - what is it essentially, and why? The ensemble are we sisters and brothers, cousins, are some of us in some kind of a parental role, or is it a religious gathering? Musicmaking in general - how did we end up spending our lives making sounds? We all have a different story, and the more we know about each other, the better we’ll be at living and breathing these works together. A brain research friend of mine is studying kinesthetic empathy and I think it’s a surprisingly important part of ensemble work - one that we all have and do, but are not necessarily aware of. It would be fascinating to involve ACO Collective in research projects that would teach us about why things work and sometimes don’t work - Richard Tognetti and I are both quite physical in our directing styles, and I think we both dive into new ideas in concerts, letting our bodies communicate the new directions to the musicians in various instinctive ways. Here, kinesthetic empathy plays a major part in how the
and Jack Symonds’ …to taste dark water: three Schiele pictures for 11 strings in 2015.] FM: Can you comment on the works chosen for this first concert of the year and what brings them all together?
Pekka Kuusisto. Image – Kaapo Kamu
ensemble reacts to the directions. It’s kind of like charisma of movements - how convincing one’s body language is and how tuned the ensemble is to receive the information. And it’s not a one-way channel, of course. Anyway, that’s one thing that fascinates me at the moment. I want ACO Collective to never feel like we do something because it’s the way it’s always done. It’s difficult to invest all your love and creativity into something that happens out of habit. I see great opportunities at ACO Collective for inventing things that will later become absolutely essential to me, and hopefully my colleagues too, and I’d be a fool to not take this chance. FM: Aside from this first program of the year, can we expect to see more presentations of contemporary music by ACO Collective this year and/or new interpretations of classics? PK: I think it’s absolutely essential to perform music by living composers. I’m hoping that we can even organise premieres for new pieces with ACO Collective - it would be a great source of joy and wisdom if the orchestra would get to prepare a first performance in collaboration with the composer. That kind of an opportunity would certainly also enhance our imagination when dealing with standard repertoire. [Note: ACO Collective, when it was called ACO2, did commission some pieces, namely Paul Stanhope’s Qinoth in 2011, Continued next page
PK: The presence of Beethoven is part of a larger theme in the ACO family. The Op. 95 Quartet is kind of a strange choice for a larger string ensemble since Beethoven didn’t even intend it for consumption in large concert halls. It’s a very interesting experiment though, and we’ll do all we can to make sure the piece gains something valuable from us playing it. The first half of the program builds a gorgeous forest of sound that Beethoven then gets to put an axe to. Nico and Bryce are friends of mine, and it’s lovely to get to bring some of their sounds to the first ACO Collective project. FM: You are adept at playing so many different genres, from jazz to folk. Can you tell us about what you are really enjoying at the moment in terms of genre, technique or song and how it is informing or influencing your classical playing? PK: I can give you a very specific example. A couple of days ago, I played the first gig of a new trio with ACO collaborator Milla Viljamaa on harmonium, and a Finnish national treasure lunatic called Sara Puljula on the bass. We played some traditional stuff and some original material, and an arrangement for a folk song about heating the sauna contained a rhythmic illusion that was really tricky to get to work properly. The rhythm was based on a typical 90’s dance pop piano groove (think Good Vibrations by Marky Mark and the Funky Bunch) except usually the riff “resets” every measure, but we keep it going so it takes three measures for it to get back to the starting point. Removing the four-on-the-floor bass drum and singing the angular folk tune while playing the spiralling riff made it even more challenging. We spent some time on it, and it finally clicked. In the meantime, I was preparing the Sibelius Concerto, and noticed that I had increased my freedom to shift my focus in the two-against-three music in the last movement thanks to the work with the trio. February 2016
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A fun example of the same mechanism working the other way around too happened last summer when I played the Ligeti Concerto. While I was practising it, I did some improvised solo violin arrangements of Finnish folk dances, and it was fascinating to see how the Ligeti had changed my violinistic instincts - so the dance improvisations became much more complex, dissonant and extreme. They felt more “composed” in a positive way - like I had suddenly gotten better at predicting the course of the improvisation.
- Paula Wallace EVENT Beethoven & the 21st Century Pekka Kuusisto, Director & Violin ACO Collective (formerly ACO2) 4-19 February Tour presented by Wesfarmers Arts NICO MUHLY (arr. strings) Part I from Drones & Violin ERKKI-SVEN TÜÜR Action–Passion–Illusion TIPPETT A Lament from Variations on an Elizabethan Theme BRYCE DESSNER (arr. strings) Tenebre SIBELIUS Rakastava BEETHOVEN (arr. strings) String Quartet in F minor, Op.95 ‘Serioso’ www.aco.com.au/whats_on/event_ detail/21st-century
ACO Academy inviting applications ACO Academy, an essential experience for any talented young string musicians who want to be challenged and inspired in a professional learning environment, will be held in Brisbane from 4-8 July. Toplevel secondary students who play the violin, viola, cello or double bass are invited to spend an inspiring week rehearsing and performing with us, culminating in a public performance playing alongside ACO musicians. Applications close Friday 11 March. For more information or to download an application form visit: aco.com.au/ education 10
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Rob Thomas and band, Live from Fine Music’s Studio C
HAPPENING JAZZ AT FINE MUSIC Over the past year, Fine Music has broadcast a series of concerts Live from Studio C, each opening with a jazz performance. These special events and are well worth hearing again, so beginning in February, every Friday afternoon at 3pm on Fine Music Digital, listeners have the chance to relive these intimate gigs.
timeslots every day: midday and weeknights at 7pm Monday-Friday on 102.5, and Saturday at 7pm on Digital.
The performances will air on:
Our late night programs run from 10pm until midnight, every night – Tuesday to Saturday on Digital, then on 102.5 on Sunday night, by popular request, Kevin Jones’ ‘After Hours’ and on Monday night, ‘The Australian Jazz Scene’ with Peter Nelson and Susan-Gai Dowling.
5 Feb: Flip (Rhys Daher, Lachlan Hamilton, Harry Morrison, William Morrison) 12 Feb: Matt McMahon & Christina Leonard
Weekday afternoons at 3pm features a variety of genres, with themes of ‘Jazz Off The Shelf’, ‘Jazz Standards’, ‘Jazz Australia’, ‘Jazz Biography’ and ‘Jazz in Concert’.
26 Feb: The Idea Of North
Jazz on Fine Music is easy to remember – every day at midday, every weekday at 3pm, six nights at 7pm, and every night at 10pm.
4 Mar: Steve Barry Trio
- Jeannie McInnes
19 Feb: Dizzy Fingers Ragtime Band
11 Mar: Susan-Gai Dowling with Evan Lohning Band 18 Mar: Great Gatsby Orchestra 25 Mar: Benny’s Boys 1 Apr: Frances Madden at Town Hall 8 Apr: Rob Thomas’ celebration of Frank Sinatra’s centenary The jazz team at Fine Music are busier than ever, with an expanded broadcast schedule this year. Jazz can now be heard on Fine Music at three regular
Frances Madden at Fine Music’s Live from Town Hall
The Theme & Variations Foundation
A helping hand for thirty fingers young pianists who have been assisted by the foundation and whose careers are being followed with interest. Each year the Theme & Variations Foundation embarks upon a fundraising program among people who like to nurture home-grown, superb piano playing and appreciate that talent and financial means don’t always co-exist.
Founders of the Theme & Variations Foundation, Nyree and Ara Vartoukian, with James Guan, one of the 2015 award winners
Three young Australian pianists have moved a step closer to taking their places on the international concert stage as the result of awards made to them by the Theme & Variations Foundation last November. Robbin Reza, James Guan and William Shi shared awards totaling $21,000 to put towards tuition, travel, living expenses and entering piano competitions. The awards are the principal function of the Theme & Variations Foundation’s program to assist and encourage highly talented, but financially limited young Australian pianists. These three outstanding young musicians were in a group of five 2015 finalists, each of whom had to play a 30-minute program for an eminent piano judging panel comprising Professor Michael Brimer, Ian Munro and John Luxton. Each pianist had the use of a brand new Model D Steinway grand piano at the Theme & Variations piano showroom in Willoughby. Robbin Reza is 21 years of age and currently studying with Daniel Herscovitch at the Sydney Conservatorium of Music. He is planning a career as a concert pianist. He intends to apply his award to further his studies in Germany, and to assist in covering costs for Australian and international competitions. In his 30-minute recital he opted for variety, with works by Handel, Ravel, Vine, Schubert and Ligeti. James Guan is 25 years of age and has been studying with Ian Fountain in London and Paul Rickard-Ford in Sydney.
He is planning a career as a concert pianist, balancing that with teaching. He is currently studying at the Royal Academy of Music in London. Guan plans to apply his award to his tuition fees and living costs in London, and to assist with fees to enter international competitions. He relied on one major work by Rachmaninov to sway the adjudicators. William Shi is 20 years of age and studying with Max Olding in Brisbane. He is planning a performance career to include solo and accompaniment. He intends to apply his award to exchange study in Europe or the United States, and to assist in covering costs for competition entry fees. His November audition program included works by Beethoven Chopin Liszt and Sabin.
Nurturing greatness
One of the conditions of applying for a Theme & Variations Foundation award is that applicants reveal their financial status. This is required in order to meet the aims of the foundation, which is to help genuine talent in genuine need. Winners also agree to provide the foundation with updates of how their careers are progressing and how their award money is being spent. Not only is this necessary for the foundation’s not-for-profit status, but it maintains the interest and enthusiasm of the donors, without whom the program could not operate. After three consecutive years of awards, commencing in 2012, there are now nine
The foundation invites its supporters to unique piano events. For instance, in May of this year, Alexander Gavrylyuk will give a private concert for Theme & Variations Foundation donors. Besides being one of the international rising stars of classical piano, Gavrylyuk is the foundation’s ambassador. Another world famous pianist, Piers Lane, who gave a private concert to supporters last year, is the foundation’s patron. He was preceded by a patrons’ concert given by Avan Yu, winner of the 2012 Sydney International Piano Competition of Australia. The Theme and Variations Foundation was formed in 2011 to formalise and extend the work that Nyree and Ara Vartoukian had been doing for many years. As an adjunct to their piano business, which celebrated its 30th anniversary last year, the Vartoukians had been offering practice facilities, concert opportunities and surrogate family support to many talented young pianists. The foundation recognises that great pianists can come from the most unexpected places. There may be a potential young Horowitz or Gerald Moore attending a tiny state school in the Northern Territory or another stifled by inner suburban slums. A few people will know that these kids have an extraordinary gift for playing the piano, but developing it is probably beyond them. These are the young pianists the foundation wants to search out and help. Details of the Theme & Variations Foundation can be found on its website: www.tandvfoundation.com.au
- Fraser McEwing February 2016
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Festival Artistic Director Paul Dean Electricity between players paramount
Paul Dean. Image - Pia Johnson
Artistic Director for the Four Winds Festival in Bemagui (NSW), musician and composer Paul Dean, examines what makes a great festival. I have a few overriding principles when putting my first thoughts to paper for a Four Winds Festival. The most important is electricity! What happens on stage has to engage the performers…and then it will engage the audience. If there are electrical pulses firing between players on a stage, then this will translate into a true engagement from the audience. So getting the fit and variety of musicians, and the repertoire interesting and right is paramount. The flow of music is important as well. With a two-day outdoor festival like Four Winds, it is important to rev the audience up at potential low energy times…after lunch or afternoon tea. So saving some of the big numbers for those times, or at least the loudest ones is really important. Putting a festival together is in many ways akin to putting a jigsaw together, but at the start there is no photo or picture to guide you. The picture is a loose form in your head, but one that takes shape very quickly. Once it does, the big hope is that you can sell the line-up to your co-workers first, then a board and then ultimately an audience. For the upcoming Four Winds Festival at Easter 2016, I needed to find the corners of the jigsaw first. My initial desire is to always find a musician who is an utter
virtuoso, and a wonderful personality and enjoyable for the other musicians to work with. For me, this has to be Jack Liebeck, one of the great violinists of the world. I first met Jack in Townsville at the Australian Festival of Chamber Music and we have been firm friends ever since. Finding a crack chamber ensemble or two is also key to achieving great musical success at a festival. Fortunately for me, when I asked the Navarra String Quartet from London to come, they said ‘yes’ in about 30 seconds. And having them, one of the great young string quartets of the world backed by my ensemble, the Sculthorpe Wind Quintet – along with the young Arcadia Wind Quintet (Musica Viva Future makers 2015/16), the Penny Quartet (a wonderful young vibrant group of ANAM alumni) and the world renowned Taikoz - the player list for the festival really started to look like the sort of festival I wanted to be a part of. Then adding the brilliant Radical Son, cellist Li Wei Qin, pianists Zubin Kanga and Alex Rainieri and Erhu player Nicholas Ng to this already bubbling concoction was just a dream.
about the new…the real core of a festival program…What is that people will walk away going, “wow…how had I not heard of that before?” Or, “isn’t it wonderful to have heard that?” A couple of pieces slotted perfectly into my thinking and the top of that list was Heinz Karl Gruber’s Frankenstein: a piece of contemporary music that defies pigeonholing. It is part chamber music, part musical theatre, part drama and part opera. Hilarious, thought provoking and melancholy, it is pure genius Alongside Matthew Hindson’s Cello Concerto, Britten’s timeless Serenade for Tenor, horn and strings, Shostakovich’s Piano Concerto No 1 and Messiaen’s Quartet for the End of Time, we have enough to sink our teeth into and let our imaginations run wild. When I visited the Four Winds site, and listened to its own natural concert and dreamed of the millions of possibilities, I was overwhelmed by how lucky I was and indeed how lucky we all are, as Australians, to have this extraordinary piece of paradise.
- Paul Dean
What about the music? Once you have a dream roster of musicians together, you have to get the mix of music right as well. Enough of the familiar or at least quasi familiar is important to keep us grounded. Pieces like the Schumann Piano Quartet and Dvorak Wind Serenade played by festival musicians keen to work together can be life-changing experiences for both performer and audience alike. But what
Windsong. Image – Robert Tacheci
EVENT Four Winds Festival, Bermagui, NSW Easter 2016 – 22-27 March, 2016 www.fourwinds.com.au
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What’s On
SYMPHONIC Cycle of Beethoven symphonies and concertos Conducted by Vladimir Ashkenazy Sydney Symphony Orchestra Concert 1: Beethoven Alive 4 February, 1.30pm 5 February, 11am 6 February, 2pm 8 February, 7pm Concert 2: Beethoven Triumphant Garrick Ohlsson, piano 10 February, 8pm 12 February, 8pm 13 February, 8pm Concert 3: Beethoven Transcendant James Ehnes, violin 17 February, 8pm 18 February, 8pm 19 February, 8pm Venue: Sydney Opera House Tickets: $39-$175 Bookings: www.sydneysymphony.com In 2016 we welcome back Vladimir Ashkenazy for a cycle of Beethoven symphonies and concertos. Join us in February and October to hear them all. There aren’t many composers who could sustain a single concert just with symphonies, but Beethoven is one of them. For the first program in his Beethoven Celebration, Ashkenazy begins with the Grand Symphony No.1, premiered in 1800 and showing a young composer who’s already pushing the envelope of his Classical inheritance. By the Seventh Symphony (1812) we’re hearing a composer who’s discovered the sheer exhilaration of rhythm in music that’s full of wild fervour. In the second concert, experience Beethoven’s mighty Emperor Concerto alongside the serenity of his Fourth Symphony. With the ‘Emperor’, Beethoven brought new drama to the piano concerto form. In the third concert, it’s Beethoven’s Fifth Symphony, so deeply ingrained in our culture that it needs almost no introduction. As music and as a symbol it wields tremendous power, and in the hands of one of the world’s great musicians you’ll be able to hear it anew, no matter how many times you’ve heard it before. 14
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FESTIVAL Four Winds Festival 2016 Easter Paul Dean, artistic director 22–27 March Venue: Four Winds and surrounds, Bermagui, NSW Tickets: FREE to $186 Bookings: www.fourwinds.com.au/whats-on/ festival/tickets; admin@fourwinds.com.au; or 02 6493 3414 An exciting and invigorating lineup for the Four Winds Festival 2016 features a program of 25% Australian compositions, with a premiere of a new work by James Ledger. The 2016 Festival’s core two days which take place on the Easter weekend will be presented in the exceptional outdoor Sound Shell ‘Nature’s Concert Hall’ and in the new Windsong Pavilion. The breadth of the Festival is greater than ever and features a chamber music series for the first time. Among other highlights, the free, opening night concert on Good Friday 2016 will present music by Phillip Glass performed by Ensemble Offspring and fLiNg Physical
Theatre. There is also a comprehensive and varied program featuring concerts promoted in local homes and an ‘After Dark’ program held in venues around Bermagui. Local food, wine and exceptional surroundings all complete the fabulous Four Winds experience - 80 artists; 21 events; 33 performances; over six days. Featuring: The Navarra String Quintet, James Ledger, Zubin Kanga, Arcadia Wind Quintet, Ensemble Offspring, fLiNG Physical Theatre, Radical Son, Taikoz, Sculthorpe Wind Quintet, Li-Wei Qin, Jack Liebeck, Penny Quartet Performed in German with English surtitles Photo: Samuel Hodge
ENSEMBLE Psycho: The music of Bernard Hermann Omega Ensemble 28 February, 2:30pm Master Series - The Utzon Room, Sydney Opera House Tickets: Adult $74, Conc. $74 and Under 30 $29 Bookings: sydneyoperahouse.com or 9250 7777 Information: omegaensemble.com.au Celebrated as one of the most innovative film composers of all time, Bernard Hermann created the soundtracks for some of the 20th century’s best-known films. The highly charged music that underlies Alfred Hitchcock’s Psycho brilliantly conveys ENSEMBLE Alleged Dances Australian String Quartet with guest percussionist Claire Edwardes 1 March, 7pm Venue: City Recital Hall, National Gallery of Australia Tickets: $15 - $83 Bookings: www.cityrecitalhall.com/events/ alleged-dances Information: The Australian String Quartet launches its season with Beethoven, arguably the supreme master of the string quartet. His op 18 no 6 is a breakthrough work, the most forward-looking of his early quartets. In an all-Australian collaboration with the dynamic percussionist, Claire Edwardes, the ASQ present an exciting new commission by Matthew Hindson. Rounding out the program is the luscious first quartet of Robert
the tension and drama of this legendary thriller. But Hermann did not just write for cinema. After a falling out with his longtime collaborator Hitchcock he returned to concert work, writing the clarinet quintet Souvenirs de voyage and the nostalgic Echoes.
Schumann alongside American minimalist, John Adams, in a selection of irresistibly funky dances. Program includes: Beethoven String Quartet in B flat major op 18 no 6; Matthew Hindson, new work for string quartet and percussion (world premiere); John Adams, excerpts from Book of Alleged Dances with hand percussion (arranged Edwardes); Schumann String Quartet no 1 in A minor op 41 no 1.
ORCHESTRAL GALA Willoughby Symphony Orchestra Willoughby Symphony Choir Dr Nicholas Milton, conductor Taryn Srhoj, soprano Jermaine Chau, mezzo-soprano Michael Butchard, tenor 13 February, 7pm 14 February, 2pm Venue: The Concourse, Chatswood Tickets: $10.50-$47 Bookings: The Concourse Box office in person or call 8075 8111 or Ticketek 1300 795 012
ENSEMBLE Varied Virtues Selby & Friends Kathryn Selby, piano Andrew Haveron, violin Timo-Veikko Valve, cello Feb 23, 7.30pm - James O. Fairfax Theatre, National Gallery of Australia, Canberra Feb 25, 7pm - City Recital Hall Feb 27, 5pm - Chevalier College Performing Arts Centre, Southern Highlands, NSW Feb 29, 2.30pm - Uniting Church, Turramurra Tickets: $46-$252 Bookings: www.selbyandfriends.com.au Selby & Friends opens its illustrious 10th anniversary season celebrating the glorious diversity of piano trios and duos composed over the course of just one century with a program built around the musical form of the Variation. This program celebrates the classical Germanic roots of Beethoven and Schubert, the exoticism of Busoni’s take on a Finnish folk theme, and, finally, Anton Arensky’s elegiac Russian Romanticism. Two of pianist Kathryn Selby’s very special chamber music friends, SSO Concertmaster Andrew Haveron and ACO Principal Cello Timo-Veikko Valve, join her in this season-launching program. This is a notto-be-missed concert highlighted by three of the most illustrious chamber musicians resident in Australia today Program includes: Beethoven Piano Trio in E-flat major, Op. 44 No. 10 ‘Variations on an Original Theme’; Schubert Fantasy for Violin and Piano in C major, Op. 159, D 934; Busoni Kultaselle, 10 Variations for Cello and Piano on a Finnish Folksong; Arensky Piano Trio No. 1 in D minor, Op. 32.
The Willoughby Symphony’s 2016 Season opens with a glorious celebration of romantic arias in the highly anticipated season-opening GALA. Experience the heart-wrenchingly beautiful duets of opera’s great lovers, from Puccini’s La Bohème and Madama Butterfly, as well as the spellbinding Nessun Dorma from Puccini’s Turandot and the beloved Flower Duet from Lakmé. Under the baton of Chief Conductor and Artistic Director, Dr Nicholas Milton, this concert will guide you on an emotional journey that will pierce your heart with the stunning beauty of unforgettable musical moments. Experiencing sold-out success in previous years, the Willoughby Symphony’s GALA ORCHESTRAL Beethoven in the 21st century ACO Collective Pekka Kuusisto, lead violin and artistic director 4 February, 7.30pm - Newcastle City Hall 13 February, 7pm - Sydney – City Recital Hall 14 February, 2pm - Sydney Opera House 16 February, 8pm - Sydney – City Recital Hall 17 February, 7pm Sydney – City Recital Hall 19 February, 1.30pm Sydney – City Recital Hall Tickets: from $46 Bookings: www.aco.com.au or call 1800 444 444 Finnish violinist and long-time friend of the ACO, Pekka Kuusisto, takes up his position as ACO Collective Artistic Director for this seasonopening salvo of far-reaching music. His fellow countryman Sibelius rewrote the soaring Rakastava for strings almost 20 years after originally conceiving it for voices, inspired by a local legend of lost love, a tryst conceived in shadow hours, doomed by dawn. Bryce Dessner’s Tenebre, with the recorded voice of his friend Sufjan Stevens, also emerges
concert is an instant classic of the season. Don’t miss this incredible opening to another spectacular year. Program includes overtures, arias, ensembles and chorus selections from La Bohème, Madama Butterfly, Turandot and Lakmé.
from darkness. Dessner is known to many as a guitarist with The National, as well as for collaborations with such artists as Nico Muhly, Philip Glass, Bon Iver, Jonny Greenwood and Steve Reich. Muhly’s Drones & Violin opens the program, a capricious musical conversation, alongside Erkki-Sven Tüür’s transporting Action–Passion–Illusion and Sir Michael Tippett’s vivid Lament from Variations on an Elizabethan Theme, all highlighting the “wayward genius and extraordinary sound” (The Telegraph UK) of Pekka Kuusisto, and ACO Collective.
JAZZ WYNTON MARSALIS And the Jazz at Lincoln Center Orchestra Wynton Marsalis, trumpet One night only 24 February Venue: Sydney Opera House Tickets: Special packages and subscriptions only Bookings: www.sydneysymphony.com After nearly three decades, the Jazz at Lincoln Center Orchestra has found its way to Sydney, led by trumpeter Wynton Marsalis. This big band features some of the top musicians from the American jazz scene, with a shared
mission of personal expression, team spirit and musical celebration. Their take on jazz classics and jazz-meets-the-classics fills halls right across America and Europe. See them do their thing in the spotlight - without the SSO - in this one-night-only special event. February 2016
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CD Reviews The New Goldberg Variations By Johann Sebastian Bach With A Newly Composed Counterpart For Violin By Joe Chindamo Joe Chindamo - Piano Zoe Black – Violin Alfi Records
✶✶✶✶ Despite knowing that the New Goldberg Variations were to feature a newly composed violin counterpart, I was nonetheless surprised (and delighted) to hear Zoë Black’s violin enter in the fourth bar of the opening aria. This creative interpretation shines new light on the original whilst remaining true to its harmonic and stylistic conventions. The violin will often imitate or even foreshadow events in the original piano score, resulting in a rich musical dialogue. At other times the new line sounds as if expertly improvised within the original framework – perhaps a touch-point with the
Liszt: Symphonic Scenes Kit Armstrong – piano SONY 88875163732
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‘Kit Armstrong’: sounds like someone who fought with Jim Bowie and Davy Crockett at the Battle of the Alamo doesn’t it? In fact he
SLEEP
Max Richter - piano, organ, synthesizers, electronics Grace Davidson - soprano American Contemporary Music Ensemble (ACME) DG: 4795258
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The musical sleep spectrum is now complete. This can be considered to be a finite array of music designed for relaxation, meditation and eventually sleep. At the lower end of the spectrum we have Brahms Wiegenlied, Op 49 No 4 at a mere two minutes. At the upper end we now have this massive 8 hour 24 minute and 21 second
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duo’s previous recorded output. Double- and triple-stops are used texturally and melodically, most strikingly on Variation 6 where Black unfolds multiple melodies simultaneously with great sophistication. Occasionally the violin encroaches on the piano’s breathing space, leaving the listener gasping for air. As a result the subtleties of the original are sometimes obscured: the restless violin line on Variation 1 synthesises into a single melody the sparring left and right hands of the piano, somewhat flattening the dynamic interplay of the original. Fortunately, Chindamo has included some beautiful moments of respite. Variation 19 preserves the stately simplicity of the original against a sensitive violin backdrop. There is a sense of refreshment whenever Chindamo’s piano takes the fore; the longer, languishing Variation 25 begins with the piano alone and benefits from a responsive, breathy accompaniment by Black. was born in Los Angeles (1992) and is the son of an English father and Chinese motherneither of them musical. Not only a musical prodigy (debuting with orchestra at eight), his intellect is prodigious as well: studying natural sciences at multiple universities from the age of 7, and eventually gaining a Master’s Degree in pure mathematics from Paris University VI. In September 2013 Sony Classical released his solo debut of Bach, Ligeti and his own composition; now comes this second outing devoted exclusively to Liszt. There’s a great deal of tone painting in these pieces that goes beyond abstract music: in the lugubrious gothic stillness of Midnight Procession, S. 513a (from Lenau‘s Faust) the darkness and solemnity are almost intimidating as the soloist goes from merest whisper to thundering climax. Funeral Triumph work by the German-born but British-based composer Max Richter. He describes the work as “my personal lullaby for a frenetic world” and “a manifesto for a slower pace of existence”. The one-hour album presented here is more about offering a snapshot into the vastness of the original work. There are seven tracks on the album. Dream 3 and Dream 13 use sparsely diverse instrumentation that turn relatively simple works into pieces which transport the listener into a transient state. Space 11, whilst shorter than these two Dream movements evokes a hollowness through a dark array of emptiness and Space 21 sees Richter making incredible use of electronic nuances to continue the spiral in the abyss. The movement
Certainly the most significant contribution of this album is the presentation of a new model of faithful interaction with a well-known work. Close listening brings this into focus: the theme of the opening aria is woven ingeniously into the fabric of Variation 23 in a manner that would surely be applauded by Bach himself. One hopes this approach will continue to be explored in the near future by these masterful musicians. - David Groves of Tasso, S. 517 begins in similar mood but overall has a more declamatory character. Of the Mephisto Waltzes, everyone is familiar with No. 1 (orchestral and piano versions) but here we’re treated to the three Liszt completed; No. 2 has a kind of ‘demonic’ Chopinesque quality requiring the crisp articulation Armstrong gives it; No. 3 begins in wistful poetic fashion but soon reaches the energy level of the other two. Could there be more ideal music for a 23 year old to celebrate vigour and occasional melodrama? Armstrong’s playing is still developing, but sharp articulation and a wide dynamic range are two evident characteristics here. One thing’s certain: we are going to be hearing a lot more from him.
