Fine Music Magazine - January 2016 by 2MBS Fine Music Sydney

JANUARY 2016

MAGAZINE

Classical at Sydney Festival Baroque, opera, lieder and more

Fine Musicâ&#x20AC;&#x2122;s new student program

Focus on Australian music

Musica Viva and Victorian Opera Take on Voyage to the Moon

Fine Music in 2016 New programs, more variety

Coming up in Feb We welcome back Vladimir Ashkenazy for some Beethoven, plus Wynton Marsalis and his Jazz at Lincoln Center Orchestra for some cool jazz! CLASSICAL

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!

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BEETHOVEN Piano Concerto No.5 (Emperor) Symphony No.4

BEETHOVEN Symphony No.1* Symphony No.8 Symphony No.7*

Vladimir Ashkenazy conductor Garrick Ohlsson piano

Vladimir Ashkenazy conductor

Wynton Marsalis & the SSO Swing Symphony Wynton Marsalis and his acclaimed Jazz at Lincoln Center Orchestra team up with the SSO in a jazz tour de force. Simply unmissable for jazz fans and lovers of smoking hot trumpet.

WED 17 FEB | 8PM THU 18 FEB | 8PM FRI 19 FEB | 8PM BEETHOVEN Violin Concerto Symphony No.5 Vladimir Ashkenazy conductor James Ehnes violin

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FRI 26 FEB | 8PM SAT 27 FEB | 8PM BERNSTEIN Fancy Free – Ballet BERNSTEIN Prelude, Fugue and Riffs MARSALIS Swing Symphony Australian premiere

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CONTENTS VOL 43 No 1

2 COVER STORY

Classical and opera at Sydney Festival

4 Voices from the Tiwi Islands – Part two 5 Fine Music’s new HSC music programs 6 New chamber opera to premiere 9 Flashback with Derek Parker 10 Fine Music’s ‘At the Opera’ 2016 13 Young Virtuoso Award National Final 14 What’s On – Sydney and surrounds 16 CD Reviews 18 Jazz CD Reviews 19 Swinging on the Vine 21 January Program Highlights 56 Crossword and Trivia Quiz

Digital Channel Fine Mus - page 20

EDITOR’S DESK

It’s Sydney Festival time and that means a whole array of classical and opera events going on during January. Fine Music magazine spoke to three artists gracing our shores, each performing works of immense creativity and passion. Markus Hinterhäuser is coming to Sydney Festival to perform a unique production of Winterreise. It marries Schubert’s song cycle with charcoal animations by South African artist William Kentridge. But he is not the only international star. In the following week Elise Caluwaerts and Wiard Witholt will feature in Sydney Chamber Opera’s production of Passion, directed by Pierre Audi. And in the lead up to Australia Day, Jos van Immerseel and his period orchestra Anima Eterna will perform the full cycle of Beethoven symphonies in a marathon series, the likes of which Sydney has never seen. It’s classical music but not as we know it, writes Fine Music’s Nicky Gluch – turn to page two for the full story. In this issue you will also find out about a new initiative by Fine Music, which will give students, teachers and listeners the opportunity to hear and learn about the latest in Australian music. The New Australian Music for HSC programs will go to air in February. We’re also pleased to bring you the second part in a fascinating twopart series on a unique inter-cultural musical project between classically trained musician Genevieve Campbell and the extraordinary musical culture of the Tiwi Islands. We’re hoping over the Christmas break you’ll be able to help us find out more about you - our reading and listening audience – and what you like about Fine Music 102.5. We have made a short survey and everyone who responds goes into a draw to win some great prizes. Go to finemusicfm. com and look for the survey link on the home page. If the Sydney Festival is anything to go by, we’re in for an exciting year of YEARSfine music ahead. Happy New Year! 1974 - 2014

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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: Shoebox Design shoeboxdesign@gmail.com 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: Nicky Gluch, Barry Walmsley, Colleen Chesterman, Callum Close, Derek Parker, Michael Morton-Evans, Gwynn Roberts, Kevin Jones, Linda Marr, Richard Gate, Patrick D Maguire, Tom Forrester-Paton, Frank Shostakovich, Emyr Evans, Judy Deacon, Sue Hurst, Leslie Khang, Michael Muir. 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. Cover image: Artistic Director & Conductor of period orchestra Anima Eterna Brugge, Jos van Immerseel – visiting Australia this month for Sydney Festival

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January 2016

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CLASSICAL AND OPERA AT SYDNEY FESTIVAL Intimacy and Passion Abound

Jos van Immerseel. Image - Holger Schneider

“A good festival”, explains Markus Hinterhäuser, “should create something outstanding which is not, in the ideal way, something you can experience every day in a concert hall or opera house, it has to be something different”. Hinterhäuser is coming to Sydney Festival to perform a unique production of Winterreise. It marries Schubert’s song cycle with charcoal animations by South African artist William Kentridge. But he is not the only international star. In the following week Elise Caluwaerts and Wiard Witholt will feature in Sydney Chamber Opera’s production of Passion, directed by Pierre Audi. And in the lead up to Australia Day, Jos van Immerseel and his period orchestra Anima Eterna will perform the full cycle of Beethoven symphonies in a marathon series, the likes of which Sydney has never seen. It’s classical music but not as we know it. Hinterhäuser believes a good festival has to “tell you something about the world we are living in and about the world we are forced to live in. “I mean there are so many things happening in the world and art maybe doesn’t have an answer for everything but it asks the questions.” Sydney Festival 2016 is all this and more. Now in its 40th year, the festival, like the city of Sydney itself, has evolved. Lindy Hume (Festival Director, 2010-2012) encouraged its expansion to the west and outgoing director Lieven Bertels brought an international connection and reinvigorated the classical music program. 2

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Living art On interviewing Hinterhäuser, Witholt and van Immerseel, it becomes clear that what they have in common is that their work lives beyond the stage. Indeed a part of them is tied to their unique projects. Van Immerseel founded the orchestra with an eternal soul, Anima Eterna, in 1987 to serve as a “laboratory”. “Back in those pioneering times”, he explains, “it was simply impossible to perform certain oeuvres on historical instruments because research was lacking, instruments were hard to find or in a lamentable state, and professional musicians with a track record in period performance were scarce.” Van Immerseel’s musical “experiments” resulted in a wider scope of historically performed repertoire – from Monteverdi to the modernists – while also providing a backdrop for new generations of talented musicians, who know how to handle their gut strings or ‘chalumeaus’ with the highest skill. The use of period instruments is not an attempt at authenticity but rather led by the belief that composers could only write for what they knew. “To uncover the true colours of musical masterpieces”, van Immerseel describes, “requires a thorough knowledge of the instruments that a certain composer, at a certain time and place, has known and used. “Instruments provide the key to a composer’s musical world, set the perimeter of his soundscape,

and allow us to re-create a composition with respect for the original work of art.” Beethoven’s music may be more than 200 years old but his approach very much fits the festival vibe. Speaking of him like a friend, van Immerseel explains how Beethoven “consciously sought out how to implement new features in his music, and how to create scores that no one had ever attempted to write before”. “The paradox of it all is that Beethoven, the true progressive, speaks most loudly today when his music is re-created through period performance: only then does it pierce our 21st century ears with its baffling modern sound.” Sydney will be treated to this Beethoven made new through antiquity over five nights. The series opens with the only non-Symphonic work, the overture to The Creatures of Prometheus which, written in the same period as the first two symphonies, seemed the relevant choice to “ignite the symphonic series in Sydney”. Each night, two more symphonies will be revealed until the fifth night and climactic finale that is the Ninth Symphony. Audiences might be surprised by the small size of the orchestra and choir (a mere 25 singers) but van Immerseel explains that it in fact enhances the experience. “This might sound strange”, he says, “but in my view there is a clear limit to how much the sound of an ensemble can be enlarged by simply doubling or multiplying the number of its musicians. “When ‘just’ six violins have to make it happen, they really need to put in all they have – a powerful tone, precise intonation and articulation, almost like a solo performance.” Critics have described this cycle as an “edge of your seat performance”- with such a mentality critical to their ethos, it’s not hard to see why. Passionate re-imagining From the familiar Beethoven to the lesserknown Pascal Dusapin – his opera, Passion, is a contemporary re-imagining of Monteverdi’s L’Orfeo in which he strips the story bare. Dusapin creates just two characters: He, an embodiment of Orfeo and the general female She as Eurydice. Dutch baritone Wiard Witholt will perform the role of He in the Sydney production. He explains how he has “lived with the part for several months now” and this investment is clear when he describes the work. “Dusapin”, he explains, “has not made a copy or pastiche of Orfeo. He makes a sort of Orfeo story but he asks himself questions about this story… in this opera we start from the point where Eurydice is already dead… Orfeo goes down into the inferno to get her but Dusapin

Wiard Witholt takes on Dusapin’s Passion

asks himself the question, what if Eurydice didn’t really want to go back with him to Earth?” The opera becomes less a Greek drama and more a contemplation of human mourning. “Passion shouldn’t be translated as sentimental passion but really like suffering and through this suffering, learning,” said Wiltholt. “When you think of mourning you think of this sense of ‘what did I do wrong that this person is no longer with me?’. You get angry, you get very sad; you can also get very happy thinking of beautiful moments in your life with this beloved person. “This is the sort of 10 passions, the 10 states of mind that Dusapin goes through with this piece. Through, joy, through suffering, through every emotion, he tries to cope with death.” Directed by acclaimed theatre and opera director Pierre Audi, Passion is an amazing journey, both for the audience and the performers, dependent on an intimacy and mutual trust. Witholt may not have worked with soprano Elise Caluwaerts before but he believes that the music will ensure they find a bond. “I am very dependent on her musically”, he explains, “because it’s not very easy, this piece, that is clear. It’s very long, there are a lot of levels of music to learn and a lot of entries when I come in and am dependent that she is in the right time and she’s depending on me so in

this sense we have to find each other and form a sort of intimacy, musically”. Technological advances in the past 40 years have certainly aided international collaborations. Witholt, too, has not met Sydney Chamber Opera’s conductor, Jack Symonds yet, but Skype means that they are not strangers – he describes the sense of collaboration that has already been established. “Working with these small groups”, he says, “you become much more intimate, much more familiar with the company. And for the results of the opera it’s always better. It’s always the whole team – everyone is there to make it work and that is really fantastic”. So what should audiences expect? As Witholt explains, the opera has some “beautiful sounds but it’s also harsh and it really confronts you with life – it may even be a mirror for the audience”. Lieder with a difference Winterreise is “not just a cycle of 24 beautiful lieder but a piece with a very profound and very deep political reflection,” according to pianist Markus Hinterhäuser. The work includes a video montage featuring the work of South African artist William Kentridge. Hinterhäuser says of Kentridge: “I was always fascinated by the political dimension in his work which is not a political dimension he uses in a predictable way but is always merited in an artistic view, an artistic utopic”. The video montage is not there to complement the narrative but as an integral part of the performance. “It’s a trio for a singer, a pianist and a video operator. It’s like chamber music with another parameter, the visual parameter, but it’s an incredibly refined and sophisticated way for three artists to work together.” Hinterhäuser’s contribution to the work has been much praised. An Italian critic described him as being like a discreet shadow bent over the keys of the piano. But even though Schubert has elevated the role of the piano, Hinterhäuser insists that ultimately the narrator is the singer. And with the baritone Matthias

Winterreise featuring pianist Markus Hinterhaüser, baritone Matthias Goerne and the artwork of William Kentridge

Goerne, Hinterhäuser has formed “a beautiful acoustic relationship”. “There are very few, very few singers who are able to sing lieder like Matthias Goerne does. With outstanding singing quality, outstanding performance quality… it is a privilege to play with him,” he said. So what is Hinterhäuser trying to evoke in this interpretation? He will not commit to an intended ‘lasting message’ believing “that the perception of art is also to do with freedom. And freedom of listening, freedom of feeling, freedom of not judging something…” but even that statement captures the currency, the political verve that seems to affect Hinterhäuser. Winterreise is about a journey and though often interpreted as a private situation, to Hinterhäuser and Kentridge there is also something about “the situation you have with people who go from one place to another place, all these hundreds and thousands of refugees who move without knowing where, what to do there”. It’s a piece about the uneasiness of the world at hand, not providing the answers, but raising the questions, as a good festival performance should. - Nicky Gluch EVENTS Anima Eterna Brugge Beethoven’s Symphonies 1 & 2 Australia’s first ever Beethoven Symphonic Marathon on period instruments Conducted by Jos van Immerseel City Recital Hall: Overture to the Creatures of Prometheus, Symphonies 1 & 2 20 January, 8pm Symphonies 4 & 3 21 January, 8pm Symphonies 8 & 7 22 January, 8pm Symphonies 6 & 5 23 January, 8pm Concert Hall, Sydney Opera House: Symphony 9 25 January, 8pm Passion A daring and contemporary opera from Pierre Audi and Sydney Chamber Opera 14-15 January, 8pm Soloists Elise Caluwaerts and Wiard Witholt Directed by Pierre Audi Conducted by Jack Symonds Revival Direction by Miranda Lakerveld Winterreise Schubert’s song cycle meets Kentridge’s animation 7-8 January, 8pm Featuring baritone Matthias Goerne and pianist Markus Hinterhäuser www.sydneyfestival.org.au/2016/ opera-classical January 2016

fineMusic 102.5

UNIQUE INTER-CULTURAL MUSICAL VISION Voices From the Tiwi Islands Classically trained musician Genevieve Campbell first heard Tiwi voices on an amateur recording made by a family friend who had captured the sound of some old ladies singing on his phone. There was something about the sound that Campbell fell in love with: “It was earthy and real – not pretentious at all”. Fine Music magazine spoke with Campbell and four Tiwi Islanders who travelled to Sydney recently as part of a CD project. They came to Fine Music 102.5 where musicians added violin, double bass and bass clarinet to ethnographic recordings of Tiwi singers made between 1912 and 1981. Nelsina – named after her grandfather - is on her first trip to Sydney. Aged 22, she is part of the younger generation, the future. She has been singing since she was young, learning songs from her mother and grandmother. Her family is very musical; she and her sisters help her mother (who is a member of the Strong Women) to write new songs using the old stories. She is now learning more songs from Mary Elizabeth and Yikliya, traditional owners of the Milikapiti (formerly Snake Bay) community on Melville Island, so she can join the Strong Women’s singing group. She wants to be a teacher and pass on the songs and the language. Her song is one her grandmother wrote about her great grandfather. He went hunting to get food for his wife and children. He had to cross a river on his way back home. There was a strong current and he got swept away and drowned. The family was heartbroken and “they sang a song, our song, the crocodile,” explains Nelsina. She likes working with the non-Tiwi musicians and the different sounds they add to make the song more beautiful. At home they only use guitar and keyboard. She’d like the world to listen to the music they are recording. Collaborator on the project, Jason Noble plays bass clarinet and is a long-time member of innovative new music Ensemble Offspring. Campbell asked him to join the project eight years ago. When he went to the Tiwi Islands for the first time he says it was a real culture shock. Rehearsal was not like he was used to; people would go missing and Campbell would go out and pick them up in a four-wheel drive. After a day or so he relaxed into the time frame. “When the women are together under a tree with someone playing a guitar - that’s when we’d start,” said Noble. 4

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Crocodile women Jacinta Tipungwuti, Marina Tipungwuti, Sheba Fernando, Genevieve Campbell, Regina Kantilla and little Kirijini at Tantipi, Tikilaru country, Bathurst Island.

When asked how the classical and jazz musicians work with the Tiwi singers. Noble said: “It’s pretty organic. You have a listen and try and add something that’s not too intrusive but that adds something of your own. You end up with this ‘other’ music. It’s not classical or jazz or Tiwi, it’s another. “Half of the joy for me is just being around the women…. They’re such wise people and so funny with so much more empathy and understanding.” Challenges in ‘translation’ There have been some problems understanding and transcribing these very old recordings. Sometimes it was because the sound quality was poor, but there were also linguistic issues. “The language has changed; it’s not spoken anymore,” said Campbell. A combination of natural linguistic change and the tradition of closing names and songs of deceased persons - which includes words that sound like the person’s name - means that words drop out of use. When the missionaries started teaching English in the early 1900s a new local language began to emerge. The language spoken today is called new Tiwi. Only a handful of elders still understand old Tiwi. Also, song language is slightly different from spoken language requiring a five syllable poetic metre and some altered sounds. Yikliya offers Campbell a glass of water. She says with a smile “you know I’ve been talking too much don’t you?” She says that Tiwi traditional music has a lot of connection to other Australian Indigenous

music, particularly in the Top End. Like them they have specific song structures. Pre-contact music is still sung on occasions like the Kulama red ochre seasonal ceremony. Funerals have a Catholic mass plus the traditional singing. Having now reclaimed the old songs they can also use them with the kids, and young people are able to create their own songs using samples of the old recordings. The Dance Track project allows them to add their own voices and remix the songs using computer music programs. The old songs with solid 2/4 stick rhythms are great with looped dance beats! After talking to me for quite a long time – Campbell’s passion for the music and the Tiwi people seems boundless – she suddenly realises that things have gone quiet in the studio next door. She goes to find out what is happening. It seems it really is her baby and without her energy and empathy with the Tiwi singers, their music and the need to re-inject it into mainstream Tiwi society, this probably wouldn’t be happening. - Linda Marr This is the second part of a two-part story – the first part was published in the December 2015 issue of Fine Music Magazine.

FINE MUSIC TO AIR NEW HSC PROGRAM Introducing Students to Australian Music In a new initiative by Fine Music, students, teachers and listeners will have the opportunity to hear and learn about the latest in Australian music. With Jason Noble at the helm, listeners will have their aural diet expanded, as new music is explored from both the performers’ and composers’ perspective. Designed to add to the study of the HSC Senior Music topic, Music of the Last 25 Years, the programs will assist young audiences and their teachers, and hopefully will find some new converts as well. “I see the development of this radio program as being a valuable resource for music teachers and students, as well as the general public,” Noble tells Fine Music magazine. “As a performer specialising in modern repertoire and as a teacher of my instrument, I still find it difficult to point students in the right direction when it comes to selecting a piece to perform for the compulsory core topic as set by the NSW Board of Studies, Teaching and Educational Standards,” said Noble, although he adds that the Australian Music Centre is a valuable resource in this area. “The AMC does a great job collating potential material for students and their teachers, but sometimes sifting through the vast repertoire can be time consuming,” he said. The initial broadcasts in February will be an introductory series. Fine Music will present an hour-long program each on wind and brass, strings, piano, and percussion. Programs will feature discussions with composers, HSC markers, and teachers. Later in the year (Term Four), the program will work towards a half-hour show on each instrument, with about six to eight works featured. A series like this will excite all those listeners who believe in life-long learning. The opportunity

Jason Noble

to hear new music, and find meaning will be paramount for the success of the series. Works chosen for broadcast must have been composed in the last 25 years by an Australian composer. The focus is therefore on solo and duo works. Students selecting the Music 1 course could also find some interesting pieces to select should they choose the Australian Music elective, or even the other topic - An Instrument and its Repertoire. There should be works presented to cater for a range of student abilities. Broadcast on Fine Music’s digital channel, and live streamed on www.finemusicfm.com, will ensure access to those living outside of Sydney. Many teachers will admit that they tend to fall back on the same tried and tested pieces, but there is so much more music out there virtually undiscovered. Australian focus Jason Noble, a bass clarinetist, believes that our music tells us much about the diversity of Australia. “The listener doesn’t have to enjoy every piece; they are short enough to get a good crosssection of what is going on with Australian composition, while listening to some of Australia’s finest performers. “We need to keep supporting new ways of making music, while reflecting on the great legacy of Western Art Music,” said Noble. Some of the more established composers, such as Ross Edwards, Elena Kats-Chernin will be heard alongside lesser-known ones. Variety is the common theme, and an attempt to get students to become aware that there is an abundance of new works written for their instrument will be a prime objective. Whilst many students focus heavily on their performances skills, there is also an important part for composition in the study of HSC Music. “I think there is naturally some correlation with the composition elective, in that students will be able to hear a lot of Australian works, which could influence their own composition skills,” said Noble.

“A teacher could easily use the program to focus on compositional techniques in a couple of the works after purchasing a score. Most scores will be available from the Australian Music Centre, or websites of the composers. “In the future, we may be able to extend the program to do a feature on successful HSC compositions. I think this would be really interesting, as there is some great work and teaching being done,” Noble said. Being a performing musician, Noble is keen to link in with the many organisations with which he already works. “As a member of Ensemble Offspring, I have lots of links with composers and performers specialising in this new music,” he said. Ensemble Offspring and the Acacia Quartet, along with pianist Sally Whitwell, worked alongside Richard Gill and Karen Carey earlier this year for a successful HSC composition workshop at Santa Sabina. The waters were tested here, with about 100 students and their teachers attending. Noble believes that there is need for more access to events like these, to show students that they are not working alone, and to inspire each other to improve their performing and compositional skills. “The advantage of this radio program is really that students across the state can access the show without leaving their home. It is great as it will provide equal access for everyone,” Noble said. - Barry Walmsley ON AIR New Australian Music for HSC Commences in February – see Fine Music Magazine February program for details Available on Digital (FineMus); radio on demand and live streaming at www.finemusicfm.com January 2016

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NEW CHAMBER OPERA TO PREMIERE IN FEBRUARY

A Voyage to the Moon and Back

For chamber music lovers, Musica Viva’s first tour in their 2016 International Concert Season is set to take audiences to another world. With a libretto by theatre legend Michael Gow, and music realised by the late international Baroque guru Alan Curtis and Australian musicologist Calvin Bowman, Voyage to the Moon is a baroque pastiche (a work of art that imitates another work or period) starring soprano Emma Matthews, mezzo-soprano Sally-Anne Russell and rising baritone Jeremy Kleeman, in collaboration with musicians from Victorian Opera. Based on the 16th century Italian poem Orlando Furioso by Ludovico Ariosto, it tells the story of Selena (Matthews), the allpowerful ‘Guardian of the Moon’, the mad Orlando (Matthews), the loyal knight Astolfo (Russell) and The Magus (Kleeman). Fine Music magazine spoke with Michael Gow and Emma Matthews about the process so far and what they were most looking forward to in the final production. Developing the work For Gow, the process began in consultation, where he “pitched to Richard Mills and Carl Vine the idea of the Ariosto poem, and they liked that as a principle. “Once they said yes to that, I then went away and came up with a scenario which outlined a plot, the number of scenes and how the characters interacted, and everyone agreed that that worked.” Gow explained how he would “detail the scenario to Alan, and he would go away and come back with a number of arias and ensembles that would fit what I would describe”. The interesting aspect of Curtis’ musical brief was in finding music that had not been heard widely before by a famous composer; or amazing music by an unknown composer. “There’s Handel and Vivaldi, and people I’ve never heard of - and they’re amazing people. It’s almost a show reel of great baroque music in a way,” said Gow. Orlando Furioso was written by Italian poet Ludovico Ariosto (1474–1533) and was first published during April 1516. In true renaissance style, the poem is epic in proportion and has several crossing plot lines throughout. The story centres on Orlando, the ill-fated and insane knight, who has been embroiled in war and love, and the writing mixes reality with 6

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L to R: Phoebe Briggs, Jeremy Kleeman, Emma Matthews, Sally-Anne Russell

fantasy, and humour with tragedy. Of Voyage to the Moon, Gow said, “it will be an amazing musical experience. We are creating a ‘baroque space’, as the performers will all be on stage. The story telling element is very important to me, and it’s a group of people who have come together to tell this wild story - it’s almost like 17th century sci-fi. “We’ve been looking at lots of images of baroque theatre and baroque performance and picking out the most obvious elements that we can present on stage.”