- Michael Muir
Path 5 is a vocal movement and showcases the talents of British soprano Grace Davidson. This movement has many translucent qualities and I was actually reminded of the violin solo from Schindler’s List. Beautiful music. The mistake is to approach this album as a cure for insomnia. I approached it as an opportunity to take time out and allow my mind to stop racing along as it normally does. Investing in this album is investing in some time for yourself. - Frank Shostakovich
CD Reviews Vasks: Presence Sol Gabetta - cello Amsterdam Sinfonietta Candida Thompson - conductor Sony Catalogue No: 88725423122
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This disc features the world premiere of Vasks Second Cello Concerto, Klatbutne or Presence written exclusively for Sol Gabetta who recently included the work on her tour of Australia for Musica Viva. Composed for cello and string orchestra this is the most exciting and significant work for the genre presented in quite some time. The concerto is in three movements and begins with an enigmatic cadenza which evokes a songlike quality that is prevalent during the first movement. The cello is given prominence throughout the movement as the music wavers sublimely from one passage to the next with Gabetta’s intensely soulful
The Flood Michael Hannan – music and soundscapes Janis Balodis – lyrics Isabella A Cappella and The Flood Band Wirripang
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Mussorgsky Pictures at an Exhibition Simon Tedeschi – piano ABC
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I first came across Simon Tedeschi at an event in Chatswood, when he’d been invited to perform along with other young musicians. He was full of mischief then which translates today into a sharp and delightful sense of humour. He’s come a long way since then although he’d performed a Mozart concerto when he was still only nine. Since then he’s done a lot of travelling overseas and performed for world leaders like Bush, Putin and Mandela. Two works appear on this ABC Classics CD. Firstly there is Pictures at an Exhibition which
musicianship giving the music a richness and clarity and indeed, a feeling of presence. The second movement pays homage to Shostakovich’s First Concerto both in structure and material. This Allegro movement is an energetic, virtuosic essay calling on Gabetta to find and deliver some of her amazingly brazen skill as arguably the world’s leading cellist. The opening is harsh and aggressive and is replaced by a more expansive and lyrical interlude that allows the listener to experience the broadness of solo cello together with some subtle string instrumentation, before concluding in a frenzy of activity between cello and orchestra. The finale returns to the meditative mood of the opening movement and there is a solemnness and almost religious like quality to the music. The movement sees Gabetta Whoever would have thought about the multiplicity of sounds that are associated with a flood. There are so many floods now that they hardly rate much thought apart from community sorrow as we grieve for those taken from us. A brief list of sounds that are part of a flood would include natural sounds of incessant rain and the roar of rushing water, with, more uniquely, the sounds of birds warning of rain. The noise of powered boats, pumps and the crackle of SES radios would also contribute. And all these sounds are embodied in this CD. Michael Hannan describes the work as a largescale community promenade music theatre piece of which he is composer and it was developed by Northern Rivers Performing Arts some years ago in Lismore with some 2,000 people in the audience. Hannan himself contributed four of the soundcapes and Professor Paul Thom of the comprises 16 short works which are followed by a less familiar Album for the Young. Pictures, better known because it’s more often performed as an orchestral work, is a suite in ten movements with a recurring, varied Promenade. Tedeschi’s performance is quite electric and he manages to capture with ease the amusing characteristics of the Ballet of the Chicks and of Gnomus, he reveals the busy market in Limoges and the children of all ages chattering and fighting in the Tuileries Garden. And there’s lots of expressiveness throughout. One of the differences between the two works is that seldom do we hear performances of individual works from ‘Pictures’ whereas Album for the Young is full of delightful shorter
herself performing a solo ‘Vocalise’ which is unique and reveals yet another stunning quality of her musical prowess. The remainder of the disc is no less engaging. The Musique du Soir or ‘Music of the evening’ for cello and organ is a deeply personal work which is both a reflective and subjective movement that appears to be in line with Vasks’ musical voice as a composer. A brilliantly engineered disc from Sony and very highly recommended. - FS Southern Cross University and Lyndon Terracini were closely involved with the project which attracted funding from Arts NSW. Simultaneously with the development of a narrative relating to experience of floods in Lismore, Janis Balodis conceived a parallel narrative inspired by the biblical flood and in this respect some appropriate references were drawn from Britten’s Noye’s Fludde and the text of the Chester Mystery Plays. There is no doubting that there is great originality and a heightened sense of creative effect in the work. Lots more could have been spent in showing what could have been achieved by commendable collaboration between professional artists and members of the community - Emyr Evans
works many of which are very useful for the development of younger emerging pianists. Tedeschi’s versatility and fine sense of heightened musicianship, are features of this recording.
- EE
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Jazz cd reviews Where or When Kristin Berardi -vocals and composition Steve Newcomb - piano James Sherlock - guitar Julien Wilson - tenor saxophone Sam Anning - bass ABC Jazz
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Kristin Berardi is one of Australia’s ‘first call’ jazz vocalists. Having won a swag of awards including Montreux Jazz Festival’s International Vocal Competition and twice winner of The Australian Jazz Bell Award for Best Vocal Album she is also the recipient of a National Freedman Fellowship as well as the National Jazz Award for Voice at The Wangaratta Jazz Festival. Where or When is a collection of songs that showcases Berardi’s astonishing talents, delighting the listener with her warm
and beautiful tone. Leonard Cohen’s Suzanne from the 1960’s is a brilliant simplistic rendition of that frequently covered song. It sits comfortably alongside of Rodgers and Harts’ Where or When superbly complementing Johnny Richards soulful million selling hit from 1953 Young at Heart. Could this be the version to finally rival that of Frank Sinatra’s? One of Berardi’s original compositions on the album Lucky 13 is a tribute to the good fortune behind this album’s creation when she was able to gather all her chosen musicians in one studio in Melbourne on 13 September 2013 and another original composition, Is It OK For Clowns To Cry, shows the jazz ballad at its most touching and poignant. The intimacy of the band is heightened by the decision to record without drums anchoring the album’s sound with the
The Complete Concert By The Sea Erroll Garner Columbia Legacy 88875120842
In Good Company Don Burrows James Morrison ABC Jazz 476 0729
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This is a recording of a conversation, a musical conversation between two close and longstanding friends with a relationship that began as teacher and student, developed into 18
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- Barry O’Sullivan
drummer Denzil Best are barely audible - but it was recorded originally on reel to reel tape for broadcast by the American Armed Forces Radio Service. Despite this, when it was originally released as an LP in October, 1956
it was hailed by critics as a masterpiece and became one of the biggest selling jazz albums of all time - by 1961 it had sold half a million copies. Digitally restored and remastered the 3-CD set celebrating the 60th anniversary of the event includes the complete concert with 11 previously unreleased tracks and a post-concert interview with the pianist. Never dull or repetitious even on the longest tracks, Garner swings richly with a joi de vivre and reinvents familiar ballads with melodic warmth. As always, his improvised song openings are a delight and his ingenuity shines on Night And Day and a rampaging Caravan. And who but Garner could turn Where Or When into a wild romp? This is his defining album. Don’t miss it! - Kevin Jones
mentor and youngster, musical associates and part of each other’s family. Recorded in 2010 and only now released, Burrows and Morrison each play three instruments – Burrows on alto flute, clarinet and alto sax; Morrison on trombone, bass trumpet and trumpet. Joined by Phil Stack on acoustic bass this line up lays down a strong resonant undercoat on which Burrows and Morrison paint their melodies. And as with any conversation, there are stories shared, harmonies embellished, melodies explored by each and together, all with a sense they are playing for themselves rather than an audience, for the joy of it, and we are privileged to be quietly listening in. Their eight tracks begin with Cole Porter’s You’d Be So Easy to Love, and includes offerings from the songbooks of Styne and Cahn, VanHeusen and Mercer, Isham Jones and Gus Kahn and of course, a Brazilian inclusion with Bonfa,
Moraes and Sigman’s Manha de Carnaval. Recorded without overdubbing, each chooses the instrument with which to express that particular song, at times throwing to Stack on bass to add to the dialogue. As if to inform the conversation, a second disc has been included with earlier recordings of this musical friendship, all from the 1980s. Included are luminaries such as Alan Turnbull, George Golla and John Sangster, The Australian Jazz Orchestra and The Adelaide Connection. In Good Company is an album of reminiscences – those treasured memories that bring a quiet joy to the senses, for it is the final album from one of our most noteworthy jazz masters and recorded with his most prominent student. - Jeannie McInnes
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One of the most exciting listening experiences in my early jazz journey was hearing Erroll Garner’s performance of I’ll Remember April on a 45rpm disc (remember them?) from his legendary Concert By The Sea recorded live in a school auditorium at Carmel-by-the-Sea on September 19, 1955. Originally written as a romantic love song, the pianist swings it relentlessly with a combination of wit, amazing technical dexterity, and, for the listener, sheer joy. Garner was a selftaught phenomenon who couldn’t read a note of music. The sound on the original recording was never great - bassist Eddie Calhoun and
richness of Sam Anning’s faultless bass playing. James Sherlock is as impressive as always on guitar and Steve Newcomb is flawlessly superb on piano. Julien Wilson adds that final magic touch with his tenor saxophone that makes this the perfect jazz vocal album of 2015.
SWINGING ON THE VINE Percussion perfection Big J shudders as his piggy dreams of endless bowls of red wine are drowned out by the thunder of drums in my Hunter Valley hideaway as Louis Bellson nears the end of the 1951 recording of his showpiece Skin Deep with the orchestra of Duke Ellington. Bellson’s new and powerful style revitalised the orchestra when he joined in 1950 from Harry James’ band along with valve trombonist Juan Tizol and alto saxophonist Willie Smith in what would become known as the “Great James Raid”. Bellson’s then unique device of using two bass drums gave the band new power as he moved Ellington’s music from the almost classic style of the Forties to the more aggressive Fifties. His long experience guiding the bands of Benny Goodman and Tommy Dorsey from the drum chair reached full maturity with Ellington. If it wasn’t for Buddy Rich, some critics consider Bellson would have been the greatest of all the white big band drummers. But whereas Rich was flashy, Bellson was more subtle complementing the music of the bands in which he played. The brilliant Rich tended to overpower the other musicians. According to Bellson, Ellington’s was the easiest band in the world for a drummer. “They had learned to swing without one. Sonny Greer was really the band’s unofficial greeter and a drummer limited to special effects but so lovable a character and so much a part of the Ellington mystique that the Duke never sought to replace him.” When Bellson joined the band, its members told him: “Welcome aboard. Now we can sit back and relax”. He thought they were putting him on.
Sydney Jazz Presents Live Jazz Sydney Flying Squadron
76 MacDougall Street, Milsons Point 10 February From 12.30 until 3pm (Doors open 11.45am) Mike Hallams Hot Six: Bob Baird: drums Ed Rapo: bass Jack Wiard: clarinet Kym Till: piano Al Davey: trombone Mike Hallam: trumpet $10.00 Entry Fee
Picnic at Berry Island
At the end of Shirley Road, Wollstonecraft 21 February The Robbers Dogs From 12.00 noon to 3.00 pm Unique experience picnicking in the Australian Bush, but still close to the City
PO Box 186 Broadway, NSW 2007
Louis Bellson
But there was another surprise, one totally unexpected, when he joined the Duke. There were no drum charts - and most of the music existed because the musicians knew it by heart! “With Harry’s (James) band I had charts to read. With Duke, there was no drum music, no rehearsal. Fortunately, (trumpeter) Clark Terry was in the band and he showed me a lot. Duke gave me full credit for knowing what to do in a rhythm section”. Duke’s comment: “I had Sonny Greer and now I have Louis Bellson. I want to hear Louis Bellson”. He obviously liked what he heard describing Bellson, who was with him from 1951-53, as “the world’s greatest drummer”. As the only white player in a black band, Bellson also received some early lessons in race relations which served him well in his, rare for the time, inter-racial marriage with singer Pearl Bailey whom he wed after a four-day courtship. He was in the band only a few months, when Ellington told him: “We’re going to make a tour down South with Sarah Vaughan and the Nat King Cole Trio. Do you know what that means? I can’t find another drummer who can do what you do, so I’m going to make you a Haitian.” Bellson stayed with the band wherever they went as a fair-skinned Haitian. For Bellson, playing with Duke was a tremendous experience: “All of the horns and the sections swung. All a drummer had to do was sit in and blow. There was something happening every time (Harry) Carney or Tizol or Terry or anyone else got up to take a solo. Duke was a marvellous section pianist and the same goes for Count Basie”. The reasons their bands had the best time and rhythm were simple - the leaders were piano players and the tempos were set exactly right from the first bar. “You never had to fight to get the time back where it belonged which was sometimes the case with bands led by horn players, even Benny Goodman.” At the age of 16 in 1940, Bellson won a drum competition sponsored by Gene Krupa to find the best drummer in America under the age of 16. There were 40,000 entries. In 1942 when playing with the society dance band of Ted Fio Rita he came to the attention of the King of Swing whose band he joined at the age of 17 in late 1942. His audition was a 20th Century Fox movie. Goodman was a perfectionist. Bellson had only praise: “He taught me how to keep time, how to play in a big band and how to swing”. He taught him well because from Goodman through to Ellington, Basie and beyond, Bellson never missed a beat. - Patrick D.Maguire
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YOUNG VIRTUOSI
Composition students have works broadcast The Young Virtuosi program at Fine Music is offering a number of lucky composition students the opportunity to have their works broadcast in February. Fine Music magazine caught up with several of these eager young composers, mostly from the Sydney Conservatorium of Music. In their studies in composition, these students are encouraged to look at all genres of music to develop their own unique voice. From traditional Bach style four part harmony all the way up to the avant-garde of John Cage and Stockhausen; these students take inspiration from many different places. Kirsten Milenko, having just finished her first year studying at the Conservatorium, remarks upon opportunities for Australian composers: “We often look to the music history and culture of Europe and America with Australian music unfortunately often being left as an afterthought. It’s wonderful that organisations like Fine Music are offering such opportunities to emerging Australian composers”.
Milenko’s string quartet, Wachtraum is amongst the works that will be broadcast this month. About to enter his second year at the Conservatorium, Joshua Winestock’s comments highlight that each composer has a very different creative process. “I generate inspiration by improvising on piano, or taking clichéd harmonic or melodic cells from my vocabulary and developing them,” he says. For Henry Hulme, his process is often politically motivated: “One of the key motivators for me when writing music is that, through its varied forms, it has an ability like no other to become a platform for the expression of ideas. “In my view, music has a unique ability to bring people together, or indeed even to pull them apart… music rallies people, music invigorates us.” Fine Music listeners can hear both Winestock’s and Hulme’s pieces A Vivid Night and Deep Crater in the upcoming broadcasts. For Ella Seabrook, her creativity often stems from her Australian surroundings. She says:
“I love drawing from the landscape. It’s my greatest source of inspiration and a way to forge my way as a distinctly Australian composer”. Her piece Estuarine Energies, which also debuts in February, is a prime example of this using quick string glissandi to evoke the sounds of sea gulls over Pittwater.
- Solomon Frank ON AIR
Young Virtuosi Wednesdays, 1pm 3, 10, 17 February: Composition Programmer: Solomon Frank Presenter: Julie Simonds 24 February: Schools projects Presenter: Alison Zhou Audio Engineer: Greg Ghavalas Co-ordinator: Judy Deacon
yv@finemusicfm.com
Fine Music supports musical schools
Finally, in August the ensemble is honoured to perform solo at the Sydney Opera House as part of the Acacia concert for the NSW Arts Unit.
- Judy Deacon
Special Announcement: Young & Even Younger musicians
Oakhill Drive Public School percussion group The Sydney Eisteddfod holds a myriad of events from May each year to encourage young talent. From last year’s eisteddfod performances, two schools were approached by Young Virtuosi with the offer to record their music and broadcast it as part of Fine Music’s Young Virtuosi program on Wednesdays. Both groups recently took up Fine Music’s offer and visited the radio station to record their work: the percussion group from Oakhill Drive Public School and Chatswood Public School’s ensemble. On arrival at Fine Music they were given a tour to see how a radio station works. Both groups were excited and many remarked that it was a “big deal” to be invited for this special chance to perform in a recording studio. Oakhill Drive Public School at Castle Hill has an established band program for children in school years three to six. The band has grown in popularity over several years and offers a Training 20
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Band, Intermediate Band, Concert Band and three smaller ensembles including woodwind, brass and percussion. All bands and ensembles perform at school and community events as well as competitive eisteddfods each year. The school’s Percussion Ensemble has nine students from years five and six and meets weekly at lunchtime to practice - tutored and conducted by Mitch Bruzzese. The Chatswood Public School String Sextet has had a thrilling and successful year in 2015. It is made up of cello, viola and four violins, under the tutelage and guidance of Mr Meader. The ensemble was first place winner at both the Sydney and Ryde Eisteddfods. In addition to its recording at Fine Music, the group has been invited to perform in Newcastle with the fabulous Hunter Singers conducted by Kim Sutherland OAM as part of the choir’s 25th Anniversary.
Young Virtuosi at Fine Music 102.5 invites aspiring young instrumentalists up to the age of 18 and singers up to 23 years old, to apply for the Young & Even Younger Broadcast series 2016. This is a valuable live-to-air radio experience and performance opportunity through fine music 102.5 broadcasting. Applications are open until 19 February for auditions on 6 March, 2016. Don’t miss out on this exciting radio opportunity. For more information, go to finemusicfm.com and select the ‘youth’ tab. Visit https://form.jotform.com/finemusicfm/ eyp2016 to access the 2016 YV Young & Even Younger Broadcast series entry form.
Students from the Chatswood Public School ensemble
FLASHBACK WITH DEREK PARKER
On longevity and connections taboos on employing black musicians, and once caused a considerable row when insisting on eating in a restaurant ‘for colored folk’, informing the manager that he himself was ‘colored’. His skin was pink.
Shura Cherkassky
It seems slightly surprising – even alarming – that I once heard a concert by a pianist who was taught by Theodor Leschetizky, who had studied with Beethoven’s pupil Carl Czerny (and whose mother, his first teacher, was the pupil of a pupil of Chopin). But that’s what time does if you live to be over, what shall we say, thirty-five. More of Mieczyslaw Horszowski in a moment. The first performer to give me a shock of surprise at the connection he represented with the very beginning of modern music was the conductor Pierre Monteux, who I saw conduct at the Festival Hall in London in the 1960s, after he had been appointed chief conductor of the London Symphony Orchestra at the age of 86. In 1963, at the age of 88, in the presence of Stravinsky, he and the orchestra gave a performance of The Rite of Spring at the Albert Hall to celebrate the 50th anniversary of its first performance, which of course he had conducted – according to some critics announcing the arrival of modern music. There’s a recording of that evening’s performance, which is electrifying, ending as Monteux climbed up to Stravinsky’s box to embrace him. He seems to have been an extremely nice man, except when upset by racial discrimination, which infuriated him. Working in the US he simply ignored
The LSO adored him, and when during his last years he took to fainting, looked after him devotedly. Adrian Boult remembered escorting him offstage after he had been presented with Britain’s highest musical honour, the gold medal of the Royal Philharmonic Society, and “suddenly found my arms full of violins and bows. The orchestra had recognised that their beloved chief was fainting, and rushed to his rescue”. He was never what you could call a spectacularly energetic conductor, certainly during his later years, and when I saw him seemed just to stand doing nothing, occasionally leaning benevolently back on the chair provided for him; but clearly he was doing quite enough to convey his wishes to the orchestra, which would scamper through an allegro directed, it seemed, by a slight twitch of his index finger.
90-year career Mieczyslaw Horszowski was seventeen years younger than Monteux, but while Monteux had a long career, Horszowsky had probably the longest of almost any pianist, playing a Beethoven concerto in 1901, and giving his last concert ninety years later. I heard him at the Wigmore Hall on one of his very rare visits to England after he settled in the US in 1940. A Pole, he toured Europe and America as a child prodigy – though he was relatively tiny (he never grew to be much over five feet tall) and had very small hands, which disqualified him from the showiest concert favourites, and was probably responsible for him never becoming the great international star that his talent merited. He was encouraged in his early career by Fauré and Saint-Saëns, who recognised the extraordinarily sonorous
tone he produced (for which his teacher, Leschetizky, was held responsible). He became an American citizen, and after his marriage – at the age of 89 – reluctantly gave up touring, and was heard no more in Europe. He gave his last public concert at 99, and died a week after giving his last lesson, just before his 101st birthday.
Practice makes perfect Compared to Monteux and Horszowsky, Shura Cherkassky was virtually an adolescent, still only 84 when he gave his last performance, just before his death. That was in 1995. I remember him particularly at a concert in the beautiful Banqueting Hall, the surviving relic of Charles II’s Palace of Westminster, when he played the Liszt sonata with the vigour of a young man just out of music college. He was a Russian, taught at first by his mother, who had played for Tchaikovsky in St Petersburg. He auditioned for Rachmaninov, who gave him some advice about fingering, which he ignored; and played for the great pianist Josef Hoffman, said by many critics to be the most flawless and possibly the greatest pianist of the 20th century. Hoffman was impressed, but insisted that if Cherkassky was to be a really fine pianist pianist he must practise for at least four hours every day – which Cherkassky did religiously for the rest of his life. Unlike many performers, he loved travelling – and while still in his 20s played in Australia, New Zealand, the far east, Russia and of course Europe. During the rest of his long life he played with every major orchestra and under most major conductors – though some of these disliked his spontaneity, which meant that in performance he could never be relied upon to repeat what had occurred at rehearsal. His career lasted for over seventy years; he died in London in 1995 at the age of 84, making the last of many recordings a few months before his death. February 2016
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February Fine Music Digital Schedule 00:00 03:00 06:00 09:00 10:30 11:00 12:00 12:30 13:00 14:00 15:00 16:00 17:00 17:30 18:00 18:30 19:00 19:30 20:00 20:30 21:00 22:00 22:30 24:00
Weekdays
Saturday
Sunday
Mon: Contemporary Collective Tue-Frid: General classical General classical Fine Music Breakfast Repeat of Morning concerts Repeat of Diversions in fine music
Contemporary Collective
Contemporary Collective
General classical Saturday Morning Music General classical Small forces
General classical Sunday Morning Music
The Classical era General classical Jazz General classical Mon: Baroque, Tue: Romantic, Wed: 20th century, Thur: Chamber, Fri: General classical General classical Mon: General classical Tues-Frid: Jazz
General classical
Opera
Magic of stage and screen General classical
General classical
Repeat of Saturday night at home
Repeat of Sunday night concert Jazz classic & traditional Repeat of Sunday special
In a sentimental mood Young virtuosi In conversation General classical
After hours jazz
Ultima thule
Fine Music presents fine jazz in 2016: FM and digital Monday 102.5FM: 12-1pm: Swing Sessions – John Buchanan Digital: 3-4pm: Jazz Off The Shelf 102.5FM: 7-8pm: Jazz Nice ‘n Easy – Ken Weatherley 102.5FM: 10-12pm: The Australian Jazz Scene – Susan Gai Dowling & Peter Nelson Tuesday 102.5FM: 12-1pm: Jazz Rhythm – Jeannie McInnes Digital: 3-4pm: Jazz Standards 102.5FM: 7-8pm: The Jazz Beat – Lloyd Capps Digital: 10pm-12mn: Jazz After Hours Wednesday 102.5FM: 12-1pm: Jazz Sketches – Robert Vale Digital: 3-4pm: Jazz Australia 102.5FM: 7-8pm: Jazz Stars & Stripes – Peter Mitchell Digital: 10pm-12mn: Jazz After Hours Thursday 102.5FM: 12-1pm: Jazz Pure & Simple – Maureen Meers Digital: 3-4pm: Jazz Biography 102.5FM: 7-8pm: The Jazz Scene – Barry O’Sullivan Digital: 10pm-12mn: Jazz After Hours Friday 102.5FM: 12-1pm: Noontime Jazz – Peter Mitchell Digital: 3-4pm: Jazz in Concert 102.5FM: 7-8pm: Friday Night Jazz Session – Sally Cameron Digital: 10pm-12mn: Jazz After Hours 22
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Saturday 102.5FM: 12-1pm: Saturday @ Studio A – Leita Hutchings Digital: 7-8pm – Jazz Classic & Trad – Sydney Jazz Club Digital: 10pm-12mn: After Hours – Kevin Jones Sunday 102.5FM: 12-1pm: Speak Easy, Swing Hard – Dick Hughes (1st&3rd) 102.5FM: 12-1pm: Classic Jazz & Ragtime – John Buchanan (2nd&4th) 102.5FM: 12-1pm: Classic Jazz & Ragtime – Jeannie McInnes (5th) 102.5FM: 10pm-12mn: After Hours – Kevin Jones Fine Music 102.5FM, Fine Music Digital, & worldwide at finemusicfm.com jazz@finemusicfm.com; phone: 02 9439 4777
FEBRUARY PROGRAM HIGHLIGHTS Pfitzner, H. Palestrina, musical legend
confident that Palestrina will remain. The work has all the elements of immortality”.
OPERAS – 10 February, 8 pm
Live and Local
Giovanni Pierluigi da Palestrina cast a long shadow in Western music. His Missa Papae Marcelli is considered the summit of the Renaissance style, and is the standard text used by colleges to teach Renaissance counterpoint. And indeed polyphonic counterpoint – and the Missa - lie at the heart of Hans Pfitzer’s opera, rarely-performed outside the Germanspeaking world.
Thursdays, 8pm
For hundreds of years after Palestrina’s death it was believed that he had saved polyphonic counterpoint for the Western world by standing up to the church, who wanted to ban it. The legend went that the Council of Trent, which convened the great and the good of the Roman Church to discuss its proper response to the Reformation – in effect to formulate the Counter-Reformation - included consideration of the use of polyphony in sacred music. There were undoubtedly cardinals who objected to polyphony. The grounds for their misgivings were twofold: on the one hand that polyphony tended to render the sacred texts unintelligible and, on the other, that polyphony might somehow provide cover for the use of themes with licentious origins; tunes associated with drinking, dancing and other ungodly pursuits. Palestrina, so the legend went, alarmed at the impending prohibition of a musical form of which he was the master, composed his
Hans Pfitzer
Fine Music’s roving sound engineers bring you another crop of fine local performances.
Giovanni Pierluigi da Palestrina
Missa Papae Marcelli as a demonstration that polyphony could be written in a way that allowed the text to be clearly heard, thus addressing the first, if not the second of the cardinals’ concerns. The legend continues that the mass was the last of three performed at a meeting of the papal commission formed to settle the fate of polyphony. So delighted were their Eminences that they bade him continue in the style, and teach it to his pupils. It is upon this legendary narrative that Pfitzer’s opera proceeds. It contains, as well as Palestrina himself, the figure of Cardinal Borromeo, spearhead of the Counter-Reformation and author of the reforms wrought within Rome that addressed many of Martin Luther’s cavils while simultaneously conceding their validity. That’s a lot of reform. And that’s a good thing, because the central fact depicted in Palestrina was confounded soon after Palestrina was written. Yes, there were cardinals offended by polyphony, but the extensive written record of the Council of Trent contains no evidence that its prohibition was ever officially considered. So the opera must be considered a parable of the relationship between art and power, and on the means by which civilisation advances – or retreats. Bruno Walter conducted its premier in 1917. Shortly before his death in 1962, and after his estranged country had experienced the worst that power can do, he wrote: “Despite all the dark experiences of today I am still
Sydney’s Omega Ensemble celebrated its 10th season last year, continuing its penchant for performing scaled-down arrangements of the great symphonies. A Beethoven 7 is on the program for July 2016, and last July a chamber arrangement of Mahler’s 4th was the highlight of a City Recital Hall program that featured soprano Lee Abrahmsen (standing in for Jane Sheldon). Tackling Mahler with a chamber ensemble might sound like bringing a knife to a gunfight, but the arrangement reveals an unexpectedly intimate quality in Mahler’s music. You can hear the recital on 4 February at 8pm. Saturday Afternoon Big Works 6 February, 2.30pm 27 February, 3pm Oratorio rose to prominence in Europe in the early 18th century. In the Protestant world of Handel it formed a more or less conscious attempt to replace the mountain of liturgical music now deemed heretical with a form of musical entertainment that would sustain, not corrupt its listeners’ godliness. In the Roman world of Vivaldi the prohibition lasted only through Lent, but gave rise to a similar demand for ecclesiastically acceptable entertainment. You can hear examples of oratorio from both schools on Saturday afternoons at Fine Music, with performances of Vivaldi’s only preserved oratorio Juditha Triumphans (6 February) and Handel’s Deborah (27 February), an early work that, like Juditha, bears the hallmark of oratorio – a rousing narrative around an Old Testament figure, replete with improving messages for its audience.
- Tom Forrester-Paton February 2016
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Monday 1 February 0:00 CLASSIC-ALL THROUGH THE NIGHT
14:00 OUR JOAN Prepared by Jan Brown
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small
Grieg, E. Solveig’s song, from Peer Gynt (1875). 5 Delibes, L. The girls of Cádiz.
9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1901 Prepared by Jennifer Foong
Flotow, F. The last rose of summer, from Martha (1847). 3
Elgar, E. Overture: Cockaigne, op 40, In London town (1901). London PO/ Adrian Boult. First Hand Records FHR06 14 Ganne, L. Andante et scherzo (1901). Susan Milan, fl; Ian Brown, pf. Chandos CHAN 8609 7 Dvorák, A. Song to the moon, from Rusalka (1901). Renée Fleming, sop; Czech PO/Charles Mackerras. ABC 480 5629 6
Johannes Brahms
Ives, C. Symphony no 1 (1895-98). Detroit SO/Neeme Järvi. Chandos CHAN 9053
Delibes, L. The nightingale. 40
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 MUSICAL ROUNDABOUT Paris Prepared by Francis Frank
Rimsky-Korsakov, N. Cantata: From Homer, op 60 (1901). Elena Mitrakova, sop; Tatiana Fedotova, sop; Svetlana Sizova, mezz; Ch of the Moscow Academy of Choral Art; Moscow SO/ Vladimir Ziva. Brilliant Classics 94495 12
Rimsky-Korsakov, N. Overture: Russian Easter festival, op 36 (1888). Gennady Rozhdestvensky, cond. EMI CDM 1 66428 2 16
Mann, J. Violin concerto in D minor, op 101 (1901). Akiko Yamada, vn; Osnabrücker SO/Hermann Bäumer. cpo 777 620-2 17 10:30 MORNING CONCERT Prepared by Paul Hopwood
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Stamitz, C. Viola concerto in D, op 1 (pub. 1774). Tabea Zimmermann, va; European Union CO/Dmitri Demetriades. Helios CDH55035 21 24
Bishop, H. Home, sweet home (1821). Tina Bonifacio, hp. 4
Bowen, Y. Piano sonata no 2 in C sharp minor, op 9 (1901). Danny Driver, pf. Hyperion CDA67751/2 23
Chabrier, E. Suite pastorale (1880). Vienna PO/John Eliot Gardiner. DG 447 751-2
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Joan Sutherland, sop; New Philharmonia O/Richard Bonynge (all above) ABC 468 513-2 14:30 STEVEN ISSERLIS AND FRIENDS Prepared by Gael Golla Brahms, J. Cello sonata no 1 in E minor, op 38 (1862-65). Stephen Hough, pf. Hyperion CDA67529 26 Bach, J.S. Cello suite no 1 in G, BWV1007 (c1720). Hyperion CDA67541/2
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Martinu, B. Sonata no 3 (1952). Peter Evans, pf. Helios CDH55185 19
Wolf, H. Der corregidor (1896). Daniel Barenboim, cond. Apex 0927-49582-2 8
Bloch, E. Schelomo: Hebraic rhapsody for cello and large orchestra (1915-16). London SO/Richard Hickox. Virgin 5 61125 2 22
Paris O (2 above)
Steven Isserlis, vc (all above)
Rimsky-Korsakov, N. Procession of the nobles, from Mlada (1892). London PO/ Adrian Boult. EMI CDM 1 66428 2 4
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett
Boccherini, L. Oboe quintet in F (1797). Lajos Lencsés, ob; Parisii Quartet. Brilliant Classics 94386 9 Franck, C. Redemption (1871-72). Paris O/Daniel Barenboim. DG 476 2800 14
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Tuesday 2 February Medtner, N. Piano concerto no 3 in E minor, op 60, Ballade (c1940-43). Geoffrey Tozer, pf; London PO/ Neeme Järvi. Chandos CHAN 9038
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Chausson, E. Symphony in B flat, op 20 (1889-90). Detroit SO/Paul Paray. Mercury 475 6268 31 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
Paul Paray
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN
13:00 THE ENGLISH MOZARTS Prepared by Stephen Wilson
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Jean-François Paillard Prepared by Francis Frank Jacchini, G. Sonata for trumpet and strings. Claude Molenat, tpt. LP Erato / WRC R 03863
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Albinoni, T. Double concerto in C. Maurice André, tpt; Lionel André, tpt. Erato 2292-45062-2 11 Mozart, W. Double concerto, K299 (1778). Lily Laskine, hp; Jean-Pierre Rampal, fl. Erato 0630-13705-2 31 Fasch, J. Concerto in D. Pierre Pierlot, ob; Jacques Chambon, ob; Maurice André, tpt. Erato 4509-98475-2 7 Handel, G. Harp concerto in B flat, HWV294 (1735-36). Lily Laskine, hp. Erato 2292-45084-2 13 Vivaldi, A. Concerto in C for two trumpets. Maurice André, tpt; Marcel Lagorce, tpt. Erato 2292-45062-2 13 Jean-François Paillard CO/Jean-François Paillard (all above) 10:30 MORNING CONCERT Prepared by Denis Patterson Cimarosa, D. Overture to Il ritorno di Don Calendrino (1778). Nicolaus Esterházy Sinfonia/Alessandro Amoretti. Naxos 8.570508 9
Linley, T. the younger Violin concerto in F (c1772). Elizabeth Wallfisch, vn; Parley of Instruments/Peter Holman. Helios CDH55260 16 Pinto, G. Piano sonata in E flat minor, op 3 no 1 (1801). Riko Fukuda, fp. Olympia OCD 494 19 Wesley, S. Symphony in D, Sinfonia obligato (1781). London Mozart Players/ Matthias Bamert. Chandos CHAN 9823 11 Bishop, H. Lo! here the gentle lark, from The comedy of errors (1819). Joan Sutherland, sop; Alexander Murray, fl; London SO/Richard Bonynge. Decca 421 883-2 4 14:00 TAKE IT AWAY, BORIS Prepared by Ross Hayes Rimsky-Korsakov, N. Piano trio in C minor (compl. Steinberg 1939). Oistrakh Trio. Brilliant Classics 9272 37 Shebalin, V. Orchestral suite no 1, op 18 (1934-36). Siberian SO/Dmitry Vasiliev. Toccata TOCC0136 31 Tchaikovsky, B. Clarinet concerto (1957). Anton Prischepa, cl; Russian Academy of Music CO/Timur Mynbaev. Naxos 8.557727 12 Shebalin, V. Piano trio in A, op 39 (1947). Oistrakh Trio. Brilliant Classics 9272 8
Neeme Järvi
Tchaikovsky, B. Chamber symphony (1967). Moscow CO/Rudolph Barshai. Brilliant Classics 9286 20 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 The Spanish guitar Prepared by Phil Vendy Arriaga, J. String quartet no 1 in D minor (1821-22). Chilingirian Quartet. CRD 33123 30 Sor, F. Les deux amis, op 41. Robert Kubica, gui; Wilma van Berkel, gui. Naxos 8.553302 17 Granados, E. Love and hate (1910). Anne Gastinel, vc; Pablo Márquez, gui. naïve V5182 2 Fossa, F. de Guitar trio no 1 in A, op 18 (1808). Simon Wynberg, gui; Martin Beaver, vn; Bryan Epperson, vc. Naxos 8.550760 26 Turina, J. Danzas fantásticas, op 22 (1920). Guitar Trek. ABC 476 3389 15 Tórroba, F. Moreno Concierto ibérico. Pepe Romero, gui; Los Romeros. Decca 478 5669 21 February 2016
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Wednesday 3 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti 9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Rex Burgess Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (1720). Suk CO/Josef Suk. Vanguard OVC 7002/03 21 Sammartini, G. Flute sonata in G (1745). Mario Carbotta, fl; Roberto Cognazzo, hpd. Nuova Era 7022 9 Handel, G. Ah! mio cor, schernito sei! from Alcina, HWV34 (1735). Patricia Petibon, sop; Venice Baroque O/ Andrea Marcon. DG 477 8763 12 Bach, C.P.E. Bass viol sonata in G minor, Wq88 (1759). London Baroque. Harmonia Mundi HMC 901410 17 Rameau, J-P. Anacréon suite (1754). Capella Savaria/Mary Térey-Smith. Naxos 8.553746 22 10:30 MORNING CONCERT Prepared by Judy Ekstein Méhul, É-N. Symphony no 1 in G minor (1808-9). Gulbenkian Foundation O/ Michel Swierczewski. Nimbus NI 5184/5 26 Schumann, R. Symphony no 3 in E flat, op 97, Rhenish (1850). Bavarian RSO/ Rafael Kubelik. Sony SBK 48 270 35 Offenbach, J. Le voyage dans la lune. Philharmonia O/Antonio de Almeida. Philips 422057-2 18 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 YOUNG VIRTUOSI 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. 26
15:00 ELGAR EXPLORED Part 1 Prepared by Michael Morton-Evans Elgar, E. Harmony music no 1 (1878) Athena Ensemble. Chandos CHAN 241-33 4 Romance in C minor, op 1 (1878). Marat Bisengaliev, vn; Benjamin Frith, pf. Naxos 8.572643-45 5 Is she not passing fair? (1886). John McCormack, ten; Edwin Schnieder, pf. EMI CDH 763306 2 2 Laura valse (1887). Piers Lane, pf. Hyperion CDA67857
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Salut d’amour, op 12 (1888). Nigel Kennedy, vn; Steven Isserlis, vc; Peter Pettinger, pf. Chandos CHAN 8380 3 Overture: Froissart, op 19 (1890). New Zealand SO/James Judd. Naxos 8.557577 14 Serenade for strings in E minor, op 20 (1893). Queensland SO/Bernard Heinze. LP ABC/WRC RO 1850/51 11 Excerpts from The black knight, op 25 (1893). London Symphony Ch & O/ Richard Hickox. Chandos CHAN 9436 3 La capricieuse, op 17 (1891). David Garrett, vn; Alexander Markovich, pf. DG 479 0933 4 Ave verum corpus, op 2 no 1 (1902). Choir of Westminster Cathedral; Iain Simcock, org; James O’Donnell, cond. Hyperion CDA66669 3 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 Colleen Chesterman Rossini, G. Moses in Egypt. Opera in three acts. Libretto by Andrea Tottola. First performed Naples, 1818.
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
MOSES: Ruggiero Raimondi, bass PHAROAH: Siegmund Nimsgern, bass-bar ELCIA: June Anderson, sop OSIRIDE: Ernesto Palacio, ten Ambrosian Opera Ch; Philharmonia O/ Claudio Scimone. Marco Polo 8.223527 2:26 Egypt is plunged into darkness by God as punishment for keeping the Israelites in bondage. Pharaoh asks Moses to intercede before God. When Moses entreats God, the punishment is lifted and Pharoaoh frees the Israelites. Osiride, Pharoh’s son, loves the Israelite maiden Elcia and, fearing that they will be parted forever, opposes his father’s edict. He persuades the king to revoke his decree. Moses brings down a storm of hailstones and fire and Phaoroh again orders the Israelites to leave, but, seeing Osiride’s unhappiness, breaks his promise to let them go. Moses warns him that God will punish them again with another plague. Osiride tries to kill Moses and is struck dead by lightning. The Israelites leave, pursued by Egyptian soldiers. By the shore of the Red Sea, Moses strikes the waters with his staff. The waters part allowing the Israelites to cross safely but, when the Egyptian army follows, the waters close over them. Overture to Semiramide (1823). Tasmanian SO/Ola Rudner. ABC 476 259-9
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23:00 MUSIC OF EVE DUNCAN Prepared by Madilina Tresca Duncan, E. Buddha fantasy. Stefan Feingold, gui.
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Runner of light. Amos Roach, didgeridoo; Australian National Academy String Ensemble/Mark Knoop. 6 Move MD 3320 (2 above) Butterfly modernism (2011). Michael Kieran Harvey, pf; Silo String Quartet. 10 Iceland (1996). Sanna Tavares, voice; Rachel Atkinson, vc. 13 Move MD 3362 (2 above) Tiger snake. Deborah Kayser, sop; Mardi McSullea, fl; James Wilkinson, tb; Julia Ryder, vc; Nick Tsiavos, db; Peter Neville, perc; Australian National Academy String Ensemble/Mark Knoop. Move MD 3320 15
Thursday 4 february 0:00 CONTEMPORARY COLLECTIVE
Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Van Cliburn, pf; Philadelphia O/Eugene Ormandy. RCA GD 87945 25
3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore
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
9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Michael Morton-Evans Strauss, R. Festmarsch in D (1886); Ständchen in G (1882). Max Mandel, va; Amelia Piano Trio. Naxos 8.570896 9 Kampf und Sieg (1882). Hong Kong PO/ Kenneth Schermerhorn. Hong Kong 8.220323 6 Horn concerto no 1 in E flat, op 11 (1883). Dennis Brain, hn; Philharmonia O/Wolfgang Sawallisch. EMI 7 47834 2 15 Symphony no 2 in F minor, op 12, mvt 2 (1884). Royal Scottish NO/Neeme Järvi. Chandos CHAN 10236 X 7 Burleske in D minor (1885-86). MarcAndreé Hamelin, pf; Berlin RSO/Ilan Volkov. Hyperion CDA67635 19 Aus Italien, symphonic fantasy, op 16, mvt 4 (1886). Aarhus SO/Norman Del Mar. ASV DCA 750 9 Fass’ ich sie bang, from Guntram (1884). Jane Eaglen, sop; Israel PO/Zubin Mehta. Sony SK 60042 5 Waltz sequence no 2, from Der Rosenkavalier (1911). Slovak PO/ Zdenék Kosler. Naxos 8.550342
Frühling, from Four last songs (1948). Yvonne Kenny, sop; Queensland SO/ Johannes Fritzsch. ABC 476 4620 3
Mozart, W. Trio for clarinet, viola and piano, K498, Kegelstatt (1786). Antoine Tamestit, va; Leif Ove Andsnes, pf. BIS 1893 19 Bach, J.S. Ave Maria, BWV846 (1722; arr. Gounod 1856). Torleif Thedéen,vc. BIS SACD-1823 3 Copland, A. Clarinet concerto (1947-48). Malmö SO/Lan Shui. BIS CD-893 18 Rachmaninov, S. Vocalise, op 34 no 14 (1915; arr. Rose). Roland Pöntinen, pf. BIS SACD-1823 6 Piazzolla, A. Oblivion (1984). Australian CO/Richard Tognetti. BIS SACD-1863 4 Chaplin, C. Smile (arr. Pöntinen). Roland Pöntinen, pf. BIS SACD-1823 4
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10:30 MORNING CONCERT Prepared by Michael Morton-Evans Cimarosa, D. Overture to Artaserse (1784). Toronto CO/Kevin Mallon.Naxos 8.570279 9 Arensky, A. Violin concerto in A minor, op 54 (1891). Sergey Ostrovsky, vn; Bournemouth SO/Thomas Sanderling. Naxos 8.572631 22 Glazunov, A. Scènes de ballet, op 52 (1894). Scottish NO/Neeme Järvi. Chandos CHAN 8804 28
14:30 ART SONG Prepared by Jan Brown Liszt, F. Der du von dem Himmel bist (1842). Diana Damrau, sop; Helmut Deutsch, pf. Virgin 50999 0709282 4
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Schubert, F. Der Jüngling auf dem Hügel, D702 (1820); Ave Maria, D838 (c1823). Andreas Scholl, ct; Tamar Halperin, pf. Decca 478 4696 10 Schubert, F. Lullaby, D498 (1816). Sarah Walker, mezz; Graham Johnson, pf. Hyperion CDJ33008 3 Verdi, G. L’Esule (pub. 1839). José Carreras, ten; Martin Katz, pf. Sony SK 45863 15:00 FROM THE BRITISH ISLES Prepared by Paul Hopwood
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19:00 A JAZZ HOUR with Barry O’Sullivan
Martin Fröst, cl (all above). 7
Arnold, M. Symphony no 3, op 63 (1957). London SO/Richard Hickox. Chandos CHAN 9290 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem
13:00 MARTIN FRöST’S CLARINET Prepared by Gael Golla
Brahms, J. Trio in A minor, op 114 (1891). Torleif Thedéen, vc; Roland Pöntinen, pf. BIS SACD-1353
Thomas, J. Grand duet. Lipman Harp Duo. Naxos 8.570372 22
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20:00 LIVE AND LOCAL Omega Ensemble featuring a world premiere Recorded by Greg Simmons for FINE MUSIC on 20 July 2015 at City Recital Hall, Angel Place Stanhope, P. Songs for The Shadowland (1999/2001). David Rowdon, cond. 16 Isaacs, M. Chamber symphony (2015). Mark Isaacs, cond. 17 Mahler, G. Symphony no 4 in G (18991901). David Rowden, cond. 55 Jane Sheldon, sop; Omega Ensemble (all above) 21:35 A ROMANTIC TRIO Prepared by Elaine Siversen Zemlinsky, A. Trio for piano, clarinet and cello, op 3 (1896). Murray Khouri, cl; David Pereira, vc; David Bollard, pf. LP Philips 416 000-1 23 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Di Cox Panufnik, A. Old Polish music: divertimento after Janiewicz (1947). Polish CO/Mariusz Smolij. Naxos 8.570032
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Tansman, A. Rustic sonata (1925). Margaret Fingerhut, pf. Chandos Chan 10527
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Szymanowski, K. Violin concerto no 1, op 35 (1916). Xiao-Dong Wang, vn; Adelaide SO/Omri Hadari. ABC 476 718-2 24 Gorecki, H. Symphony no 3, op 36, Symphony of sorrowful songs (1976). Yvonne Kenny, sop; Adelaide SO/ Takuo Yuasa. ABC 472 040-2 51 Szabelski, B. Flute concerto. Pawel Bronkowski, fl; Polish Radio NSO/ Jan Krenz. Olympia OCD 300 10 February 2016
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Friday 5 February 12:00 NOONTIME JAZZ with Peter Mitchell Accessible in-the-hammock jazz to ease you into the weekend 13:00 PATRICK THOMAS PRESENTS Prelude prolific: Part 1 Debussy, C. Prélude à lápres-midi d’une faune. Prudence Davis, fl; Melbourne SO/ Jorge Mester. ABC 482 3320 10 Vassily Sinaisky
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 Only strings Prepared by Frank Morrison Schubert, F. String quartet no 3 in B flat, D36 (1812-13). Kodály Quartet. Naxos 8.550592 27 Carr-Boyd, A. Mandolin music. Sydney Mandolins/Adrian Hooper. Jade JADCD 1022 9 Paganini, N. Guitar quartet no 1 in A minor (1818-20). Bruno Pignata, vn; Lorenzo Lugli, va; Paolo Mosca, vc; Pino Briasco, gui. Dynamic CDS 17/1-2 21 Bruch, M. String quintet in A minor, op posth (1918). Vadim Gluzman, vn; Sandis Steinbergs, vn; Maxim Rysanov, va; Ilze Klava, va; Reins Birznieks, vc. BIS SACD-1852 24 10:30 MORNING CONCERT Prepared by Denis Patterson Weber, C.M. Overture to Oberon (1826). Staatskapelle Dresden/Gustav Kuhn. Brilliant Classics 99935 9 Tchaikovsky, P. Romeo and Juliet, fantasy overture after Shakespeare (1869/79/80). Vienna PO/Lorin Maazel. Decca 480 6617 19 Elgar, E. Symphony no 1 in A flat, op 55 (1908). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00027 52 28
Rachmaninov, S. Prelude in B flat, op 23 no 2 (1903). Lazar Berman, pf. DG 480 7078 4 Vaughan Williams, R. Overture to The wasps (1909). Queensland SO/ Patrick Thomas. ABC 476 4565 10 13:30 SINS OF OLD AGE Rossini, G. Prélude pétulant rococcò; Un regret; Un espoir; Bolero tartare, from Album de château, Péchées de veillesse (c1860). Bruno Mezzena, pf. Dynamic CDS 89 26 14:00 BRIDGING CLASSICAL AND ROMANTIC ERAS Prepared by Gael Golla Weber, C.M. Quintet in B flat, op 34 (1815). Paul Meyer, cl; Carmina Quartet. Denon CO-78801 25 Schubert, F. Songs from Schwanengesang, D957 (1828): no 7, Farewell; no 13, The wraith. Bryn Terfel, bass-bar; Malcolm Martineau, pf. ABC 476 4438 10 Sor, F. Eight small pieces, op 24 (c1795). Adam Holzman, gui. Naxos 8.553340 11 Dussek, J. Trio sonata in B flat, op 31 no 1 (c1795). Trio 1790. cpo 999 583-2 10 Moscheles, I. Sonata concertante in G, op 79 (1828). András Adorján, fl; Noël Lee, pf. LP Orfeo S 049832 H 16 Beethoven, L. Triple concerto in C, op 56 (1803-04). Renaud Capuçon, vn; Mischa Maisky, vc; Martha Argerich, pf; Swiss-Italian O/Alexandre RabinovitchBarakovsky. EMI 5 57773 2 35
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Sally Cameron Focus on the current Sydney jazz scene mixed with a range of international jazz stars and a weekly a cappella item 20:00 THE ROMANTIC CENTURY Prepared by Robert Small Schubert, F. Overture to The devil’s pleasure castle, D84 (1813-14). Prague Sinfonia/Christian Benda. Naxos 8.570328 9 Balakirev, M. Symphony no 2 in D minor (1900-08). BBC PO/Vassily Sinaisky. Chandos CHAN 9727 35 Franck, C. Piano concerto no 2 in B minor, op 11 (1835). Martijn van den Hoek, pf; Arnhem PO/Roberto Benzi. Naxos 8.553472 32 Liszt, F. Symphonic tone poem no 1, Ce qu’on entend sur la montagne (184849/50/54). London PO/Bernard Haitink. Philips 438 751-2 30 22:00 BAROQUE AND BEFORE Prepared by Robert Small Fasch, J. Suite in D minor. Capella Savaria Baroque O/Mary Térey-Smith. Naxos 8.570326 24 Vivaldi, A. Confitebor tibi, Domine, RV596 (c1732). Jean Rigby, cont; Charles Daniels, ten; Neil Davies, bass; King’s Consort/Robert King. Hyperion CDA66799 13 Locke, M. Suite in E minor, from Triple concordia. Wayward Sisters. Naxos 8.57302 11 Le Prince, L. Excerpts from Missa macula non est in te (c1663). Le Concert Spirituel/Hervé Niquet. Glossa GCD 921627 26 Dandrieu, J-F. Pièces en G, re, sol mineur (pub.1739). Gillian Weir, org. Argo 460 185-2 14 Biber, H. Sonatas VI to VIII, from The mystery sonatas (c1676). Musica Antiqua Cologne/Reinhard Goebel. Archiv 479 1957 22