… people who have “come together to tell this wild story … ”

For Emma Matthews, part of the excitement is getting to sing baroque music again. After working with Opera Australia for a number of years, and singing a broad spectrum of the opera repertoire, Matthews is looking forward to singing in a much- loved, but very different style. “I haven’t sung anything earlier than Mozart for a while, but I just love that (baroque) repertoire, and that’s the stuff that I do really well along with bel canto - it’s my area,” said Matthews. Fine Music asked Matthews about the differences between bel canto opera and the style of Voyage to the Moon, to get an idea about the way the

voice works differently in various styles. She said: “If you compare the baroque and bel canto repertoire, bel canto is all about the legato and the line - having a beautiful tone and using portamenti and stretching rhythms. “In the baroque period, you have to be a lot cleaner, and you need to have clarity in the sound and ensure that it doesn’t wobble - it has to be a very pure tone with a depth in it to make it work.” Gender roles Interestingly, the work has a cross-gender element, a homage to the castrati of the Baroque period, but also a way of subverting the traditional idea of who plays what character in an operatic setting. Both Matthews and Russell play male roles, and for Matthews, the “challenges [of the work] are finding a way of playing dual roles”. Playing the roles of the mad Orlando and the goddess Selena, Matthews further develops this characterisation through her vocal technique: “Another time I have played multiple characters was in Les Contes d’Hoffmann, where I sang all the female leads. That was challenging as they each demanded a different register to sing in.. Especially going from Olympia to Giulietta, but I relished the challenge, and it was a great success”. It has been a challenge to find music that fits some of the characterisation associated with this

role. “What we’ve discovered in finding the music for this pastiche is that the music for Orlando is written for a mezzo-soprano or a counter-tenor.

“come up with a way that is not too ironic, but slightly modern on all the amazing gestural elements that baroque opera was about”.

“To find pieces for a high soprano that have that furious madness and aren’t placating or about broken hearts and work with the textual colours that you need for a male character, that has been really tricky,” said Matthews.

Voyage to the Moon is a blending of the known and the unknown, and by incorporating the old and the new, the story comes to life in a unique way - a semi-staged, costumed theatre piece in intimate locations across the country.

“Finding a duet for both Sally-Anne and I, where Sally-Anne is placating the madness has been rather difficult, so we’ve got a nice little surprise for that moment!

- Callum Close

“What we found was that some of the music for Orlando should have a certain temperament in the writing so that I can give it an energy, and deliver it in a more masculine way - in energy, rather than pitch,” said Matthews.

EVENT Musica Viva 2016 International Concert Season VOYAGE TO THE MOON

Orlando furioso by Lodovico Ariosto - a popular Italian epic poem about a knight who goes mad when he discovers that his beloved has eloped with a Moor in the enemy army

Co-produced with Victorian Opera

From the perspective of the libretto, Gow said “the male voice, which is what we’ve observed in this baroque opera tended to be a god or king, or some kind of wise person.

played by women - it’s a nice reversal of what happened in the 19th and 20th century where the male drives the story.”

“I quite liked the idea that the two heroic characters that go on an amazing journey are

He said that musically, Voyage to the Moon will “knock peoples socks off” and that it will

HEAD NORTH NEXT WINTER

Melbourne, Sydney, Brisbane, Canberra, Perth and Adelaide 15 February–12 March, 2016 www.musicaviva.com.au/voyage

FOR THE

AUSTRALIAN FESTIVAL OF CHAMBER MUSIC WHERE THE WORLD’S FINEST MUSICIANS PERFORM IN A TROPICAL AND FRIENDLY ATMOSPHERE Save the date and start planning your next winter escape to the Australian Festival of Chamber Music in Townsville, North Queensland. Join Artistic Director Piers Lane and over 30 of the world’s finest musicians for stellar music, winter warmth and genuine friendliness.

29 JULY – 6 AUGUST 2016 TOWNSVILLE, NORTH QUEENSLAND

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FLASHBACK WITH DEREK PARKER

A series of Unfortunate Incidents Fifty years ago, I was at the centre of an Unfortunate Incident at Covent Garden Opera House. On 4 May I caught the night bus from Notting Hill at 3.30, arrived in Bow Street at four, and was 264th in the queue for tickets to hear Callas and Gobbi in Tosca. Orderly queue, as always, but alas the queue leader had only brought 280 tickets, and made the mistake of telling late arrivals that they could just sign his book, safely go away, and return later to take their places. After a while, he went off himself for a slow half-pint at the Nag’s Head. Sure enough more and more late- and later-comers came to join the end of a queue which they were surprised to find considerably shorter than they had feared. At half-past seven or so those who had left, returned, shocked that ‘their places’ had been taken by other opera enthusiasts extremely reluctant to give them up. When the queue-leader returned at a quarter to eight or so, he was quickly surrounded by unhappy queuers. The discussion became extremely heated, and despite typically humorous attempts to break the tension (“If you don’t shut up, all we’ll get is tickets for Moses und Aron!”, one wag shouted) I began to fear that the incident might eventually be concluded in the courts across the road. Only the appearance of the much-loved and usually amiable Sergeant Martin, the Major-domo of the House, quietened things down. You didn’t argue with Sgt Martin, late of the Guards. I got two tickets for the first Tosca after the Royal gala performance, and turned up on 12 July to find another Unfortunate Incident had occurred: Madame Callas, having sung for the Queen, had decided that enough was enough, and gone off to Paris about other business. However, once George Pretre raised his baton we still heard a marvelous Scarpia from Gobbi and an excellent Tosca from Marie Collier. The refund the management arranged, on the spot – queue at the box-office as you leave - was extraordinarily generous: we got £3 15s back on our £5 stalls tickets , which was a help later in the year when I was 82nd in the queue for a Fonteyn-Nureyev Giselle, and Cinderella at Christmas with Helpmann and Ashton as the Ugly Sisters. In the end, everything comes to he who queues. ‘The Garden’ Covent Garden may not be the most beautiful of opera houses – I suppose the Fenice would carry off the prize – but we grew extremely

fond of it, as one does for any theatre which plays a large part in one’s life (I felt and feel the same way about the Old Vic, and that most beautiful of the world’s theatres, the Theatre Royal, Haymarket). But the Garden certainly provided me with enough anecdotes to fill a gap in any conversation. The booking queues were always good for a story. In those days the fruit and vegetable market was still alive and kicking all around us as we lay in our sleeping bags on the pavement (three nights a minimum for, say, the first London appearance of the Kirov company). There was plenty of banter with and from the market porters. “You’re all mad,” one guy said cheerfully as he stepped over us. “Well,” someone said, “you’d sleep out for a cup final ticket”. He thought for a moment. “Ah,” he said, “but then you get a result”. Then there was the moment when I was greeted in the crowded crush bar one evening by a young man who clearly knew me; I knew him, too – but couldn’t for a moment remember where or why. I heard myself say, in a voice loud enough to cut through the hubbub, “Oh, I didn’t recognise you with your clothes on”. I usually saw him in the sauna at the gym (I knew no good would come of going to a gym). There was a certain frisson in the air as people cleared a space around us. No gays ever went to the ballet in those days, but the crowd

clearly thought there might be an exception. Fellow members of the audience in our favourite stalls circle (usually £2 10s a seat – round about £60 now) were usually well behaved, but occasionally there were exceptions, such as the lady who munched chocolates and talked audibly to her companion through the first act of Giselle. In the interval I asked her if she would mind perhaps not talking quite so much during Act II. “Why?” she said incredulously – “it’s only music”. To which I could really think of no reply. I’m a fairly inoffensive person and not given to violence; the only time I have almost hit someone was at the London Coliseum when Reginald Goodall was conducting his magnificent, but decidedly leisurely Ring. The two seats in front of us were empty until the very last minute, when a couple shuffled into them. It soon became clear that the man disagreed fairly violently with Goodall’s tempi, for he began ostentatiously conducting the first act of Valkyrie. After a while his movements became really irritating, and I prepared to deliver a karate chop to the side of the neck when he turned to speak to his companion and I recognised the unmistakable profile of Leonard Bernstein. My hand stopped in mid-air. I might have been banned for life. January 2016

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FINE MUSIC’S ‘AT THE OPERA’ IN 2016 Enjoyable, Diverse & Enriching Last year I had the enjoyable experience of attending two German Handel Festivals, in May in Göttingen and in June in Handel’s birthplace Halle. Göttingen is a small town of half-timbered houses, Gothic churches and a proud university. Its Handel Festival began in 1919; recent directors include John Eliot Gardiner, Nicholas McGegan and harpsichordist Laurence Cummings, director of London Handel Festival. Each year it produces an opera, an oratorio and concerts. Halle, an industrial city, has gained Federal funding since reunification. It both produces and buys in operas, high profile soloists and orchestras. In 10 days between Festivals we explored SaxonyAnhalt’s fortified monasteries, Imperial castles, Romanesque churches and, near Halle, Leipzig and Naumburg’s beautiful cathedral. Handel’s 45 great operas, so popular in his lifetime, fell into disfavour until the 20th century. In At the Opera in 2016, I have programmed six. In January we hear Julius Caesar, an early recording in English, with Charles Mackerras conducting mezzo-soprano Janet Baker in the castrato role.

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Brisbane Baroque presents the Australian premiere of the Göttingen International Handel Festival production of Agrippina, in April

In March is young Handel’s last Italian opera, Agrippina, 1709. The witty libretto by Cardinal Grimaldi is based on the machinations of Nero’s

mother Agrippina to make him emperor. The stylish and cheeky production from Göttingen will be imported by Brisbane Baroque in April.

The version we hear is conducted by René Jacobs with the Akademie für Alte Musik Berlin. In May, we hear Alessandro, which created a sensation in London in 1726 because of the squabbling of Italian sopranos Faustina Bordoni and Francesa Cuzzoni on stage together for the first time. In this comic opera Alexander the Great is played by famous castrato Senesino. Handel wrote competing arias for his female lovers, and the rival fans in the British nobility caused an uproar. A recent recording of an Athens production shown last year in Halle features a star cast, counter-tenors Max Emanuel Cencic, Xavier Sabata and soprano Julia Lezhneva all of whom have visited Australia in recent years. July brings Alcina, an opera seria from 1735, the story of a knight seduced by an enchantress, based on Ariosto’s Orlando Furioso. We hear the wonderful voice of Joan Sutherland in a recording from Cologne, with Fritz Wunderlich as the hero. Sydney heard her in the role in 1983, conducted by Richard Bonynge. In September we hear another Ariosto 1735 opera, Ariodante with the beautiful mezzo-soprano voice of Lorraine Hunt Lieberson singing the hero’s role and Nicholas McGegan conducting. Our final Handel opera for the year, Arminio, is based on Tacitus’ life of the German hero

Hermann. It enables us to hear Il Complesso Barocco, conducted by Alan Curtis, the American conductor based in Italy, who revived a number of Handel operas and developed stars such as Joyce di Donato.

lesser known operas, some from well-known composers and others from composers with whom we may not be familiar, such as Pfitzner, Jommelli, Penella, and the early NSW colonial composer, Isaac Nathan.

Greater variety In the alternate months of our 2016 Baroque opera stream on the third Wednesday of each month, we look at other major centres of Baroque music, in particular Paris with Lully, Leclair, Rameau and Rebel, and Italy with Pergolesi, Monteverdi and Vivaldi.

The operas in the first four weeks of each month will be drawn, with one exception, from our extensive Fine Music library collection and will be mainly programmed by Elaine Siversen and I, with help from our dedicated band of opera presenters.

“

… aims to reflect the development of opera since it first began …

”

The selection of operas for 2016 aims to reflect the development of opera since it first began in Italy in the 17th century. Each week of the month will feature a different era in classical music. As well as the Baroque stream on the third week of the month, in the first week operas from the classical period will be featured; the second week will have operas from the 20th century and in the fourth week romantic operas will be broadcast. There will be popular and well-loved operas and some

On the fifth week of the month, Paul Roper dips into his private collection of early operas to give us the rare treat of operas by Galuppi (March), Sacchini (June), Piccinni (August) and Zumsteeg (November). We trust that, when you tune in at 8pm each Wednesday night, you will find it an enjoyable, diverse and enriching time spent in the company of some great singers, orchestras and conductors. - Colleen Chesterman ON AIR WEDNESDAYS AT 8PM AT THE OPERA Prepared by Colleen Chesterman

OPERA AND THEATRE IN LONDON AND THE ENGLISH COUNTRYSIDE 11–24 JUNE 2016

TOUR HIGHLIGHTS • Performances at three English opera festivals, Glyndebourne, Garsington and Grange Park, opera at London’s Royal Opera House and Evensong in King’s College Chapel, Cambridge.

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YOUNG VIRTUOSO AWARD – NATIONAL FINALS The winner is Magdalenna Krstevska from Victoria

The much anticipated national finals of the Young Virtuoso Award took place on 29 November, with a clarinetist from Victoria taking out the top honours. In what was the culmination of a year-long process, five very talented young musicians battled it out with Magdalenna Krstevska emerging the victor from a strong field including pianists Bernice Chua (ACT), Jordan Paterson (SA) and Alex Raineri (QLD); and cellist Vincent Lo (NSW). “There were many steps to the final outcome,” Krstevska told Fine Music magazine. “It was challenging in the preparation and in maintaining the freshness in the performances.” Of the awards process Krstevska said: “It is wonderful to be able to get a professional broadcast and to experience the interview process as well. This is the first time I’ve travelled interstate Clarinetist Magdalenna Krstevska takes out national YVA and playing in unfamiliar halls for the first time is four piano, one violin and this year triumphed always a challenge. with the clarinet. “Today was different to the last rounds I was Representing Victoria, Krstevska has just completed involved in because there is such a variety of her Bachelor of Music, Honours in Clarinet Music instrument, all at such a high level of performance.” Performance at the University of Melbourne, The national finals, hosted for the first time studying with David Griffiths and Paul Dean. by the Canberra ArtSound FM 92.7, were held She received her AmusA in 2010 and has in the ANU School of Music’s Larry Sitsky Hall. been the recipient of numerous awards Emeritus Professor Sitsky OAM was also on and prizes, including the Frances Quinn Arts hand to present the award. Encouragement Award (2012) and 3rd prize in The National YVA was started in 2001 by the the Hepzibah Menuhin Memorial award (2012). then 2MBS FM and is hosted on a rotational In 2011, she received a perfect score in Year 12 basis between the five participating MBS VCE Music Performance. community stations. ArtSound joined the Krstevska had entered the competition through event in 2013 and has produced two winning The Music Society of Victoria (MSV) which runs entrants, both guitarists. QLD, Brisbane’s 4MBS the preliminary rounds of the competition, Classic FM 103.7 has taken the award twice with twice before. In these rounds, the winners of sopranos and NSW, Sydney’s FineMusic 102.5 the Hephzibah Menuhin awards in piano, wind also twice with violin. SA, Adelaide’s 5MBS 99.9 and strings, together with the winner of the fm has won with two pianists and a soprano Armstead Singing Award, compete to represent and VIC, Melbourne’s 3MBS 103.5 has produced Victoria in the YVA.

In terms of preparation for the finals, Krstevska says: “I take out little things in a piece and focus on specific bars and phrases that I had trouble with so when it comes to the actual performance I won’t be caught up in moving mentally ahead of myself and I can let the music take over”. A veteran of student orchestras, Krstevska has performed with the Melbourne Youth Orchestra (2009-2012) under Fabian Russell, the University of Melbourne Symphony Orchestra (2012-2013), the Australian International Symphony Orchestra Institute (2012) and at AYO National Music Camp (2013). Most recently, Krstevska attended The International Clarinet University in Camerino, Italy. She commences study in February at the Australian National Academy of Music (ANAM). The YVA prize money will go a long way towards helping her achieve her dream of studying for a Masters degree in Europe. She adds: “I am very grateful for this opportunity and have enjoyed the whole experience throughout. “Thanks to all the many people, the organisations and my fellow competitors that made this possible.” - Judy Deacon ON AIR Wednesdays 1pm 6 January - YVA 2015 13 January - YVA 2015 Audio Engineer: Chris Deacon Presenter: Deborah Hamilton 20 January – NSW Youth Orchestras 27 January – NSW Youth Orchestras Audo Engineer/Presenter: Harry Godber Co-ordinator Judy Deacon yv@finemusicfm.com

Line up announced for Enjoy, Learn, Discuss series

The popular series of events which enables people to learn more about a diverse range of music from Fine Music presenters, continues throughout the year. Designed for the novice and devoted enthusiast, these informative events will be held at the studios of Fine Music 102.5 on the third Sunday of each month from 2.30pm. The line-up has been announced as follows: 21 February, Andrew Dziedzic: Schubert’s song cycle Winterreise: self-indulgence or revelation? 20 March, Liz Hayllar: The music, history and traditions of the celebrated Choir of King’s College, Cambridge

17 April, David Ogilvie: Latin Horizons 15 May, Michael Field: Bach’s sparkling jewels: the Brandenburg Concertos 19 June, John Buchanan: The Story of the 1930’s Swing Era 17 July, Marilyn Schock: Spanish Music 21 August, Brendan Walsh: Puccini - the man, his operas and his legacy 18 September, Gerry Myerson: Klezmer, the music of the Yiddish-speaking Jewish populations of Eastern Europe 16 October, Angela Cockburn: Staging musical productions: a look at some of the hidden – and not so hidden problems of musical stage productions

13 November, Joe Neustatl: Kurt Weill: his world and his music 11 December, Ross Hayes: A nest of singing birds - great Australian Opera Singers of the past For bookings or enquiries, please contact the receptionist at Fine Music 102.5 during business hours on 02 9439 4777. Entry: $10 or $5 for volunteers & subscribers, per event. Payments are by cash at the door (no EFTPOS or credit card payments accepted) January 2016

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What’s On

ENSEMBLE Bach and his Dutch contemporaries New Dutch Academy Conductor: Simon Murphy SYDNEY FESTIVAL 17 January, 2pm Venue: City Recital Hall Tickets: $41-469 Bookings: www.sydneyfestival.org.au/2016/ bach-and-his-dutch-contemporaries The Dutch music scene of the 17th and 18th centuries had an energy and effervescence that will never be repeated in music history – but, it turns out, now Sydney music lovers can experience it. In this Australian exclusive, to celebrate the Dirk Hartog year, the Embassy of the Kingdom of The Netherlands and Sydney Festival present this rich baroque repertoire. For one special concert, Sydney-born conductor and viola player Simon Murphy returns to his homeland with period instrument ensemble New Dutch Academy in tow and a treasure chest of rare riches from the baroque repertoire: Vivaldi, Handel, Telemann, de Fesch, van Wassenaer and more. Marking the 400th anniversary of Dutch explorer Dirk Hartog’s expedition to Australia, here’s a wonderfully improbable opportunity to experience the cosmopolitan glory days of the Baroque right here in Sydney. Photo: Fernando van Teijlingen INSTRUMENTAL Angel Suite Joseph Tawadros and guests 17 January, 7pm Venue: Unorthodox Church of Groove, Newcastle Tickets: $30-$35 Bookings: www.trybooking.com/Booking/ BookingEventSummary.aspx?eid=171686 For this very special concert Joseph Tawadros will share the stage with some of Australia’s 14

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OPERA O MENSCH! Sydney Chamber Opera Australian Premiere SYDNEY FESTIVAL 22 January, 8pm 23 & 24 January, 8.30pm Venue: Carriageworks Tickets: $35 Bookings: www.sydneyfestival.org.au/2016/ o-mensch Restoring the voice to one of the mightiest minds in history, O Mensch! transforms 21 remarkable poems by Friedrich Nietzsche into a series of inspired musical declarations by French composer Pascal Dusapin. In this virtuoso piece for baritone and piano, audiences are plunged into the agonies and the ecstasies of this era-defining genius, as fierce ideology collides with high emotion. OUTDOOR SYMPHONY IN THE DOMAIN 16 January, 8pm OPERA IN THE DOMAIN 23 January, 8pm SYDNEY FESTIVAL Venue: The Domain Tickets: FREE Information: www.sydneyfestival.org.au/2016/ opera-classical It wouldn’t be summer in Sydney without Symphony in The Domain. Celebrate its 40th by bringing a hamper, a blanket and your friends – all dressed in ruby – and settle in for a free concert under the stars. This year the Sydney Symphony Orchestra is doing something special for Symphony in the Domain’s birthday; they’ve gathered a repertoire of music performed at Symphony in The Domain over the years to astound us with a ‘best of’ musical journey, with everything from Mendelssohn to Dvorák and Tchaikovsky. best musicians including his prodigiously talented brother James Tawadros on percussion, celebrated jazz pianist Matt McMahon and soulful clarinetist Dimitri Vouros. The Joseph Tawadros Quartet will share the stage to perform Joseph’s stunning Angel Suite. The concert is performed in memory of Joseph and James’ parents. Don’t miss your opportunity to experience this magical performance from some of Australia’s best musicians.