Saturday 6 February 20:00 INFLUENCES AND CONNECTIONS Prepared by Chris Blower
0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson
Rubinstein, A. Three characteristic pieces, op 9 (1847). Duo Pianistico di Firenze. Brilliant Classics 95016 12
9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney
Mendelssohn, F. Violin concerto in E minor, op 64 (1844). Niki Vasilakis, vn; Tasmanian SO/Sebastian Lang-Lessing. ABC 476 923-7 30
9:30 MINING THE MAJORS Prepared by Elaine Siversen Purcell, H. Ode: Celestial music did the gods inspire (1689). Gillian Fisher, sop; Tessa Bonner, sop; James Bowman, ct; Jonathan Kenney, ct; Rogers CoveyCrump, ten; Charles Daniels, ten; Michael George, bass; Charles Pott, bass; King’s Consort/Robert King. Hyperion CDA66456 18 Hovhaness, A. Symphony no 6, op 173. Celestial gate (1959). Manhattan CO/ Richard Auldon Clark. Koch 3-7221-2H1 21 Carr-Boyd, A. Beneath the yellow moon (2004-05). Susan Blake, vc; John Martin, pf. Jade JADCD 1106 17 Holst, G. The planets, op 32. Vox-Sydney Philharmonia Choirs; Sydney SO/David Robertson. Sydney Symphony SSO201401 54 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Steigers, D. Carnival of Venice (arr. Harry James). Roger Webster, cornet; Grimethorpe Colliery Band/Robert Childs. GRIM 2015 3 Prior, A. Thoughts of love. Mark Lawrence, tb; American Serenade Band/ Henry Charles Smith. Summit DCD 121 6 Montgomery, B. My daughter’s schottische. Cyfarthfa Band/Simon Wright. Nimbus LC 5871 3 Sousa, J.P. Peaches and cream. Allentown Band/Ronald Demkee. AMP 90151
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Meyerbeer, G. Torch dance no 1 in B flat, from dances for Prussian royal weddings (1844). Hanover RPO/Michail Jurowski. cpo 999 168-2 9
David Robertson
13:00 PASTORALE Prepared by Phil Vendy Martinu, B. Pastorales (1930). Christian Benda, vc; Sebastian Benda, pf. Naxos 8.554503 27 Boyce, W. Corydon and Miranda, a pastoral interlude (1750). Opera Restor’d/Peter Holman. Hyperion CDA66935
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Josephs, W. Symphony no 5, op 75, Pastoral (1971). Adelaide SO/ David Measham. LP Unicorn-Kanchana DKP 9026 35 14:30 JUDITHA TRIUMPHANS Prepared by Di Cox Vivaldi, A. Oratorio: Juditha triumphans, RV645 (1716). Elly Ameling, sop; Ingeborg Springer, mezz; Julia Hamari, mezz; Birgit Finnilä, cont; Annelies Burmeister, cont; Berlin Radio Ch; Berlin CO/Vittorio Negri. Philips 426 955-2 2:33 Veracini, F. Violin sonata in E minor, op 1 no 6 (1721). Anna McDonald, vn; Tommie Andersson, theorbo; Erin Helyard, hpd. Artworks AW024 21 17:30 THE VOICES, THE ROLES The castrati with Angela Cockburn
Rodgers, R. Slaughter on Tenth Avenue. Williams Fairey Band/Peter Parkes. EMI 7243-5-21452-2 7
18:00 SOCIETY SPOT Folk Federation of NSW with Carol Garland
12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings
19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm
Tchaikovsky, P. Four movements for string quartet (1865). JIstván Tóth, db; members of New Haydn Quartet, Budapest. Naxos 8.550848 7 Balakirev, M. Symphonic poem: Russia (1864-69). Philharmonia O/Yevgeny Svetlanov. Hyperion CDA66691-2 15 Rachmaninov, S. Piano trio no 1 in G minor, Élégiaque (1892). Zsolt-Tihamér Visontay, vn; Mats Lidström, vc; Vladimir Ashkenazy, pf. Decca 478 5346 13 Rubinstein, A. Ivan the Terrible, op 79 (1869). Slovak State PO/Robert Stankovsky. Naxos 8.555476
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22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Gluck, C. Ballet: Alessandro (1764). Musica Antiqua Cologne/ Reinhard Goebel. Archiv 445 824-2 24 Ravel, M. Ballet: Mother Goose (190811). Anne Martindale Williams, vc; Joseph Villa, pf; Patricia Prattis Jennings, pf; Pittsburgh SO/André Previn. Philips 400 016 2 28 Roussel, A. Ballet: Bacchus and Ariadne, op 43 (1930). BBC PO/Yan Pascal Tortelier. Chandos CHAN 9494 36 Khachaturian, A. Spartacus suite no 1 (1943). St Petersburg State SO/André Anichanov. Naxos 8.550801 26 February 2016
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Sunday 7 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Barrie Brockwell Charpentier, M-A. Prélude du Te Deum. Paul Kuentz CO/Paul Kuentz. Archiv 453 169-2 2 Dvorák, A. Psalm 149, op 79 (1879). Prague Philharmonic Choir; Czech PO/ Jirí Belohlávek. Chandos CHAN 8985/6 9 Mozart, W. Church sonata no 12 in C, K263 (1776). István Ella, org; Corelli CO/ István Kertész. Hungaroton HCD 12866-2 5 Schubert, F. Ave Maria, D839 (1825; arr. Parhamovsky). Maxim Vengerov, vn; Vag Papian, pf; Virtuosi. EMI 5 57164 2 6 Gounod, C. Choral mass in G minor (1887). Charlotte Müller-Perrier, sop; Valérie Bonnard, alto; Christophe Einhorn, ten; Christian Immler, bass; Lausanne Ch & O/Michel Corboz. Mirare MIR 129 27 10:00 THE CLASSICAL ERA Prepared by Barrie Brockwell Salieri, A. Overture to Semiramide (1782). Philharmonia O/Pietro Spada. ASV DCA 955 5 Mayr, S. Divertimento in G flat for two clarinets, basset horn, bassoon and two horns (rev. Ballola). Camerata Strumentale Italiana. LP Italia ITL 70010 20 Sor, F. Fantasy, op 54. Robert Kubica, gui; Wilma van Berkel, gui. Naxos 8.553418 11 Mozart, W. Symphony no 25 in G minor, K183 (1773). London Mozart Players/ Jane Glover. ASV DCA 717 19
12:00 SYDNEY JAZZ CLUB PRESENTS 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 14:00 SAX APPEAL Prepared by Hinano Fujisaki Glazunov, A. Concerto in E flat for alto saxophone, op 109 (1934). Eugene Rousseau, sax; Paul Kuentz CO/Paul Kuentz. DG 453 991-2 14 Yoshimatsu, T. Saxophone concerto, op 59, Cyber-bird, mvts 1 and 3 (1993). Nobuya Sugawa, sax; BBC PO/Sachio Fujioka. Chandos CHAN 9737 15 Debussy, C. Rhapsodie (1909-19). JeanMarie Londeix, sax; French National RTO/Jean Martinon. EMI 5 72360 2 10 Ibert, J. Concertino da camera (1936). Eugene Rousseau, sax; Paul Kuentz CO/ Paul Kuentz. DG 453 991-2 13 15:00 SUNDAY SPECIAL Berlioz in London, 30 May 1853 Prepared by Elaine Siversen Berlioz, H. Overture: Roman carnival, op 9 (1844). Montreal SO/Charles Dutoit. Decca 452 480-2 9 Le repos de la Sainte Famille, from L’enfance du Christ, op 25 (1850-54). Roberto Alagna, ten; Maitrise de Paris Children’s Choir; Royal Opera House O/ Bertrand de Billy.EMI 5 57433 2 6
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Harold in Italy, op 16 (1834). Antoine Tamestit, va; Les Musiciens du Louvre, Grenoble/Marc Minkowski. naïve V 5266 39
Paganini, N. Variations on The Carnival of Venice (1829). Franco Mezzena, vn; Adriano Sebastiani, gui. Dynamic CDS 03 13
Bottesini, G. Concerto, Passione amorosa (1870). Catalin Ilea, vc; Ovidiu Badila, db; Rumanian RSO/Emil Simon. Olympia OCD 422 15
Schubert, F. Der Gondelfahrer, D809 (1824). Die Singphoniker. cpo 999 397-2
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Beethoven, L. Piano sonata in C, op 2 no 3 (1794-95). Paul Lewis, pf. Harmonia Mundi HMC 901906/08 27
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Weber, C.M. Overture to Der Beherrscher der Geister, op 27 (1811). Tapiola Sinfonietta/Jean-Jacques Kantorow. BIS SACD-1760 5 Donizetti, G. Una furtiva lagrima, from L’elisir d’amore (1832). Luciano Pavarotti, ten; English CO/Richard Bonynge. Decca 475 9349 5 Beethoven, L. Symphony no 5 in C minor, op 67 (1807). London SO/ Antal Dorati. Mercury 478 5092
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17:00 HOSANNA Prepared by Meg Matthews Hymn: Time be the glory. Choir of Gloucester Cathedral; Ian Ball, org; David Briggs, cond. Priory PRCD 704 3 Hymn: Rejoice the Lord is King. Choir of York Minster; John Scott Whiteley, org; Philip Moore, cond. Warner Classics 9 48306-2 3 Palestrina, G. da Kyrie, from Missa Papae Marcelli. The Sixteen/Harry Christophers. Collins Classics 50092
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Boyce, W. Lord thou has been our refuge; Remember O Lord what is come upon us (1755). Edward Burrows, treb; Timothy Burtt, treb; Alastair Cook, treb; Choir of St Paul’s Cathedral; Parley of Instruments/John Scott. Hyperion CDA 67009 9 Boccherini, L. Quando corpus morietur, from Stabat Mater. Cecelia Gasdia, sop; I Solisti Veneti/Claudio Scimone. erato 2292-45425-2 4 Mendelssohn, F. Excerpts from Paulus, op 36 (1836). Hans Peter Blochwitz, ten; Theo Adam, bass; Radio Choir; Gewandhaus O/Kurt Masur. Philips 420 212-4 8 Handel, G. Excerpts from Messiah, HWV56 (1742). Sara Macliver, sop; O of the Antipodes/Antony Walker. ABC 476 284-1 7 Parry, H. Jerusalem (1916). Cantillation; David Drury, org; Brett Weymark, cond. ABC 476 5706 2
Sunday 7 February
Monday 8 February
18:00 KEYBOARD INTERLUDE
0:00 CLASSIC-ALL THROUGH THE NIGHT
Debussy, C. Images, bk 1 (1905). Gordon Fergus-Thompson, pf. ASV DCA 695
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter
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Falla, M. de Four Spanish pieces (190609). Javier Perianes, pf. Harmonia Mundi HMC 902099 17 Szymanowski, K. Variations on a Polish folk theme in B minor, op 10 (1904). Martin Jones, pf. Nimbus NI 5405/6 20 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Wallace, V. Overture to Maritana (1845). New Philharmonia O/Richard Bonynge. Decca 466 431-2 10 Granados, E. Piano quintet in G minor, op 49 (1898). Thomas Rajna, pf; Alberni Quartet. LP CRD 1035 15 Falla, M. de Nights in the gardens of Spain (1909-15). Joaquin Soriano, pf; English CO/José Serebrier. ASV DCA 775 24 Lalo, E. Symphonie espagnole, op 21 (1873). Howard Zhang, vn; Nicolaus Esterházy Sinfonia/Takuo Yuasa. Naxos 8.555093 32 20:30 NEW HORIZONS Prepared by Paul Cooke Palmer, G. Threnody 1, Supplication (2002). Adrian Bendt, vn; Anthea Cottee, vc; Felicia Meric, vc; Guy Maloney, vc; Cove CO/Stephen Williams. ABC 476 261-2 4 Carter, E. Asko concerto (2000). Netherlands RCO/Peter Eotvos. ECM 1817 472 1882
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Maxwell Davies, P. Naxos quartet no 5: Lighthouses of Orkney and Shetland (2004). Maggini Quartet. Naxos 8.557398 21 Lord, J. Boom of the tingling strings (2002). Nelson Goerner, pf; Odense SO/ Paul Mann. EMI 0946 3 90528 2 37 Palmer, G. Threnody 2, Consolation (2002). Adrian Bendt, vn; Myee Clohessy, vn; Leah Zweck, va; Anthea Cottee, vc; Cove CO/Stephen Williams. ABC 476 261-2 8 22:00 AFTER HOURS JAZZ with Kevin Jones
9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1725 Prepared by Francis Frank Boismortier, J. de Sonata in C/A, op 7 no 3 (1725). La Fontegara Amsterdam. Globe GLO 5033 6 Zelenka, J. Magnificat anima mea Dominum (1725). Rosemarie Hofmann, sop; Graham Pushee, ct; Basle Madrigalists; Schola Cantorum Basiliensis O/Fritz Näf. Harmonia Mundi GD 77177 10 Vivaldi, A. Violin concerto no 4 in F minor, RV297, Winter (pub. 1725). Gil Shaham, vn; Orpheus CO. DG 439 933-2 9 Fesch, W. de Concerto grosso in G minor, op 5 no 2 (1725). Gordan Nikolitch, vn; Auvergne O/Arie van Beek. Olympia OCD 450 8 Scarlatti, A. Sonata 7 in D (pub. 1725). Camerata Cologne. cpo 999 619-2 7 Vivaldi, A. Violin concerto no 1 in E, RV269, Spring (pub. 1725). Barbara Jane Gilbey, vn; Tasmanian Symphony Chamber Players/Geoffrey Lancaster. ABC 438 192-2 9 Bach, J.S. Cantata, BWV92: Ich hab in Gottes herz und sinn (1725). Detlef Bratschke, treb; Wilhelm Wiedl, treb; Paul Esswood, alto; Kurt Equiluz, ten; Max van Egmond, bass; Ruud van der Meer, bass; Hanover Boys’ Choir; Collegium Vocale; Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 2564 69943-7 29 10:30 MORNING CONCERT Prepared by Derek Parker Tippett, M. Prelude for brass bells and percussion (1962). Bournemouth SO/ Richard Hickox. Chandos CHAN 9276 7
Mozart, W. Violin concerto no 5 in A, K219 (1775). Australian CO/Richard Tognetti, vn & dir. BIS SACD 1754 28 Tippett, M. Concerto for double string orchestra. Academy of St Martin in the Fields/Neville Marriner. EMI 5 55452 2 23 Mozart, W. Symphony no 40 in G minor, K550 (1788). English CO/Jeffrey Tate. EMI 5 74185 2 28 12:00 SWING SESSIONS with John Buchanan 13:00 FROM BRITAIN WITH LOVE Prepared by Randolph Magri-Overend Delius, F. American rhapsody (1896). Royal Scottish NO/David Lloyd-Jones. Naxos 8.557143 9 Vaughan Williams, R. Silent noon (1903). Felicity Lott, sop; Graham Johnson, pf. Chandos CHAN 8722
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Holst, G. Jupiter, from The planets (1914-16). Australian Youth O/Charles Mackerras. ABC 476 695-5 8 Parry, H. Jerusalem (1916; arr. Elgar). Waynflete Singers; Choir of Winchester Cathedral; Timothy Byram-Wigfield, org; Bournemouth SO/David Hill. Decca 478 3156-67 3 Britten, B. Johnny, from Cabaret songs. Della Jones, mezz; Steuart Bedford, pf. Collins 14902 5 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 Coates, E. Knightsbridge march. New London O/Ronald Corp. Hyperion CDA66968 5 Novello, I. We’ll gather lilacs, from Perchance to dream (1945). Yvonne Kenny, sop; Melbourne SO/Vladimir Kamirski. ABC 442 509-2 February 2016
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Monday 8 February Vaughan Williams, R. Fantasia on Greensleeves (1912; arr. Greaves). Academy of St Martin in the Fields/ Neville Marriner. Decca 460 357-2
14:00 CLASSICAL JUKEBOX Prepared by Randolph Magri-Overend
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 4
Elgar, E. Variations on an original theme, op 36, Enigma (1899). Scottish NO/ Alexander Gibson. Chandos CHAN 6504 29 Trad. Blow the wind southerly (arr. Whittaker). Kathleen Ferrier, cont; Phylis Spurr, pf. Decca 475 078-2 2 15:00 BEETHOVEN AND FRIENDS Prepared by Emyr Evans Beethoven, L. 32 variations in C minor on an original theme, WoO80 (1806). Dimitris Sgouros, pf. MEI 42427 A 12 Rossini, G. Bel ragio lusinghier, from Semiramide (1823). Joan Sutherland, sop; Royal Opera House Ch & O/ Francesco Molinari-Pradelli. Decca 414 450-2 7 Beethoven, L. 15 variations and a fugue in E flat on an original theme, op 35, Eroica (1802). Clifford Curzon, pf. Decca 452 302-2 24 Liszt, F. Csardas macabre (1881-82). Alfred Brendel, pf. Philips 420 837-2 8 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ NICE ‘N EASY with Ken Weatherley
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Tuesday 9 February
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Mstislav Rostropovich Prepared by Anne Irish Chopin, F. Polonaise brillante in C, op 3 (1829-33). Martha Argerich, pf. DG 00289 477 8445 8 Glazunov, A. Melody. National SO of USSR/Nianov. Brilliant Classics 9240
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Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Benjamin Britten, pf. Decca 443 575-2 28 Mstislav Rostropovich, vc (3 above) Rimsky-Korsakov, N. Not the wind blowing from the heights, op 43 no 2 (1897); The nymph, op 56 no 1. Galina Vishnevskaya, sop; Mstislav Rostropovich, pf. EMI 5 65716 2 6 Schumann, R. Allegro vivace, from Piano concerto in A minor, op 54 (184145). Martha Argerich, pf; National SO of Washington/Mstislav Rostropovich. DG 477 9523 10 Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Mstislav Rostropovich, vc; Berlin PO/Herbert von Karajan. DG 447 413-2 19 10:30 MORNING CONCERT Prepared by Sheila Catzel Vaughan Williams, R. Serenade to music (1939). Soloist; London PO/Adrian Boult. EMI CDC 7 47214 2 13 Finzi, G. Cello concerto, op 40 (1955). Yo-Yo Ma, vc; Royal PO/Vernon Handley. Lyrita SRCD236 41 Schumann, R. Symphony no 4 in D minor, op 120 (1851). O Révolutionnaire et Romantique/John Eliot Gardiner. Archiv 457 591-2 28 12:00 JAZZ RHYTHM with Jeannie McInnes
20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg
13:00 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore
22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Highlights and previews of the month’s concerts including interviews with the key players
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Bernstein, L. Overture to Candide (1956/88). New York PO/Leonard Bernstein. CBS MYK 44773
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Vaughan Williams, R. Fantasia on a theme of Thomas Tallis (1910). Queensland SO/Patrick Thomas. ABC 476 4565
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Britten, B. Variations and fugue on a theme of Purcell, op 34, The young person’s guide to the orchestra (1946). English SO/William Boughton. Nimbus NI 7017 17 Schumann, R. Piano concerto in A minor, op 54 (1841-45). Claudio Arrau, pf; Royal Concertgebouw O/Eugen Jochum. Radio Nederland RCO 06004 34 Mendelssohn, F. Scherzo; Intermezzo; Nocturne; Wedding march, from A midsummer night’s dream, op 61 (1842). Slovak PO/Anthony Bramall. Naxos 8.554433 20 Tchaikovsky, P. Fantasie overture: Romeo and Juliet (1869/80). Philharmonia O/Riccardo Muti. EMI CDM 1 66420 2
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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 Ogilvie 22:00 CHAMBER SOIRÉE Prepared by Frank Morrison Philidor, P. Suite for flute, violin and continuo in G (1717). Kate Clark, fl; Paul Wright, vn; Suzanne Wijsman, vc; Stewart Smith, hpd. ABC 476 6996 9 Brahms, J. Piano trio in B, op 8 (1853/89). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf. EMI 7 54725 2
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Pössinger, F. Trio in F. Viennese String Trio. Calig CAL 50876 18 Bernstein, L. Clarinet sonata (1941). Alan Vivian, cl; Susanne Powell, pf. Revolve AJM 1314 11 Kiel, F. Piano quintet no 1 in A, op 75 (pub. 1874). Ilona Prunyi, pf; New Budapest Quartet. Marco Polo 8.223171 33
Wednesday 10 February Triumphal march, from Caractacus, op 35 (1898). Royal Liverpool PO/Charles Groves. EMI CDC 7 47511-2 7
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti
Variations on an original theme, op 36, Enigma, mvts 1 to 9 (1899). Sydney SO/ Vladimir Ashkenazy. Exton EXCL-00029 15
9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Frank Morrison Haydn, J. String quartet in C, Hob.III:32 (1772). The Lindsays. ASV QS 6144 20 Dittersdorf, C. Sinfonia in A minor (c1770). Camerata Bern/Thomas Füri. Archiv 410 599-2 19 Wagenseil, G. Cello concerto in C. Györgyi Körösi, vc; Salieri CO/Tamás Pál. Arkadia CDAK 130.1 24 Mozart, W. Piano trio in G, K564 (1788). Florestan Trio. Hyperion CDA67556 18
Pomp and circumstance march in D, op 39 no 1 (1901). Royal PO/Yehudi Menuhin. Virgin VC 7 91175-2
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Where corals lie, from Sea pictures (1899). Elizabeth Campbell, mezz; Adelaide SO/Nicholas Braithwaite. ABC 476 796-6
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The spirit of the Lord, from The apostles, op 49 (1902-03). Vancouver Bach Choir; Vancouver SO/Bruce Pullan. CBC SMCD 5121 7
10:30 MORNING CONCERT Prepared by Anne Irish Alfvén, H. Festival overture, op 52 (1944). Iceland SO/Niklas Willén. Naxos 8.557284
Softly and gently, poor ransomed soul, from The dream of Gerontius, op 38 (1900). Yvonne Minton, sop; London Symphony Ch & O/Benjamin Britten. ABC 470 241-2 6
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Kuhlau, F. Piano concerto in C, op 7 (c1811). Amalie Malling, pf; Danish National RSO/Michael Schönwandt. Chandos CHAN 9699 33 Sinding, C. Symphony no 1 in D minor, op 21 (1890/95). Oslo PO/Øivin Fjeldstad. NKFCD 50016-2 40 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Pfitzner, H. Palestrina, musical legend. Opera in three acts. Libretto by the composer. First performed 1917, Munich. CARDINAL BORROMEO: Dietrich Fischer-Dieskau, bar PALESTRINA: Nicolai Gedda, ten
15:00 ELGAR EXPLORED Part 2 Prepared by Michael Morton-Evans
IGHINO: Helen Donath, sop
Elgar, E. Imperial march, op 32 (1897). BBC PO/Andrew Davis. Chandos CHAN 10570(2) 4
Tölz Boys’ Choir; Bavarian Radio Ch & SO/Rafael Kubelik. DG 427 417-2 3:27
POPE PIUS IV: Karl Ridderbusch, bass
Nicolai Gedda
In Rome, around 1560, Cardinal Borromeo visits Palestrina to explain that the Pope plans to banish polyphony from church music, burn the polyphonic masterpieces and revert entirely to the Gregorian chant. Emperor Ferdinand I hopes that a new polyphonic Mass can be written which will appease the Pope’s fears. Borromeo wants Palestrina to undertake this, but he is exhausted and refuses. Spirits of the great music-masters of previous ages appear to Palestrina and tell him that he must fulfil the task. As angels appear singing the Mass, Palestrina is inspired and begins to compose the Missa Papae Marcelli.The final General Congress of the Council of Trent is about to convene. The meeting opens with a hope for unity of purpose between Emperor, Pope and Princes. The question of the polyphonic Mass is raised, but Borromeo tells them it is unfinished. After the Council adjourns, the Spanish servants, and a group of German and Italian servants engage in a battle with daggers. Soldiers are commanded to shoot them and many are killed and wounded. Borromeo has condemned Palestrina for refusing the commission, but his son, Ighino, hands over the new Mass to save his father from the hangman. After it is sung before the Pope, the voices of singers from the Papal chapel are heard from the street singing ‘Palestrina, the Saviour of Music!’ Pope Pius IV enters the room with eight Cardinals, including Borromeo. The Pope asks Palestrina to return to lead the Sistine Choir until the end of his days. When they leave, Borromeo begs Palestrina’s forgiveness and Palestrina embraces him. Cello concerto in A minor, op 52 (1943). Alban Gerhardt, vc; Berlin RSO/ Sebastian Weigl. Hyperion CDA67906 18 February 2016
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Thursday 11 February 0:00 CONTEMPORARY COLLECTIVE
Young, W. Suite in G minor. Hamburg Ratsmusik/Simone Eckert.
3:00 CLASSICAL TILL DAWN
cpo 777 569-2
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore
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Rubinstein, A. Ballet music from The demon (1875). Hamburg SO/Heribert Beissel.
9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Rex Burgess
LP Turnabout TV-S 34577
Charpentier, M-A. Four part concert for viols (1681). London Baroque/ Charles Medlam. Harmonia Mundi HMA 1901244 13
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Hummel, J. Grand piano concerto in C, op 110, Les adieux (1814). Hans Kann, pf; Hamburg SO/Heribert Beissel. Vox 1157162
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The four seasons (1685). Noèmi Rime, sop; Parliament of Music/Martin Gester. Opus 111 OPS 10-114 28
Nicolai, O. Mass in D (1845). Georgine
Sonata à 8. Ricercar Consort. Ricercar RIC 037011
Polster, bass; Hamburg RSO/Heinrich
Te Deum. Les Arts Florissants/ William Christie. Harmonia Mundi HMG 501298
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Resick, sop; Gwendolyn Killebrew, cont; Frieder Lang, ten; Hermann Christian Hollreiser. LP Schwann AMS 3536 F
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Prepared by Phil Vendy
Britten, B. Variations on a theme of Frank Bridge, op 10 (1937). English CO/ Benjamin Britten. Decca 478 5364 27
100 (1958). Sarah Francis, ob; Peter
Tchaikovsky, P. Suite no 4 in G, op 61, Mozartiana (1887). Ruggiero Ricci, vn; Suisse Romande O/Ernest Ansermet. Decca 476 2723 26 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 EUROPEAN MUSICAL ROUNDABOUT Hamburg Prepared by Francis Frank Brahms, J. Zigeunerlieder, op 103 (1887). Monteverdi Choir, Hamburg/ Jürgen Jürgens. Novalis 150 032-2 19
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15:00 100 NOT OUT
10:30 MORNING CONCERT Prepared by Andari Anggamulia
Bridge, F. Oration, Concerto elegiaco (1929-33). Alban Gerhardt, vc; BBC Welsh NO/Richard Hickox. Chandos CHAN 10729(6) X 29
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Beethoven, L. Violin sonata no 1 in D, op 12 no 1 (1797-98). 22 Mozart, W. Violin sonata no 32 in B flat, K454 (1784). 23 Beethoven, L. Violin sonata no 9 in A, op 47, Kreutzer (1803). 37 Sophie Rowell, vn; Kristian Chong, pf (all above) 21:30 TRUMPET TEASE Prepared by Madilina Tresca Alberti, G. Sinfonia teatrale a 4. John Wallace, tpt; John Miller, tpt; David Mason, tpt; William Stokes, tpt; Philharmonia O/ Christopher Warren-Green. Nimbus NI 5017 5 Gershwin, G. An American in Paris (1928). James Thomson, tpt; Montreal SO/Charles Dutoit. Decca 425 111-2 19
Rubbra, E. Oboe sonata in C, op Dickinson, pf. LP Hyperion A66206
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Prokofiev, S. Symphony no 5 in B flat, op 100 (1944). Philharmonia O/Paul Kletzki. EMI 5 74115 2
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16:00 FINE MUSIC DRIVE
including Arts Calendar at 5.00pm with Marilyn Schock 19:00 A JAZZ HOUR with Barry O’Sullivan 20:00 LIVE AND LOCAL Sydney Mozart Society presents Sophie Rowell and Kristian Chong Recorded by Greg Ghavalas and Doug Jones for FINE MUSIC on 28 August 2015 at the Gillian Moore Performing Arts Centre, PLC
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
22:00 DIFFERING PATHS OF THE 2Oth CENTURY Prepared by Phil Vendy Rodrigo, J. Concierto madrigal (1966). Slava Grigoryan, gui; Leonard Grigoryan, gui; Queensland O/Brett Kelly. ABC 476 8072 34 Homs, J. Second piano sonata (1955). Jordi Masó, pf. Marco Polo 8.223867 12 Isasi, A. String quartet no 2 in A minor, op 27 (1920). Isasi Quartet. Naxos 8.572463 31 Halffter, E. Sinfonietta in D (1925). Mikhail Vostokov, vn; Zdzislaw Tytlak, vc; De Gran Canaria PO/Adrian Leaper. ASV DCA 1078 37
Friday 12 February 0:00 CONTEMPORARY COLLECTIVE
13:30 LISZT INTERLUDE
3:00 CLASSICAL TILL DAWN
Liszt, F. Ballade no 2 in B minor, S171. Nelson Freire, pf. Decca 478 2728 14
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus
Spanish rhapsody (1863). Emil Gilels, pf. Philips 456 796-2 13
9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Emyr Evans
14:00 ENCORE LES SIX Prepared by Emyr Evans
Bennett, Richard. Five impromptus (1974). Craig Ogden, gui. Nimbus NI 5390
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Elgar, E. Serenade in E minor for strings, op 20 (1892). Australian CO/Richard Tognetti. Sony SK 53356 12 Haydn, J. Adagio, from String quartet, op 76 no 4, Sunrise (c1799). Takács Quartet. Decca 4807014 6
Milhaud, D. Concerto for marimba and vibraphone (1947). Rainer Kuisma, mar, vibraphone; Norrköping SO/Jorma Panula. BIS CD-149 19 Auric, G. Sonata in G (1936). Frank Peter Zimmermann, vn; Alexander Lonquich, pf. EMI CDC 7 54541 2
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Alwyn, W. Sinfonietta for strings (1970). London SO/Richard Hickox. Chandos CHAN 9196 25
Poulenc, F. Sept chansons. Groupe Vocale de France/John Aldis. EMI 5 65151 2
Gershwin, G. Bouquet for harp solo. Sylvia Kowalczuk, hp. Hungaroton HCD 31550
Tailleferre, G. Hommage à Rameau (1964). Aldo Orvieto, pf; Renato Maioli, pf; Támmitam Percussion Ensemble/ Guido Facchin. Dynamic CDS 97 10
Paganini, N. Quartet no 1 (c1815). Paganini String Quartet. Dynamic CDS 134
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10:30 MORNING CONCERT Prepared by Frank Morrison Dvorák, A. Overture: Carnival, op 92 (1893). Royal PO/John Farrer. ASV QS 6124 10 Nielsen, C. Flute concerto (1926). Toke Lund Christiansen, fl; Danish National RSO/Michael Schønwandt. Chandos CHAN 8894
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Schubert, F. Symphony no 9 in C, D944, Great (1825-28). Scottish CO/Charles Mackerras.Telarc 80502 55 12:00 NOONTIME JAZZ with Peter Mitchell
Durey, L. Hommage à Eric Satie (1916); Chansons basques, op 23 (1919). François Le Roux, bar; Graham Johnson, pf. Hyperion CDA67257 7 Honegger, A. Concertino for piano and orchestra (1925). Bournemouth Sinfonietta; Tamás Vásáry, pf & dir. Chandos CHAN 8993
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Sally Cameron
Sibelius, J. The swan of Tuonela, op 22 (1893-95). Berlin PO/Herbert von Karajan. Warner Classics 0724347684623
20:00 THE ROMANTIC CENTURY Prepared by Judy Ekstein
Chopin, F. Prelude in D flat, op 28 no 15, Raindrop (1839). John Champ, pf. ABC 476 4072 5 Wagner, R. Prelude to Die Meistersinger von Nürmberg (1866-67). Sydney SO/ Edo de Waart. ABC 401 0616 9
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Milhaud, D. Le carnaval de Londres, op 172 (1937). New London O/Ronald Corp. Hyperion CDA66594 28
13:00 PATRICK THOMAS PRESENTS Prelude prolific: Part 2
9
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Massenet, J. Suite no 4: Scènes pittoresques (1874). Monte Carlo National Opera O/John Eliot Gardiner. Erato 2292-45859-2 17 Pixis, J. Grand sonata for oboe and piano, op 35. Jean-Louis Capezzali, ob; Chia Chou, pf. Pierre Verany PV794101 21
Schumann, R. Fantasy in C, op 17 (1836-38). Alfred Brendel, pf. Vanguard OVC 4027
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Dvorák, A. Romance in F minor, op 11 (1873-79). Yan Pascal Tortelier, vn; Ulster O. Chandos CHAN 8792 11 MacDowell, E. Piano concerto no 2 in D minor, op 23 (1884-6). Seta Tanyel, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67165 27 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Bach, C.P.E. Prelude no 7 in D, Wq70 (1756). Jacques van Oortmerssen, org. BIS CD-569 5 Bach, J.M. Unser Leben ist ein Schatten; Das Blut Jesu Christi. Collegium Vocale; Ricercar Consort/Philippe Herreweghe. Ricercar RIC 017001 11 Bach, H. Sonata 2 in F. Hyperion CDA67079
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Bach, J. Christoph Ach, dass ich Wassers gnug hätte in meinem Haupte. Robin Blaze, ct. Hyperion CDA67079 6 Parley of Instruments (2 above) Fürchte dich nicht. Collegium Vocale; Ricercar Consort/Philippe Herreweghe. Ricercar RIC 017001
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Bach, J.S. Prelude and fugue no 1 in C, BWV846 (1722). Sviatoslav Richter, pf. Olympia OCD 536A 4 Ebarme dich, from St Matthew Passion, BWV244 (1727). Sally-Anne Russell, cont; O of the Antipodes/Antony Walker. ABC 476 118-3 6 Cello suite no 1 in G, BWV1007 (1720). David Pereira, vc. Tall Poppies TP144 21 Bach, W.F. Trio no 1 in D (c1762). Alain Marion, fl; Marzio Conti, fl; Daniele Roi, hpd. Fonè 89 F 04-28 9 Bach, J.C.F. Trio sonata in F for two violins and basso continuo. London Baroque. BIS BIS-1995
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Bach, J. Christian Concerted symphony in E flat. Colin Lawson, cl; Michael Harris, cl; Parley of Instruments/Peter Holman. Helios CDH55261 16 Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708). Marie-Claire Alain, org. Erato 2292-45976-2 9 February 2016
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Saturday 13 February 0:00 CLASSIC-ALL THROUGH THE NIGHT
13:00 IN A SENTIMENTAL MOOD with Maureen Meers
6:00 SATURDAY MORNING MUSIC with David Garrett
Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes
9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney
14:00 FOR STRINGS Prepared by Emyr Evans Barber, S. Adagio for strings, op 11 (1936-38; arr. Curley). Carlo Curley, org. Argo 430 837-2 9
9:30 MINING THE MAJORS Prepared by Raj Gopalakrishnan Williams, J. Jane Eyre (1971). Boston Pops O/John Williams. Philips 420 946-2 13 Drigo, R. Pas de deux, from Le corsaire. London SO/Richard Bonynge. Decca 452 767-2 8 Barber, S. Music for a scene from Shelley, op 7 (1935). Detroit SO/ Neeme Järvi. Chandos CHAN 9908
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Liszt, F. Concert waltz on motifs from Donizetti’s Lucia and Parisina. Leslie Howard, pf. Hyperion CDS44541 Koehne, G. Three poems of Byron (1993). Elizabeth Connell, mezz; Adelaide SO/János Fürst. ABC 442 349-2
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11:30 ON PARADE Classic marches with the R.A.N. Prepared by Robert Small Fucik, J. Marinarella overture, op 215. Phillip Anderson, cond. 13 Schubert, F. Marche militaire no 3. Andrew Stokes, cond.
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Fucik, J. Florentiner march, op 214. Andrew Stokes, cond.
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Strauss, J. I Radetsky march, op 228. Phillip Anderson, cond. 2 Royal Australian Navy Band (all above)
12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 36
Elgar, E. Introduction and allegro for strings, op 47 (1904-05). BBC SO/ Andrew Davis. Teldec 9031-73279-2 15 Janácek, L. Kreutzer sonata for strings (1923; arr. Tognetti). Australian CO/ Richard Tognetti. Sony SK 48252 20 15:00 MARCO SPADA Prepared by Chris Blower Auber, D-F-E. Ballet: Marco Spada, ou La fille du bandit (1852-7). Paris National Opera TO/Michel Queval. Cybelia CY 1502/03 1:30 Debussy, C. Khamma, dance legend (1916). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8903 20
Tchaikovsky, P. Manfred Symphony, op 58 (1885). Vienna PO/Lorin Maazel. Decca 466 671-2 55
Royal Australian Navy RAN-005
Serenade for strings, op 1 (1929). Los Angeles CO/Gerard Schwarz. Nonesuch 79002-2 9
Grieg, E. Symphonic dances, op 64 (1898). Academy of St Martin in the Fields/Neville Marriner. hänssler 98.128
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17:30 STAGING MUSIC with Angela Cockburn 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 Romberg, S. Excerpts from The desert song (1926). mcps - Hallmark 707902 18 Friml, R. Excerpts from The vagabond king (1925). O/Paul Weston. Vintage Music 85686 75497 14
20:00 INFLUENCES AND CONNECTIONS Darius Milhaud Prepared by Rex Burgess Milhaud, D. Spring concertino, op 135 (1934). Michael Guttman, vn; Royal PO/ José Serebrier. ASV DCA 855 10 Widor, C-M. Suite for flute and piano, op 34 (1898). Robert Aitken, fl; Robin McCabe, pf. BIS CD-184 16 d’Indy, V. Pictures of travel, op 36 (1889). Württemberg PO/Gilles Nopre. Marco Polo 8.223659 17 Nazareth, E. Confidences. Iara Behs, pf. Naxos 8.557687 7 Milhaud, D. The ox on the roof, op 58 (1919). Lille NO/Jean-Claude Casadesus. Naxos 8.557287
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Caramel Mou, op 68 (1920). Eliane Manchet, sop; Nice PO/Claire Gibault. BNL 112773 6 Honegger, A. Rugby, symphonic movement no 2 (1928). Royal PO/ Hermann Scherchen. Westminster 471 245-2
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Tailleferre, G. Sonata for harp, op 114. Elinor Bennet, hp. Nimbus NI 5441 11 Milhaud, D. Le carnaval d’Aix, op 83b (1926). Claude Helffer, pf; French NO/ David Robertson. erato 3984 21347 2 18 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Tchaikovsky, P. Serenade for strings in C, op 48 (1880). Academy of St Martin in the Fields/Neville Marriner. Decca 478 3156-67 30 Beethoven, L. Septet in E flat, op 20 (1799-1800). Gaudier Ensemble. Hyperion CDA66513 41
Gordon MacRae, ten; Lucille Norman, sop (2 above)
Monteverdi, C. Gloria in excelsis Deo à 8 voci. Parsons Affayre/Warren Trevelyan-Jones. Fine Music Recording 11
Romberg, S. Excerpts from New moon (1928). Kyle Gonye, voice; Maureen Francis, voice; Media TO. Rockwell DIDX 060797 19
Geminiani, F. Ballet: The enchanted forest (c1752). Milan Angelicum O/Newell Jenkins. LP Nonesuch H-71151 31
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Sunday 14 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Heather Sykes Rachmaninov, S. O come and worship; Praise the Lord, O my soul; Blessed is the man, from Vespers (1915). USSR Ministry of Culture Chamber Choir/ Valery Polyansky. Melodiya 74321 251882 12 Horwood, W. Gaude flore virginali (c1480). Parsons Affayre/Warren Trevelyan-Jones. Vox Foris MMPA 002
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Bortnyansky, D. Sacred concerto no 20: In Thee dear Lord (c1792). Russian State Symphonic Cappella/Valery Polyansky. Chandos CHAN 9840 13 Charpentier, M-A. Litanies de la Vierge (1683-85). Les Arts Florissants/William Christie. Harmonia Mundi HMC 901298 16 10:00 THE CLASSICAL ERA Prepared by Richard Verco Wagenseil, G. Sinfonia in D (c1770). Camerata Bern/Thomas Füri. Archiv 410 599-2 11 Glinka, M. Septet in E flat (1823). Alexander Koreshkov, ob; Alexander Petrov, bn; Igor Makarov, hn; Alexei Bruni, vn; Mikhail Moshkunov, vn; Erik Pozdeev, vc; Rustem Gabdulin, db. Olympia MKM 76 20 Haydn, J. On mighty wings uplifted, from The creation, Hob.XXI:2 (1798). Sara Macliver, sop; Tasmanian SO/Ola Rudner. ABC 472 447-2 7 Pleyel, I. Cello concerto in C, op 26. Ivan Monighetti, vc; Akademie für Alte Musik Berlin/Stephan Mai. Harmonia Mundi HMX 2908601.30 22 Paisiello, G. Harp concerto in A. Jasna Corrado Merlak, hp; European Union CO/ Dmitri Demetriades. Helios CDH55035 12 Bach, J. Christian Trio in G (pub. c1800).
Alain Marion, fl; Marzio Conti, fl; Daniele Roi, hpd. Fonè 89 F 04-28 9 Mozart, W. Violin concerto no 5 in A, K219 (1775). Australian CO/Richard Tognetti, vn & dir. BIS SACD 1754 28 12:00 SYDNEY JAZZ CLUB PRESENTS Classic jazz and ragtime with John Buchanan The
early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide 14:00 CHAMBER INTERLUDE Vivaldi, A. Violin concerto in E, RV271, The lover (c1720). Giuliano Carmignola, vn; Sonatori de la Goiosa Marca. Divox CDX 79406 11 Boccherini, L. Flute quintet in D, op 19 no 6, The couples (pub. 1774). Auser Musici. Hyperion CDA67646 12 Mozart, W. Clarinet quintet in A, K581 (1789). Wolfgang Meyer, basset cl; Quatuor Mosaïques. Naive V 5059 32 15:00 SUNDAY SPECIAL for St Valentine’s Day Prepared by Rebecca Zhong Franck, C. Sonata in A (1886). Ray Chen, vn; Noreen Polera, pf. Sony 88697808122
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Bach, J.S. Suite no 4 in E flat, BWV815, French (c1722). Angela Hewitt, pf. Hyperion CDA67121/2 18 Bizet, G. Habanera: L’amour est un oiseau rebelle, from Carmen (1875). Sally-Anne Russell, mezz; Adelaide Vocal Project; Adelaide SO/Nicholas Milton. ABC 476 596-3 5 Khachaturian, A. Adagio of Spartacus
and Phrygia, from Spartacus, ballet (1954). London SO/Stanley Black. Decca 478 4746 10 Elgar, E. Salut d’amour, op 12 (1888). Nigel Kennedy, vn; Steven Isserlis, vc; Peter Pettinger, pf. Chandos CHAN 8380 3 Brahms, J. Liebeslieder, op 52 (186869). Heather Harper, sop; Janet Baker, mezz; Benjamin Britten, pf. BBC BBCB 8001-2 23 Shostakovich, D. Romance, from The Gadfly suite, op 97a (1955). Janine Jansen, vn; Royal PO/Barry Wordsworth. Decca 475 011-2 3 Gershwin, G. Rhapsody in blue (1924). Gwenneth Pryor, pf; London SO/Richard Williams. IMP PCD 909 17 17:00 HOSANNA Prepared by Heather Sykes Moravian Brethren. Lovefeast for Lent. Sharon Baker, sop; Cynthia Sieden, sop; Boston Baroque/Martin Pearlman. Telarc 80482 21 Wesley, C. Come sinners, to the gospel feast; Earth, rejoice, our Lord is King; What shall I do my God to love. Choir of Methodist Central Hall, Westminster; Epworth Choir/John Chapman. Abbey MVP 828 9 Bortnyansky, D. Sacred concerto no 4 (1790s). Russian State Symphonic Cappella/Valery Polyansky. Chandos CHAN 9729
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Hymn: Before the ending of the day; Anthem: How lovely thy dwellings; All my hope on God is founded. Choir of Truro Cathedral; David Briggs, org; Henry Doughty, cond. Priory PRCD 322 11 18:00 WHEN IN DOUBT Prepared by Angela Bell February 2016
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Sunday 14 February Mozart, W. Violin sonata in E minor, K60 (1773). Graham Wood, vn; David Bollard, pf. Tall Poppies TP056 10 Haydn, J. String quartet in G, op 3 no 3. Kodály Quartet. Naxos 8.555704 16 Mozart, W. Sinfonia concertante no 1 in E flat, K297b (1778). Suzanne Kaiser, fl; Ann-Kathrin Brüggemann, ob; Javier Zafra, bn; Erwin Wieringa, hn; Freiburg Baroque O/Gottfried von der Goltz. Harmonia Mundi HMX 2908601.30 28 19:00 SUNDAY NIGHT CONCERT Prepared by Judy Ekstein Lyadov, A. Eight Russian folksongs, op 58 (pub. 1906). Tasmanian SO/Shalom Ronly-Riklis. ABC 838 903-2 13 Schumann, R. Symphony no 1 in B flat, op 38, Spring (1841). O Révolutionnaire et Romantique/John Eliot Gardiner. Archiv 457 591-2 30 Saint-Saëns, C. Introduction and rondo capriccioso, op 28 (1863); Havanaise, op 83 (1887). Maxim Vengerov, vn; Israel PO/Zubin Mehta. Teldec 9031-73266-2 18 Offenbach, J. Orphée aux enfers (1858). Philharmonia O/Antonio de Almeida. Philips 422057-2 18 20:30 NEW HORIZONS Prepared by James Nightingale Skempton, H. Missa brevis (2007-08). Exon Singers/Matthew Owens. Delphian DCD34056 7 Borisova-Ollas, V. Symphony no 1, The triumph of Heaven (2001). Norrköping SO/Mats Rondin.s Phono Suecia PSCD 171 29 Tüür, E-S. Double concerto, Noësis (2005). Jörg Widmann, cl; Carolin Widmann, vn; Nordic SO/Anu Tali. ECM New Series 2040
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Holley, A. Take flight (2008). Stan Kornel, vn; Christopher Pidcock, vc. Hammerings Records HR 2015-2 11 Smolka, M. Rush (Hour In Celestial Streets) (2007). musicFabrik/Peter Rundel. Wergo WER 6853 2 17 22:00 AFTER HOURS JAZZ with Kevin Jones 38
Monday 15 February 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: 1910 Prepared by Di Cox Humperdinck, E. Concert overture, from The royal children (1910). Bamberg SO/ Karl Anton Rickenbacher. Virgin VC 7 91494-2 8 Ravel, M. Ballet: Mother Goose (1910). Ulster O/Yan Pascal Tortelier. Chandos CHAN 9203 27 Debussy, C. The girl with the flaxen hair; The interrupted serenade; The engulfed cathedral, from Preludes, bk 1 (1910). Gordon Fergus-Thompson, pf. ASV DCA 720 12 Strauss, R. The Presentation of the silver rose, from Der Rosenkavalier (1910). Helen Donath, sop; Yvonne Minton, sop; Vienna PO/Georg Solti. Decca 448 135-2 6 Vaughan Williams, R. Fantasia on a theme by Thomas Tallis (1910/19). London PO/Adrian Boult. EMI CDC 7 47214 2 16 Sinding, C. Romance in D, op 100 (1910). Henning Kraggerud, vn; Bournemouth SO/Bjarte Engeset. Naxos 8.557266 10 10:30 MORNING CONCERT Wagner, S. Prelude, from Rainulf und Adelasia (1922). Frankfurt RSO/Dmitri Kitaienko. Koch-Schwann 3-1421-2 17 Krommer, F. Clarinet concerto in E flat, op 36 (1803). Kálmán Berkes, cl; Nicolaus Esterházy Sinfonia. Naxos 8.553178 22 Skryabin, A. Symphony no 3 in C minor, op 43, Divine poem (1902-04). Leningrad PO/Valery Gergiev. Russian Legacy RL 8410 42 12:00 SWING SESSIONS with John Buchanan 13:00 THE IMPORTANCE OF BEING ERNEST Offenbach, J. Overture to La belle Hélène (1864). Suisse Romande O/ Ernest Ansermet. Decca 425 083-2 9 Chausson, E. Andante and allegro (1881). Charles Neidich, cl; Pascal Devoyon, pf. Hyperion CDA67028 9
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Ernst, H. Fantaisie brillante, op 11, after Rossini’s Otello (1839). Ilya Grubert, vn; Russian PO/Dmitry Yablonsky. Naxos 8.557565 15 Handel, G. Cello sonata in G minor (arr. Slatter). Jacqueline du Pré, vc; Ernest Lush, pf. EMI CZS 5 68132 2 11 Donizetti, G. Poor Ernesto!; I’ll seek some far-off land; And if it should befall, from Don Pasquale (1843). Roberto Alagna, ten; London PO/Richard Armstrong. EMI 5 554772 8 Nazareth, E. Tangos: Bambino; Sarambeque; Carioca (1909). Arthur Moreira Lima, pf. Pro Arte CDD 144 12 Dohnányi, E. American rhapsody, op 47 (1953). BBC PO/Matthias Bamert. Chandos CHAN 9647 14 14:30 FOUR SHORT GEMS Prepared by Frank Morrison Grainger, P. Children’s march: Over the hills and far away (1918). Leslie Howard pf; David Stanhope, pf. ABC 481 1601 7 Catalani, A. Scherzo (1878). O Sinfonica di Roma/ Francesco La Vecchia. Naxos 8.573072 6 Bellini, V. Vi ravviso, o luoghi ameni, from La sonnambula (1831). Samuel Ramey, bass; Ambrosian Opera Ch; Philharmonia O/Donato Renzetti. Philips 420 184-2 5 Rachmaninov, S. Romance, from String quartet no 1 (1889). Borodin Quartet. apex 0927 49815 2 6 15:00 EXPATRIATE COMPOSERS Prepared by Yola Center Haydn, J. Symphony in D, Hob.I:104, London (1795). English Sinfonia/Charles Groves. IMP PCD 916 29 Dvorák, A. String quartet no 12 in F, op 96, American (1893). Guarneri Quartet. RCA RD 86263 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Tuesday 16 February 0:00 CONTEMPORARY COLLECTIVE
14:30 THE ART OF JASCHA HEIFETZ Prepared by Stephen Wilson
3:00 CLASSICAL TILL DAWN
Brahms, J. Hungarian dances, op 103: nos 11,17 and 20 (1880). Brooks Smith, pf. RCA GD87965 8
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds
Wieniawski, H. Violin concerto no 2 in D minor, op 22 (1862). London PO/John Barbirolli. Naxos 8.110938 18
9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Roger Benedict Prepared by Elaine Siversen Jongen, J. Allegro appassionato, op 79 (1925). 8 Koechlin, C. Four little pieces.
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Timothy Young, pf (2 above) Melba MR 301126 Vaughan Williams, R. Flos campi: suite for viola, chorus and orchestra (1925). Roger Benedict, va; Cantillation; Sydney SO/Mark Wigglesworth. Melba MR301131 20 Jongen, J. Andante espressivo (1900); Introduction and dance, op 102 (1935). . 13 Koechlin, C. Viola sonata, op 53 (1915).