An intimate production directed by Sarah Giles and lit by lighting installation artist Katie Sfetkidis, O Mensch! features the indomitable baritone Mitchell Riley, who appeared in Sydney Chamber Opera’s ...pas à pas - nulle part... for the 2014 Sydney Festival. Be sure to also see Sydney Chamber Opera in Dusapin’s Passion at City Recital Hall on 14 and 15 January. Performed in German with English surtitles Photo: Samuel Hodge

Best of all, Symphony in the Domain is free! Just find a patch of grass and get comfortable for an evening of delightful music. Prizes will be awarded for the best-dressed ruby picnic and punter. The following week, you can come back as the stars begin to twinkle as daylight fades, and the picnic blanket is spread with good fare. From the stage, the sound of the Australian Opera and Ballet Orchestra fills the night, and some of Opera Australia’s best singers perform opera’s greatest hits. On a summer evening, relax and bask in the power of the human voice. Photo: Jamie Williams

JAZZ WALLFLOWER WORLD TOUR Diana Krall Sydney Symphony Orchestra 27 January, 8pm 28 January, 8pm Venue: Sydney Opera House Concert Hall Tickets: $79.90-$163.10 Bookings: Seymour Centre Box Office 9351 7940 or Ticketmaster 1300 723 038 or online Information: www.sydneyoperahouse.com/ whatson/diana_krall_2016.aspx OPERA LA BOHÈME Presented by: Opera Australia 02 January-23 March Venue: Joan Sutherland Theatre, Sydney Opera House Tickets: $44-$330 Bookings: www.sydneyoperahouse.com/ whatson/oa16_la_boheme.aspx A painter, a musician, a philosopher and a poet are having a night on the town. Café Momus is too pricey for them —they’ve nothing to weigh down those moth-eaten pockets. But why worry? The landlord is sorted, the bar tab can wait. They’re young and their lofty ideals will keep body and soul together. And then there’s love. Ah, love. Nearly 120 years after Puccini wrote his smashhit La Bohème, this story of first love still tops the list of most performed operas around the world. It’s about sacrifice and never giving up, even if it means parting with your lover — or your favourite coat. Gale Edwards’ glittering production provides a perfect setting for these utterly human emotions: in the bohemian streets of 1930s Berlin, in the colour and chaos of street fairs and burlesque bars, fairylights and fishnet stockings.

Five-time Grammy Award winning jazz pianist and world-renowned singer, Diana Krall will perform with your Sydney Symphony Orchestra this summer as part of her Wallflower World Tour. Having sold more than 15 million albums worldwide and played to an international audience of millions – including sold out shows in Sydney in 2014, don’t miss your chance to hear this remarkable artist. Touring in support of her latest album, ARIA Jazz Chart #1 Wallflower, the album finds Krall breaking new ground with her interpretations of some CABARET The Divine Miss Bette By Neil Gooding Productions & Catherine Alcorn 22 January, 8pm 23 January, 2pm 23 January, 8pm Venue: Joan Sutherland Performing Arts Centre, Penrith Tickets: $50-$55 Bookings: 02 4723 7600 or http://thejoan.com. au/whats-on/the-divine-miss-bette/ Bawdy, brash and just as fabulous as the original, The Divine Miss Bette is your chance to become intimately acquainted with one of the greatest cabaret artists of our time. After sell-out seasons across Australia, Catherine Alcorn brings her acclaimed smash hit to The Joan to open our 2016 Season with a

JAZZ STU HUNTER: THE MIGRATION SYDNEY FESTIVAL World Premiere 9 January, 8pm Venue: City Recital Hall Tickets: $41-$69 Bookings: www.cityrecitalhall.com/events/ the-migration A rising star in modern jazz, Australian producer, pianist and composer Stu Hunter made his breakthrough with his lauded album, the muse (2007), followed by the awardwinning sophomore suite, the gathering

of the greatest pop songs of all time. Krall will perform pop classics such as The Mamas and the Papas’ California Dreamin’, The Eagles’ Desperado and Bob Dylan’s Wallflower, as well as favourites plucked from her extensive catalogue.

summer night to remember. Trained by Steve Ostrow, the man who discovered Bette Midler, Alcorn will take you on a thrilling roller coaster ride back to the Palace Theatre, New York 1973. Backed by a five piece band, she’ll belt out the diva’s early classics including Stay With Me Baby, You’re Moving Out Today, The Rose, Wind Beneath My Wings, Boogie Woogie Bugle Boy, and In The Mood. Expect a rollicking ride: a huge voice, with sass and heart to boot.

(2010) which The Australian declared “a milestone in contemporary jazz”. Hunter’s music has a trace of dynamite smoke about it, such is its passion and smoulder. Besides his own remarkable work, Hunter has made a name behind the scenes accompanying the likes of Passenger, Silverchair and Katie Noonan. Here, Hunter premieres his brand new work, the migration, a hard-grooving, soulsearching and cascading response to modern life, love and cultural complexity, performed with a masterful ten-piece band. January 2016

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CD Reviews Beethoven Triple Concerto Giuliano Carmignola, violin Sol Gabetta, cello Dejan Lazic, piano Kammerorchester Basel Giovanni Antonini, conductor Sony Classical

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Beethoven’s Concerto in C Major, Op 56 for violin, cello and piano is significant in that it is the only one of its kind in existence. The ability to balance not one nor two but three solo instruments with the orchestra requires an innate knowledge of the limitations of all three instruments as well as providing an appropriate orchestral accompaniment that is neither too light nor heavy. In essence, the work may be considered a concerto for piano trio and orchestra. It has been a staple of the repertoire since its inception and has been recorded on numerous occasions.

Lavinia Meijer & Carel Kraayenhof in Concert Sony Classical

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That Bloody Game Michael Halliwell, baritone David Miller, piano Wirripang

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I’m not quite sure what to say about this latest release from our home-grown Wirripang label. ‘That Bloody Game’ refers to the First World War and is a collection of 21 songs, most of which I’d never heard before and wondered why. Of course World War 1 songs like It’s a long way to Tipperary, Hang out your washing on the Siegfried Line, and Pack up your troubles in your old kit bag, are familiar to just about everyone over the age of 50, but how many are familiar with He died 16

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This latest offering from the Basel Chamber Orchestra brings a period feel to the piece. The opening orchestral exposition sets a colourful tone full of energy and tenacity. Sol Gabetta’s melancholic cello introduction evokes a richness and purity in sound which is ably supported by the solo violin and piano. The first movement rollicks along at measured and well-paced tempo with the tutti interludes providing the extra vitamin shot of energy to keep the piece moving forward. Beethoven’s grand success with this composition lies in the fact that he was able to perfectly balance his solo instruments. The brief interlude that comprises the slow movement is delicate in its phrasing between cello and violin, and the piano, whilst sparingly used, gives the clues that there is something far more significant in the not too distant future. The finale is the triumph of the work with its virtuosity not only evident in the

solo parts but also scattered throughout the orchestra. Holding it all together is conductor Giovanni Antonini whose treatment of the material shows an excellent understanding of the balancing needed for the performance to succeed. The remainder of the disc has three of Beethoven’s overtures - The Creatures of Prometheus, Egmont and Coriolan. - Frank Shostakovich

It’s well known in Holland that Lavinia Meijer likes to explore beyond the borders of the classical harp repertoire with her arrangements for harp of Philip Glass repertoire being well received in Holland. Both she and Kraayenhof have reached large audiences far beyond the borders of their country with instruments that are not commonly seen; the bandoneón and the harp, respectively. Kraayenhof has worked with musicians such as Sting, Ennio Morricone, Yo-Yo Ma, Joshua Bell, JURK! Caro Emerald and the 3JS. Meijer has been seen frequently on stages recently with the Amsterdam Sinfonietta, Holland Symfonia,

Michiel Borstlap and Gare du Nord, among others. Meijer and Kraayenhof wanted to try out whether a combination of the bandoneón and harp would work and soon found out that both the repertoire and the combination of instruments were indeed a very good fit. Their repertoire consists of tangos, milongas and other beautiful Argentinean/Spanish/Italian compositions from composers such as Piazzolla and Morricone, but also Kraayenhof’s own compositions. The combination of bandoneón and harp sounds magical. - Emyr Evans

at the Dardanelles, Australia’s hymn for her dead, or What do you think of the Kaiser? Boo, hoo, hoo. This last one is actually just about the liveliest on the CD, the others, I have to say, are somewhat mournful and by the time I’d sat through the hour and fifteen minutes of the disk I felt somewhat depressed. The producers tell us that these songs were a source of propaganda for the government and other organisations. I hope they achieved their aim. The singing is of course excellent as you would expect from operatic baritone Michael Halliwell, and David Miller provides his usual professional accompaniment, but despite that it’s really only a CD to be taken in small doses or by those World War 1 history

buffs who are keen to enlarge their collection of old wartime memorabilia. - Michael Morton-Evans

CD Reviews Andrea Bocelli: Cinema (Deluxe) Decca

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This is an album that will not disappoint its classical listeners. If opera is not your cup of tea, I highly recommend this album to those who are huge fans of classical interpretations of film music. Bocelli has taken the classic Moon River from Breakfast at Tiffany’s and truly created something of his own. Each of these tracks opens a new setting; a new love story, making you crave for the next sound. Bocelli certainly does not lose his classical sound, keeping with the traditions yet giving a unique interpretation on film music. Por Una Cabeza from Scent of a Woman will push you out of your seat on to your living room floor, dancing all night to the Spanish romantic

Serene Nights Guitar Trek ABC

Thibault Cauvin Thibault Cauvin – guitar Sony Classical (2 CDs)

✶✶✶✶ Thibault Cauvin has virtuoso technique and beautiful tone. It’s striking how well he achieves independence of line, convincing you the guitar is more contrapuntal than previously thought. Recital albums have a habit of rounding-up the usual suspects: Albeniz, Rodrigo, Sanz, Scarlatti, Tarrega. But there’s esoteric fare as well. The Adagio from Jazz Sonatina (1993) by Balkan guitaristcomposer Dusan Bogdanovic makes me want the complete work (and less of the obvious repertoire). Calcutta (Raga du Soir)

tunes arranged with beautiful luscious strings from the orchestra. Nicole Scherzinger also appears in this album this time without her all-girl group in a duet with Bocelli; performing No llores poor mi Argentina. The pop queen from The Pussycat Dolls has once again let her vocals shine and displayed her wide range of vocal repertoire. One of my absolute favourites is Mi Mancherai from Il Postino, the luscious and passionate melodies are executed with impeccable technique. The theme returns many times, each time more heartbreaking than the previous. We are then transported into a playful, tranquil place with Sorridi Amore Vai from La vita è Bella. It is charming the way the music floats between the traditional Western music sound to the sounds of South American music. Do grab You know the pet food advertisement with a night watchman whiling away the hours with his incredibly cute West Highland Scottish terrier (aka ‘Westies’ – and they’re always white)? I’d been wracking my brain to identify the charming waltz music they use. I sensed it was French. Was it Faure? Film music by Auric? Or was it Satie? Yes! Satie. A quaint little thing called Je te Veux – and it’s on this recording. “Nothing is more beautiful than a guitar, save perhaps two,” is a quote attributed to Frederic Chopin. In which case Guitar Trek – with four such instruments – is surely doubly beautiful. If the guitar has one fault it’s that it can be quite a staccato creature, so put four guitars together and you risk quadrupling the challenge. The trick is to have such perfect ensemble and dynamic control that the quartet sounds like ‘one’ guitar; and with by Sébastien Vachez aspires to imitate Indian classical music (replete with percussive taps on the guitar body) and requires some fiendish alternate tuning. On the more sedate side. Schubert – a guitarist himself – would surely approve of his transcribed Serenade; the ebbing accompaniment to the melody suits the guitar so well. And the Aria from Bach’s Goldberg Variations must be one of the most sublime tunes ever written. Naturally, Latin America figures strongly with works by Piazzola, Jobim and Brazilian Sergio Assad. People who dismiss Paraguayan Barrios (Valse No. 3) as a mere ‘guitarist-composer’ deny themselves the pleasure of hearing a quintessential compositional talent. Honour

a copy of this album if you love operatic arrangements of classic film soundtracks. However the instrumentation is generally leaning more to the classical side, lacking perhaps the essential power and strength of well-known epic film soundtracks. - Leslie Khang judicious use of doublings you can create stronger lines and an illusion of sustain – exactly what this ensemble does. I’m still not fully converted, but Guitar Trek could eventually win me over. Brahms purists may object to their renditions of the Intermezzo Op. 118/2 and the Finale from Horn Trio Op. 40 but no-one can deny the beauty of the almost harp-like tone in the Intermezzo; the trio movement lacks the power of the original but this busy, scherzo-like music suits the quartet. In more familiar Hispanic territory is the swaying Tango of Albeniz – given a suave reading. The transcription I liked most was the wonderfully atmospheric Four Pieces for Piano by Rodrigo. A minor criticism is that some items are a bit obscure but the compensation is that everything’s so enjoyably played. - Michael Muir

thy father and thy mother? Indeed Cauvin does: playing Rocktypicovin (rock influences) and the wistful A l’infini pour ma mère, both written by his father. Truly, a worthy son - of the guitar. - MM January 2016

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Jazz CD Reviews DISCOURSE WITH KEVIN JONES

Provenance Vince Jones - vocals, flumpet and composition Paul Grabowsky - piano and composition ABC Music

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Provenance is a new ballad album from two legends of the Australian jazz scene that showcases the superlative craftsmanship of platinum selling vocalist Vince Jones and multi ARIA winning pianist Paul Grabowsky. Jones and Grabowsky first worked together in the 1980s when Grabowsky was musical director to Jones. The CD release Provenance marks a renewed collaboration between the pair after several decades apart, but the title also describes the music which the duo chose to record i.e. ballads that showcase the essential elements and ownership of their craft - elements that have been the foundations of their astonishing careers - pared down to an intimate combination of

piano and voice with the occasional flurry of the flumpet - a hybrid of a trumpet and a flugelhorn. The album begins with Rainbow Cake composed by the pair in the 1980s, which has Jones’ voice and flumpet in fine form on a composition well familiar to him from its many performances, and accompanied by a graceful piano solo from his co-composer, Grabowsky. It’s just pure gold! Oh My Love composed by John Lennon and Yoko Ono takes on a new and touching poignancy with Jones’ and Grabowsky’s rendition, and from there onwards the album glides effortlessly through a variety of classic songs from numerous genres with We’ve Only Just Begun, Stella By Starlight, This is Always and If You Never Come To Me as well as the beautiful original co-composition with pianist/musical director Matt McMahon, Between Your Eyes. A great singer tries to capture the very heart of the song, achieving what the songwriter presumably intended - namely the elevation of

the text through harmony and melody. Vince Jones does just that and has that ability by being a true romantic and a Gaelic soul man. Perhaps on this album, with its timeless songs, faultless pianoforte and beautiful melodies, it will touch your soul.

Jazz Festival, and the EFG London Jazz Festival. Shoeless And The Girl is Jackson’s second full-length album and consists of eight original compositions, inspired by characters he has observed and their themes of loneliness; and by two Wayne Shorter

compositions – Footprints and Wild Flower – both of which have been reimagined by Jackson and producer Giazonne Reyes. Jackson’s music is clearly influenced by mainstream pop and soul artists, but this album couldn’t be described as anything other than a jazz recording, full of memorable vocal phrasing and slick instrumental finesse from this pianist/singer/songwriter and his core trio companions Australian double bassist Huntly Gordon and percussionist Marco Quarantotto, plus alto saxophonist Nathaniel Facey blowing up a storm on the standout track Little Do You Know, and a flugelhorn cameo from Quentin Collins on the title track. This is mostly a trio album of style and substance. There’ll be no disappointment for lovers of vocal jazz desiring melody with engaging lyrics and a voice with resonance and lucidity.

Billie Holiday (both “standards” and Holiday originals) plus Cassandra Wilson’s original Last Song (For Lester), conceived as an homage from Billie to her musical soulmate, Lester Young. Wilson recorded the album in Los Angeles at the Seedy Underbelly studios with guitarists T Bone Burnett and Nick Zinner of the Yeah Yeah Yeahs and the rhythm section from The Bad Seeds - drummer Thomas Wydler and bassist Martyn P. Casey. This is not jazz as we know it! Wilson’s interpretations of Billie’s much lauded classics possess originality, with a few very brief improvisational solos, but the appeal of her re-imaginings and her vocal style are not what’s typical of jazz vocals, and may be extremely limited both with her fans and in jazz circles. There are ten standards and one original on this well-trodden path, sadly proving that it is a difficult task to ‘make the old new again’ effectively without gimmicks.

While All of Me, These Foolish Things and I’ll Be Seeing You, are the most traditional like pieces, with Wilson’s low register employed to the very maximum, why give the Van Dyke Parks string treatments to You Go To My Head, The Way You Look Tonight and What a Little Moonlight Can Do when they seem excessive and out of context to the rest of the album? Good Morning Heartache is five minutes of the most excruciating version of The Great American Songbook classic, and along with Billie’s Strange Fruit, (almost unrecognisable with its rock band re-imagining) is the final nail in the coffin of this album’s drawn-out death. Wilson may have alienated the many fans of her intended vocal soulmate, and unhappily even her own captured, adoring audience, by being a little too clever with something that didn’t need fixing. Sigh… I think Billie would shudder.

Shoeless & the Girl Theo Jackson – vocals, piano Huntly Gordon – double bass Marco Quarantotto – drums, percussion Nathaniel Facey – alto saxophone Leo Richardson – tenor saxophone Quentin Collins – flugelhorn Dot Time Records

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London’s Daily Telegraph described Theo Jackson as “one of the most interesting jazz vocalists and composers to emerge on the British scene in recent years”. The young British jazz vocalist first came to prominence at London’s 606 Jazz Club a few years back, and since then has continued to develop his craft by performing at a number of prestigious venues including Pizza Express in Soho, The Rye

Coming Forth By Day Cassandra Wilson Legacy Recordings

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This recording features 11 re-interpretations of The Great American Songbook associated with 18

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SWINGING ON THE VINE A Reminiscing in Tempo I sigh in satisfaction as Cat Anderson’s high note trumpet heralds the end of Crescendo In Blue almost lost in the wild applause during that final set at the 1956 Newport Jazz Festival on the night of 7 July 1956. Pouring another glass of shiraz watched in expectation by Big J, I recall the excitement of first hearing it, as I sat glued to my radio on a bleak Saturday morning in another place listening to the late Eric Child’s legendary program Rhythm Unlimited on the ABC. Duke Ellington had announced he would be playing a medium tempo blues written in 1938, actually it was 1937, called Diminuendo In Blue and Crescendo In Blue separated by an interlude by Paul Gonsalves, his tenor saxophone soloist. Some interlude - Gonsalves stepped to the microphone and blew 27 choruses which were punctuated by bursts of excited applause from the audience, many of whom stood on their chairs. The crowd was reduced to near hysteria by a solo that was bold, audacious and swaggering. And we still don’t know the identity of the woman in the black dress who cast off her shoes and began dancing followed by so many others in the audience. Newport 1956 will always belong to Ellington. Some critics wrote that it was the return of the Duke as a force in jazz but in reality he had never been away. Ellington even made the cover of Time magazine as a result. Yet the tenor saxophonist had not played Diminuendo in Blue since one night in 1951 during an engagement at Birdland, the legendary New York jazz club. There had been some controversy when the band was booked to play in what was predominantly a modern club. In fact many critics expected the band to flop. How wrong they were. The seeds for the Newport triumph were sewn when Duke asked the musicians to get out the charts 107 (Diminuendo In Blue) and 108

Sydney Jazz Club Co-op Ltd Presents Live Jazz Sydney Flying Squadron

76 MacDougall Street, Milsons Point 13 January From 12.30 until 3pm (Doors open 11.45am) Jazz in Full Swing Sue Gai Dowling -Vocals George Golla -Guitar Al Davey - Trumpet/Trombone/Vocal Craig Scott - Bass Bob Baird - Drums/Leader $10.00 Entry Fee

Picnic at Berry Island

At the end of Shirley Road, Wollstonecraft Starting again in February 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 www.sydneyjazzclub.com Tel +61 2 9719 3876

Paul Gonsalves

(Crescendo In Blue). When the band had finished Diminuendo, which Gonsalves had never played before, he asked the Duke if “he could take some choruses”. Gonsalves never knew how many he played but it caused some excitement with people standing on their chairs cheering. Five years later, when the band was in the wings waiting to go on stage at Newport, Ellington called Gonsalves over: “Paul, do you remember that number we played at Birdland - 107, 108?” “Yes,” was the reply. “That’s what I want you to play tonight,” Ellington said. “When we get through the first part, you go out there and play as long as you like.” Unfortunately, Gonsalves was typecast by that solo. Everywhere the Ellington band travelled he was asked to repeat it although many, including the Duke himself, considered the tenor saxophonist at his creative best on ballads. However, the general jazz audience tended to regard him in the light of what he deprecatingly referred to as “that Newport thing”. As he remarked: “I don’t think people realise that those things can’t be re-created”. With Ellington, Gonsalves became a distinctive voice. There was a fluid ease about his playing which placed him amongst very best Ellingtonians but the life of this quiet and contemplative man was complicated by external forces and internal weaknesses which led to his self-destruction. He drank to exccess and in addition to alcohol became addicted to drugs, including heroin. Ellington even sent him to a place where he could be treated for his addiction without success. His demons continued to haunt Gonsalves who would not show up for dates because he was not in a fit condition to play. However, Ellington kept him on the payroll even though he had to hire a back-up tenor player. Gonsalves was an important part of the band, not only as a balladeer of the highest class but his effortless ability to swing through long solos on numbers especially written for him by the Duke. There was a special bond between Gonsalves and Ellington shown by the leader’s grunt of appreciation as he listened to Gonsalves on Happy Reunion, a soul-bearing creation which defined the very essence of jazz captured on disc forever at a 1971 London concert. But his lifestyle finally took its toll and on 17 May 1974 he died in London at the age of 53. Ellington, hospitalised in the United States battling cancer, was not told of his death for fear the news would worsen his condition. The Duke died nine days later. - Patrick D.Maguire January 2016

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January Fine Music Digital Schedule Time 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 22:30 24:00

Weekdays

Saturday

Sunday

Weekdays Mon: Contemporary Collective Tue-Frid: General classical General classical Fine Music Breakfast Repeat of Morning concerts Repeat of Diversions in fine music

Saturday

Sunday

Contemporary Collective

General classical Saturday Morning Music General classical Small forces

General classical Sunday Morning Music

The Classical era

General classical

General classical Opera

Magic of stage and screen General classical

General classical

Repeat of Saturday night at home

Jazz General classical

Jazz classic & traditional In a sentimental mood

Mon: Baroque, Tue: Romantic, Wed: 20th century, Thur: Chamber, Fri: General classical

Repeat of Sunday night concert

Repeat of Sunday special

Young virtuosi In conversation General classical

Mon: General classical Tues-Frid: Jazz

After hours jazz

Ultima thule

FINE MUSIC VOLUNTEER PROFILE: Sue Hurst

Sue Hurst

Born in Budapest, Hungary in August 1928, Sue Hurst has been volunteering at Fine Music for the past 16 years. In her household growing up, the question was not “would you like to learn music?” but “what instrument would you like to study?” Although, her father, a concert violinist and civil engineer, was of the opinion that everybody should start on the piano. “Later, my brother (who worked with the Sydney Symphony Orchestra) studied the cello and as a second instrument, the trumpet,” said Hurst. 20

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“I stuck with the piano, and learnt from friends of my father’s, eventually being a pupil of Professor Igor Hmelnitsky until facing my final year of High School, I was confronted with choosing between piano and academia. “I considered whether I could ever become one of the ten best pianists in the world; and correctly recognising that I would not, chose not to travel at night by train hither and thither, to work in cold halls, with badly (or un-) tuned pianos, staying overnight in ‘commercial‘

hotels; and in the drought periods between work, teaching,” Hurst says. Her zenith was when she worked on the Rachmaninov C minor prelude and finally feeling that she “had it”, crashed the double-octaves to a triumphant close – and broke a pane of glass in the clerestory window above the piano. It was war time, and everything was scarce. “When my father opened his door; I bleated that I had broken the glass; but he just swept this aside with his arm, and said ‘Susanne, that was good!’ and went out again. “In my father’s demanding standards, that meant that Rach himself could not have played better,’ said Hurst. Aside from acting as an impromptu translator and guide for Ginette Neveu, the French violinist and her brother and accompanist on one of their Australian tours, Hurst had a long career in personnel, training and education. Able to speak several languages - English, French, Hungarian and a little German – Hurst has been able to assist Fine Music in translating disc sleeves among many other valuable tasks she performs that keep us on the air.

January Program Highlights A Family Affair - At The Opera 20 and 27 January, 8pm This month At the Opera brings together three important names in Australian music – two from our own time, and one from the earliest days of music-making in our city. The name of Charles Mackerras, who conducts Handel’s Julius Caesar in the recording you can hear at 8pm on 20 January, needs no introduction. Alex Briger, recently installed as conductor of the SYO, is his nephew, and was inspired by seeing his uncle conduct to follow his calling. The third name is perhaps less well known than it should be. It’s Isaac Nathan, direct ancestor to both Mackerras and Briger, and with a fair claim to the title accorded him of “father of Australian music”. Certainly he wrote the first opera to be composed in Australia, Don John of Austria, which you can hear Alex Briger conduct on 27 January. Isaac Nathan (1790-1865) lived a colourful life. The product of an English Jewish family, Nathan’s father was a cantor who encouraged his son’s musical education. At the age of 23 he conceived the idea of setting tunes from the synagogue to words, which he persuaded Lord Byron to supply. Nathan was more than a match for Byron in his rakish style of life, which included gambling on prize fights, two runaway marriages to music pupils who were Christian, a duel over the honour of Lady Caroline Lamb and an assault on an Irish nobleman for impugning that of another of his female pupils. Appointed singing teacher to the Princess Royal, Princess Charlotte, Nathan’s royal connection led him to undertake some mysterious services of a diplomatic nature on behalf of the Crown. 1834, however, brought a Whig government which knew nothing of these services, and refused payment, leaving Nathan insolvent. Fleeing the debtors’ prison, he removed himself and his family to Sydney, where he served both the synagogue and St Mary’s Cathedral as musical director, and undertook the first transcriptions of indigenous Australian music. He also composed Australia’s first native opera, Don John of Austria. The version we hear today has been orchestrated by the composer’s descendant, Charles Mackerras, to its great advantage.

including mandocello, guitar and double bass. The concert includes Winter Collection, a work written for the Festival by Sydney mandolinist Stephen Lalor, and arrangements for mandolin orchestra by Dr Marge Smith of Percy Grainger’s Random Round and by Michelle Nelson of Peter Sculthorpe’s Little Suite. On 14 January Sydney University Graduate Choir and local soloists feature in a broadcast of their performance of Dvorak’s Stabat Mater on 3 May 2015 in the Great Hall, University of Sydney.

Alex Briger

Another opera event this month, is the broadcast on 2 January (2pm) of Handel’s Theodora. In his day, Handel’s most popular oratorios were those that told a tale of adversity rewarded by triumph, often with plucky Israelites standing proxy for plucky Englishmen in the defiance of a series of Biblical bogeymen. In Theodora, which you can hear in a Glyndebourne production on 2 January, the adversity is not rewarded by triumph, and the hero and heroine, early Roman Christians who have fallen foul of the staunchly pagan emperor, die on his orders. Contemporary audiences found that this tragedy didn’t really float their boat, although connoisseurs were clear about its merits, as they have been ever since. Live and Local 8 pm Thursdays More recordings by our sound engineers of live music performed by local musicians.

Mandolin Festival Gala Concert On 7 January you can hear a concert from the Mandolin Festival hosted by the Sydney Mandolin Orchestra recorded by Greg Ghavalas for Fine Music on 11 July 2015 at the Gillian Moore Centre for Performing Arts, PLC. Despite its name, the Mandolin Festival embraced all manner of plucked instruments,

On 21 January we broadcast a concert given by Kruger Scholar Nick Russoniello with guitarist Murilo Tanouye on 22 July 2015 at the Roseville Music Club in St Luke’s Presbyterian Church. The program is strongly Iberian and Latin American, with a Ravel Habanera, two tangos from Piazzola and Albeniz’ Tango. 28 January brings a broadcast of the Willoughby Symphony Orchestra’s concert on 2 May 2015 at The Concourse, Chatswood. The program has an American theme, with Korngold’s Violin Concerto and Copland’s Fanfare for the Common Man, bookended by Bernstein’s West Side Story music.

Leningrad – Sunday Special 31 January, 3pm Shostakovich, who always had an uneasy relationship with Soviet authority, had originally intended to name his 7th symphony after Lenin. But in September of 1941 Leningrad came under a siege by the German army that was to last 900 days and become emblematic of the immense suffering endured by the peoples of the Soviet Union throughout the war. So when it was premiered in December of that year, it was called Leningrad, a title that gave cover for all manner of interpretations of the composer’s intent, not all of them flattering to the Soviet State. At nearly an hour and a half, it’s among the longest in the repertoire. In this recording, the Chicago Symphony Orchestra is conducted by Leonard Bernstein. - Tom Forrester-Paton January 2016

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Friday 1 January 0:00 CONTEMPORARY COLLECTIVE

Violin partita in E, BWV1006 (transcr. Rachmaninov). Vladimir Ashkenazy, pf. Decca 470 291-2

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

Sheep may safely graze, from Cantata, BWV208 (arr. Howe); Die Seele ruht in Jesu Händen, BWV127 (arr. Bauer). Angela Hewitt, pf Hyperion CDA67309 11

9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Frank Morrison Beethoven, L. String quartet in F, op 135 (1826). Emerson String Quartet. DG 429 224-2

Chaconne, from Partita in D minor (1720; transcr. Busoni). James Rhodes, pf. ABC 476 4596 24

Rinaldo Alessandrini

Allworth, R. Album leaves for mandolin duo (1978). Adrian Hooper, mand; Paul Hooper, mand. Jade JADCD 1023 9

Arnold, M. Suite from Homage to the Queen, op 42 (1953). BBC PO/Rumon Gamba. Chandos CHAN 10550 20

Wieniawski, H. Le chant du bivouac, from Six polyphonic studies for solo violin, op 10 (1854). Ruggiero Ricci, vn. Dynamic CDS 28 3

Glinka, M. Dances in Naina’s castle, from Ruslan and Ludmila (1842). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00166 15

Spohr, L. Sonata concertante for violin and harp in D, op 115 (1811). Sophie Langdon, vn; Hugh Webb, hp. Naxos 8.555364 22

Alfvén, H. Suite from The mountain king (1917-22). Royal Scottish NO/Niklas Willén. Naxos 8.553962 16

Haydn, J. String quartet, op 2 no 2 (bef. 1765; arr.). Karin Schaupp, gui; members of Flinders Quartet. ABC 476 4435 23

Tchaikovsky, P. Suite from The Queen of Spades (1890; arr. Lindberg). Christian Lindberg, tb; Roland Pöntinen, pf. BIS CD-478 17

10:30 MORNING CONCERT Prepared by Elaine Siversen

Tormis, V. The bishop and the pagan (1995). Estonian Philharmonic Chamber Choir/Paul Hillier. Harmonia Mundi HMU 807485 12

Rameau, J-P. Suite from Les boréades (1764). O of the 18th Century/Frans Brüggen. Philips 420 240-2 33 Doppler, F. Double concerto in D minor. Kazunori Seo, fl; Sinfonia Finlandia/Patrick Gallois, fl & dir. Naxos 8.570378 19 Bliss, A. A colour symphony (1921-22/32). Ulster O/Vernon Handley. Chandos CHAN 10221 X

12:00 NOONTIME JAZZ with Peter Mitchell Accessible in-the-hammock jazz to ease you into the weekend 13:00 CHESS Prepared by Randolph Magri-Overend Berlioz, H. Overture: King Lear, op 4 (1831). Elizabeth Green, ob; San Diego SO/Yoav Talmi. Naxos 8.550999 15 22

Beethoven, L. Music for a knightly ballet, WoO1 (1790-91). Nicolaus Esterházy Sinfonia/ Béla Drahos. Naxos 8.553431 13 15:00 BACH TRANSCRIPTION MASTERPIECES Prepared by Katy Rogers-Davies Bach, J.S. Jesu, joy of man’s desiring, BWV147 (arr. Hess). Angela Hewitt, pf. Hyperion CDA67309 4 Organ prelude and fugue in A minor, BWV543 (transcr. Liszt). Artur Pizarro, pf. Collins 14982 8 Prelude no 10 in B minor, BWV854, from The well-tempered clavier, bk 1 (1722; arr. Siloti). James Rhodes, pf. ABC 476 4596 3

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

16:00 FINE MUSIC HOLIDAY 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 Respighi, O. Prelude, chorale and fugue (1901). BBC PO/Gianandrea Noseda. Chandos CHAN 10388 17 Mussorgsky, M. Pictures at an exhibition (1924). Simon Tedeschi, pf. ABC 481 1963 45 Schubert, F. Symphony no 8, D759, Unfinished (1822). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 4740 24 Fauré, G. The birth of Venus, op 29 (1882 version). Brigitte Lafon, sop; Anna Holroyd, cont; Bruno Ranc, ten; Jacques Bona, bass; Jean-Claude Pennetier, pf; Lyon Soloists/Bernard Tétu. EMI 5 56728 2 23 22:00 BAROQUE AND BEFORE Prepared by Robert Small Monteverdi, C. Vespri solenni per la festa di San Marco (1610). Concerto Italiano/Rinaldo Alessandrini. naïve OP 30557 1:35 Telemann, G. Suite in D for oboe, trumpet, strings and continuo, from Tafelmusik II (pub. 1733). William Wroth, tpt; Frank de Bruine, ob; Rémy Baudet, vn; Franc Polman, vn; Musica Amphion/Pieter-Jan Belder. Brilliant Classics 94104/2 29

Saturday 2 January Copland, A. Hoe-down, from Rodeo. Summit Brass. Summit DCD 171 3 Sousa, J.P. Waltzes from The charlatan. Allentown Band/Ronald Demkee. AMP 24024

Howarth, E. Legends. John Foster Black Dyke Mills Band; Besses o’ the Barn Band; Yorkshire Imperial Metals Band/Harry Mortimer. Chandos CHAN 8571 7 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings

William Christie

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 CLASSICAL CHAMBER Haydn, J. String quartet in G minor, Hob.III:33 (1772). Quatuor Mosaïques. Astrée E 8784 27 9:30 MINING THE MAJORS Prepared by Elaine Siversen Hill, A. The sacred mountain. Melbourne SO/ Wilfred Lehmann. Marco Polo 8.220345 5 Messiaen, O. The alpine chough, from Catalogue of birds (1959). Peter Cundall, narr; Michael Kieran Harvey, pf. Move MD3299 12 Hovhaness, A. Symphony no 2, op 132, Mysterious mountain (1955). American Composers O/Dennis Russell Davies. Musicmasters 7021-2-C

Grieg, E. Song cycle: Haugtussa, the mountain maid, op 67 (1895). Anne Sofie von Otter, mezz; Bengt Forsberg, pf. DG 437 521-2 26 Strauss, R. An alpine symphony, op 64 (191115). Cleveland O/Vladimir Ashkenazy. Decca 425 112-2 50

Richard Strauss

13:00 ROMANTIC PIANO Prepared by Chris Blower

Field, J. Nocturne no 1 in E flat (1812). Richard Burnett, pf. 3 Amon Ra SAR 48

Chopin, F. Piano sonata no 2 in B flat minor, op 35 (1839). Yuja Wang, pf. DG 477 8140 25

Chopin, F. Nocturne in B flat minor, op 9 no 1. Vladimir Ashkenazy, pf. Decca 478 5644 6

Tchaikovsky, P. Children’s album, op 39 (1878). Mikhail Pletnev, pf. Gramzapis GCD 00005 30

Clementi, M. Symphony no 1 in C. Philharmonia O/Francesco d’Avalos. ASV DCS 247

14:00 THEODORA Prepared by Chris Blower

Mayer, C. Grand overture in E for four hands. Alexander Bakhchiyev, Yelena Sorokina, pf. Chandos CHAN 9418 8

Handel, G. Oratorio: Theodora, HWV68 (1749). Dawn Upshaw, sop; Lorraine Hunt, mezz; David Daniels, ct; Richard Croft, ten; Frode Olsen, bass; Michael Hart-Davis, ten; Glyndebourne Ch; O of the Age of Enlightenment/William Christie. Glossa GFOCD 014-96 3:21 17:30 THE VOICES, THE ROLES Coloratura sopranos: difficult ladies with Angela Cockburn 18:00 SOCIETY SPOT Folk Federation of NSW with Kate Delaney 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm 20:00 INFLUENCES AND CONNECTIONS John Field Prepared by Chris Blower

Hummel, J. Clarinet quartet in E flat (1808). Alan Hacker, cl; members of The Music Party. L’Oiseau-Lyre 444 167-2 30 Brahms, J. Academic festival overture, op 80 (1880). Singapore SO/Lan Shui. Decca 889 8529 10 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Leclair, J-M. Overture in A, op 13 no 3 (pub. 1753). Florilegium/Neal Peres da Costa. Channel Classics CCS 7595 12 Schubert, F. Moments musicaux, D780, nos 1 to 6 (1823-28). Alfred Brendel, pf. Decca 478 6968 28 Ippolitov-Ivanov, M. Caucasian sketches, suite no 1, op 10 (1894). Sydney SO/Christopher Lyndon-Gee. Marco Polo 8.220369 25

11:30 ON PARADE Music that’s band Prepared by Owen Fisher

Field, J. Piano concerto no 1 in E flat (1799). Míceál O’Rourke, pf; London Mozart Players/ Matthias Bamert. Chandos CHAN 9368 20

Cherubini, L. String quartet no 3 in D minor (1834). Quartetto David. BIS CD-1004 29

Elgar, E. Pomp and circumstance march no 1. Grimethorpe Colliery Band/Robert Childs. GRIM 2015 3

Giordani, T. Sonata in C. Annerös Hulliger, org; Philip Swanton, org. Schwann 3-1047-2 6

Villa-Lobos, H. Discovery of Brazil, suite no 1 (1937). Slovak RSO/Roberto Duarte. Marco Polo 8.223551 18 January 2016

fineMusic 102.5

Sunday 3 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Barrie Brockwell Bach, J.S. Sinfonia, from Cantata, BWV42 (1725). Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 2564 69943-7 6 Monteverdi, C. Beatus vir (pub. 1640). Gentlemen of the Chappell; His Majestys Sagbutts and Cornetts. ASV GAU 122

Mozart, W. Sonata all’Epistola no 1 in E flat, K67 (1772). István Ella, org; Corelli CO/István Kertész. Hungaroton HCD 12866-2 2 Ave verum Corpus, K618 (1791). Kiri Te Kanawa, sop; Thelma Owen, hp; Choir of St Paul’s Cathedral; English CO/Barry Rose. Decca 478 6419 3 Brahms, J. Geistliches Weigenlied, op 91 no 2 (pub. 1884). Ann Murray, cont; Nobuko Imai, va; Stephen Kovacevich, pf. EMI CDC 7 54578 2 5

Rodrigo, J. Concierto de Aranjuez (1939). Pepe Romero, gui; Augustin Leon Ara, vn; Christine Pendrill, cora; Academy of St Martin in the Fields/Neville Marriner. Philips 438 016-2 22

Beethoven, L. 15 variations and a fugue in E flat on an original theme, op 35, Eroica (1802). Emanuel Ax, pf. Sony 887654 20862 27

Prokofiev, S. Flute sonata in D, op 94 (1943). Manuela Wiesler, fl; Roland Pöntinen, pf. BIS CD-419 23

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

Britten, B. Serenade for tenor, horn and strings, op 31 (1943). Peter Pears, ten; Barry Tuckwell, hn; London SO/Benjamin Britten. Decca 417 153-2 24

13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 OPERA IN CONCERT Prepared by Giovanna Grech Thomas, A. Overture to Mignon (1866). New Philharmonia O/Richard Bonynge. Decca 466 431-2 8

Grechaninov, A. Missa festiva, op 154 (1937). Ludmilla Golub, org; Russian State Symphonic Capella/Valery Polyansky. Chandos CHAN 9559 22

Charpentier, G. Depuis le jour, from Louise (1900). Marilyn Richardson, sop; Queensland SO/Vladimir Kamirski. ABC 434 138-2 5

10:00 THE CLASSICAL ERA Prepared by Barrie Brockwell

Mozart, W. Ein Mädchen oder Weibchen, from The magic flute, K620 (1791). Olaf Bär, bar; Staatskapelle Dresden/Hans Vonk. EMI CDC 7 49565 2 4

Kraus, J.M. Overture to The King’s birthday (1782). Drottningholm Court TO/Thomas Schuback. Musica Sveciae MSCD 424 5 Frederick II. Flute concerto no 4 in D. Richard Waage, fl; Berlin Symphony CO/Hans Peter Frank. Berlin Classics 0012872BC 18 Sor, F. Study, op 6 no 10 (pub. 1815-17). Goran Krivokapic, gui. Naxos 8.570502 4 Haydn, J. The mermaid’s song; Sailor’s song; Pleasing pain (1794). Carolyn Watkinson, mezz; Glen Wilson, fp. Virgin VC 7 91215-2 8 Sacchini, A. String quartet no 3 in C. Stauffer Quartet Arkadia CDAK 141.1 8 Boïeldieu, A. Clarinet sonata in E flat, op 8 (pub. 1818). Hans Rudolf Stalder, cl; Zsuzsanna Sirokay, pf. Jecklin 578-2 12 24

Schubert, F. Ballet; Romanze; Entr’acte III, from Incidental music to Rosamunde, Fürstin von Zypern, D797 (1823). CO of Europe/Claudio Abbado. DG 431 655-2 20

Berlioz, H. Royal hunt and storm, from The Trojans (1856-58). City of Birmingham O/Louis Frémaux. EMI CDM 1 66434-2 9 Verdi, G. Ritorna vincitor, from Aïda (1871). Rita Hunter, sop; Tasmanian SO/Dobbs Franks. ABC 442 369-2 8 Gounod, C. L’amour, l’amour … Ah! lève-toi, soleil, from Romeo and Juliet (1867). Alfredo Kraus, ten; Toulouse Capitole O/Michel Plasson. EMI CDC 7 54016 2 4 Verdi, G. Tradimento, from La traviata (1853). Daniil Shtoda, ten; Thomas Hampson, bar; O of the Age of Enlightenment/Richard Armstrong. EMI 5 57113 2 8 Giordano, U. Prelude to Act II, from Siberia (1927). BBC PO/Gianandrea Noseda. Chandos CHAN 10634 4 15:00 SUNDAY SPECIAL Compositions of World War II Prepared by Gael Golla Copland, A. Fanfare for the Common Man (1942). Detroit SO/Antal Doráti. Decca 414 273-2 3

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Ginastera, A. Triste; Arroro (1943). Christina Leonard, sax; Matt McMahon, pf. 6 Move MCD 392 Shostakovich, D. Piano trio in E minor, op 67 (1944). Dene Olding, vn; Julian Smiles, vc; David Bollard, pf. Tall Poppies TP052 29 17:00 HOSANNA Prepared by Richard Munge Hymns: Brightest and best; O worship the Lord in the beauty of holiness. Choir of Christ Church St Laurence; Peter Jewkes, org; Neil McEwan, cond. 7 CCSL 05 Stanford, C. Villiers Magnificat; Nunc dimittis, from Evening service in C, op 115 (1909). Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond. 9 Helios CDH 55401 Gevaert, F. The three Kings.

Warlock, P. Bethlehem down (1927).

Choir of Christ and Saint Luke’s Episcopal Church, Norfolk, Virginia; Allen Shaffer, org & dir (2 above) Pro Organo 7192 Bach, J.S. Jesu, joy of man’s desiring, BWV147. Choir of St George’s Chapel, Windsor; Roger Judd, org; Timothy Byram-Wigfield, cond. 6 Delphians DCD 34048 Saint-Saëns, C. O salutaris hostia.