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Timothy Young, pf (2 above) Melba MR 301126 Roger Benedict, va (all above) 10:30 MORNING CONCERT Prepared by Paul Hopwood Respighi, O. Roman festivals (1924). Leslie Pearson, org; Philharmonia O/Yan Pascal Tortelier. Chandos CHAN 8989 24 Carulli, F. Double concerto in G. JeanPierre Rampal, fl; Alexandre Lagoya, gui; Franz Liszt CO/Jﾃ｡nos Rolla. CBS MK 42130 22 Brahms, J. Symphony no 3 in F, op 90 (1883). London Classical Players/Roger Norrington. EMI 5 56118 2 34 12:00 JAZZ RHYTHM with Jeannie McInnes
Charles Koechlin
13:00 AROUND THE WORLD IN 60 MINUTES Prepared by Randolph Magri-Overend Vaughan Williams, R. The lark ascending (1914/20). Nigel Kennedy, vn; City of Birmingham SO/Simon Rattle. EMI 5 62813 2 18 Massenet, J. Ballet music from Le Cid (1885). City of Birmingham SO/Louis Frﾃｩmaux. EMI 5 65150 2 20
Brahms, J. String sextet no 2 in G, op 36 (1864). Israel Baker, vn; William Primrose, va; Virginia Majewski, va; Gregor Piatigorsky, vc; Gabor Rijto, vc. RCA GD87965 29 Sibelius, J. Violin concerto in D minor, op 47 (1903/05). London PO/Thomas Beecham. Naxos 8.110938 26 Jascha Heifetz, vn (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic
Sculthorpe, P. Four little pieces: Morning song (1966); Sea chant (1968); Little serenade; Left Bank waltz (1962-71). Peter Sculthorpe, pf; Geoffrey Tozer, pf. MBS 16 9
19:00 THE JAZZ BEAT with Lloyd Capps
Bernstein, L. Glitter and be gay, from Candide (1956/88). Emma Matthews, sop; Monte Carlo PO/Brad Cohen. DG/ABC 476 3555 6
22:00 CHAMBER SOIRﾃ右 Prepared by Sheila Catzel
14:00 ART SONG Prepared by Jan Brown Ireland, J. Sea fever (1912); The vagabond (1922). Bryn Terfel, bass-bar; Malcolm Martineau, pf. DG 445 946-2 4 Purcell, H. Music for a while. Kathleen Battle, sop; James Levine, pf. DG 415 361-2 4 Delibes, L. Les filles de Cadiz (1872). Joan Sutherland, sop; Richard Bonynge, pf. Decca 475 6302 3 Mussorgsky, M. The puppet-show (1870). Anatoli Safiulin, bass; Nikolai Demidenko, pf. Hyperion CDA66775 14
20:00 RECENT RELEASES with Charles Barton
Finzi, G. Five bagatelles, op 23 (1943). Murray Khouri, cl; Peter Pettinger, pf. Continuum CCD 1038 14 Farrenc, L. Trio, op 45 (c1861). Emanuel Ensemble. Champs Hill Records CHRCD023 25 Stenhammar, W. Serenade in C, op 29. Uppsala Chamber Soloists. LCM C 115 19 Herzogenberg, H. String trio in F, op 27 no 2 (1879). Belcanto Strings. cpo 999 710-2 24 Wolf-Ferrari, E. String quintet in C, op 24 (c1942). Wolfgang Leopolder, vn; Hiroko Yoshida, vn; Gerhard Breinl, va; Fritz Ruf, va; Friedrich Kleinknecht, vc. MD+G L 3311 27 February 2016
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Wednesday 17 February Parry, H. Symphony no 3 in C, English (1889). London PO/Matthias Bamert. Chandos CHAN 8896 34
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti
12:00 JAZZ SKETCHES with Robert Vale
9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Jennifer Foong
Heinichen, J. Sonata in C minor à 2 for oboe and bassoon. Epoca Barocca. cpo 777 115-2 11 Haydn, M. Romance for horn and string quartet in A flat (1795; transcr. from Mozart’s Horn concerto, K447). Nury Guarnaschelli, hn; Signum Quartet. Capriccio C 5059 5 Nardini, P. Flute concerto in D. Nuova Era 7066
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Fasch, J. Quartet in B flat for recorder, oboe, violin and continuo. Members of Epoca Barocca. cpo 777 204-2 10 Rameau, J-P. Nachtigallen-Arie. Elisabeth Schwarzkopf, sop; Gustav Scheck, fl; Michael Raucheisen, pf. Acanta 43801
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Sammartini, G.B. Concerto in G for oboe, strings and bass continuo. Orchestra di Padova e del Veneto/Diego Dini Ciaccim. cpo 777 715-2 16 10:30 MORNING CONCERT Prepared by Michael Field Tchaikovsky, P. Children’s album, op 39 (1878; arr. Milman, Spivakov). Moscow Virtuosi/Vladimir Spivakov. RCA 09026 61964 2 27 Somervell, A. Normandy, symphonic variations (1912). Martin Roscoe, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA 67837 21 40
CYBÈLE: Guillemette Laurens, mezz
14:00 IN CONVERSATION with Michael Morton-Evans
SANGARIDE: Agnès Mellon, sop CÉLÉNUS: Jean François Gardeil, bar Les Arts Florissants/William Christie. Harmonia Mundi HMX 2908250.79 2:51
15:00 ELGAR EXPLORED Part 3 Prepared by Michael Morton-Evans Elgar, E. Canto popolare, In moonlight, from In the South (1904). Nigel Kennedy, vn; Peter Pettinger, pf. Chandos CHAN 8380 3 Prelude to The kingdom (1906). Adelaide SO/Nicholas Braithwaite. ABC 476 796-6 10 Excerpts from The wand of youth suite no 1, op 1a (1907). New Zealand SO/James Judd. Naxos 8.557166 12 Elegy, op 58 (1909). Capella Istropolitana/Adrian Leaper. Naxos 8.554409
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Violin concerto in B minor, op 61, mvt 1 (1910). Yehudi Menuhin, vn; London SO/ Edward Elgar. Claremont GSE 78-50-31 18 Cello concerto in E minor, op 85, mvt 4 (1919). Jacqueline du Pré, vc; Philadelphia O/Daniel Barenboim. Sony SB2K 63247 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Lully, J-B. Atys. Opera in a prologue and five acts. Libretto by Philippe Quinault. First performed Paris 1676. ATYS: Guy de Mey, ten
13:00 YOUNG VIRTUOSI
Corbett, W. Suite in D. Frank de Bruine, ob; Mark Bennett, tpt; Michael Laird, tpt; Parley of Instruments/Peter Holman. Hyperion CDA66817 14
20:00 AT THE OPERA Prepared by Colleen Chesterman
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The prologue praises Louis XIV as a hero after his victory over the Netherlands. The opera begins with Atys singing to encourage the Phrygians to welcome the goddess Cybèle. Atys declares his love of Sangaride who loves him, but is betrothed to Célénus, King of the Phrygians. Cybèle, in love with Atys, selects him as high priest, rather than Célénus. Eventually Sangaride realises Atys does not love Cybèle and he cancels her betrothal to Célénus. But the punishment of Cybèle and Célénus is fierce: Atys is blinded and turned into a tree. Having avenged herself, Cybèle is left lamenting. Biber, H. Sonatas VI to VIII: The five sorrowful sonatas (c1676). Musica Antiqua Cologne/Reinhard Goebel. Archiv 479 1957 22 23:30 BLOW YOUR OWN TRUMPET Prepared by Madilina Tresca Altenburg, J. Concerto for seven trumpets with timpani. Haarlem Trumpet Consort. Teldec 8.42977 5 Arnold, M. Trumpet concerto, op 125 (1982). John Wallace, tpt; Bournemouth Sinfonietta/Norman Del Mar. EMI CDM 7 63491 2 8 Gould, M. American symphonette no 2 (1939). Leon Rapier, tpt; Louisville O/ Jorge Mester. Albany Records TROY 013-14 10
Thursday 18 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Madilina Tresca Albéniz, I. Mallorca, op 202 (pub. 1890; arr. Kraft). Norbert Kraft, gui. Chandos CHAN 8857 7 Rapsodia española, op 70 (1887; arr. C. Halffter). Alicia de Larrocha, pf; London PO/Rafael Frühbeck de Burgos. Decca 410 289-2 18 Suite española (1886; orch. Frühbeck de Burgos). New Philharmonia O/Rafael Frühbeck de Burgos. Decca 433 905-2 38 Two pieces from Songs of Spain, op 232 (1892). Margaret Fingerhut, pf. Chandos CHAN 10826 10 Granada. Milos Karadaglic, gui. DG 477 9693
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10:30 MORNING CONCERT Prepared by Michael Morton-Evans Rosenberg, H. Suite on Swedish folk tunes, op 36 (1927). Deutsche Kammerakademie Neuss/Johannes Goritzki. cpo 999 573-2
Rafael Frühbeck de Burgos
Brahms, J. Sonatensatz (1853; transcr.). Matthew van Emmerik, euphonium; Mark Kruger, pf. Summit DCD 539 5 Haydn, M. Trumpet concerto in D (c1765-68). Maurice André, tpt; Hilde Noe, hpd; Munich CO/Hans Stadlmair. Decca 478 4664 11 Lundquist, T. Landscape (1978). Øystein Baadsvik, tuba; Singapore SO/Anne Manson. BIS CD-1515 15 14:00 LATIN HORIZONS Brazil Prepared by David Ogilvie
Dvorák, A. Piano concerto in G minor, op 33 (1876). András Schiff, pf; Vienna PO/ Christoph von Dohnányi. Decca 455 957-2 38 Pleyel, I. Symphony in C minor (1778). Capella Istropolitana/Uwe Grodd. Naxos 8.554696 28 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 MUSIC FOR THE BRASSES Prepared by Marcel Kocbek-Malepa Mozart, W. Horn concerto no 3 in E flat, K447 (1784-87). Barry Tuckwell; hn; London SO/Peter Maag. Decca 417 767-2 16 Beethoven, L. Three equale for four trombones (1812). London Gabrieli Brass Ensemble/Christopher Larkin. Hyperion CDA66470 4
19:00 A JAZZ HOUR with Barry O’Sullivan 20:00 LIVE AND LOCAL Great masters Recorded by Greg Ghavalas and Doug Jones for FINE MUSIC on 22 August 2015 at Peter Duly Hall, Abbotsleigh Beethoven, L. Overture to Fidelio, op 72 (1814). 7
Garcia, J. Missa pastoril para a noite de natal (1808). Ex Cathedra/Jeffrey Skidmore. Hyperion CDA 68114 28 19
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm With Sue Jowell
Neukomm, S. von Serenade in B flat for wind octet and double bass (1796). Consortium Classicum. Schwann CD 310 002 H1 13 Gomes, C. Son giunto in tempo, from Il guarany (1870). Plácido Domingo, ten; Beethoven Halle O/John Neschling. Sony 88697526902 6 Villa-Lobos, H. Uirapurú (1917). Stadium SO of New York/Leopold Stokowski. Price-less D 24924 14 Nazareth, E. Brejeiro, tango. Polly Ferman, pf. Musicmasters MMD6 0244
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Odeon. Iara Behs, pf. Naxos 8.557687
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Guarnieri, C. Piano concerto no 2 (1946). Max Barros, pf; Warsaw PO/ Thomas Conlin. Naxos 8.557666 23 Villa-Lobos, H. String quartet no 15 (1954). Bessler-Reis Quartet Le Chant du Monde LDC 278948 16
Dvorák, A. Violin concerto in A minor, op 53 (1879). Emma Zang, vn. 32 Bruckner, A. Symphony no 4 in E flat (1880). 1:00 Ku-ring-gai PO/Max McBride (all above) 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Robert Small Walton, W. The quest, complete ballet (1943/58; ed. Palmer). London PO/ Bryden Thomson. Chandos CHAN 8871 42 Poulenc, F. Gloria (1959). Rosanna Carteri, sop; Choir and Orchestre National de l’ORTF/Georges Prêtre. EMI CDC 7 47723 2
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Rubbra, E. String quartet no 2 in E flat, op 73 (1951). Maggini Quartet. Naxos 8.572286 23 Poulenc, F. Un soir de neige (1944). Joyful Company of Singers/Peter Broadbent. ASV DCA 1067 February 2016
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Friday 19 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Di Cox Bach, C.P.E. Symphony no 2 for strings in B flat, Wq182. Tasmanian Symphony Chamber Players/Geoffrey Lancaster. ABC 472 424-2 10 Anon. Songs and tunes, from The Rowallen Lute Book (pub. c1620). Jakob Lindberg, lute. BIS CD-201 6 Respighi, O. Ancient airs and dances, set 3 (1931). Australian Youth O string soloists. Fine Music Tape Archive 16 Debussy, C. Danse sacrée; Danse profane (1904). Dominique Desjardins, db; Isabelle Moretti, hp; members of Quatuor Parisii. naive V 5129 10 Dohnányi, E. Serenade for string trio in C, op 10 (1902). Mayumi Seiler, vn; Douglas Paterson, va; Jane Salmon, vc. Hyperion CDA66786 21 Hoffmeister, F. Double bass quartet no 2 in D. Ernö Sebestyén, vn; Helmut Nicolai, va; Martin Ostertag, vc; Norbert Duka, db. Naxos 8.572187 19 10:30 MORNING CONCERT Prepared by Denis Patterson Rossini, G. Overture to Semiramide (1823). Prague SO/Christian Benda Naxos 8.570933 12 Mozart, W. Violin concerto no 2 in D, K211 (1775). Australian CO/Richard Tognetti, vn & dir. BIS SACD-1755 19 Dvorák, A. Symphony no 1 in C minor (1865). Slovak PO/Stephen Gunzenhauser. Naxos 8.550266 51 12:00 NOONTIME JAZZ with Peter Mitchell 13:00 PATRICK THOMAS PRESENTS Prelude prolific: Part 3 Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Sydney SO/Stuart Challender. ABC 402 3320 10 Isaacs, M. Have one more (1986). Mark Isaacs, pf. Private Recording 5 42
Schmidt, F. Prelude, from Notre Dame (1902-04). Sydney SO/Patrick Thomas. ABC 476 4565 5 13:30 DOUBLE TROUBLE Prepared by Emmanuelle Manaog Dvorák, A. Slavonic dance no 2 in E minor, op 72 (1886). Michel Béroff, JeanPhilippe Collard, pf. EMI 5 69311 2 4 Grieg, E. Intermezzo in A minor (1866). Andreas Brantelid, vc; Christian Ihle Hadland, pf. BIS BIS-2120 4 Fauré, G. Love song; Sicilienne, from Pelléas et Mélisande, op 80 (1898). Jane Rutter, fl; David Mibus, pf. ABC 481 0307 5 Williams, J. Devil’s dance, from The witches of Eastwick (1987).
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Saint-Saëns, C. Danse macabre, op 40 (1874). 7 Gil Shaham, vn; Jonathan Feldman, pf (2 above) DG 463 483-2 14:00 CHILD’S PLAY Prepared by Randolph Magri-Overend Tchaikovsky, P. Children’s album, op 39 (1878; arr. Milman, Spivakov). Moscow Virtuosi/Vladimir Spivakov. RCA 09026 61964 2 27 Mendelssohn, F. Children’s pieces, op 72 (pub. 1847). Benjamin Frith, pf. Naxos 8.550940 8 Bizet, G. Children’s games, op 22 (1871). Scottish NO/Alexander Gibson. EMI CDM 1 66424 2 11 Debussy, C. Children’s corner (1908; orch Caplet). Montreal SO/Charles Dutoit. Decca 444 386-2 17 Villa-Lobos, H. Little children’s rounds (1925). Marcelo Bratke, pf. Olympia OCD 455 25 Britten, B. Variations and fugue on a theme of Purcell, op 34, The young person’s guide to the orchestra (1946). BBC SO/Leopold Stokowski. BBC BBCL 4005-2 19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Sally Cameron
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison Chadwick, G. String quartet in 1 in G minor (1878). Portland String Quartet. Northeastern NR 236 25 MacDowell, E. Piano concerto no 1 in A minor, op 15 (1882). Thomas Tirino, pf; Bulgarian RSO/Vassil Kazandjiev. Centaur CRC 2149 28 Vaughan Williams, R. String quartet in C minor (1898). Nash Ensemble. Hyperion CDA67381/2 25 Bennett, W. Sterndale Piano concerto no 4 in F minor, op 19 (1838). BBC Scottish SO/Howard Shelley, pf & dir. Hyperion CDA67595 28 22:00 BAROQUE AND BEFORE Prepared by Elaine Siversen Part 1: The Italian-French connection Guignon, J-P. Sonata in D, op 4 no 2 (c1740). London Baroque. BIS CD-1855 13 Couperin, M. Airs and dances (pub. c1695). Davitt Moroney, virginals. Hyperion CDA67164 9 Lully, J-B. Overture and suite from Amadis (1684). Collegium Aureum/ Reinhard Peters. LP Harmonia Mundi HM 20322 23 Part 2: The glory of Venice: Early years Tromboncino, B. Vale diva, vale in pace; Poi che volse mia stella. Circa 1500. Chandos CHAN 0524 9 Vergine bella; Ostinato vo’ seguire. New World Consort. CBC MVCD 1044 6 Verdelot, P. Amor quanto piu lieto; La bella donna; O dolce notte. Capella Antiqua/Konrad Ruhland. Pro Arte CDD 286 6 Beata es Virgo ... Ave Maria for seven voices. Tallis Scholars/Peter Phillips. Gimell 454 910-2 6 Veni in ortum meum, from The Song of Songs. Celestial Harmonies 13199-2 5 Italia mia (c1526). Song Company concert recording 4 Song Company/Roland Peelman (2 above) Rore, C. de Anchor che col partire (arr. Douglas); S’eguale a la mia voglai. Ellen Hargis, sop; Paul O’Dette, lute; King’s Noyse/David Douglas. Harmonia Mundi HCX3957127 11 Motet: Infelix ego. Tallis Scholars/Peter Phillips. Gimell CDGIM 029 12
Saturday 20 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson
Sullivan, A. When I was a lad, from HMS Pinafore (1878). Dennis Olsen, bar; Corinthian Singers and Festival Chorale; Adelaide SO/James Christiansen. 3
9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 MINING THE MAJORS Prepared by Brian Drummond Beethoven, L. Sonata no 21 in C, op 53, Waldstein (1803-04). Louis Lortie, pf. Chandos CHAN 9024 24 Weber, C.M. Overture to Peter Schmoll (1803). Berlin PO/Herbert Von Karajan. DG 419 070-2 10 Beethoven, L. Leonore overture no 3, op 72a (1806). London SO/Antal Dorati. Mercury 462 958-2 14 Ries, F. Sonata in E flat, op 11 no 1 (1807-08). Susan Kagan, pf. Naxos 8.570796
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Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Murray Perahia, pf; Concertgebouw O/Bernard Haitink. CBS MK 42330 39 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Hall, R. March: Death or glory. Grimethorpe Colliery Band/Robert Childs. GRIM 2015 3 Mendelssohn, F. O for the wings of a dove (1844). Besses o’ th’ Barn/Roy Newsome. Chandos CHAN 4529 6 Strauss, J. I Radetsky march. Sellers Engineering Band/Norman Law. Chandos CHAN 4527 3 Bach, J.S. Arioso, from Cantata, BWV156. Allentown Band/Ronald Demkee. AMP 20194 Rimsky-Korsakov, N. Capriccio espagñol. Cory Band/Robert Childs. Doyen DOY 239 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings
15:00 BRUCKNER’S EIGHTH Prepared by Di Cox
13:00 G & S HOUR The majesty of the law Prepared by Chris Blower
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Said I to myself, said I, from Iolanthe (1882). John Reed, bar; New SO of London/Isadore Godfrey.
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When a felon’s not engaged in his employment; With cat like tread, from The pirates of Penzance (1879). Owen Brannigan, bass; D’Oyly Carte Opera Ch; Royal PO/Isadore Godfrey. 5 Behold the Lord High Executioner; Taken from the County jail; As some day it may happen, from The Mikado (1885). Dennis Olsen, bar; Corinthian Singers and Festival Chorale; Adelaide SO/James Christiansen. 5 A more humane Mikado, from The Mikado. John Wegner, bass; State O of Victoria/Richard Duvall. 4 ABC 480 4510 (5 above) Excerpts from Trial by jury (1866). Rebecca Evans, sop; Barry Banks, ten; Peter Savidge, bar; Gareth Rhys-Davies, bar; Richard Suart, bass; Donald Adams, bass; Welsh National Opera Ch & O/ Charles Mackerras. Telarc 2CD-80404 31
Bruckner, A. Symphony no 8 in C minor (1884-90). Royal Concertgebouw O/ Zubin Mehta. Radio Nederland RCO12004 1:46 Schumann, R. Piano sonata in F sharp minor, op 11 (1832-35). Nikolai Demidenko, pf. Hyperion CDA66864 34 17:30 THE VOICES, THE ROLES What are we this time? Gypsies? with Angela Cockburn 18:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie Handel, G. The arrival of the Queen of Sheba, from Solomon, HWV67 (1749; arr. Fiona Walsh). Guitar Trek. ABC 476 3338 3 Suite no 7 in G minor, HWV432 (1720). David Russell, gui. Telarc TEL 33223-02 27 Giuliani, M. Variations on a theme by Handel, op 107, The harmonious blacksmith. Judicael Perroy, gui. www.perroy.com MSM0100
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Handel, G. Double Concerto in B flat for two guitars, HWV 294 (arr. E. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui; Tasmanian SO/Benjamin Northey. ABC 476 5948 13
14:00 CLASSICAL CHAMBER Prepared by Frank Morrison
19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell
Benda, G. Trio sonata in E. David Oistrakh, vn; Igor Oistrakh, vn; Vladimir Yampolsky, pf. DG 463 616-2 15
20:00 INFLUENCES AND CONNECTIONS Carl Czerny Prepared by Elaine Siversen
Danzi, F. Bassoon quartet in C, op 40 no 1 (pub. c1814). Robert Thompson, bn; Roger Coull, vn; David Curtis, va; John Todd, vc. CRD 3503 25 Haydn, J. String quartet in D, Hob.III:3 (bef. 1764). Kodály Quartet. Naxos 8.550398 15
Bach, J.S. Prelude and fugue in B minor, BWV867, from The well-tempered clavier (1722). Glen Wilson, hpd. Teldec 244 918-2 6 Mozart, W. Piano concerto no 24 in C minor, K491 (1786). Jenö Jandó, pf; Concentus Hungaricus/Mátyás Antal. Naxos 8.550204 29 Beethoven, L. Rondo in G, op 51 no 2 February 2016
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Saturday 20 February (1798). Ronald Farren-Price, pf. Move MD 3277
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Mozart, F. Romanze: In der Väter Hallen ruhte, op 12 (1808). Barbara Bonney, sop; Malcolm Martineau, pf. Decca 475 6936 8 Chopin, F. Variations in D for two pianos (1829). Idil Biret, pf; Martin Sauer, pf. Naxos 8.554537 8 Hummel, J. Octet-partita in E flat (1803). Albion Ensemble. Helios CDH55037 14 Liszt, F. Snow drifts, from Twelve transcendental studies (1851). Stephanie McCallum, pf. ABC 476 3443 6 Czerny, C. Brilliant fantasy no 1, after Schubert, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp. Helios CDH55074 17 Excerpts from ballet Études (arr. Riisager 1948). London Festivel Ballet O/Terence Kern. Seraphim 5 69089-2 7 22:00 SATURDAY NIGHT AT HOME Fischer, J. Christian Trumpet concerto in C. Maurice André, tpt; Württemberg CO/Jörg Faerber. Erato 2292-45060-2 16 Mendelssohn, F. String quintet no 1 in A, op 18 (1826/32). Members of London FO Ensemble/Ross Pople. Arte Nova 74321 34037 2 32 Vivaldi, A. Gloria in D, RV589. Friederike Sailer, sop; Margarete Bence, cont; Stuttgart Vocal Ensemble; Susanne Lautenbacher, vn; Stuttgart Pro Musica O/Marcel Conraud. Mediaphon 25407-94 26 Franck, C. Symphony in D minor (188788). O della Svizzera Italiana/André Cluytens. Aura AUR 163-2 38 44
Sunday 21 February 0:00 CLASSIC-ALL THROUGH THE NIGHT
13:00 WORLD MUSIC: Whirled Wide
6:00 SUNDAY MORNING MUSIC with Paul Roper
14:00 ROMANTIC CHAMBER Prepared by Frank Morrison
9:00 MUSICA SACRA Prepared by Rex Burgess Charpentier, M-A. Canticle in honour of St-Xavier (1688). Nantes Vocal Ensemble; Ensemble Stradivaria/Paul Colleaux. Arion ARN 68037 18 Tavener, J. The veil of the temple: cycles 3 and 4 (2003). Patricia Rosario, sop; Choir of the Temple Church; Holst Singers; English CO/Stephen Layton. Signum Classics SIGCD 367 10 Ropartz, J. Le miracle de Saint Nicolas (1905). Christian Papis, ten; Didier Henry, bar; Vincent Le Texier, bar; Ile de France Regional Vittoria Choir; Eric Lebrun, org; Nancy Symphonic and Lyric O/Michel Piquemal. Naxos 8.555656 25 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Danzi, F. Piano quintet in F, op 53 (pub. 1821). Love Derwinger, pf; members of Berlin Phiharmonic Wind Quintet. BIS CD-532 23 Eberl, A. Piano trio in B flat, op 8 no 2. Playel Trio. Christophorus CHE 0131-2 23 Ries, F. Sonata in E flat, op 11 no 1 (1807-08). Susan Kagan, pf. Naxos 8.570796
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Haydn, J. String quartet in D, Hob.III:30 (1771). Kodály Quartet. Naxos 8.550854 19 Haydn, M. Violin concerto in A (c177375). Gert R. Schubert, vn; Vienna Concert-Verein. Schwann CD 311 050 H1 22 12:00 SYDNEY JAZZ CLUB PRESENTS Speak easy, swing hard with Richard Hughes
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Crusell, B. Clarinet quartet no 3 in D, op 7 (1821). Thea King, cl; members of Allegri String Quartet. Hyperion CDA66077 22 Wieniawski, H. Légende. Ruggiero Ricci, vn; Joanna Gruenberg, pf. Unicorn-Kanchana UKCD 2048
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Franck, C. Piano trio in B flat, op 1 no 2 (1839-42). Elvira Bekova, vn; Alfia Bekova, vc; Eleonora Bekova, pf. Chandos CHAN 9742 24 15:00 SUNDAY SPECIAL Composers in Control Prepared by Denis Patterson Françaix, J. Six pieces (1934-38). Henri Demarquette, vc; Jean Françaix, pf. Pierre Verany PV794023 20 Bartók, B. Suite, op 62 (1916). Béla Bartók, pf. Hungaroton HCD 12326-28
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Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Sergei Rachmaninov, pf; Philadelphia O/Eugene Ormandy. Naxos 8.110602 22 Britten, B. Piano concerto, op 13 (1945). Sviatoslav Richter, pf; English CO/ Benjamin Britten. Decca 478 5364 34 Copland, A. Suite from The red pony (1948). New Philharmonia O/Aaron Copland. CBS MK 42429 25 17:00 HOSANNA Prepared by Richard Munge Hymns: Dear Lord and Father of mankind; Lord Jesus think on me; Now thank we all our God. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond. Helios CDH 55036 10 Stanford, C. Villiers Te Deum in A; Jubilate in A. Choir of Ely Cathedral; Jeremy Filsell, org; Paul Trepte, cond. Heritage HTGCD 219 12 Britten, B. Missa brevis in D, op 53 (1959). Choristers of Canterbury Cathedral; Michael Harris, org; David Flood, cond. York 120 10
Monday 22 February
Sunday 21 February Mendelssohn, F. Ave Maria, op 23 no 2 (1830). Andrew Carwood, ten; Choir of Westminster Cathedral; Iain Simcock, org; James O’Donnell, cond. Hyperion WCC 100 7
0:00 CLASSIC-ALL THROUGH THE NIGHT
Hymn: Forty days and forty nights. McCarthy Singers.
9:00 DIVERSIONS IN FINE MUSIC Prepared by Derek Parker
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Hymn: Rock of ages. Choir of St Mark’s Church, North Audley Street, London. 3 Decca 452 252-2 (2 above) Walton, W. Crown imperial (1937). Simon Preston, org. Decca 430 091-2 9
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter
Borodin, A. Overture to Prince Igor (1890). London SO/Antal Doráti. Mercury 478 5092
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18:00 PAUL LEWIS PLAYS BEETHOVEN Prepared by Barrie Brockwell
Mascagni, P. Easter Hymn, from Cavalleria rusticana (1890). Catrin Aur, sop; Morriston Orpheus Choir/Joy Amman Davies. ABC 476 4951 5
Beethoven, L. Piano sonata no 12 in A flat, op 26, Marcia funebre (1801). Harmonia Mundi HMC 901906/08 21
Satie, E. Three gnossiennes, nos 1 to 3 (1890-93). Peter Waters, pf. Tall Poppies TP108 12
Sonata no 24 in F sharp, op 78 (1809). Harmonia Mundi HMC 901903/5 10
Suk, J. Piano trio in C minor, op 2 (1889/90-91). Smetana Trio. Supraphon SU 3810-2
Sonata no 30 in E, op 109 (1820). Harmonia Mundi HMC 901909.11
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Paul Lewis, pf (all above) 19:00 SUNDAY NIGHT CONCERT Prepared by Barrie Brockwell Cimarosa, D. Overture to The secret marriage (1792). Sydney SO/Robert Pikler. ABC 438 196-2
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Haydn, J. Symphony in G, Hob.I:8, Evening (1761). English Concert/Trevor Pinnock. Archiv 423098-2 22 Wolf-Ferrari, E. Cello concerto in C, op 31 (1945). Gustav Rivinius, vc; Frankfurt RSO/Alun Francis. cpo 999 278-2 22
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Minkus, L. Pas de deux, from Don Quixote, Act III (1869; arr. Lanchbery). State O of Victoria/John Lanchbery. ABC 480 6403 9 Tchaikovsky, P. String sextet in D minor, op 70, Souvenir de Florence (1890/9192). Yuri Bashmet, va; Natalia Gutman, vc; Borodin String Quartet. EMI 7 49775 2 34 10:30 MORNING CONCERT Prepared by Derek Parker Tchaikovsky, P. Overture: The storm, op 76 (1864). Concertgebouw O/Bernard Haitink. Decca 478 5867 12
Monteverdi, C. Madrigal: Altri canti d’amor, from Madrigali guerrieri ed amorosi (pub. 1638). Irmgard Jacobeit, sop; Dorothea Förster-Dürlich, sop; Bert van t’Hoff, ten; Jacques Villisech, bass; Monteverdi Choir, Hamburg; Leonhardt Consort/Jürgen Jürgens. Teldec 4509-93268-2 10 Telemann, G. Double concerto in E minor. Masahira Arita, fl; Andrew Manze, vn. Denon CO-78933 10 Bach, J.S. Overture no 4 in D, BWV1069 (bef. 1724). Andrew Manze, cond. Denon CO-78965/6 24 La Stravaganza Cologne (2 above) 14:00 INSPIRED BY TRAVEL Prepared by Ross Hayes Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). CO of Europe/ Nikolaus Harnoncourt. Apex 2564 67391-0 29 McCabe, J. Rainforest I for chamber ensemble (1984). O Nova Ensemble/ George Vass. Epoch CDLX 7290 24 Milhaud, D. Saudades do Brasil: dance suite, op 67 (1921). London Festival Players/Bernard Herrman. London 443 897-2 27 Dvorák, A. String quartet no 12 in F, op 96, American (1893). The Lindsays. ASV DCS 446 27
Strauss, R. Metamorphoses (194445). Staatskapelle Dresden/Giuseppe Sinopoli. DG 480 0478 29
Hummel, J. Piano concerto in C, op 34 (1809). London Mozart Players/Howard Shelley, pf & dir. Chandos CHAN 10216 35
Saint-Saëns, C. Barcarolle in E flat, op 63, A night in Lisbon (1880). Paris Orchestral Ensemble/Jean-Jacques Kantorow. EMI 7 54913 2
20:30 NEW HORIZONS Prepared by Nev Dorrington
Bernstein, L. Symphony no 2, The age of anxiety (1948). Marc-André Hamelin, pf; Ulster O/Dmitry Sitkovetsky. Hyperion CDA67170 36
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson
12:00 SWING SESSIONS with John Buchanan
19:00 JAZZ NICE ‘N EASY with Ken Weatherley
13:00 MUSICAL ROUNDABOUT Prepared by Francis Frank
20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg
Telemann, G. Concerto in E flat for strings and continuo. La Stravaganza of Cologne. Denon CO-78933 9
22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Eno, R. Flatlands suite (1998). Roger Eno CO. All Saints Records ASCD 36 42 Suite, from Fragile (2003).
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Suite, from Anatomy (2008).
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Roger Eno, pf (2 above) Burning Shed BSHED 0905 22:00 AFTER HOURS JAZZ with Kevin Jones
February 2016
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Tuesday 23 February 3:00 CLASSICAL TILL DAWN
13:00 THE MUSICAL WORLD OF VAUGHAN WILLIAMS Prepared by Susan Briedis
Dixit Dominus (1800). Choir of Gonville and Caius College Cambridge/Geoffrey Webber. 7
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds
Wood, C. Hail, gladdening light (1919). The Sixteen/Harry Christophers. ucj 173 5732 3
Voluntary in D (1828). Geoffrey Webber, org. 9
9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Gidon Kremer Prepared by Frank Morrison
Bruch, M. Adagio in E minor on Celtic themes, op 56 (1890-91). Julius Berger, vc; Polish National RSO/Antoni Wit. EBS 6060 8
0:00 CONTEMPORARY COLLECTIVE
Schubert, F. Rondo in A, D438 (1816-17). London SO/Emil Tchakarov. DG 431 168-2
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Schoenberg, A. Fantasy for violin and piano, op 47 (1949). Oleg Maisenberg, pf. Brilliant Classics 9242 8
Ravel, M. Alborada del gracioso (orch. 1918). Montreal SO/Charles Dutoit. Decca 410 010-2 7 Vaughan Williams, R. Serenade to music (1938). Vancouver Bach Choir; Vancouver SO/Bruce Pullan. CBC SMCD 5121 13
Prokofiev, S. Violin sonata no 2 in D, op 94a (1943). Martha Argerich, pf. DG 431 803-2 23
Holst, G. Ballet music from The perfect fool, op 39 (1919). Philharmonia O/ William Boughton. Nimbus NI 5450/3 10
Paganini, N. Sonata Varsavia. Vienna PO/Riccardo Muti. Philips 446 718-2
14:00 CLASSICAL SONATAS Prepared by Angela Bell
Pärt, A. Spiegel im spiegel (1997). Noako Yoshino, hp. Decca 4806386 10 Gidon Kremer, vn (all above) 10:30 MORNING CONCERT Prepared by Michael Field Glazunov, A. Karelian legend, op 99 (1912). Moscow SO/Igor Golovschin. Naxos 8.553839 22 Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Ofra Harnoy, vc; Victoria SO/Paul Freeman. RCA RD 71003 19 Rachmaninov, S. Symphony no 3 in A minor, op 44 (1935-36/38). London SO/Neeme Järvi. Chandos CHAN 8614 43 12:00 JAZZ RHYTHM with Jeannie McInnes 46
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Beethoven, L. Romance no 2 in F, op 50 (1798). CO of Europe/Nikolaus Harnoncourt. Teldec 9031-74881-2 8
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Boccherini, L. Cello sonata in F, G1 (pub 1772). Luigi Puxeddu, vc; Federico Bracalente, vc continuo. Brilliant Classics 94386 10 Bach, C.P.E. Sonata no 5 in E, Wq62 (1744). Danny Driver, pf. Hyperion CDA67908 16 14:30 SAMUEL WESLEY: 250 YEARS Prepared by Elaine Siversen Wesley, S. Violin concerto no 2 in D (1781). Elizabeth Wallfisch, vn; Parley of Instruments/Peter Holman. Helios CDH55260 18 Magnificat anima mea Dominum (1783). Choir of Gonville and Caius College, Cambridge/Geoffrey Webber. ASV GAU 157 8 Symphony no 3 in A (1784). Milton Keynes CO/Hilary Davan Wetton. Unicorn-Kanchana DKP9098
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String quartet in E flat. Salomon Quartet. Hyperion CDA66780 22
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps
Stanford, C. Villiers The Lord is my shepherd. Choir of St Paul’s Cathedral; Andrew Lucas, org; John Scott, cond. Hyperion CDA6618
ASV GAU 157 (2 above)
20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Bach, J. Christian Quintet in D for flute, oboe, violin, viola and continuo, op 11 no 6 (1774). Members of Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 4509-91002-2 14 Giuliani, M. Grand duo concertant, op 85 (pub. 1817). Eckart Haupt, fl; Monika Rost, gui. edel 0059-2 16 Vanhal, J. Divertimento in G. Gottfried Langenstein, hn; John Stobart, hn; Rainer Mehne, vn; Chaim Solothurski, va; Klaus Stoll, db; Gerhard Dzwiza, db. Signum SIG X 45-00 14 Shostakovich, D. String quartet no 7 in F sharp minor, op 108 (1960). St Petersburg String Quartet. Sony SMK 66 592 13 Mozart, W. Flute quartet in D, K285 (1777). Israel Flute Ensemble. PWK Classics PWK 1139
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Bach, J.S. Chorale prelude: Erbarm’ dich mein, O Herre Gott, BWV721 (c1717). Paul Esswood, alto; Frank Preuss, vn; Tomi Tsukada, vn; Rachel Podger, vn; Britt Preuss, va; Heather Harrison, vc; Nigel Foster, hpd. Allegro PCD 1030 6 Duvernoy, F. Trio no 1. Jeno Kevehazi, hn; Ildiko Hegyi, vn; Jenö Jandó, pf. Naxos 8.550441 9 Spohr, L. Double quartet in D minor, op 65 no 1 (1823). Kreuzberger String Quartet; Eder Quartet. Teldec 8.44049 20
Wednesday 24 February 0:00 CONTEMPORARY COLLECTIVE
Bruckner, A. Symphony no 1 in C minor (1890-91). Berlin RSO/Riccardo Chailly. Decca 421 091-2 54
3:00 CLASSICAL TILL DAWN
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti
12:00 JAZZ SKETCHES with Robert Vale
9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century
Handel, G. The King shall rejoice, HWV260, from Coronation anthems (1727). Choir of King’s College, Cambridge/David Willcocks. Decca 455041-2
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Bach, J. Christian Sinfonia in B flat, op 18 no 2 (c1781). Failoni O/Hanspeter Gmür. Naxos 8. 553367 9 Albinoni, T. Adagio in G minor. Members of Scottish CO/Jaime Laredo. IMP PCD 802 10 Fasch, J. Sonata in B flat. Jeanne Dolmetsch, rec; Malcolm Messiter, ob; Frank Preuss, vn; Marguerite Dolmetsch, va da gamba; Nigel Foster, hpd. Allegro PCD 1010 10 Fiala, J. Double concerto in B flat. Karl Schlechta, cl; Helmut Koch, cora; Kurpfälzisches CO/Jiri Malat. Arte Nova 74321 37299 2 20 10:30 MORNING CONCERT Prepared by Giovanna Grech
Méhul, É-N. Overture to La chasse du jeune Henri (1791). New Philharmonia O/ Raymond Leppard. Philips 446 569-2 11 Moret, N. Violin concerto, Dreaming (1988). Anne-Sophie Mutter, vn; Boston SO/Seiji Ozawa. DG 431 626-2 20
OLYMPIA: Eva Lind, sop
14:00 IN CONVERSATION with Michael Morton-Evans
ANTONIA: Jessye Norman, sop GIULIETTA: Cheryl Studer, sop
15:00 ELGAR EXPLORED Part 4 Prepared by Michael Morton-Evans Elgar, E. Symphony no 1 in A flat, op 55, mvt 2 (1908). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00027 7 Chanson de matin, op 15 no 2 (1899); Chanson de nuit, op 15 no 1 (1897). Marat Bisengaliev, vn; Benjamin Frith, pf. Naxos 8.572643-45 7 Severn suite, op 87. Williams Fairey Band/James Gourlay. Chandos CHAN 4547 17 Excerpts from Nursery suite (1931). Ulster O/Bryden Thomson. Chandos CHAN 8318
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Coronation march, op 65 (1911). Royal PO/Yehudi Menuhin. Virgin VC 7 91175-2 11 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell
NICKLAUSSE: Anne Sofie von Otter, mezz LINDORF, COPPELIUS, DR MIRACLE, DAPERTUTTO: Samuel Ramey, bass
13:00 YOUNG VIRTUOSI
Danzi, F. Bassoon concerto no 2 in F. Albrecht Holder, bn; New Brandenberg PO/Nicolás Pasquet. Naxos 8.554273 18
HOFFMAN: Francisco Araiza, ten
Leipzig Radio Choir; Staatskapelle Dresden/Jeffrey Tate. Decca 476 2675 2:54 Drinking in a tavern with Nicklausse, the poet Hoffmann receives a letter from his love Stella, a prima donna. His enemy Lindorf asks him to tell the story of his love affairs. First, Hoffmann loves Olympia, a mechanical doll. He believes she is real until she is broken by Coppelius. Then he loves Antonia, forbidden to sing at the risk of death. Urged on by the evil Dr Miracle, she sings for Hoffmann and dies in his arms. Finally he loves Giulietta a Venetian courtesan on the Grand Canal in Venice. When he kills her lover in a duel, Giulietta leaves with Dapertutto. When Stella appears, Hoffmann is drunk, and she leaves him for Lindorf. Nicklausse, who has witnessed these affairs, becomes his muse and urges him to write. Duet in B flat, op 53 no 1 (1847). Alain Meunier, vc; Philippe Muller, vc. Arion ARN 68234 15
20:00 AT THE OPERA Prepared by Elaine Siversen
23:30 BRAHMS, 100 NOT OUT Prepared by Phil Vendy
Offenbach, J. The tales of Hoffmann. Opera in a prologue, three acts and an epilogue. Libretto by Jules Barbier. First performed Paris, 1881.
Brahms, J. Violin sonata no 2 in A, op 100 (1886). Simon Fischer, vn; Raymond Fischer, pf. Biddulph 80229-2 23
• Concerts and Arts eVents News • Delivered FREE every Friday Sign up @ www.finemusicfm.com February 2016
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Thursday 25 February Schubert, F. Piano quintet in A, D667, The trout (1819). Dene Olding, vn; Irina Morozova, va; Andrew Meisel, db; Ina Munro, pf. 39
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore
Michelle Wood, vc (2 above)
9:00 DIVERSIONS IN FINE MUSIC Name the composer Be the first to identify the mystery composer and win a CD. All other correct answers go in a draw for a second CD: 9439 4777 10:30 MORNING CONCERT Prepared by Elaine Siversen Rossini, G. Pas de six, from William Tell (1829). West Australian SO/Peter Eros. LP ABC 5ABCL 8001 5 Hoffmeister, F. Double concerto in E flat. Walter Boeykens, cl; Anne Boeykens, cl; New Belgian CO/Jan Caeyers. Harmonia Mundi HMC 901433 23 Dvorák, A. Symphony no 1 in C minor, op 3, The bells of Zlonice (1865). Scottish NO/Neeme Järvi. Chandos CHAN 8597 53 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 AROUND THE WORLD IN 60 MINUTES Prepared by Randolph Magri-Overend Elgar, E. Overture: Cockaigne, op 40, In London Town (1901). Philharmonia O/ Owain Arwel Hughes. ASV QS 6162 17 Verdi, G. Triumph march, ballet music and chorus, from Aida (1871). RTE Philharmonic Choir; NSO of Ireland/Rico Saccani. Naxos 8.553963 12 Koehne, G. Powerhouse, op 2. Sydney SO/Edo de Waart. ABC 462 012-2 12 Copland, A. El Salón México (1934-36). New Philharmonia O/Aaron Copland. CBS MK 42429 11 14:00 A SPANISH FIESTA Prepared by Marilyn Schock Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). Seattle SO/ Gerard Schwarz. Naxos 8.572788 16 48
21:30 DOORS CLOSING, PLEASE STAND CLEAR Prepared by Madilina Tresca
Max Bragado Darman
Arriaga, J. String quartet no 1 in D minor (1821-22). Chilingirian Quartet. CRD 33123 30 Rodrigo, J. Piano concerto (1942). Daniel Ligorio Ferrandiz, pf; Castille and León SO/Max Bragado Darman. Naxos 8.557101 30 Tórroba, F. Moreno Sonatina in A. Andrés Segovia, gui. DG 474 9612
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Rodrigo, J. Summer concerto (1943). Michael Guttman, vn; Royal PO/José Serebrier. Resonance RSN 3069 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock
Dreyfus, G. Suite fom A steam train passes (1974). Queensland SO/George Dreyfus. Move MD 3098 10 Twist, J. On the night train. St Peters Chorale. St Peters Chorale recording 4 Villa-Lobos, H. The little train of the Caipira, from Bachianas brasileiras no 2 (1930). London SO/Eugene Goossens. Price-less D24924 5 Strauss, J. II Excursion train polka, op 281 (1864; arr. Schonherr). Queensland SO/Vladimir Ponkin. ABC 432 250-2 3 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Judy Ekstein
19:00 A JAZZ HOUR with Barry O’Sullivan 20:00 LIVE AND LOCAL The dance of nature Recorded by Greg Ghavalas and Doug Jones for FINE MUSIC on 12 September 2015 in the Sir John Clancy Auditorium, University of NSW
Martin, F. Violin concerto (1950-51). Dene Olding, vn; Melbourne SO/Hiroyuki Iwaki. ABC 476 718-2 31
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Walton, W. Escape me never, suite (1934; arr. Palmer). Academy of St Martin in the Fields/Neville Marriner. Chandos CHAN 8870 11
Maxwell Davies, P. Renaissance Scottish dances. Geoffrey Collins, fl; David Griffiths, cl; Dimity Hall, vn; Michelle Wood, vc.
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Copland, A. Piano sonata (1939-41). Peter Lawson, pf. Virgin VC 7 91163-2 24
Westlake, N. Songs from the forest (1994).
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Smalley, R. Barcarolle (1986). Ian Munro, pf.
Karin Schaupp, gui (2 above) Edwards, R. Animisms (2014). Geoffrey Collins, fl; David Griffiths, cl; Dimity Hall, vn. 15 Claire Edwardes, perc (3 above)
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Bartók, B. String quartet no 6 (1939). Vermeer Quartet. Naxos 8.557543-44 29 Walton, W. Suite from The Battle of Britain (1969). Academy of St Martin in the Fields/Neville Marriner. Chandos CHAN 8870 11
Friday 26 February 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter
12:00 NOONTIME JAZZ with Peter Mitchell 13:00 PATRICK THOMAS PRESENTS David Ellis’ chamber music Ellis, D. Wind quintet (1956/66). Nimrod Wind Quintet. 13 Contra partita for clarinet quartet (2010). Fell Clarinet Quartet. 10 Primafacie PFCD 035 (2 above) Alberto Guinovart
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 Only strings Prepared by Sheila Catzel Haydn, J. String duo in C, Hob.VI:6 (bef. 1777). Kazuo Okamura, vn; Hans Dusoswa, va. Etcetera KTC 1081 10 Schubert, F. String trio in B flat, D471 (1816). Members of Israel Flute Ensemble. CDI 18809 9 Britten, B. Simple symphony for strings, op 4 (1934). Northern Sinfonia/Steuart Bedford. Naxos 8.557205 16 Mozart, W. String quartet no 22 in B flat, K589 (1790). Leipzig String Quartet. MDG 307 0936-2 26 Mendelssohn, F. String symphony no 12 in G minor (1823). London FO/Ross Pople. Hyperion CDS44081/3 20 10:30 MORNING CONCERT Prepared by Giovanna Grech Elgar, E. Serenade in E minor, op 20 (1892). Academy of St Martin in the Fields/Neville Marriner. ASV QS 6087 12
13:30 ONE HUNDRED NOT OUT Prepared by Phil Vendy Brahms, J. Violin sonata no 2 in A, op 100 (1886). György Pauk, vn; Roger Vignoles, pf. Ottavo OTR C79030 20 Reger, M. Variations and fugue on a theme of Johann Adam Hiller, op 100 (1907). Royal Concertgebouw O/Neeme Järvi. Chandos CHAN 8794 41
19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY On the peninsula Prepared by Phil Vendy Vianna da Motta, J. Piano concerto in A (1887). Artur Pizarro, pf; Gulbenkian O/ Martyn Brabbins. Hyperion CDA67163 26 Garcia, M. E non lo vedo, from La figlia dell’aria (1826). Cecilia Bartoli, mezz; International Chamber Soloists; Orchestra La Scintilla/Adám Fischer. Decca 475 9077 7 Sor, F. Elegiac fantasy, op 59. Nicholas Goluses, gui. Naxos 8.553342 18
Dvorák, A. Sonatina in G, op 100 (1893). Anthony Marwood, vn; Susan Tomes, pf. Hyperion CDA66934 19
Albéniz, I. Sonata no 5, op 82 (c1888). Alberto Guinovart, pf. Harmonia Mundi HMI 987007 24
15:00 MUSIC OF THE NIGHT Prepared by Gael Golla
Barbieri, F. Preludio: Dicen que en el pardo, from El barberillo de Lavapiés (1874). Alicia de la Victoria, sop; Carlo del Monte, ten; Jose Antonio Viñe, ten; Spanish RTV Choir & SO/Igor Markevitch. Philips 432 824-2 7
Debussy, C. Perfumes of the night, from Images (1905-12). Royal Concertgebouw O/Bernard Haitink. Philips 438 742-2 9 Liszt, F. Summer nIghts at Pausilippe, from Soirées italiennes nos 7 to 9 (1838). Leslie Howard, pf. Hyperion CDA66661 2 12 Finzi, G. Nightingales, from Seven unaccompanied partsongs, op 17 (1934-37). Choir of St John’s College, Cambridge/Christopher Robinson. Naxos 8.555792 3 Sculthorpe, P. Night pieces (1971). Marshall McGuire, hp. Tall Poppies TP071
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Hummel, J. Piano concerto in A minor, op 85 (c1816). Martin Galling, pf; Stuttgart PO/Alexander Paulmüller. Vanguard 08 9178 72 27
Rachmaninov, S. Night (1900); The night is sad, op 26 no 12 (1906). Dmitri Hvorostovsky, bar; Mikhail Arkadiev, pf. Philips 446-666-2 7
Brahms, J. Symphony no 2 in D, op 73 (1877). NBC SO/Arturo Toscanini. RCA GD 60258 37
Mussorgsky, M. Night on Bare Mountain (1867). Philadelphia O/Eugene Ormandy. Sony SBK 46 329 12
Arriaga, J. Symphony in D minor (1824). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall. Astrée E 8532 29 22:00 BAROQUE AND BEFORE Prepared by Rex Burgess Adam de la Halle. Le jeu de Robin et de Marion. Tonus Peregrinus/Antony Pitts. Naxos 8.557337 1:14 Biber, H. Sonata, 7 part (1668). Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 8573-87793-2
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Sonata III (pub. 1681). Romanesca. Harmonia Mundi HMU 907134.35
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Partita no 6 in D (bef. 1696). Rare Fruits Council. Auvidis/Astrée E8572 14 February 2016
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Saturday 27 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell
13:00 IN A SENTIMENTAL MOOD with Maureen Meers
9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney
Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes
9:30 MINING THE MAJORS Prepared by Di Cox Cherubini, L. Overture, from Démophon (1788). Auser Musici/Carlo Ipata. Hyperion CDA67893 7 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 Hummel, J. Trumpet concerto in E (1803). Geoffrey Payne, tpt; Melbourne SO/Michael Halász. ABC 982 697-6 17 Clementi, M. Sonata in C for piano four hands, op 14 no 1 (1786/1815). Genevieve Chinn, pf; Allen Brings, pf. Centaur CRC 2046 18
14:00 BRASSED ON Prepared by Emyr Evans Arnold, M. Quintet for brass, op 73 (1961). Philip Jones Brass Ensemble/ Elgar Howarth. Decca 468 803-2 12 Mathias, W. Suite for brass band: Vivat regina, op 75 (1977). John Foster Black Dyke Mills Band/Roy Newsome. Chandos CHAN 4510 9 Goffin, D. Rhapsody in brass Grimethorpe Colliery RJB Band/Garry Cutt. Chandos CHAN 4553 11
Beethoven, L. Violin concerto in D, op 61 (1806). Anne-Sophie Mutter, vn; New York PO/Kurt Masur. DG 471 349-2 49
Stanhope, D. Three folksongs for brass quintet (c1973). Members of Sydney Brass. Tall Poppies TP199 7
11:30 ON PARADE Prepared by Paul Hopwood
Tippett, M. Festal brass with blues (1984). London Collegiate Brass/James Stobart. CRD 3444 13
Sousa, J.P. Songs of grace and songs of glory (1892). Naxos 8.559059 8 Sousa, J.P. The kaffir on the Karroo, from Tales of a traveller (1911). Naxos 8.559093
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Royal Artillery Band/Keith Brion (2 above) Sparke, P. Orient Express. Steven Stanke, cond. Royal Australian Navy RAN-013
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Hancock, M. The scrap iron flotilla (2010). Royal Australian Navy RAN-012 3 Trad. Botany Bay (arr. Clark). Phillip Anderson, cond. Royal Australian Navy RAN-014 Royal Australian Navy Band (3 above) 50
12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings
15:00 DEBORAH Prepared by Di Cox Handel, G. Deborah, HWV51 (1733). Yvonne Kenny, sop; Susan Gritton, sop; Catherine Denley, mezz, James Bowman, ct; Michael George, bass; Choir of New College, Oxford; Choir of Salisbury Cathedral; King’s Consort/ Robert King. Hyperion CDA66841/2 2:20 17:30 ARTS IN FOCUS