Henschel, G. Tantum ergo.

Neil McEwan, cond (2 above) Bainton, E. And I saw a new heaven.

Hymn: Hail to the Lord’s anointed.

David Russell, cond (2 above) Choir of Christ Church St Laurence; Peter Jewkes, org (4 above) CCSL 05 Alcock, W. Marche triomphale. Daniel Cook, org. 7 Priory PRCD 1008

Monday 4 January

Sunday 3 January 18:00 SCARLATTI AND OTHER KEYBOARDS Prepared by Emyr Evans Scarlatti, D. Sinfonia (1730). XVIII-21, Musique des Lumières/Jean-Christophe Frisch. Astrée E 8673 4 Stravinsky, I. Three movements from Petrushka (1911/47). Katia Labeque, pf; Marielle Labeque, pf. Philips 420 822-2 15 Hindemith, P. Sonata for two pianos (1942). Bernard Roberts, pf; David Strong, pf. Nimbus NI 5459/60 19 Bach, J.S. Dorian toccata and fugue in D minor, BWV538 (bef. 1732). Marie-Claire Alain, org. Erato 2292-45561-2 12 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Rossini, G. Overture to The thieving magpie (1817). New York PO/Leonard Bernstein. CBS MYK 44719 10 Tchaikovsky, P. Capriccio italien, op 45 (1880). London SO/Gennady Rozhdestvensky. IMP PCD 875 17 Respighi, O. The pines of Rome (1924). Minneapolis SO/Antal Doráti. Mercury 478 5092

Tchaikovsky, P. Souvenir of Florence, from String sextet, op 70 (1887/91-92). Mischa Maisky, vc; Orpheus CO. DG 453 460-2 34 20:30 NEW HORIZONS Prepared by Maddy Tropman Sculthorpe, P. Quamby (2000). Tasmanian SO/Richard Mills. ABC 481 1293 21 Hough, S. Elegy for cello and orchestra, The loneliest wilderness (2005). Steven Isserlis, vc;Tapiola Sinfonietta/Gábor Takács-Nagy. BIS BIS-CD-1952 16 Norman, A. We lose things (2000). Anne Norman, shakuhachi; Nick Tslavos, db; Peter Neville, power pole bells. Move MD 3263 16 Mills, R. Symphony of nocturnes (2008). Melbourne SO/Richard Mills. ABC 476 4217 29 22:00 AFTER HOURS JAZZ with Kevin Jones

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: 1899 Prepared by Jennifer Foong Kalinnikov, Vasily. Overture to Tsar Boris (1899). Scottish NO/Neeme Järvi. Chandos CHAN 8805 10 Parry, H. The north wind (1899). Christopher Maltman, bar; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67065 4 Massenet, J. Ballet suite: Thaïs (1899). Academy of St Martin in the Fields/Neville Marriner. Brilliant Classics 94355 23 Sibelius, J. Black roses, op 36 no 1 (1899). Jussi Björling, ten; Harry Ebert, pf. Naxos 8.110789 2 Elgar, E. Sea pictures, op 37 (1899). Della Jones, mezz; Royal PO/Charles Mackerras. Decca 452 324-2 20

13:00 HEAVEN AND HELL Prepared by Randolph Magri-Overend Tavener, J. Tears of the angels. BT Scottish Ensemble/Clio Gould. Linn CKD 085 14 Charpentier, M-A. Ballet music from La descente d’Orphée aux Enfers (c1686). Les Arts Florissants/William Christie. 5 Erato 3984-26129-2 Tartini, G. Sonata in G minor, Devil’s Trill. Nicola Benedetti, vn; Catherine Rimer, vc; Thomas Dunford, theorbo; Christian Curnyn, hpd. Decca 476 4342 14 Langgaard, R. Symphony no 6, Heavens asunder (1919-20). Danish National RSO/Neeme Järvi. Chandos CHAN 9064 20 14:00 HUNGARIAN COMPOSERS Prepared by Gael Golla Bartók, B. Contrasts (1938). Michael Collins, cl; Krysia Osostowicz, vn; Susan Tomes, pf. Hyperion CDA66415 17 Lehár, F. Introduction, from The merry widow, ballet. Adelaide Singers; Adelaide SO/John Lanchbery. 4 EMI 754163 2 Doppler, F. Hungarian pastoral fantasy, op 26 (arr. Killönen). Sinfonia Finlandia/Patrick Gallois. Naxos 8.570378 11

Saint-Saëns, C. Six études, op 111 (1899). Piers Lane, pf. Hyperion CDA67037 21

Dohnányi, E. String quartet no 2 in D flat, op 15 (1906). Kodály Quartet. Hungaroton HCD 11853 26

10:30 MORNING CONCERT Prepared by Sheila Catzel

Ligeti, G. Ten pieces for wind quintet (1968). Stockholm Philharmonic Wind Quintet. EMI 7638672 15

Ravel, M. Shéhérazade, fairy overture (1903). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8914 13

Mertz, J. Hungarian fantasy, op 65 no 1; Original fantasy, op 65 no 2. László Szendrey-Karper, gui. Hungaroton HCD 12894 14

Violin concerto in A minor, op 53 (1879). AnnSophie Mutter, vn; Berlin PO/Manfred Honeck. DG 479 1060 34

Liszt, F. Piano concerto no 2 in A (1839/49-61). Michel Béroff, pf; Gewandhaus O/Kurt Masur. EMI CZS 7 67214 2 20

Reinecke, C. Symphony no 3 in G minor, op 227 (c1890). Brandenburg State O, Frankfurt/ Heribert Beissel. Christophorus CHE 0162-2 35 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

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson January 2016

fineMusic 102.5

Tuesday 5 January 10:30 MORNING CONCERT Prepared by Judy Ekstein Mozart, W. Symphony no 40 in G minor, K550 (1788). Cleveland O/George Széll. Sony SBK 46 333 26 Massenet, J. Suite from Esclarmonde (1890). Hong Kong PO/Kenneth Jean. Naxos 8.555986 23

Simon Wynberg

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Marielle Nordmann Prepared by Francis Frank Viotti, G. Harp concerto in C minor, op 81. Franz Liszt CO/Jean-Pierre Rampal. Sony SK 58919 9 Jadin, L. Introduction and rondeau pastorale (1811-1812). Brigitte Haudebourg, pf. Arion ARN 68285 10 Donizetti, G. Sonata for flute and harp in G minor/major. Jean-Pierre Rampal, fl. Sony SK 44552 5 Parish Alvars, E. Harp concerto in G minor, op 81. Franz Liszt CO/Jean-Pierre Rampal. Sony SK 58919 29 Krumpholtz, J-B. Duet in F no 1, op 7. Brigitte Haudebourg, pf. Arion ARN 68285 7 Petrini, F. Duo in E flat, op 30 (c1793). JeanPierre Rampal, fl. Sony SK 44552 10 Boïeldieu, A. Duet no 2 in B flat (1796-1806). Brigitte Haudebourg, pf. Arion ARN 68285 8 Marielle Nordmann, hp (all above) 26

Moscheles, I. Piano concerto no 5 in C, op 87 (1832). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA67430 30 12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands 13:00 SCARLATTI AND OTHER KEYBOARDS Prepared by Emyr Evans Scarlatti, D. Sonata in C minor, Kk115. András Schiff, pf. Decca 421 422-2 7 MacDowell, E. To a wild rose, from Woodland sketches, op 51 (1896; transcr.). Louise Johnson, hp. MBS 40 2

Gershwin, G. Rhapsody in blue (1924). Leonard Bernstein, pf; Columbia SO. CBS MYK 42611 16 Bernstein, L. Chichester Psalms (1965). Vienna Youth Choir; Israel PO DG 469 115-2 19 Mahler, G. Kindertotenlieder (1901-04). Thomas Hampson, bar; Vienna PO. DG 477 8825

Debussy, C. Images for orchestra (1905-12). St Cecilia Academy O. DG 429 728-2 36 Leonard Bernstein, cond (3 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Stephen Wilson 22:00 CHAMBER SOIRÉE Prepared by Phil Vendy

Beethoven, L. Bagatelle in A minor, WoO59, Für Elise (1808). Brigitte Engerer, pf. Harmonia Mundi HMC 901346 3

Arriaga, J. String quartet no 1 in D minor (182122). Chilingirian Quartet. CRD 33123 30

Boyd, A. Angklung (1974). Roger Smalley, pf. Tall Poppies TP060 9

Sor, F. Les deux amis, op 41. Robert Kubica, gui; Wilma van Berkel, gui. Naxos 8.553302 17

Grainger, P. The warriors for six hands on one piano (1916). Philip Martin, Martin Jones, Richard McMahon, pf. Nimbus NI 5286 20 Dvorák, A. Dumka in C minor, op 12 (1884). William Howard, pf. Chandos CHAN 9044 5 Borodin, A. Scherzo prestissimo (1885; arr. Stanhope). David Stanhope, pf. Tall Poppies TP088 3 14:00 LEGENDARY CONDUCTORS Prepared by Randolph Magri-Overend Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Israel PO/Leonard Bernstein. DG 439 411-2 10

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Granados, E. Love and hate (1910). Anne Gastinel, vc; Pablo Márquez, gui. naïve V5182

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

Wednesday 6 January 0:00 CONTEMPORARY COLLECTIVE

20:00 AT THE OPERA Prepared by Colleen Chesterman

3:00 CLASSICAL TILL DAWN

Mozart, W. The abduction from the seraglio, K384. Opera in three acts. Libretto by Christoph Bretzner and Gottlieb Stephanie. First performed Vienna, 1782.

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 Veracini, F. Concerto in D for violin octet (1712). Accademia I Filarmonici/Alberto Martini. Naxos 8.553413 18 Bononcini, G. Cantata: Il lamento d’Olimpia (1721). Musica da Camera; Adelaide Baroque Ensemble. Adelaide Baroque AB002 14 Sammartini, G. Flute sonata in C (1745). Mario Carbotta, fl; Roberto Cognazzo, hpd. Nuova Era 7022 11 Vivaldi, A. Violin concerto in E flat, RV252, La tempesta di mare (1740). Academy of Ancient Music/Andrew Manze, vn & dir. Harmonia Mundi HMU 907230 9 Caldara, A. Quel buon pastor son io, from La morte d’Abel. Cecilia Bartoli, mezz; Il Giardino Armonico/Giovanni Antonini. Decca 478 2558 10 Salieri, A. Oboe concerto in C (1774). Peter Lloyd, fl; Anthony Camden, ob; City of London Sinfonia/Nicholas Ward. Naxos 8.554772 19 10:30 MORNING CONCERT Prepared by Anne Irish Shostakovich, D. Ballet suite no 3 (1952). Royal Scottish NO/Neeme Järvi. Chandos CHAN 7000/1

Martti Tavela

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. 15:00 PROKOFIEV EXPLORED Part 1 Prepared by Michael Morton-Evans Prokofiev, S. Etude in C minor, op 2 no 3 (1909). Yevgeny Kissin, pf. Philips 456 871-2

Sonata no 1, op 1. Philip Johnston, pf. Warner 06 301 34632

Autumnal sketch, op 8 (1911-12). Scottish CO/ José Serebrier. ASV DCA 760 8 Piano concerto no 1 in D flat, op 10 (1911-12). Andrei Gavrilov, pf; City of Birmingham SO/ Simon Rattle. Philips 456 787-2 14

Tchaikovsky, P. Violin concerto in D, op 35 (1878). Ruggiero Ricci, vn; Netherlands RPO/ Jean Fournet. Decca 417 687-2 32

CONSTANZE: Edita Gruberova, sop BELMONTE: Gösta Winbergh, ten BLONDE: Kathleen Battle, sop PEDRILLO: Heinz Zednik, ten OSMIN: Martti Talvela, bass SELIM: Will Quadflieg, voice Vienna State Opera Ch, Vienna PO/Georg Solti. Decca 478 3703 2:04 Konstanze and Blonde are captives in Selim’s harem in Turkey. Selim wants Konstanze for himself, but she remains faithful to Belmonte who hopes to rescue her. With this end in view Belmonte and Pedrillo have gained employment as an architect and a gardener in Selim’s service. However Pedrillo, who loves Blonde, is jealous and scents danger. By making Osmin drunk Belmonte and Pedrillo rescue the girls using rope ladders. The alarm is raised and all four are brought before the Pasha, expecting the worst. However, it pleases his lordship to be magnanimous, and, giving up all hope of ever winning Konstanze’s love, he relinquishes her to his rival who is found to be the son of his most hated enemy. A very dejected Osmin has to watch his adored Blonde depart with her gardener beau. The four lovers turn their happy faces homewards and shake the dust of the seraglio off their feet forever. Adagio in E, K261 (1776). Australian CO; Richard Tognetti, vn & dir. Sony SK 66282 7

Prokofiev, S. Piano sonata no 2 in D minor, op 14 (1914). Lazar Berman, pf. DG 480 7075 19

22:30 TWENTIETH CENTURY Prepared by Emyr Evans

Prelude in C. Gwyneth Wentink, hp. RN Music MCCN120

Bax, A. Festival overture (1909/18). London PO/Bryden Thomson. Chandos CHAN 8586 16

Rachmaninov, S. Symphonic dances, op 45 (1940). Philadelphia O/Eugene Ormándy. Sony SBK 48 279 34

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

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

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

Bartók, B. Violin concerto no 2 (1937-38). XiaoDong Wang, vn; Adelaide SO/Omri Hadari. ABC 426 479-2 38 Harty, H. An Irish symphony (1904/15/24). NSO of Ireland/Proinssías O’Duinn. Naxos 8.554732 31 January 2016

fineMusic 102.5

Thursday 7 January 0:00 CONTEMPORARY COLLECTIVE

20:00 LIVE AND LOCAL Mandolin Festival Gala Concert Recorded by Greg Ghavalas for FINE MUSIC on 11 July 2015 at the Gillian Moore Centre for Performing Arts, PLC

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

Wölki, K. Overture in F sharp minor. Wind ensemble students from Pymble Ladies College, Barker College, Abbotsleigh and Ravenswood. 10

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Chris Blower Stanford, C. Villiers Rondo in F for cello and orchestra (1869). Gemma Rosefield, vc; BBC Scottish SO/Andrew Manze. Hyperion CDA 67859 9 Piano quartet no 1 in F, op 15 (1879). David Adams, va; Gould Piano Trio. Naxos 8.573388 30 The Lord is my shepherd (1886). Winchester Cathedral Choir; Stephen Farr, org; David Hill, cond. Hyperion CDA66964 8 Serenade in F, op 95, mvt 3 (1905). Capricorn. Hyperion CDA66291 9 Postlude, op 105 no 3. Christopher Dearnley, org. Motette CD 10911 4 Three songs from A Sheaf of songs from Leinster, op 140 (1913). Stephen Varcoe, bar; Clifford Benson, pf. Hyperion CDA67123 8 Irish rhapsody no 6, op 191 (1922). Lydia Mordkovitch, vn; Ulster O/Vernon Handley. Chandos CHAN 7002 10 10:30 MORNING CONCERT Prepared by Michael Morton-Evans Vaughan Williams, R. Norfolk rhapsody no 1 in E minor (1905-06). Melbourne SO/Bernard Heinze. ABC 446 282-2 11 Boccherini, L. Symphony no 6 in A, op 12 no 6 (1771). London FO/Ross Pople. Hyperion CDA66236 23 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 Rózsa, M. Theme, variations and finale, op 13a (1933-43). New Zealand SO/James Sedares. Koch 3-7191-2H1 19 28

Kellaris, J. Chrysopylae reflections.

Mandolin O/Werner Ruecker (2 above) Woods, J. Guitar solo. Joel Woods, gui.

Alessandra Marc

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 DEUTSCHE WELLE CONCERT HOUR By courtesy of Radio Deutsche Welle Rachmaninov, S. Trio élégiaque no 2 in D minor, op 9. Christian Tetzlaff, vn; Tanya Tetzlaff, vc; Arturo Pizarro, pf. Radio Deutsche Welle transcription

Elgar, E. Symphony no 2 in E flat, op 63 (1911). Hallé O. EMI CDM 7 64724 2 56

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 A JAZZ HOUR with Barry O’Sullivan

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Kay, R. Matilda Bay.

Lalor, S. Winter collection.

Angulo, H. Templari.

Ravel, M. Ondine, from Gaspard de la nuit (1908). Michael Kieran Harvey, pf. 7 Program Promotions PP-1 1991

Wagner, R. Senta’s ballad, from The flying dutchman (1841). Florence Austral, sop; Royal Opera House Ch & O. Larrikin LRH 453 4

John Barbirolli, cond (all above)

Grainger, P. Random round (arr. M. Smith). 6 Margery Smith, sax.

21:30 FRENCH INTERLUDE Prepared by Maddy Tropman

Elgar, E. Sea pictures, op 37 (1897-99). Janet Baker, mezz; London SO. EMI CDC 7 47329-2 24 Strauss, J. II Waltz: On the beautiful blue Danube, op 314 (1867). Hallé O. EMI CDM 1 66422 2

Sculthorpe, P. Little suite (1958/83; arr. M. 7 Smith).

Mandolin O/Werner Ruecker (5 above)

14:00 LEGENDARY CONDUCTORS John Barbirolli Prepared by Randolph Magri-Overend Sibelius, J. Karelia suite (1893). Hallé O. EMI 1 66451 2

Debussy, C. Prélude à l’après-midi d’un faune (1894). St Cecilia Academy O/Leonard Bernstein. DG 429 728-2 12 Debussy, C. La cathedrale engloutie, from Preludes, bk 1 (1910). Royal Scottish National O/Jun Marki. 7 Naxos 8.578269-70 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Di Cox Martinu, B. Sinfonietta giocosa (1940). Dennis Hennig, pf; Australian CO/Charles Mackerras. Conifer CDCF 170 29 Schoenberg, A. Transfigured night, op 4 (1899; orch. 1917/43). Berlin PO/James Levine. DG 469 804-2 29 Lutoslawski, W. Variations on a theme by Paganini (1941). Peter Jablonski, pf; Royal PO/ Vladimir Ashkenazy. 9 Decca 436 239-2 Zemlinsky, A. Lyric symphony, op 18. Alessandra Marc, sop; Håkon Hagegård, bar; Royal Concertgebow O/Riccardo Chailly. Decca 443 569-2 47

Friday 8 January 12:00 NOONTIME JAZZ with Peter Mitchell 13:00 MUSIC OF THE MORNING Prepared by Gael Golla Anon. My Lord what a morning (arr. Gillam). Melboune Welsh Male Voice Choir. Move MCD 070 5 Delius, F. Spring morning, from Three small tone poems (1890). Royal Scottish NO/David Lloyd-Jones. Naxos 8.557143 7 Previn, A. Will there really be a morning, from Three Dickinson songs (1999). Renée Fleming, sop; André Previn, pf. DG 471 028-2 1

Jésus López-Coboz

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Hindemith, P. Morning music (1932). Summit Brass. Summit DCD 115-2 5

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

Grieg, E. Morning, from Peer Gynt, suite no 1, op 46 (1875). BBC Scottish SO/Jerzy Maksymiuk. Naxos 8.554050

9:00 ONLY STRINGS Prepared by Emyr Evans Hindemith, P. Sonata (1939). Isabelle Moretti, hp. Harmonia Mundi 7905 184 10 Bach, J.S. Cello suite no 1 in G, BWV1007 (c1720). Pablo Casals, vc. LP HMV RLS 712

Beethoven, L. Grosse fuge in B flat, op 133 (1826). New Budapest String Quartet. Hyperion CDA66407 14 Debussy, C. String quartet in G minor, op 10, mvt 3 (1893). Australian String Quartet. ABC 476 4991 8 Atterberg, K. Suite no 3 for violin, viola and string orchestra, op 19 (1916). Stockholm Sinfonietta/Jan-Olav Wedín. BIS CD-165 12

Ireland, J. In a May morning, from Sarnia. John Lenehan, pf. Naxos 8.553700 5 Morley, T. On a fair morning. King’s Singers. EMI CDC 7 49265-2 1 Haydn, J. Symphony in D, Hob.I:6, Morning (1761). English Concert/Trevor Pinnock. Archiv 423098-2 21 14:00 GYPSY Prepared by Jan Brown Weber, C.M. Gypsy caprice. Shlomo Mintz, vn. DG 477 5448 4 Stanford, C. Villiers Eight songs from The Spanish gypsy, op 1 (1872-75). Stephen Varcoe, bar. Hyperion CDA67123 17

Trevor Pinnock

Tchaikovsky, P. Overture: 1812, op 49 (1880). SO of Russia/Veronika Dudarova. Olympia OCD 512 A&B 16 Beethoven, L. Wellington’s victory, op 91 (1813). Czecho-Slovak RSO/Ondrej Lenard. Naxos 8.570154-55 15 Haydn, J. Missa in angustiis, Hob.XXII:11, Nelson Mass (1798). Felicity Lott, sop; Carolyn Watkinson, cont; Maldwyn Davies, ten; David Wilson-Johnson, bass; Nicholas Parle, org; English Concert & Choir/Trevor Pinnock. Decca 478 3640 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Judy Ekstein Weber, C.M. Concertino for horn and orchestra in E minor, op 45 (1815). Peter Damm, hn; Staatskkapelle Dresden/Siegfried Kurz. Berlin Classics 0012882BC 16 Brahms, J. Six songs (1896). David Pereira, vc; David Bollard, pf. Tall Poppies TP078 15

Kodály, Z. Serenade for two violins and viola, op 12 (1920). Vilmos Tátrai, vn; István Várkonyi, vn; György Konrád, va. Hungaroton HCD 31046 20

Clifford Benson, pf (2 above)

10:30 MORNING CONCERT Prepared by Frank Morrison

14:30 MELODIES FOR BONEY Prepared by Michael Morton-Evans

Balakirev, M. Overture to King Lear (1859). BBC PO/Vassily Sinaisky. Chandos CHAN 9667 11

Beethoven, L. Finale, from Symphony no 3 in E flat, op 55, Eroica (1803). Vienna PO/Simon Rattle. EMI 5 57448 2 12

Popper, D. Cello concerto no 2 in E minor, op 24 (pub. 1880; orch. Gamley). Jascha Silberstein, vc; Suisse Romande O/Richard Bonynge. ABC 475 070-2 20

Mozart, W. Piano concerto no 24 in C minor, K491 (1786). London Mozart Players/Howard Shelley, pf & dir. Chandos CHAN 9326 30

Puccini, G. E lucevan le stelle, from Tosca (1900). Plácido Domingo, ten; Florence Maggio Musicale O; Rome Opera TO/Zubin Mehta. Decca 430 433-2 2

Massenet, J. Suite from Cendrillon (1899). Hong Kong PO/Kenneth Jean. Naxos 8.555986 10

Respighi, O. La boutique fantasque, op 40 (1919). Cincinnati SO/Jésus López-Coboz. Telarc 80396 42

Vissi d’arte. Maria Callas, sop; La Scala O/Tullio Serafin. Rajon CDR1004A-C 3

Saint-Saëns, C. Gypsy dance, from Henry VIII (1883). London SO/Richard Bonynge. Decca 452 767-2 3

Schumann, R. Symphony in G minor, Zwickau (1832-33). O Révolutionnaire et Romantique/ John Eliot Gardiner. Archiv 457 591-2 19

MacDowell, E. Piano concerto no 1 in A minor, op 15 (1882). Seta Tanyel, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67165 January 2016

fineMusic 102.5

27 29

Friday 8 January

Saturday 9 January

22:00 BAROQUE AND BEFORE All in the family Prepared by Andrew Dziedzic Gibbons, E. Long live fair Oriana.

Gibbons, O. The silver swan (round); The silver swan. 4 King’s Singers (2 above) Signum SIGCD307 Prelude and ground for organ. Fretwork; Paul Nicholson, org. 3 The cry of London, pt 1. Red Bird.

Fantasia for organ. Fretwork; Paul Nicholson, org. 4 Virgin VC 8 90849-2 (3 above) Gibbons, C. Fantasia. Pavlo Beznosiuk, vn; Rodolfo Richter, vn; Mark Levy bass viol; Richard Egarr, org. Harmonia Mundi HMU 807551

Gibbons, O. Fantasia in seven parts for the Great Dooble Base. Fretwork. Virgin VC 7 90849-2 9 Gibbons, C. Not unto us, O Lord. Choir of the Academy of Ancient Music; Alastair Ross, org; Academy of Ancient Music/Richard Egarr. 5 Fantasy-suite in F. Pavlo Beznosiuk, vn; Rodolfo Richter, vn; Mark Levy, bass viol; Richard Egarr, org. 12 Harmonia Mundi HMU 807551 (2 above) Gibbons, O. In nomine in 5 parts. Fretwork. 5 The cry of London, pt 2. Red Bird.

Fantasia in 6 parts. Fretwork. Virgin VC 7 90849-2 (3 above)

Gibbons, C. Organ voluntary in C. Richard Egarr, org.

O bone Jesu. Charmian Bedford, sop; Jacqueline Connell, cont; Susanna Spicer, cont; Richard Lathan, bass; Choir of the Academy of Ancient Music; Alastair Ross, org; Academy of Ancient Music/Richard Egarr. 3 Go from my window in 6 parts. Fretwork. Virgin VC 7 90849-2 (3 above)

Gibbons, O. The woods so wild; Mask: The fairest nymph; The Lord of Salisbury, his pavin and galiardo. Trevor Pinnock, hpd. CLP RD 1050 10 Gibbons, C. Above the stars my Saviour dwells; Ah, my Soul, why so dismayed; The Lord said unto my Lord. Philippa Hyde, sop; Charmian Bedford, sop; Choir of the Academy of Ancient Music; Alastair Ross, org; Academy of Ancient Music/Richard Egarr. Harmonia Mundi HMU 807551 14 Curtain music, Entry of Cupid and his train; song and chorus, from Cupid and Death (c1682). Members of the London Oratory Junior Choir; Consort of Musicke/Anthony Rooley. Harmonia Mundi GD77117 8 30

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 CLASSICAL CHAMBER Beethoven, L. String quartet in F, op 135 (1826). Goldner String Quartet. ABC 476 3541 27 9:30 MINING THE MAJORS Prepared by Frank Morrison Chopin, F. Ballade no 2 in F, op 38 (1836-39). Ivo Pogorelich, pf. Capriccio 10 024 9 Dvorák, A. Serenade in D minor, op 44 (1878). Nash Ensemble. CRD 3410 26 Bartók, B. String quartet no 4 (1928). New Budapest Quartet. Hyperion CDA66581/2 24 Prokofiev, S. Sinfonietta, op 5/48 (1909/14-15). Scottish NO/Neeme Järvi. Chandos CHAN 8442 20 Kabalevsky, D. Piano concerto no 1 in A minor, op 9 (1931). Kathryn Stott, pf; BBC PO/ Neeme Järvi. Chandos CHAN10384 31 11:30 ON PARADE With the Royal Australian Navy Band Prepared by Robert Small Lithgow, A. Royal Australian Navy. 3 Alford, K. On the quarterdeck. 3 Woodley-Newton I am Australian. 3 Clark, N. Pride of the Fleet. 3 Trad. Musical honours. 1 Smith, R. The inferno, from The divine comedy. RAN Flagship recital 8 Royal Australian Navy Band/Phillip Anderson (all above) 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 PIANO INTERLUDE Prepared by Chris Blower Schumann, R. Kreisleriana, op 16 (1838). Maurizio Pollini, pf. DG 479 0908 29 Paderewski, I. Variations and fugue on an original theme in E flat minor, op 23 (c1903). Karol Radziwonowicz, pf. Harmonia Mundi LCD 2781073/75 26 15:00 MAHLER ‘S SIXTH Mahler, G. Symphony no 6 in A minor (1904). Danish National RSO/Leif Segerstam. Chandos CHAN 8956/7 1:28

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Schubert, F. String quintet in C, D956 (1828). Wen-Sinn Yang, vc; Brandis Quartet. Nimbus NI 1770 54 17:30 STAGING MUSIC with Angela Cockburn 18:00 SOCIETY SPOT Organ Music Society of Sydney 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Schwartz, S. Excerpts from Pippin (1972). Patina Miller, Charlotte d’Amboise, Terrence Mann, Matthew James Thomas, voices; members of new Broadway cast. Ghostlight 8-4473 19 Sondheim, S. Excerpts from Merrily we roll along (1981). Jim Walton, Ann Morrison, Lonny Price, voices; members of original Broadway cast. Masterworks 8697 90257 2 14 Rodgers, R. Excerpts from Pipe dream. Helen Traubel, William Johnson, Judy Tyler, voices; members of original Broadway cast. RCA Victor 09026-614812 19 20:00 INFLUENCES AND CONNECTIONS J S Bach Prepared by Rex Burgess Buxtehude, D. Sonata in A, op 1 no 3 (pub. 1696). Boston Museum Trio. Harmonia Mundi HMA 1901089 10 Bach, J.S. Concerto in D, BWV1053. Thomas Stacy, ob d’amore; Toronto CO/Kevin Mallon. Naxos 8.570735 22 Vivaldi, A. Violin concerto in D, RV208, Il grosso Mogul. Concerto Amsterdam/Jaap Schröder, vn & dir. Teldec 4509-97454-2 14 Bach, J.S. Concerto in C, BWV594, after Vivaldi RV208. André Isoir, org; Le Parlement de Musique/Martin Gester. La Dolce Volta LDV 118.0 18 Pergolesi, G. Salve Regina in A minor (1736). Barbara Bonney, sop; Les Talens Lyriques/ Christophe Rousset. Decca 466 134-2 10 Bach, J.S. Tilge, Höchster, Meine Sünden, BWV1083 (c1741-46). Emma Kirkby, sop; Daniel Taylor, ct; Theatre of Early Music. BIS SACD-1546 37 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Mendelssohn, F. Symphony no 1 in C minor, op 11 (1824; transcr. Busoni). Anthony Paratore, pf; Joseph Paratore, pf. LP Schwann VMS 1031 27 Mozart, W. Divertimento no 17 in D for two violins, viola, bass and two horns, K334 (177980). Scottish CO Ensemble/Alexander Janiczek. Linn CKD 376 47 Dvorák, A. Cello concerto in B minor, op 104 (1895). Steven Isserlis, vc; Mahler CO/Daniel Harding. Hyperion CDA67917 39

Sunday 10 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

13:00 WORLD MUSIC: Whirled Wide

6:00 SUNDAY MORNING MUSIC with Robert Small

14:00 AROUND RUSSIA IN 60 MINUTES Prepared by Randolph Magri-Overend

9:00 MUSICA SACRA Prepared by Francis Frank

Rimsky-Korsakov, N. Overture: Russian Easter Festival, op 36 (1888). Czecho-Slovak RSO/Anthony Bramall. Naxos 8.553247 16

Campra, A. Les femmes, cantata (pub. 1708). Maarten Koningsberger, bar; Academy of the Begynhof, Amsterdam. Globe GLO 5055 13 Haydn, J. Mass in B flat, Hob.XXII:14, Harmony mass (1802). Lynda Russell, sop; Catherine Wyn-Rogers, cont; William Kendall, ten; Michael George, bass; Choir of Winchester Cathedral; Brandenburg O/David Hill. Hyperion CDA66508 40 10:00 THE CLASSICAL ERA Prepared by Richard Verco Hoffmeister, F. Parthia no 3 in B flat. Consortium Classicum. cpo 999 107-2

Schubert, F. Impromptu in F minor, D935 no 1 (1827). Claudio Arrau, pf. Philips 434 101-2 13

Borodin, A. Polovtsian dances, from Prince Igor (1887). Royal Liverpool Philharmonic Choir & O/Charles Mackerras. Virgin VC 7 91174-2 14 Mussorgsky, M. A night on Bare Mountain (1869-72; orch. Stokowski 1922). BBC PO/ Matthias Bamert. Chandos CHAN 9445 10 Tchaikovsky, P. Capriccio italien, op 45 (1880). Kirov O/Valery Gergiev. Philips 442 775-2 15

Neukomm, S. Quintet in B flat for clarinet, two violins, viola and cello, op 8 (c1804). Divertimento Salzburg. Claves 50-8703 27 Eybler, J. They shall all come from Sheba (1827). Vienna Boys Choir; Gerald Wirth, pf; Manola Cagnin, cond. ABC 476 5094 4 Bach, C.P.E. Flute quartet no 3 in G, Wq95 (1788). Les Adieux. DHM GD 77052 18 Lidl, A. Bass viol sonata. Vittorio Ghielmi, bass viol; Luca Pianca, lute. Harmonia Mundi HMI 987063 10 Starzer, J. Divertimento in C. Camerata Bern/ Thomas Füri. Archiv 410 599-2 16 Beethoven, L. Sonata no 8 in C minor, op 13, Pathétique (1798). Emil Gilels, pf. DG 400 036-2 20 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

15:00 SUNDAY SPECIAL Composers in control Prepared by Denis Patterson Bernstein, L. Serenade, after Plato’s Symposium (1954). Gidon Kremer, vn; Israel PO/Leonard Bernstein. DG 469 115-2 29 Bartók, B. Contrasts (1938). Benny Goodman, cl; Joseph Szigeti, vn; Béla Bartók, pf. Hungaroton HCD 12326-28 17 Messiaen, O. Diptyque (1929). Oliver Messiaen, org. EMI CZS 7 67400 2

Elgar, E. Violin concerto in B minor, op 61. Yehudi Menuhin, vn; London SO/Edward Elgar. Claremont GSE 78-50-31 49 17:00 HOSANNA Prepared by Heather Sykes 18:00 BEETHOVEN AND FRIENDS Prepared by Emyr Evans Cherubini, L. Overture to The crescendo (1810). Tuscan O/Donato Renzetti. Europa 350-221 12 Hummel, J. Fantasina, after Mozart’s The abduction from the seraglio (1830). Christian Lambour, pf. Schwann 310 120 7

Beethoven, L. Piano sonata no 22 in F, op 54 (1804). Paul Lewis, pf. Harmonia Mundi HMC 901906/08 13 Czerny, C. Variations brillantes, op 14. Stephen Hough, pf. 7 Virgin 7 59304 2 19:00 SUNDAY NIGHT CONCERT Prepared by Judy Ekstein Bach, J. Christian Sinfonia in E flat, op 3 no 3 (pub. 1770). Simon Preston, hpd; Academy of St Martin in the Fields/Neville Marriner. Philips 456 064-2 9 Salieri, A. Concerto in C. Richard Adeney, fl; James Brown, ob; English CO/Richard Bonynge. ABC 475 070-2 18 Massenet, J. Scènes alsaciennes: suite no 7 (1881). Monte Carlo National Opera O/John Eliot Gardiner. Erato 2292-45859-2 23 MacDowell, E. Suite no 2, op 48, Indian (189195). Ulster O/Takuo Yuasa. Naxos 8.559075 30 20:30 NEW HORIZONS Prepared by James Nightingale Connesson, G. A glimmer in the Age of Darkness (2005). Royal Scottish NO/Stéphane Denève. Chandos CHSA 5076 19 Moore, K. Broken rosary (2010). Anna McMichael, vn; Tamara-Anna Cislowska, pf. Tall Poppies TP228 6 Westlake, N. Shadow dances (2000). Slava Grigoryan, gui; Melbourne SO/Nigel Westlake. ABC 476 5744 13 Grime, H. Into the faded air (2007). Hallé Soloists/Jamie Phillips. NMC NMC D199 10 Adès, T. Concert paraphrase from Powder her face (2009). Thomas Adès, pf. EMI 0 88560 2 17 Saunders, R. A visible trace (2006). Musikfabrik/Peter Rundel. Wergo WER 6852 2

22:00 AFTER HOURS JAZZ with Kevin Jones January 2016

fineMusic 102.5

Monday 11 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

14:30 ALUMNI OF THE ROYAL COLLEGE OF MUSIC, LONDON Prepared by Katy Rogers-Davies

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

Vaughan Williams, R. Fantasia on Greensleeves (1912; arr. Greaves, 1934). Tasmanian SO/David Stanhope. ABC 472 984-2

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1710 Prepared by Francis Frank

Holst, G. Jupiter, the bringer of jollity, from The planets, op 32 (1914-16). Queensland SO/ Nicholas Braithwaite. 8 ABC 481 1143

Pepusch, J. Cantata V: Corydon (1710). Bergen Barokk. BIS CD-965 9 Handel, G. Lascia ch’io pianga, from Rinaldo, HWV7 (1710). Yvonne Kenny, sop; Australian Brandenburg O/Paul Dyer. ABC 456 689-2 4 Erlebach, P. Cantata: Gelobet sie der Herr (c1710). Dorothy Mields, sop; Britta Schwarz, cont; Jörn Lindemann, ten; Andreas Post, ten; Klaus Mertens, bass; Telemann CO Michaelstein/Ludger Rémy. cpo 999 650-2 13 Valentini, Giuseppe. Concerto no 7 in G (pub. 1710). Ensemble 415/Chiara Banchini, vn & dir. Zig-Zag Territoires ZZT2020801 8 Mancini, F. Sinfonia in D, from Idaspe fedele (1710; arr. Ludwig Güttler). Karl-Heinz Passin, fl; Klaus-Peter Gütz, ob; Eberhard Palm, vn; Matthias Pfaender, vc; Leipzig Bach-Collegium/ Ludwig Güttler. Berlin Classics 0012892BC 4 Corelli, A. Sonata in C, op 5 no 3 (pub. 1710). Gaetano Nasillo, vc; Guido Balestracci, bass viol; Eunice Brandão, bass viol; Eduardo Egüez, theorbo; Massimiliano Raschietti, hpd. Symphonia SY 98163 13 Telemann, G. Suite in A minor (1710-1715). Maurice Steger, rec; Akademie für Alte Musik. Harmonia Mundi HMC 901917 29

Maurice Steger

Tippett, M. Fantasia on a theme of Handel (1939-41). Margaret Kitchin, pf; London SO/ Michael Tippett. LP RCA SER 5620 12

12:00 SWING SESSIONS with John Buchanan 13:00 SPANISH ROMANTICS Prepared by Gael Golla Chápi, R. Overture to La revoltosa (1897). Los Romeros. Philips 412 609-2 5 Giménez, J. Intermedio, from El baile de Luis Alonso (pub. 1896); Intermedio, from La boda de Luis Alonso (pub. 1897). Spanish RTV Choir and SO/Igor Markevitch. Philips 432 824-2 9 Anon. Spanish love song. Jane Rutter, fl; Gregory Pikler, gui. ABC 476 647-5

Granados, E. Piano quintet in G minor, op 49 (1898). Thomas Rajna, pf; Alberni Quartet. LP CRD 1035 15 Tárrega, F. Serenade: Capricho árabe; Tango. Narciso Yepes, gui. DG 469 649-2 9 Sarasate, P. de Gypsy airs, op 20 no 1 (1878). Ruggiero Ricci, vn; Louis Persinger, pf. Decca 458 191-2 8

10:30 MORNING CONCERT Prepared by Derek Parker

Bréton, T. Jota, from La dolores (1895). Plácido Domingo, ten; Madrid Zarzuela Theatre Ch; Madrid Rondalla Lirica; Madrid SO/Manuel Moreno-Buendia. EMI CDC 7 49148 2 5

Strauss, R. Don Juan, op 20 (1888). Melbourne SO/Andrew Davis. ABC 481 1122 17

Falla, M. de Canción; Valse-Capricho (1900). Miguel Baselega, pf. BIS CD-773 5

Beethoven, L. Ballet: The creatures of Prometheus, op 43 (1800-01). Melbourne SO/ Michael Halász. Naxos 8.553404 1:07

Albéniz, I. Rapsodia española, op 70 (1887; arr. C. Halffter). Alicia de Larrocha, pf; London PO/ Rafael Frühbeck de Burgos. Decca 410 289-2 18

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

15:00 ITALIAN INSPIRATIONS Prepared by Denis Patterson Scarlatti, A. Toccata de cimbalo (1700). Rosalind Halton, hpd. ABC 461 687-2

Pergolesi, G. Salve Regina in F minor (1736). Andreas Scholl, ct; Les Talens Lyriques/ Christophe Rousset. Decca 478 3156-67 14 Paisiello, G. Overture to Il barbiere di Siviglia (1782). Haydn Philharmonia/Ezio Rojatti. 4 Nuova Era 6726 Tartini, G. Cello concerto in A (c1740). Mstislav Rostropovich, vc; Collegium Musicum Zürich/ Paul Sacher. DG 479 2561 15 Cimarosa, D. Oboe concerto (pub.1941; arr. Benjamin). Geoffrey Payne, tpt; Melbourne SO/Michael Halász. ABC 982 6976 11 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Tuesday 12 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Jean-Yves Thibaudet Prepared by Anne Irish Mendelssohn, F. Variations sérieuses, op 54 (1841); Rondo capriccioso, op 14 (1824). Decca 468 600-2 17 Rachmaninov, S. Two pieces, op 2 (1891-92). Truls Mørk, vc. Virgin 5 45119 2 10 Verdi, G. Variations for piano and orchestra (c1837). Milan Giuseppe Verdi SO/Riccardo Chailly Decca 473 767-2 20 Ravel, M. Pavan pour une infante défunte (1899). Decca 433515-2 6 Françaix, J. Concertino (1932). Montreal SO/ Charles Dutoit. Decca 452 448-2 9 Satie, E. Gymnopédie no 1 (1888); Je te veux (1897); La Diva de l’Empire (1904). Decca 470 290-2 11 Ellington, D. I got it bad and that ain’t good; Jubilee stomp. Decca 460 811-2 5 Jean-Yves Thibaudet, pf (all above) 10:30 MORNING CONCERT Prepared by Denis Patterson Rimsky-Korsakov, N. The golden cockerel, concert suite (1909). Cleveland O/Lorin Maazel. Decca 480 6627 27 Paganini, N. Violin concerto no 1 in D, op 6 (1815). Gil Shaham, vn; New York PO/Giuseppe Sinopoli. DG 429 786-2 32 Saint-Saëns, C. Symphony no 2 in A minor, op 55 (1859). French NRO/Jean Martinon. Brilliant Classics 94360 23

Kyrill Kondrashin

Daniel Barenboim

12:00 JAZZ RHYTHM with Jeannie McInnes

Mussorgsky, M. A night on Bare Mountain (1869-72; orch. Stokowski 1922). Bournemouth SO/José Serebrier. 9 Naxos 8.557645

13:00 BEETHOVEN AND FRIENDS Prepared by Emyr Evans Beethoven, L. Piano sonata in C sharp minor, op 27 no 2, Moonlight (1802). Tamara Anna Cislowska, pf. MBS 42 17 Adelaïde, op 46 (1794-95). Heinrich Schlusnus, bar; Franz Rupp, pf. Conifer TQ 305 6 Kreutzer, R. Grand quintet in C (1790-99). Sarah Francis, ob; Allegri String Quartet. Hyperion CDA66143 15 Beethoven, L. 12 Variations in A on a Russian dance from Wranitsky’s Das Waldmädchen, WoO71 (1795). Ronald Brautigam, fp. BIS SACD-1673 10 Piano trio in B flat, WoO39 (1812). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf. Sony SM2K 64513 6

Rimsky-Korsakov, N. Scheherazade, symphonic suite, op 35 (1888). Samuel Magad, vn; Chicago SO/Daniel Barenboim. Apex 2564 67429-0 48 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 Mendelssohn, F. String quartet in D, op 44 no 1 (1838). Coull String Quartet. Hyperion CDS 44051/53 31

14:00 CLASSICAL JUKEBOX Prepared by Randolph Magri-Overend

Pezel, J. Trumpet sonata no 75 (1675). Mats Klingfors, bn; Niklas Eklund, tpt; Marc Ullrich, tpt; Tormod Dalen, vc; Knut Johannessen, org. Naxos 8.553593 8

Verdi, G. Overture to The force of destiny (1862). La Scala PO/Riccardo Muti. Sony SBK 89738 8

Bazzini, A. Three lyric pieces, op 41 (1863). Chloe Hanslip, vn; Caspar Frantz, pf. Naxos 8.570800 16