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17:30 STAGING MUSIC with Angela Cockburn
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes Schubert, F. Gretchen am Spinnrade, D118 (1814). Felicity Lott, sop; Graham Johnson, pf. IMP PCD 898 4 Ganymed, D544 (1817). Peter Pears, ten; Benjamin Britten, pf. BBC Music BBCB 8015-2 4 String quintet in C, D956, mvt 2 (1828). Dene Olding, vn; Dimity Hall, vn; Irena Morozova, va; Julian Smiles, vc; David Pereira, vc. Tall Poppies TP011 16 Der zürmenden Diana, D707 (1820). Thomas Hampson, bar; Graham Johnson, pf. Hyperion CDJ 33014
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Der Tod und das Mädchen, D531 (1817). Marian Anderson, cont; Kosti Vehanen, pf. Naxos 8.120566 3 String quartet no 14 in D minor, D810, Death and the maiden, mvt 2 (1824). Quartetto Italiano. Philips 475 439-2 14 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Sondheim, S. Excerpts from Anyone can whistle (1964). Lee Remick, voice; Harry Guardino, voice. Columbia SK86860 18 Herman, J. Excerpts from Dear world (1969). Milo O’Shea, voice. Sony SK48220 13 Excepts from Mame (1966). Bea Arthur, voice; Frankie Michaels, voice; Jerry Lanning, voice. Columbia SK60959 18 Angela Lansbury (3 above)
Saturday 27 February 20:00 INFLUENCES AND CONNECTIONS Prepared by Chris Blower Halvorsen, J. Three Norwegian dances (1910-30). Marianne Thorsen, vn; Bergen PO/Neeme Järvi. Chandos CHAN 10614 11 Moscheles, I. The troubadours’ farewell. Peter Maus, ten; Ernö Sebestyen, vn; Sonja Prunnbauer, gui; Ighsvan Turnagoel, gui; Werner Genuit, pf. LP Schwann VMS 1051 13 Grainger, P. Wraith of Odin (1903-22). Sydney Chamber Choir/Paul Stanhope. Chandos CHSA 5121 5 Gade, N. String quartet in F minor (1851). Kontra Quartet. BIS CD-516 19 Chopin, F. Piano sonata no 2 in B flat minor, op 35 (1839). Leif Ove Andsnes, pf. Virgin 7 59072 2 24 Grieg, E. Funeral march in memory of Rikard Nordraak, op 73 (1866; orch. Halvorsen). Royal Scottish NO/Bjarte Engeset. Naxos 8.557854 8 Grieg, E. Piano concerto in A minor, op 16 (1868). Percy Grainger, reproducing pf; Sydney SO/John Hopkins. LP RCA VRL1 0168 29 22:00 SATURDAY NIGHT AT HOME Prepared by Frank Morrison Mendelssohn, F. String symphony no 11 in F minor (1823). German Chamber Academy of Neuss/Johannes Goritzki. Claves 50-9002 40 Mozart, W. Divertimento no 17 in D, K334, Robinig (1779). Vienna Chamber Ensemble. Denon CO-77882 46 Rosetti, A. Oboe concerto in C (178182). Kurt W. Meier, ob; Zurich CO/ Johannes Moesus. cpo 777 631-2 21
Sunday 28 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett
12:00 SYDNEY JAZZ CLUB PRESENTS Classic jazz and ragtime With John Buchanan
9:00 MUSICA SACRA Prepared by Elaine Siversen Vivaldi, A. Dixit Dominus, in D, RV594. Peter Castle, treb; Michael Cockerham, alto; Andrew King, ten; Choir of King’s College, Cambridge; Academy of St Martin in the Fields/Philip Ledger. Decca 443 455-2 25
13:00 WORLD MUSIC: Whirled Wide
Mozart, W. Vesperae solennes de confessore in C, K339 (1780). Kiri Te Kanawa, sop; Elizabeth Bainbridge, cont; Ryland Davies, ten; Gwynne Howell, bass; John Constable, org; London Symphony Ch & O/Colin Davis. Philips 422 749-2 29
Stamitz, C. Oboe quartet in D, op 8. Paul Goodwin, ob; Terzetto. Harmonia Mundi HMU 907220 15
10:00 THE CLASSICAL ERA Prepared by Di Cox Beethoven, L. Overture to Egmont, op 84 (1809-10). Ulster O/Vernon Handley. Chandos CHAN 8746 9 Wagenseil, G. Trombone concerto in E flat (1751-63). Warwick Tyrrell, tb; Adelaide SO/Nicholas Braithwaite. ABC 438 825-2 10 Stamitz, J. Orchestral trio in C minor, op 4 no 3 (pub. 1758). New Zealand CO/ Donald Armstrong. Naxos 8.553213 15 Bach, J.C.F. Wachet auf, ruft uns die Stimme (c1780). Netherlands Chamber Choir/Uwe Gronostay. Globe GLO 5080 12 Mozart, W. Piano sonata in F, K533; Rondo, K494 (1783-84). Glenn Gould, pf. CBS M2YK 45613 14 Haydn, M. Divertimento in C for violin, cello and continuo (c1758-60). Members of the Salzburger Hofmusik/Wolfgang Brunner. cpo 999 230-2 20 Pleyel, I. Trio concertant in E flat for two clarinets and bassoon. Members of Consortium Classicum/Dieter Klöcker. cpo 999 743-2 12 Gossec, F-J. Symphony in F, op 12 no 6 (pub. 1769). London Mozart Players/ Matthias Bamert. Chandos CHAN 9661 15
14:00 CLASSICAL CHAMBER Prepared by Frank Morrison Schubert, F. String trio in B flat, D581 (1817). Grumiaux Trio. Philips 438 700-2 20
Mozart, W. String quintet no 2 in C minor, K406 (1788). William Primrose, va; Griller String Quartet. Vanguard OVC 8025 71 20 15:00 SUNDAY SPECIAL Prepared by Paolo Hooke Khachaturian, A. Symphony no 3, Symphony-poem (1947). BBC PO/Fedor Gluschenko. Chandos CHAN 9321 25 Eshpai, A. Symphony no 4, Symphonyballet (1980-81). USSR RT Large SO/ Vladimir Fedoseyev. Russian Disc RDCD 11051 36 Popov, G. Symphony no 1 (1928-34). Moscow State SO/Gennady Provatorov. Olympia OCD 576 42 17:00 HOSANNA Prepared by Warwick Bartle Hymns: O for a closer walk with God; Behold the great creator makes; Let all mortal flesh keep silence; Spirit of mercy, truth and love; Jesu, lover of my soul. Choir of St John’s College, Cambridge; Brian Runnett, org; George Guest, cond. Belart 450011-2 14 Rachmaninov, S. Glory to God in the highest; Gladsome light, from All-night vigil, op 37. Cantillation/Antony Walker. ABC 465824-2 6 Anthems: Senex puerum portabat; Mass for five voices, Sanctus-Benedictus; Timor et tremor; Hosanna to the son of David. Choir of King’s College, Cambridge. ABC 4820669 18 Knight, G. Psalm no 96. Elgar, E. The spirit of the Lord, from The apostles, op 49 (1902-03). 11 Massed Choirs of RSCM; Martin How, org; Lionel Dakers, cond (2 above) February 2016
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Sunday 28 February 18:00 KEYBOARD INTERLUDE MacDowell, E. Woodland sketches, op 51 (1896). James Barbagallo, pf. Marco Polo 8.223631 19 Suk, J. Spring, op 22a (1902). Margaret Fingerhut, pf. Chandos CHAN 9026/7 16 Debussy, C. Suite bergamasque (1905). Zoltán Kocsis, pf. Philips 456 874-2 19 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Borodin, A. Polovtsian dances, from Prince Igor (1887). Royal Liverpool Philharmonic Choir & O/Charles Mackerras. Virgin VC 7 91174-2 14 Serly, T. Viola concerto (1929). Rivka Golani, va; Budapest SO/András Ligeti. Conifer CDCF 189 26 Martucci, G. Symphony no 2 in F, op 81. Philharmonia O/Francesco d’Avalos. ASV DCA 689 44 20:30 NEW HORIZONS Prepared by Robert Small Corigliano, J. Violin concerto, The red violin (2003). Elina Vähälä, vn; Lahti SO/ Jaakko Kuusisto. BIS BIS-2020 34 Grime, H. Near midnight (2013). Hallé O/ Mark Elder. NMC NMC D199 12 MacMillan, J. The birds of Rhiannon (2001); Màiri (1997). 34 BBC Singers; BBC PO/James MacMillan (2 above)
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Monday 29 February 0:00 CLASSIC-ALL THROUGH THE NIGHT
13:00 PASTORALE Prepared by Phil Vendy
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small
Scarlatti, A. Cantata pastorale (1716). Miriam Allan, sop; James Sanderson, ct; violins from Chacona. ABC 461 687-2 16
9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1779 Prepared by Francis Frank Carvalho, J. de Sousa Overture to Perseo (1779). Liszt Ferenc CO, Budapest/János Rolla. Hungaroton HCD 12884
Alwyn, W. Pastoral fantasia (1939). Philip Dukes, va; Royal Liverpool PO/ David Lloyd-Jones. Naxos 8.570704 13 6
Gluck, C. Cette nuit ... O toi qui prolongeas mes jours, from Iphigénie en Tauride (1779). Régine Crespin, sop; Suisse Romande O/Alain Lombard. Decca 440 844-2 7
Chabrier, E. Suite pastorale (1888). Suisse Romande O/Ernest Ansermet. Decca 452 890-2 21 14:00 A TALE OF TWO CITIES Prepared by Randolph Magri-Overend
Clementi, M. Sonata in C, op 2 no 2 (1779). Howard Shelley, pf. Hyperion CDA67632 11
Ireland, J. A London overture (1936). West Australian SO/David Measham. ABC 446 282-2 13
Mozart, W. Serenade no 9 in D, K320, Posthorn (1779). Cleveland O/George Szell. CBS MYK 45509 39
Gershwin, G. An American in Paris (1928). James Thomson, tpt; Montreal SO/Charles Dutoit. Decca 425 111-2 19
Haydn, J. Symphony in D, Hob.I:70 (1779). Hanover Band/Roy Goodman. Hyperion CDA66526 18 10:30 MORNING CONCERT Prepared by Denis Patterson Britten, B. Four sea interludes, from Peter Grimes (1945). London PO/Adrian Boult. First Hand Records FHR06 24 Mozart, W. Double concerto in E flat, K365/316a (1779). Imogen Cooper, pf; Alfred Brendel, pf. Philips 476 209-5 PM3 25 Gounod, C. Symphony no 2 in E flat (1856). Philips 462 125-2 31
Chandos CHAN 9997
Academy of St Martin in the Fields/ Neville Marriner (2 above)
22:00 AFTER HOURS JAZZ with Kevin Jones
12:00 SWING SESSIONS with John Buchanan
For a digital schedule turn to page 22 or find online: www.finemusicfm.com/digital.html
Offenbach, J. Gaïté parisienne (arr. Rosenthal 1938). Philharmonia O/Herbert von Karajan. EMI CDM 7 69041 2 28 Vaughan Williams, R. Symphony no 2, London (1913/20-23). Philharmonia O/ Owain Arwel Hughes. ASV QS 6162 52 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Ross Hayes 19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
The following composers have works of at least five minutes on the February dates listed Adam de la Halle c1245-c1288 26 Albéniz, I. 1860-1909 18,26 Albinoni, T 1671-175 2,24 Alfvén, H. 1872-1960 10 Alwyn, W. 1905-1985 12,29 Arensky, A. 1861-1906 4 Arnold, M. 1921-2006 4,17,27 Arriaga, J. 1806-1826 2,25,26 Auber, D-F-E. 1782-1871 13 Auric, G. 1899-1983 12
Carulli, F. 1770-1841 16 Carvalho, J. de Sousa 17451798 29 Catalani, A. 1854-1893 15 Chabrier, E. 1841-1894 1,29 Chadwick, G. 1854-1931 19 Charpentier, M-A. 1635-1704 11,14,21 Chausson, E.1855-1899 2,15 Chávez, C. 1899-1978 18 Cherubini, L. 1760-1842 27 Chopin, F. 1810-1849 9,20,27 Cimarosa, D. 1749-1801 2,4,21 Clementi, M. 1752-1832 Bach, C.P.E. 1714-1788 27,29 3,19,23 Copland, A.1900-1990 Bach, J. Christian 1735-1782 4,21,25 12,14,23,24 Corbett, W. c1675-1748 17 Bach, J. Christoph 1642-1703 Corigliano, J. b1938 28 12 Couperin, M. 1663-1734 19 Bach, J.C.F. 1732-1795 Crusell, B. 1775-1838 21 12,28 Czerny, C. 1791-1857 20 Bach, J.M. 1648-1694 12 Bach, J.S. 1685-1750 d’Indy, V.1851-1931 13 1,3,8,12,14,20,22,23 Dandrieu, J-F. 1682-1738 5 Bach, W.F. 1710-1784 12 Danzi, F. 1763-1826 Balakirev, M. 1837-1910 5,6 20,21,24 Barber, S. 1910-1981 13 Debussy, C. 1862-1918 Barbieri, F. 1823-1894 26 5,7,13,15,19,26,28 Bartók, B. 1881-1945 Delius, F. 1862-1934 8 21,25 Dittersdorf, C. 1739-1799 10 Beethoven, L. 1770-1827 Dohnányi, E. 1877-1960 5,7,8,11,13,18,20,21,23,27,28 15,19 Bellini, V. 1801-1835 15 Donizetti, G. 1797-1848 15 Benda, G. 1722-1795 20 Dreyfus, G. b1928 25 Bennett, Richard. b1936 12 Drigo, R. 1846-1930 13 Bennett, W. Sterndale Durey, L. 1888-1979 12 1816-1875 19 Dussek, J. 1760-1812 5 Berlioz, H. 1803-1869 7 Duvernoy, F. 1765-1838 23 Bernstein, L. 1918-1990 Dvorák, A. 1841-1904 9,16,22 1,7,12,15,18,19,22,25,26 Biber, H. 1644-1704 5,17,26 Eberl, A. 1765-1807 21 Bizet, G. 1838-1875 19 Edwards, R. b1943 25 Bloch, E. 1880-1959 1 Elgar, E. 1857-1934 Boccherini, L. 1743-1805 1,5,8,12,13,24,25,26,28 1,14,23 Ellis, D. b1933 26 Boismortier, J. de 1689-1755 Eno, R. b1959 21 8 Ernst, H. 1814-1865 15 Borisova-Ollas, V. b1969 14 Eshpai, A. b1925 28 Borodin, A. 1833-1887 22,28 Bortnyansky, D. 1751-1825 Falla, M. de 1876-1946 7 14 Farrenc, L. 1804-1875 16 Bottesini, G. 1821-1889 7 Fasch, J. 1688-1758 Bowen, Y. 1884-1961 1 2,5,17,24 Boyce, W. 1711-1779 6,7 Fauré, G. 1845-1924 19 Brahms, J. 1833-1897 Fesch, W. de 1687-1757 8 1,4,9,11,14,16,18,24,26 Fiala, J. 1748-1816 24 Bridge, F. 1879-1941 11 Finzi, G. 1901-1956 9,16 Britten, B. 1913-1976 Fischer, J. Christian 17339,11,19,21,26,29 1800 20 Bruch, M. 1838-1920 5,23 Fossa, F. de 1775-1849 2 Bruckner, A. 1824-1896 Françaix, J 1912-1997 21 18,20,24 Franck, C. 1822-1890 1,5,14,20,21 Carr-Boyd, A. b1938 5,6 Friml, R. 1879-1972 13 Carter, E. b1908 7 Fucik, J. 1872-1916 13
Gade, N. 1817-1890 27 Ganne, L. 1862-1923 1 Garcia, M. 1775-1832 26 Geminiani, F. 1687-1762 13 Gershwin, G. 1898-1937 11,12,14,29 Giuliani, M. 1781-1829 20,23,27 Glazunov, A. 1865-1936 4,7,9,23 Glinka, M. 1804-1857 14 Gluck, C. 1714-1787 6,29 Goffin, D. 1916-1984 27 Gorecki, H. b1933 4 Gossec, F-J. 1734-1829 28 Gould, M. 1913-1996 17 Gounod, C. 1818-1893 7,29 Grainger, P. 1882-1961 15,27 Granados, E. 1867-1916 7 Grieg, E. 1843-1907 13,27 Grime, H. b1981 28 Guignon, J-P. 1702-1774 19 Halffter, E. 1905-1989 11 Halvorsen, J. 1864-1935 27 Handel, G. 1685-1759 2,3,7,15,20,24,27 Haydn, J. 1732-1809 10,12,14,15,20,21,26,29 Haydn, M. 1737-1806 18,21,28 Heinichen, J. 1683-1729 17 Herman, J. b1932 27 Herzogenberg, H. 1843-1900 16 Hoffmeister, F. 1754-1812 19,25 Holley, A. b1954 14 Holst, G. 1874-1934 6,8,23 Homs, J. b1906 11 Honegger, A. 1892-1955 12,13 Horwood, W. c1430-1484 14 Hovhaness, A. 1911-2000 6 Hummel, J. 1778-1837 11,20,22,26,27 Humperdinck, E. 1854-1921 15 Ibert, J. 1890-1962 7 Ireland, J. 1879-1962 29 Isaacs, M. b1958 4 Isasi, A. 1890-1940 11 Ives, C.1874-1954 1 Janácek, L. 1854-1928 13 Jongen, J. 1873-1953 16 Josephs, W. b1927 6 Khachaturian, A. 1903-1978 6,14,28
Kiel, F. 1821-1885 9 Koechlin, C. 1867-1950 16 Koehne, G. b1956 13,25 Krommer, F. 1759-1831 15 Kuhlau, F. 1786-1832 10
Pärt, A. b1935 23 Philidor, P. 1681-1731 9 Pinto, G. 1785-1806 2 Pixis, J. 1788-1874 12 Pleyel, I. 1757-1831 14,18,28 Ponce, M. 1882-1948 18 Popov, G. 1904-1972 28 Pössinger, F. 1767-1827 9 Poulenc, F. 1899-1963 12,18 Prior, A. b1922 6 Prokofiev, S. 1891-1953 11,23 Purcell, H. 1659-1695 6
Stamitz, J. 1717-1757 28 Stanford, C. Villiers 1852-1924 21,23 Stanhope, D. b1951 27 Stanhope, P. b 1969 4 Stenhammar, W. 1871-1927 16 Strauss, R. 1864-1949 4,15,21 Suk, J. 1874-1935 22,28 Szabelski, B. 1896-1979 4 Szymanowski, K. 1882-1937 4,7
Rachmaninov, S. 1873-1943 4,6,14,15,21,23,26,28 Rameau, J-P. 1683-1764 3,17 Ravel, M. 1875-1937 6,15,23 Reger, M. 1873-1916 26 Respighi, O. 1879-1936 16,19 Revueltas, S. 1899-1940 18 Ries, F. 1784-1838 20,21 MacDowell, E. 1860-1908 Rimsky-Korsakov, N. 184412,19,28 MacMillan, J. b1959 28 1908 1,2,9,25 Rodgers, R. 1902-1979 6 Mahler, G. 1860-1911 4 Rodrigo, J. 1901-1999 Mann, J. 1858-1904 1 11,25 Martin, F. 1890-1974 25 Romberg, S. 1887-1951 13 Martinu, B. 1890-1959 1,6 Ropartz, J. 1864-1955 21 Martucci, G. 1856-1909 28 Rore, C. de c1516-1565 19 Massenet, J. 1842-1912 Rosenberg, H. 1892-1985 18 12,16 Rosetti, A. c1750-1792 27 Mathias, W. 1934-1992 27 Maxwell Davies, P. b1934 7,25 Rossini, G. 1792-1868 5,8,19,25 Mayr, S. 1763-1845 7 Roussel, A. 1869-1937 6 McCabe, J. b1939 22 Rubbra, E. 1901-1986 11,18 Medtner, N. 1880-1951 2 Méhul, É-N. 1763-1817 3,24 Rubinstein, A. 1829-1894 6,11 Mendelssohn, F. 1809-1847 Saint-Saëns, C.1835-1921 6,7,9,19,20,21,22,26,27 14,19 Meyerbeer, G. 1791-1864 6 Salieri, A. 1750-1825 7 Milhaud, D. 1892-1974 Sammartini, G. 1693-1750 3 12,13,22 Sammartini, G.B. 1700-1775 Minkus, L. 1826-1917 22 Moncayo García, J.1912-1958 17 Satie, E. 1866-1925 22 18 Scarlatti, A. 1659-1725 8,29 Monteverdi, C. 1567-1643 Schmidt, F. 1874-1939 19 13,22 Schoenberg, A. 1874-1951 Moret, N. b1921 24 Moscheles, I. 1794-1870 5,27 23 Mozart, F. 1791-1844 20 Schubert, F. 1797-1828 Mozart, W. 1756-1791 2,4, 4,5,7,9,12,13,23,25,26,28 7,8,10,11,14,18,19,20,23,26,2 Schumann, R. 1810-1856 3,9,12,14,20 7,28,29 Sculthorpe, P. b1929 16,26 Mussorgsky, M. 1839-1881 Serly, T. 1901-1978 28 16,26 Shebalin, V. 1902-1963 2 Nardini, P. 1720-1793 17 Shostakovich, D. 1906-1975 Nazareth, E. 1863-1934 13,15 18,23 Sibelius, J. 1865-1957 12,16 Nicolai, O. 1810-1849 11 Sinding, C. 1856-1941 10,15 Nielsen, C. 1865-1931 12 Skempton, H. b1947 14 Skryabin, A. 1872-1915 15 Offenbach, J. Smolka, M. b1959 14 1819-1880 3,14,15,29 Somervell, A. 1863-1937 17 Sondheim, S. b1930 27 Paganini, N. 1782-1840 Sor, F. 1778-1839 2,5,7,26 5,7,12,23 Paisiello, G. 1740-1816 14 Sousa, J.P. 1854-1932 27 Palmer, G. b1947 7 Sparke, P. b1951 27 Panufnik, A. 1914-1991 4 Spohr, L. 1784-1859 23 Parry, H. 1848-1918 17 Stamitz, C. 1745-1801 1,28
Tailleferre, G. 1892-1983 12,13 Tansman, A. 1897-1986 4 Tavener, J. b1944 21 Tchaikovsky, B. 1925-1996 2 Tchaikovsky, P. 1840-1893 5,6,9,11,13,17,19,22,23 Telemann, G. 1681-1767 22 Thomas, J. 1826-1913 4 Tippett, M. 1905-1998 8,27 Tórroba, F. Moreno 1891-1982 2,25 Tromboncino, B. c1470-c1535 19 Turina, J. 1882-1949 2 Tüür, E-S. b1959 14
Lalo, E. 1823-1892 7 Le Prince, L. d1677 5 Linley, T. the younger 1756-1778 2 Liszt, F. 1811-1886 5,8,12,13,20,26 Locke, M. c1621-1677 5 Lord, J. 1941-2012 7 Lortzing, A. 1801-1851 9 Lully, J-B. 1632-1687 19 Lundquist, T. b1920 18 Lyadov, A. 1855-1914 14
Vanhal, J. 1739-1813 23 Vaughan Williams, R. 18721958 5,9,15,16,19,23,29 Veracini, F. 1690-1768 6 Verdelot, P. c1470-1552 19 Verdi, G. 1813-1901 4,25 Vianna da Motta, J. 1868-1948 26 Villa-Lobos, H. 1887-1959 19 Vivaldi, A. 1678-1741 2,5,6,8,14,20,28 Wagenseil, G. 1715-1777 10,14,28 Wagner, R. 1813-1883 12 Wagner, S. 1869-1930 15 Wallace, V. 1812-1865 7 Walton, W. 1902-1983 18,21,25 Weber, C.M. 1786-1826 5,20 Wesley, C. 1757-1834 14 Wesley, S. 1766-1837 2,23 Westlake, N. b1958 25 Widor, C-M. 1844-1937 13 Wieniawski, H. 1835-1880 16,21 Williams, J. b1932 13 Wolf-Ferrari, E. 1876-1948 16,21 Wolf, H. 1860-1903 1 Yoshimatsu, T. b1953 7 Young, W. 1610-1662 11 Zelenka, J. 1679-1745 8 Zemlinsky, A. 1871-1942 4
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 db: double bass dbn: double bassoon elec: electronic eng horn: English horn fl: flute fp: fortepiano gui: guitar hn: French horn hp: harp
hpd: harpsichord mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder
February 2016
sax: saxophone 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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personnel
MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD
Owner and operator of Australia’s first community operated stereo FM station, 2MBS-FM now known as Fine Music 102.5. The Objects of the Society are primarily to broadcast fine music and operate one or more FM broadcasting stations for the encouragement of music. Another is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and music education and to use our technical and broadcast resources to further this aim. Our mission is to be Sydney’s preferred fine music broadcaster. Member of the Community Broadcasting Association of Australia.
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February 2016
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February 2016
fineMusic 102.5
55
Crossword and Trivia ACROSS
DOWN
1 Capture instrument for jazz 1 Indian lyre found on crooked stair (5) players (5,4) 2 Philospher plays with totaliser (9) 6 10 Australian dollars for a 3 Nice no harm done in modulating (10) sound system (5) 4 Continues CVs (7) 9 Thick, rough edges to body part (5) 5 Mozart’s funeral music (7) 10 Supported modified sunset aid (9) 6 First male composer (4) 11 Time renter arranged 7 Liszt sonata and symphony (5) resignation (10) 8 Noise interrupts lecture on 12 Seabird reported change of reference numbers (9) direction (4) 14 Drumming with decorated 13 Vaughan Williams’ 7th continent (10) skins (7) 14 Spider sets one dancing (9) 15 Agreement about musical 16 One clings wildly to establishing performance (7) inclusion (9) 17 Schumann symphony may be water music (7) 18 Work done? How about some 19 Cretans confused over hypnotic dancing? (7) states (7) 19 Pushes distorted truths with initial 20 Shostakovich’s olfactory hero (4) scheming (7) 22 Hard core work with a couple 21 Employed to write down music (5) Compiled by Gwynn Roberts of models makes a perfect fourth (10) 23 Go mad about authoritative 25 All in 15 across (9) principle (5) 26 Soprano’s confession reported 24 Evil-sounding instrument (4) Name:_______________________________________________ about cake decoration (5) triangle (5) Address: _____________________________________________ 27 Shockingly bad, but almost lawful (5) Tel:______________ Email_______________________________ 28 Longing over a lost gain shattered (9) To go in the draw to win a copy Crossword Solution - january 2016 of The New Goldberg Variations Across: 1 WAGNER, 4 SCHUBERT, 10 SESSION, 11 from Alfi Records, email your NOSTRUM, 12 BEETHOVEN, 13 VIGNY, 14 AGNEW, 16 crossword answers to: RESOUNDED, 19 DIFFIDENT, 21 YODEL, 23 BINGE, 24 competitions@finemusicfm.com BLINDNESS, 26 ADAMANT, 27 GALILEO, 28 OVERLAND, by 23 February 2016 29 LAURIS The Crossword Down: 1 WASHBOARD, 2 GASTEIN, 3 EDITH, 5 CANON, 6 UNSAVOURY, 7 ENRAGED, 72-76 Chandos Street 8 TOMMY, 9 UNIVERSE, 15 WHITEHALL, 17 SETTINGS, 18 DELUSIONS, 20 FANFARE, St Leonards NSW 2065 22 DWELLER, 23 BRAVO, 24 BATON, 25 DELTA
MUSICAL TRIVIA WITH MICHAEL MORTON-EVANS How well do you know the world of classical music? Test your knowledge with these musical brain teasers from Fine Music 102.5 presenter, Michael Morton-Evans. 1. With which instrument is Carl Dolmetsch famously associated? 2. What is a bombardon? 3. In which country was Yehudi Menuhin born? Was it Israel, Russia or America? 4. Which song by British composer William Boyce commemorates the British victories of 1759? 5. Which English composer acted as amanuensis to the blind and paralysed Frederick Delius? 6. For which English king did Handel compose the anthem Zadok The Priest? 7. If an aubade is meant as morning music, what name is popularly given to evening music? 8. In which of the following works does the Rakoczi March, the Hungarian national tune, feature? The Damnation of Faust by Berlioz; The Hungarian Rhapsody by Liszt; The Gypsy Baron by Johann Strauss. TRIVIA ANSWERS
Frederick Delius
1. The recorder. 2. A military band bass tuba. 3. America. 4. Heart of Oak. 5. Eric Fenby. 6. King George II. 7. Serenade. 8. All of them
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February 2016
fineMusic 102.5
Met Opera
2015-2016
LIVE ON SCREEN
THE MET OPERA’S AWARD WINNING SERIES OF OPERAS CAPTURED LIVE IN HIGH DEFINITION CONTINUES FOR IT’S 10TH YEAR, FEATURING SIX NEW PRODUCTIONS, INCLUDING A MET PREMIERE, SCREENING CONCURRENTLY WITH THE NEW YORK SEASON.
LULU Berg
Marlis Petersen/Susan Graham/Daniel Brenna.
FEB 6/7/11 at 11.30AM.
MADAMA BUTTERFLY
THE PEARL FISHERS
Kristine Opolais/ Roberto Alagna.
Puccini
Bizet
JUNE 4/5/9 at 11.30AM.
MAR 5/6/10 AT 11.30AM.
ROBERTO DEVEREUX
TURANDOT
Sondra Radvanovsky/ Matthew Polenzani.
Diana Damrau/ Matthew Polenzani/ Mariusz Kwiecien.
Donizetti
Puccini
JULY 2/3/7 AT 11.30AM.
JUNE 4/5/9 at 11.30AM.
ELEKTRA
MANON LESCAUT
Nina Stemme/ Waltraud Meier.
Nina Stemme/ Marco Berti.
Puccini
Kristine Opolais/ Jonas Kaufmann.
APR 30/MAY 1 &5 at 11.30AM.
Strauss
AUGUST 6/7/11 AT 11.30AM.
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