Smetana, B. Die Moldau, from My country (1872-79). Israel PO/István Kertész. Decca 476 2453 11

Richter, F. Sonata no 4 in C, from Sonatas da camera (1764). Pauliina Fred, fl; Heidi Peltoniemi, vc; Aapo Häkkinen, hpd. Naxos 8.572030 16

Tchaikovsky, P. Piano concerto no 1 in B flat minor, op 23 (1875/89). Van Cliburn, pf; RCA SO/Kyrill Kondrashin. Philips 456 748-2 35

Saint-Saëns, C. Piano trio no 2 in E minor, op 92 (1892). Joachim Trio. Naxos 8.550935 35 January 2016

fineMusic 102.5

Wednesday 13 January

Simon Rattle

Willard White

Bach, C.P.E. Flute concerto in G, Wq169 (c1755). Eckart Haupt, fl; Carl Philip Emanuel Bach CO/Hartmut Haenchen. Laserlight Digital 15634 24

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

Brahms, J. Serenade no 1 in D, op 11 (1857-58). Belgian RTO/Alexander Rahbari. Naxos 8.550280 44

9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Frank Morrison

12:00 JAZZ SKETCHES with Robert Vale

Sammartini, G.B. Sinfonia in G. Ensemble 415/ Chiara Banchini. Harmonia Mundi HMA 1901245 10 Galuppi, B. Sonata in C. Matteo Napoli, pf. Naxos 8.572490 13 Martini, G. Flute concerto in G (1752). Symphonia Perusina/Mario Ancillotti, fl & dir. Nuova Era 7026 Bononcini, G. Già la stagion d’amore (pub. 1721). Gérard Lesne, ct; Il Seminario Musicale. Virgin VC 5 45000 2

14:00 IN CONVERSATION with Michael Morton-Evans 15:00 PROKOFIEV EXPLORED Part 2 Prepared by MIchael Morton-Evans Prokofiev, S. Scherzo vivace, from Piano concerto no 2 in G minor, op 16 (1912-13/23). Yundi Li, pf; Berlin PO/Seiji Ozawa. DG 479 1302 2

Scythian suite, op 20 (1914). Birmingham SO/ Simon Rattle. EMI 7 54577 2 20

The ugly duckling, op 18. Elisabeth Söderström, sop; Vladimir Ashkenazy, pf. Decca 476 2511 12

Boccherini, L. String quartet in G minor, op 32 no 5 (pub. 1781). Quartetto Esterházy. Teldec 4509-95988-2 16

Sinfonietta, op 48 (1929). Lausanne CO/Alberto Zedda. Virgin VC 7 91098-2 18

10:30 MORNING CONCERT

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

Nardini, P. Violin sonata in D. Ursula Bagdasarjanz, vn; Luciano Sgrizzi, pf. Gallo 1248

Elgar, E. Overture: Cockaigne, op 40, In London town (1900). Royal PO/Yehudi Menuhin. Virgin VC 7 91175-2 34

13:00 YOUNG VIRTUOSI

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

20:00 AT THE OPERA Prepared by Angela Cockburn Gershwin, G. Porgy and Bess. Opera in three acts. Libretto by DuBose Heyward and Ira Gershwin. First performed Boston, 1935. PORGY: Willard White, bar BESS: Cynthia Haymon, sop Soloists; Glyndbourne Ch; London PO/Simon Rattle EMI CDS 7 4958-2 3:10 Catfish Row in Charleston is home to a poor black community, including the crippled beggar Porgy and the drug-addicted Bess. After her violent partner Crown kills a man, Bess seeks shelter from her neighbours, who reject her. Sporting Life wants her to come to New York, but she resists. Porgy offers her shelter. Gradually trust builds between them and they fall in love. Bess goes to a picnic on an island; disabled Porgy cannot go. Crown appears and rapes her. Bess returns to Catfish Row two days later in a delirious state and begs Porgy for forgiveness. When Crown appears, Porgy strangles him. While he is questioned by the police, Sporting Life gives Bess cocaine and seduces her to come to New York. Porgy sets off to find her. 23:30 FROM THE ROMANTIC PERIOD Prepared by Frank Morrison Chopin, F. Nocturne in D flat, op 27 no 2 (1835). Idil Biret, pf. Naxos 8.554531

Dvorák, A. Romance in F minor, op 11 (187379). Pamela Frank, vn; Czech PO/Charles Mackerras. Decca 460 316-2 11 Smetana, B. Grand overture in D (1848). BBC PO/Gianandrea Noseda. 8 Chandos CHAN 10413

Thursday 14 January 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

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

19:00 A JAZZ HOUR with Barry O’Sullivan 20:00 LIVE AND LOCAL Stabat Mater Recorded by Greg Ghavalas for SUGC on 3 May 2015 in the Great Hall, University of Sydney

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Rex Burgess Buxtehude, D. Sonata in G minor, op 2 no 3 (pub. 1696). Boston Museum Trio. Harmonia Mundi HMA 1901089 12 La capricciosa, BuxWV250. Mitzi Meyerson, hpd ASV GAU 102 25 Cantata for tenor, bass, two violins, oboe and basso continuo: Ich suchte des nachts, BuxWV50. Helmut Krebs, ten; Dietrich FischerDieskau, bar; Fred Schweinfurter, ob; Else Göhrum-Jennewein, vn; Bertha Krimm, vn; Hermann Klaiss, vc; Hermann Werdermann, hpd. Hänssler 94.218 15 Te Deum laudamus, BuxWV218. Wolfgang Rübsam, org. Naxos 8.555991 16 Sonata in B flat, BuxWV273. Musica Antiqua Cologne/Reinhard Goebel. Archiv 427 118-2 15 10:30 MORNING CONCERT Prepared by Paul Cooke Weber, C.M. Invitation to the dance (1819; orch. Berlioz). National PO/Richard Bonynge. Decca 452 767-2 11 Brahms, J. Piano concerto no 2 in B flat, op 83 (1878-81). Artur Schnabel, pf; BBC SO/Adrian Boult. Naxos 8.505189 45 Bennett, W. Sterndale Symphony in G minor, op 43 (1867). Czech Chamber PO/ Douglas Bostock. Classico CLASSCD 634

Ashlyn Timms

Torelli, G. Concerto grosso in E minor, op 8 no 9 (pub. 1709). Mariana Sirbu, vn; I Musici. Philips 432 118-2 14 Albinoni, T. Concerto a cinque in D minor, op 9 no 2 (c1722). Ludwig Güttler, tpt; Friedrich Kircheis, org. Berlin Classics 0012892BC 12 Geminiani, F. Auld Bob Morrice; Lady Ann Bothwell’s lament; Sleepy body, from Five Scots airs (pub. 1749). Members of Palladian Ensemble. Linn CKD010 8 Scarlatti, D. Sonata in F minor, Kk481. Joanna McGregor, pf. Warner 2564 67269-8 7 14:00 LATIN HORIZONS Mexico Prepared by David Ogilvie Ponce, M. Concierto del Sur (1929-40). Eduardo Fernández, gui; English CO/Enrique Garcia Asensio. ABC 480 6461 24 Moncayo García, J. Huapango (1941). Royal PO/Enrique Bátiz. ASV DCA 871 8

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 ITALIAN INSPIRATIONS Prepared by Denis Patterson Corelli, A. Sonata in G minor, op 5 no 7 (pub. 1700). Frans Brüggen, rec; Anner Bijlsma, vc; Gustav Leonhardt, hpd. Pro Arte CDD 291 9

Chávez, C. Violin concerto. Pablo Roberto Diemecke, vn; Mexican NSO/Enrique Arturo Diemecke. 30 Revueltas, S. The night of the Mayas (1939). Simon Bolivar Youth O/Gustavo Dudamel. DG 477 8775 30 Chávez, C. Symphony no 2, Sinfonia India (1935-36). London SO/Eduardo Mata. Vox Cum Laude MCD 10002 13

Dvorak, A. Stabat Mater, op 58 (1876). Lucinda-Mirikata Deacon, sop; Ashlyn Timms, mezz; David Hamilton, ten; Adrian Tamburini, bass; Sydney University Graduate Choir/ Christopher Bowen SUGC SUGC-2015 1:23 21:30 CHAMBER INTERLUDE Prepared by Maddy Tropman Bach, J.S. Brandenburg concerto no 3 in G, BWV1048 (1720). Amsterdam Guitar Trio. Newton 8802093 12 Arnold, M. Three shanties for wind quintet, op 4 (1943). East Winds. Naxos 8.570294 7 Handel, G. Four horn concerto in F (c1746). American Horn Quartet; Sinfonia Varsovia/ Dariusz Wisniewski. Naxos 8.557747 6 22:00 DIFFERING PATHS IN THE 20TH 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 January 2016

fineMusic 102.5

Friday 15 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). Polish State PO/Kenneth Jean. Naxos 8.550231 16

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

German, E. Incidental music to Romeo and Juliet (1895). Czecho-Slovak RSO/Adrian Leaper. Naxos 8.554711 13 Lambert, C. Romeo and Juliet, ballet (1926). State O of Victoria/John Lanchbery. Chandos CHAN 9865 31

9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Di Cox Mendelssohn, F. String symphony no 9 in C, Swiss (1823). Members of Australian CO/ Richard Tognetti. Sony SK 57484 26 Offenbach, J. Cello duet in C, op 49 no 1 (c1847). Andrea Noferini, vc; Giovanni Sollima, vc. Brilliant Classics 94475 7 Boccherini, L. Guitar quintet no 9 in C, La ritirata di Madrid (1798). Alexander Schneider, vn; Felix Galimir, vn; Michael Tree, va; David Soyer, vc; Alirio Diaz, gui. Vanguard OVC 8006 23 Bach, J.S. French suite no 6, BWV817 (c1724; arr. Salzedo). Julia Shaw, hp; Nora Bumanis, hp. CBC MCVD1062 14 Mozart, W. Divertimento in B flat, K137 (1772). I Musici de Montréal/Yuli Turovsky. Chandos CHAN 9045 13

Prokofiev, S. Romeo and Juliet, suite no 3, op 101 (1946). Scottish NO/Neeme Järvi. Chandos CHAN 8508 18 15:00 SELDOM HEARD BEETHOVEN Prepared by Ross Hayes Beethoven, L. Songs WoO: no 1, God save the King (1817); no 3, Charlie is my darling (1819). Janice Watson, sop; Ann Murray, mezz; Ruby Philogene, mezz; Timothy Robinson, ten; Thomas Allen, bar; Krysia Osostowicz, vn; Ursula Smith, vc; Malcolm Martineau, pf. DG 477 5128 7 Allegro con brio, from Symphony no 5 in C minor, op 67 (1807-08; transcr. Liszt). Glenn Gould, pf. Sony 88697417292 6

Tchaikovsky, P. String quartet no 1 in D, op 11 (1871). Franz Schubert Quartet. Nimbus NI 5380 28 Debussy, C. String quartet in G minor (1893). Borodin String Quartet. Virgin VJ 7914569-2 25 Glazunov, A. Oriental rhapsody, op 29 (1889). Moscow SO/Igor Golovchin. Naxos 8.553512 27 d’Indy, V. Médée, orchestral suite, op 47 (1891). Württemberg PO/Gilles Nopre. Marco Polo 8.223654 29 22:00 BAROQUE AND BEFORE Prepared by Elaine Siversen Part 1: Flemish composers of the Baroque Loeillet de Gant, J.B. Sonata in G for recorder and continuo. Frans Brüggen, rec; Anner Bijlsma, baroque vc; Gustav Leonhardt, hpd. LP Telefunken SMA 25073 11 Rosier, C. Suite for three violins (pub. 1679). John Holloway, vn; Stanley Ritchie, vn; Andrew Manze, vn; Mary Springfels, bass viol; Nigel North, theorbo; John Toll, hpd. 7 Harmonia Mundi HMU 907091

10:30 MORNING CONCERT Prepared by Elaine Siversen

Mödlinger dances, WoO17 nos 1 to 8 (1819). Eduard Melkus Ensemble. Archiv 439 964-2 14

Fiocco, J-H. Lamed: Matribus suis dixerunt: Ubi est triticum (1733). Cristina Miatello, sop; Claudio Frigerio, vc; Diana Petech, org; Roberto Gini, vc & dir. Giulia GS 201021 14

Weber, C.M. Jubel-Ouvertüre in E, op 59 (1818). Tapiola Sinfonietta/Jean-Jacques Kantorow. BIS BIS-SACD-1760

Concerto movement in C, WoO5 (c1790-92). Gidon Kremer, vn; London SO/Emil Tchakarov. DG 431 168-2 16

Loeillet de Gant, J.B. Flute sonata in B flat. André Isselée, fl; Christiane Parée, hpd. LP Alpha 139 C 9

La gondoletta, WoO157 no 12 (1816). John Mark Ainsley, ten; Marieke Blankestijn, vn; Ursula Smith, vc; Malcolm Martineau, pf. DG 477 5128 3

Chaumont, L. Piece on the eighth tone, from Organ pieces on the eight tones, op 2 (pub. 1695). Hubert Schoonbroodt, org. LP Musique en Wallonie MW 1-3 15 Part 2: The glory of Venice: The beginning

Giuliani, M. Guitar concerto in A, op 30 (pub. 1808). John Williams, gui; English CO/Charles Groves. CBS M2YK 45610 22 Mahler, G. Symphony no 1 in D, Titan (1888). Chicago SO/Pierre Boulez. DG 477 9528 53 12:00 NOONTIME JAZZ with Peter Mitchell 13:00 ROMEO AND JULIET REVISITED Prepared by Randolph Magri-Overend Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). Royal Concertgebouw O/Edo de Waart. Philips 434 220-2 21 36

Gounod, C. Va! je t’ai pardonné ... nuît d’hyménée, from Romeo and Juliet (1867). Anna Netrebko, sop; Roberto Alagna, ten; Metropolitan Opera Ch & O/Placido Domingo. DG 477 9903 11

20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison

Bagatelle in C, WoO54, Lustig-Traurig (1802). Jenö Jandó, pf. Naxos 8.553798 2 Auld lang syne, WoO156 no 11 (1841). Felicity Lott, sop; John Mark Ainsley, ten; Thomas Allen, bar; Elizabeth Layton, vn; Ursula Smith, vc; Malcolm Martineau, pf. DG 477 5128 2 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 20 or find online: www.finemusicfm.com/digital.html

Willaert, A. Io visans; O ben mio fa m’uno favore. The King’s Noyse; Paul O’Dette, lute; David Douglas, dir. Harmonia Mundi HCX3957127 2 Ricercare (c1550). Piffaro Renaissance Band. Archiv 447 107-2 4 Amor mi fa morire. Collegium Vocale Cologne/ Wolfgang Fromme. CBS M2YK 45622 3 Missa mente tota (c1512-17). Cinquecentro Renaissance Vokal. Hyperion CDA67749 35

Saturday 16 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 CLASSICAL CHAMBER Mozart, W. String quartet no 15 in D minor, K421 (1783). Quartetto Italiano. Decca 478 5555 27 9:30 MINING THE MAJORS Prepared by Brian Drummond Berwald, F. Festival of the Bayadères (1842). Royal PO/Ulf Björlin. EMI CDM 5 65073 2 12 Strauss, J. II Take care in whom you trust, waltz, op 463 (1895). CSSR State PO/Johannes Wildner. Naxos 8.554519 11 Sibelius, J. The swan of Tuonela, op 22 no 3 (1895/97). Susan Tyte, cora; Adrian Shepherd, vc; Scottish NO/Alexander Gibson. Chandos CHAN 6508 8

Excerpts from The pirates of Penzance (1879). Rebecca Evans, sop; Julie Gossage, mezz; John Mark Ainsley, ten; Richard Stuart, bar; Nicholas Folwell, bar; Richard van Allan, bass-bar; Welsh National Opera Ch & O/Charles Mackerras. Telarc 80431 22 Excerpts from The Mikado (1885). Debra Hays, sop; Meredyth Rawlins, mezz; Carroll Freeman, ten; Eric Schilling, bar; Eric Johnson, bass; members of Eastman Chorale; Rochester PO/ Mark Elder. Pro Arte CDD 480 25 14:00 RETURN OF TOBIAS Haydn, J. The return of Tobias; oratorio, Hob. XXI:1 (1775). Barbara Hendricks, sop; Linda Zoghby, sop; Della Jones, mezz; Philip Langridge, ten; Benjamin Luxon, bar; Brighton Festival Ch; Royal PO/Antal Dorati. Decca 440 038-2 3:10 Haydn, J. Divertimento in C, Hob.XIV:8 (c176872). Eduard Melkus Ensemble/Jörg Ewald Dähler. Claves 50-8202 9

Grieg, E. Two Nordic melodies, op 63 (1895). Bergen PO/Ole Kristian Ruud. BIS CD-1740/42 12

17:30 THE VOICES, THE ROLES Baritones: faithful servants with Angela Cockburn

Strauss, R. Prelude to Act I of Guntram, op 85 (1893). Berlin Opera O/Christian Thielemann. DG 449 571-2 12

18:00 SOCIETY SPOT Classical Guitar Society Prepared by Dan Sharkey

Alfvén, H. Symphony no 2 in D, op 11 (189798). Stockholm PO/Neeme Järvi. BIS CD-385 54

Weiss, S. Passacaille. Julian Bream, gui. RCA Victor 09026 61592 2

Regondi, G. Reverie. David Russell, gui. GHA 126002

11:30 ON PARADE Music that’s band Prepared by Owen Fisher

Mendelssohn, F. Theme from Violin concerto. Phillip McCann, cornet; Black Dyke Mills Band/ Peter Parkes. Chandos CHAN 4502 9 Duke, V. April in Paris. Brighouse and Rastrick Band/David Hirst. Didgeridoo HOT 1100 4 Sousa, J.P. The man behind the gun. Allentown Band/Ronald Demkee. AMP 99207 Mascagni, P. Excerpts from Cavalleria rusticana. Black Dyke Mills Band/James Watson. Doyen DOY 060

12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 G & S HOUR Prepared by Chris Blower Sullivan, A. Overture to Iolanthe (1882). Royal Ballet Sinfonia/Andrew Penny. Naxos 8.554165 7

Wagner, R. Heil sei dem holden Frieden, from Die Feen, WWV32 (1833-34). Lorna Haywood, sop; Teresa Cahill, sop; Tom McDonnell, bar; Richard Greager, ten; Paul Hudson, bass; BBC Northern Singers; BBC Northern SO/Edward Downes. Ponto PO-1027 12 Hérold, F. Overture to Zampa (1831). BBC PO/ Yan Pascal Tortelier. Chandos CHAN 9765 8 Bellini, V. Ah, crudel d’onor ragioni, from I Capuleti e i Montecchi (1830). Anna Netrebko, sop; Elina Garanca, mezz; Vienna Singakademie; Vienna SO/Fabio Luisi. DG 477 8031 6 Wagner, R. Du schmähest jede and’re Liebe, from Das Liebesverbot, WWV38 (1835-36). April Cantelo, sop; Raimund Herincx, bass-bar; BBC Northern SO/Edward Downes. Ponto PO-1053 7 Halévy, F. Overture to Le guitarrero (1841; arr Wagner 1841). Yaara Tal, Andreas Groethuysen, pf. Sony 88883711222 7

Scarlatti, D. Sonata in E minor. Julian Bream, gui. RCA Victor 09026 61592 2 4

Glinka, M. Overture to Ruslan and Ludmila. Grimethorpe Colliery Band/Robert Childs. GRIM 2015 5

Marschner, H. Overture to The vampire (1828). Tasmanian SO/Sebastian Lang-Lessing. 7 ABC 476 773-6

Barrios, A. La Catedral. Jonathan Paget, gui. Move MD 3322 8 Giuliani, M. Rossiniana, op 119. Simon Powis, gui. Simon Powis 2010 16 Bellinati, P. Jongo (1982). Jonathan Paget, gui. Move MD 3322 5 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell 20:00 INFLUENCES AND CONNECTIONS The young Wagner Prepared by Barbara Brady Beethoven, L. Overture to Egmont, op 84 (1810). Gewandhaus O/Kurt Masur. Decca 478 6962 9

Meyerbeer, G. Honneur au conquerant ... Une dame noble et sage, from Les Huguenots. Suzanne Johnston, mezz; Anson Austin, ten; John Pringle, bar; Clifford Grant, bass; Australian Opera Ch & O/Richard Bonynge. Opera Australia OPOZ56007CD 11 Wagner, R. O lasst der Gnade Himmelclicht, from Rienzi (1838-40). Siv Wennberg, sop; Janis Martin, sop; René Kollo, ten; Peter Schreier, ten; Günther Leib, bar; Nikolaus Hillebrand, bass-bar; Theo Adam, bass; Staatskapelle Dresden/Heinrich Hollreiser. EMI 63980 6 22:00 SATURDAY NIGHT AT HOME Weber, C.M. Overture to Euryanthe (1823). RSO Berlin/Rolf Kleinert. edel 0001612 CCC 9 Khachaturian, A. Concerto-rhapsody for violin and orchestra (1961). Mihaela Martin, vn; Ukraine NSO/Theodore Kuchar. Naxos 8.555919 23

Wagner, R. Allegro con moto, from Grand sonata in A, op 4 (1832). Werner Gernuit, pf. Bellaphon EB 23,049 7

Mendelssohn, F. Psalm 42: Wie der Hirsch schreit nach frischem Wasser, op 42 (1837). Marina Ulewicz, sop; Munich Oratorio Ch; RSO Pilsen/Andreas Hantke. Arte Nova 74321 3.7639 2 25

Sostenuto e maestoso, from Symphony in C, WWV29 (1832). San Francisco SO/Edo de Waart. Decca 442 8283 12

Krommer, F. Partita in B flat, op 45 no 3. Michael Thompson Wind Ensemble. Naxos 8.553868

Weber, C.M. Schweig, damit dich niemand warnt! from Der Freischütz (1821). Bryn Terfel, bass-bar; Swedish RSO/Paul Daniel. DG 477 8091 3

Rimsky-Korsakov, N. Symphony no 3 in C, op 32 (1886). St Petersburg State SO/André Anichanov. Naxos 8.550812 34 January 2016

fineMusic 102.5

Sunday 17 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

Linley, T. the elder Elegies: Ah! what avails the sprightly morn of life; Ye sportive loves, that round me wait. Invocation/Timothy Roberts. Hyperion CDA66698 10

6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess

Gossec, F-J. Symphonie à 17 parties (1809). Swiss-Italian RO/Wolf-Dieter Hauschild. Naxos 8.554750-51 28

Tavener, J. The veil of the temple (2003). Patricia Rosario, sop; Choir of the Temple Church; Holst Singers; Stephen Layton, cond. Signum Classics SIGCD 367 8 Bruckner, A. Psalm 112 for double choir and orchestra (1863). Corydon Singers/Matthew Best. Hyperion CDA 66245 10 English CO (2 above) Liszt, F. Via crucis. Dorothee Labusch, mezz; Furio Zanasi, bar; Ulrich Rausch, bass; SwissItalian Radio Ch/Diego Fasolis. Naxos 8.553786 36 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Haydn, J. Keyboard trio in F minor, Hob.XV:fl. Beaux Arts Trio. Philips 454 098-2 13 Kraus, J.M. Sinfonia in E flat (c1784). National Museum CO/Claude Génetay. Musica Sveciae MSCD 407 20 Carulli, F. Double concerto in G. Jean-Pierre Rampal, fl; Alexandre Lagoya, gui; Franz Liszt CO/János Rolla. CBS MK 42130 22 Cherubini, L. String quartet no 5 in F (1835). Quartetto David. BIS CD-1005 25 Mozart, W. Concertone in C, K190 (1774). Isaac Stern, vn; Pinchas Zukerman, vn; English CO/ Daniel Barenboim,. Sony SM3K 66 475 29 12:00 SYDNEY JAZZ CLUB PRESENTS Speak easy, swing hard with Richard Hughes

17:00 HOSANNA Prepared by Meg Matthews

Diego Fasolis

Puccini, G. Recondita armonia, from Tosca (1900). Franco Corelli, ten; Alfredo Mariotti, bar; O dell’Accademia di Santa Cecilia/Lorin Maazel. Decca 440 844-2 3 Meyerbeer, G. Ombre légère, from Le pardon de Ploermel. Edita Gruberova, sop; Tokyo PO/ Friedrich Haider. Nightingale Classics NC 090560-2 8 Bizet, G. Toreador’s song, from Carmen. Alison Morgan, sop; Sally-Anne Russell, mezz; Jenny Duck-Chong, cont; Teddy Tahu Rhodes, bar; Cantillation; Sinfonia Australis/Antony Walker. ABC 476 227-2 5 Saint-Saëns, C. Vois ma misère, hélas, from Samson et Dalila (1877). Roberto Alagna, ten; London Voices; Royal Opera House O/ Bertrand de Billy. EMI 5 57012 2 9 Verdi, G. Triumph march, ballet music and chorus, from Aida (1871). RTE Philharmonic Choir; NSO of Ireland/Rico Saccani. Naxos 8.553963 12 Rossini, G. Passo a sei, from William Tell (1829). Royal PO/Lamberto Gardelli. EMI CDM 1 66417-2

15:00 SUNDAY SPECIAL On this day... Prepared by Chris Blower

14:00 OPERA IN CONCERT Prepared by Giovanna Grech

Stanley, J. Concerto grosso in B minor, op 2 no 2 (pub. 1742). Parley of Instruments/Roy Goodman. Hyperion CDA66338 13

Offenbach, J. Overture to La belle Hélène (1864). Suisse Romande O/Ernest Ansermet. Decca 425 083-2 9

Muthel, J. Keyboard concerto no 2 in D minor (pub. 1767). BIS BIS-2179 22

13:00 WORLD MUSIC: Whirled Wide

Taneyev, S. String quartet no 4 in A minor, op 11. Carpe Diem String Quartet. Naxos 8.572421 36

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Hymns (arr. Rutter): All creatures of our God and King; Now thank we all our God. Newcastle Cathedral Festival Ch; Newcastle Cathedral Choir; Newcastle Tudor Singers; Newcastle Cathedral Festival Brass; Anthony Jennings, org; Philip Mathias, cond. 9 Chartreuse CRCD 1493 Mozart, W. Excerpts from Mass in C minor (1782-83). Arleen Auger, sop; Choir of Winchester Cathedral; Winchester College Quiristers; Academy of Ancient Music/ Christopher Hogwood. 7 L’oiseau Lyre 425 528-2 Schubert, F. Magnificat (1815). Christiane Olze, sop; Elisabeth von Magnus, cont; Herbert Lippert, ten; Gerald Finlet, bass; Arnold Schönberg Choir; Concentus Musicus/Nikolaus Harnoncourt. 9 Teldec 3984-26094-2 Poulenc, F. Excerpt from Stabat Mater (1951). Choir of Radio France; NO of France. 4 Decca 476 29747 Hymns: Light of the minds that know Him; Blessed Jesu, Mary’s son; Alleluia sing to Jesus. Jonathan Ryan, cora; soloists & Choir of St James, King Street; David Drury, org; Peter Ellis, cond. Choir of St James recording 10 Dubois, T. Toccata (1886). Gillian Weir, org. 6 Argo 460 185-2 18:00 PIANO INTERLUDE Prepared by Barrie Brockwell Mendelssohn, F. Fantasy on the last rose of summer, op 15 (1827). Simon Tedeschi, pf. 8 Sony SK89233 Sculthorpe, P. Rose Bay quadrilles (1989). Gudrun Beiharz, pf. Move MD 3031

Sunday 17 January

Monday 18 January

Tchaikovsky, P. Pot-pourri on themes from the opera, Pan Voyevoda (1869). Viktoria Postnikova, pf. Erato 2292-45968-2 14 Alkan, C-V. Fantasy in A flat for the left hand, op 76 (c1838). Marc-André Hamelin, pf. Hyperion CDA66765 9 Chopin, F. Fantasy in F minor, op 49 (1841). Evgeny Kissin, pf. Sony 88697301102 14 19:00 SUNDAY NIGHT CONCERT Prepared by Barrie Brockwell Stamitz, J. Sinfonia pastorale in D, op 4 no 2. Northern CO/Nicholas Ward. Naxos 8.554447 14 Dvorák, A. Violin concerto in A minor, op 53 (1879). Richard Tognetti, vn; Nordic CO/ Christian Lindberg. BIS CD-1708 31 Smetana, B. Prelude to Libuse (1881). BBC PO/ Gianandrea Noseda. Chandos CHAN 10518 10 Suk, J. Symphonic poem: Prague, op 26 (1904). Chandos CHSA 5109 25 20:30 NEW HORIZONS Prepared by Nev Dorrington Eno, B. Swept; Bright alarm (2004). Opal 04

Changes for January 07003; Bell improvisation; Lithuanian bell study. Opal 02 13 Music for airports (1978). Robert Wyatt, pf. EMI 649 522 16 Fullness of wind (1975). EMI 649 324

Asian River; Saint Tom; Final sunset; The dove, from Music for films (2005). All Saints HN 1488 14 An ending (ascent) (1983). EG Records EG 53 Lux 1 (2012). Neil Catchpole, vn, va. Opal Warp 231 22:00 AFTER HOURS JAZZ with Kevin Jones

4 19

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small

13:00 DEUTSCHE WELLE CONCERT HOUR By courtesy of Radio Deutsche Welle Palestrina, G. da Kyrie; Agnus dei, from Missa Te Deum laudamus.

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1888 Prepared by Di Cox

Pärt, A. Most Holy Mother of God (2003).

Rimsky-Korsakov, N. Overture: Russian Easter festival, op 36 (1888). Boston Pops O/ Arthur Fiedler. RCA VD87813 13

Willaert, A. I sang, now I weep - let them keep toward me.

Tchaikovsky, P. Andante cantabile, from String quartet no 1 in D, op 11 (1871/88). Raphael Wallfisch, vc; English CO/Geoffrey Simon. Chandos CHAN 6552 8

Corea, C. Crystal silence.

Satie, E. Gymnopédies nos 1 and 3 (1888; orch. Debussy). Orpheus CO. DG 449 186-2 6

Singer pur (all above) Radio Deutsche Welle transcription

Debussy, C. Two arabesques (1888-91). Richard Stoltzman, cl; Nancy Allen, hp. RCA RD 60198 8 Nielsen, C. Little suite for strings in A minor, op 1 (1888/89; arr. Zapolski). Zapolski Quartet. Chandos CHAN 9635 15 Fauré, G. Ave verum corpus, op 65 no 1 (1888-94). Choir of Clare College, Cambridge; Nicholas White, org; Timothy Brown, cond. Meridian CDE 84153 3 Albéniz, I. Dos mazurcas de salón (1888). Juan José Mudarra Gámiz, pf. Naxos 8.573293 9 Strauss, R. Don Juan, op 20 (1888). City of Birmingham SO/Andris Nelsons. Orfeo C 878 141 A 18 10:30 MORNING CONCERT Prepared by Giovanna Grech Berlioz, H. Overture: Roman carnival, op 9 (1844). Philharmonia O/Herbert von Karajan. EMI CDM 1 66434-2 9 Shostakovich, D. Cello concerto no 2, op 126 (1966). Mischa Maisky, vc; London SO/Michael Tilson Thomas. DG 445 821-2 36 Grieg, E. Symphony in C minor (1863-64). Gothenburg SO/Okko Kamu. BIS CD-200 37 12:00 SWING SESSIONS with John Buchanan

Sting. Fields of gold (1993).

Bryars, G. Qual per l’onde turbate.

Brahms, J. Dakrthula’s grave song, op 42 no 3; Good evening, good night cradle song, op 48 no 4.

14:00 PICTURES AT AN EXHIBITION Prepared by Randolph Magri-Overend Rimsky-Korsakov, N. The tale of Tsar Saltan, musical pictures, op 57 (1903). Philharmonia O/ Enrique Bátiz. Naxos 8.553246 19 Elgar, E. Sea pictures, op 37 (1899). Margreta Elkins, mezz; Queensland SO/Werner Andreas Albert. ABC 461 992-2 22 Massenet, J. Suite no 4: Picturesque scenes (1874). Opéra Comique NTO/Pierre Dervaux. EMI 5 65150 2 15 Respighi, O. Three Botticelli pictures (1927). London SO/Charles Mackerras. Carlton Classics 15656 91372 20 Rodrigo, J. The whitebate seller, from Four Andalusian pictures (1946-52). Artur Pizarro, pf. 2 Naxos 8.557272 Mussorgsky, M. Pictures at an exhibition (1874; arr. Ravel). Berlin PO/Claudio Abbado. DG 445 238-2 32 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 January 2016

fineMusic 102.5

Tuesday 19 January

Takuo Yuasa

David Robertson

0:00 CONTEMPORARY COLLECTIVE

Stravinsky, I. Ballet: The firebird (1910). Sydney SO/David Robertson. Sydney Symphony SSO201402 50

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

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 SCARLATTI AND OTHER KEYBOARDS Prepared by Emyr Evans

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Diana Doherty Prepared by Elaine Siversen Bellini, V. Concerto in E flat (pub. 1941). Queensland SO/Werner Andreas Albert. ABC 456 681-2

Scarlatti, D. Allegro, from Sonata in C sharp, Kk247 (1753). Kenneth Cooper, hpd. Vanguard 08 9072 71 6 7

Rachmaninov, S. Vocalise, op 34 no 12 (1912/15). Sinfonia Australis/Mark Summerbell. ABC 481 0116 6 Koehne, G. Inflight entertainment (1999). Sydney SO/Takuo Yuasa. Naxos 8.555847 29 Jolivet, A. Sérénade (1945). David Korevaar, pf. ABC 465 782-2 19 Bach, J.S. Oboe d’amore concerto in D, BWV1053 (1735-40; reconstruction by Mehl). Ironwood. ABC 476 3673 20 Diana Doherty, ob, ob d’amore (all above) 10:30 MORNING CONCERT Prepared by Frank Morrison Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). Bavarian RSO/Rafael Kubelik. DG 439 411-2 12 Haydn, J. Violin concerto no 2 in G, Hob.VIIa:4 (1769). Salvatore Accardo, vn; English CO/Edo de Waart. Philips 438 797-2 20 40

Bartók, B. 15 Hungarian peasant songs (191417). Lily Kraus, pf. Vanguard 08 9100 71 13 Vine, C. Five bagatelles. Ian Munro, pf. Tall Poppies TP080

Borodin, A. Polovtsian dances, from Prince Igor (1887). Royal Liverpool Philharmonic Choir & O/Charles Mackerras. Virgin VC 7 91174-2 14 Holst, G. King Estmere, op 17 (1903). Guildford Choral Society; Philharmonia O/Hilary Davan Wetton. Hyperion CDA66784 26 Korngold, E. Suite from The prince and the pauper (1937). London SO/André Previn. DG 471 347-2 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps

20:00 RECENT RELEASES with Charles Barton

Arensky, A. Suite no 4 for two pianos, op 62. Stephen Coombs, pf; Ian Munro, pf. Hyperion CDA66755 13

22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel

Barber, S. Adagio for strings, op 11 (1936-38; arr. Curley). Carlo Curley, org. Argo 430 837-2 9

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

14:00 KINGS AND PRINCES Prepared by Chris Blower

Wolf-Ferrari, E. Serenade in E flat (c1893). I Solisti Italiani. Denon CO-78838 23

Berlioz, H. Overture: King Lear, op 4 (1831). Philharmonia O/Jean-Philippe Rouchon. ASV DCA 895 16

Röntgen, J. String trio no 16 in C sharp minor (1930). Offenburg String Trio. Naxos 8.573384 17

Rachmaninov, S. Prince Rostislav (1891). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018

Moeran, E.J. Fantasy quartet for oboe and strings (1946). Sarah Francis, ob; members of English String Quartet. Chandos ABRD 1114 13

Alfvén, H. Suite from The mountain king (1916-23). Royal Stockholm PO/Neeme Järvi. BIS CD-585 15

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Widor, C-M. Trio in B flat (1875). András Kiss, vn; Károly Botvay, vc; Ilona Prunyi, pf. Naxos 8.555416 32

Wednesday 20 January 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Colleen Chesterman Handel, G. Julius Caesar, HWV17. Opera in three acts. Libretto by Nicola Haym, sung in the English translation by Brian Trowell. First performed London, 1724.

Janet Baker

Beach, A. Symphony in E minor, op 32, Gaelic (1896). Detroit SO/Neeme Järvi. Chandos CHAN 8958 41

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 13:00 YOUNG VIRTUOSI

9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Jennifer Foong

14:00 IN CONVERSATION with Michael Morton-Evans

Agrell, J. Flute concerto in D (c1750). Maria Bania, fl; Concerto Copenhagen/Andrew Manze. Chandos CHAN 0535 15

15:00 PROKOFIEV EXPLORED Part 3 Prepared by Michael Morton-Evans

Kraus, J.M. Sonata in C (1785). Jaap Schröder, vn; Lucia Negro, fp. Musica Sveciae MSCD 415 23

Prokofiev, S. Suite from Chout, op 21 (1920). Yuli Turovsky, vc; Peter Pettinger, pf. Chandos CHAN 8555 7

Bellman, C. Fredmans epistel no 12, Elegy on the punch-up at the Green Grove (arr. Andersson). Marais Project. Move MCD 512

Violin concerto no 1 in D, op 19 mvt 2 (1916-17). Anne-Sophie Mutter, vn; National SO/Mstislav Rostropovich. Erato ECD 75506 4

Wikmanson, J. String quartet in E minor, op 1 no 2 (c1790). Chilingirian Quartet. CRD 3361 21

Symphony no 1 in D, op 25, Classical (1916-17). New York PO/Leonard Bernstein. CBS MYK 44718 13

Roman, J. Oboe concerto in B flat. Helén Jahren, ob; Musica Vitae/Wojciech Rajski. BIS CD-460 17

Suite from The love for three oranges, op 33b (1919). Toronto SO/Jukka-Pekka Saraste. apex 43076 2 16

10:30 MORNING CONCERT Prepared by Michael Field Weber, C.M. Overture to Peter Schmoll (1803). Berlin PO/Herbert Von Karajan. DG 419 070-2 10 Schumann, R. Violin concerto in D minor, op posth (1853). Ulf Wallin, vn; Robert Schumann Philharmonie/Frank Beermann. BIS SACD-1775 32

Symphony no 2 in D minor, op 40, mvt 1 (1924). Supraphon SU 4093-2 12 Fugitive visions nos 3 and 11 (1915-17). Artur Rubinstein, pf. RCA RD 85670 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

JULIUS CAESAR: Janet Baker, mezz CURIO: Christopher Booth-Jones, bar CORNELIA: Sarah Walker; mezz SEXTUS: Della Jones, mezz CLEOPATRA: Valerie Masterson, sop PTOLEMY: James Bowman, ct ACHILLAS: John Tomlinson, bass English National Opera Ch & O/Charles Mackerras. EMI 7 69760 2 3:04 Having defeated Pompey’s army, Caesar pursues him to Egypt. Pompey’s wife Cornelia and his son, Sextus plead for peace which Caesar grants. But his commander Achillas presents Pompey’s severed head. Cornelia plans suicide but tribune Curio stops her as he loves her. Sextus swears revenge against Egyptian king Ptolomy who betrayed his father, while Cleopatra plans to rule in place of her brother Ptolomy. Achillas, courting Cornelia, plans to kill Cesare. Cleopatra seduces Caesar and agrees to help Sextus assassinate Ptolomy. Sextus is arrested and Cornelia is sent to the harem, from where she rejects both Achillas and Ptolomy. Sextus goes to the harem to ambush Ptolomy. Caesar is warned of Achillas’ plot. Sextus attacks Ptolomy but is disarmed by Achillas who announces Caesar’s death and Cleopatra’s revolt. He demands Cornelia’s hand against Ptolomy’s wishes. Ptolomy’s army is victorious and Cleopatra is captured. Dying Achillas confesses planning Pompey’s assassination and encourages Caesar to kill Ptolomy. Caesar rescues Cleopatra; Cornelia and Sextus slay Ptolomy. Cleopatra becomes queen and she and Caesar rejoice in their love. Air; Hornpipe, from Water music, HWV348-50 (1717). Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 410 553-2 7 23:30 ROMANTIC CHAMBER Brahms, J. Quintet no 1 in F, op 88 (1882). Walter Trampler, va; Juilliard String Quartet. Sony SBK 89737 28 January 2016

fineMusic 102.5

Thursday 21 January 0:00 CONTEMPORARY COLLECTIVE

Donizetti, G. Tombe degl’avi miei … Fra poco a me ricovero, from Lucia di Lammermoor (1835). Luciano Pavarotti, ten; Royal Opera House O/Richard Bonynge. Decca 417 638-2 7

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

Mozart, W. Ei parti ... Senti ... Per pietà, ben mio, perdona, from Così fan tutte, K588 (1790). Kiri Te Kanawa, sop; London SO/Colin Davis. Philips 411 148-2 10

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Madilina Tresca Liszt, F. Totentanz. Alfred Brendel, pf; London PO/Bernard Haitink. Philips 456 733-2 15 Venezia e Napoli (1859). Marc-André Hamelin, pf. Hyperion CDA67760 18 Dante symphony (1856; arr. 1859). Hungarian Radio Children’s Choir; Franz Liszt Piano Duo; Gabriella Thész, cond. Naxos 8.570516 43 La campanella. Kevin Suherman, pf. Move MCD 431

10:30 MORNING CONCERT Prepared by Michael Morton-Evans Glazunov, A. Overture: Carnaval, op 45 (1892). Moscow SO/Igor Golovschin. Naxos 8.553838 10 Jephcott, D. Egyptian suite. David Jephcott, pf; Royal Liverpool PO/Clark Rundell. Nimbus NI 6140 19 Shostakovich, D. Ballet suite no 3 (1952). Royal Scottish NO/Neeme Järvi. Chandos CHAN 7000/1

Benjamin, A. Symphony no 1 (1944-45). Queensland SO/Christopher Lyndon-Gee. Marco Polo 8.223764 38 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Lortzing, A. Overture to Undine (1845). Leipzig RSO/Horst Neumann. LP Marco Polo 6.220310

Handel, G. Sibilar gli angui d’Aletto, from Rinaldo, HWV7a (1711). Samuel Ramey, bass; Philharmonia O/Donato Renzetti. Philips 420 184-2 4 Shostakovich, D. Ya poydu Proshchay, from Lady Macbeth of Mtsensk, op 29 (1934). Galina Vishnevskaya, sop; Nicolai Gedda, ten; Dimiter Petkov, bass; London PO/Mstislav Rostropovich. EMI 5 62829 2 5 Verdi, G. L’autunno, ballet music, from I vespri siciliani (1855). Guido Toschi, ob; Giovanni Tedeschi, cl; Bologna Comunale TO/Riccardo Chailly. Decca 425 108-2 9 42

Ibert, J. Entr’acte (1937).

Teixeira, R. Romaria chords (1978).

Piazzolla, A. Winter; Autumn, from The four season’s of Buenos Aires (1969). 11 Albéniz, I. Tango (1890).

Piazzolla, A. Nightclub 1960, from History of the tango. 6

Wagner, R. O! du mein holder Abendstern, from Tannhäuser (1845). Bryn Terfel, bass-bar; Berlin PO/Claudio Abbado. DG 449 190-2 6

Tárrega, F. Recuerdos de la Alhambra.

14:00 ENCORE LES SIX Prepared by Emyr Evans

Part 2: Beethoven’s Octet

Honegger, A. Intrada (1947). Thierry Caens, tpt; Pascal Devoyon, pf. Timpani 1C1010 5 Fauré, G. Eight short pieces, op 84 (1869-1902). Kathryn Stott, pf. Hyperion CDA66911/4 17 Honegger, A. Concertino for piano and orchestra (1925). Bournemouth Sinfonietta/ Tamás Vásáry, pf & dir. Chandos CHAN 8993 12 Milhaud, D. Carnaval d’Aix, op 83b (1926). Josef Hála, pf; Prague SO/Jindrich Rohan. Praga PR 250 007 19

Nick Russoniello, sax; Murilo Tanouye, gui (all above)

Beethoven, L. Octet in E flat, op 103 (c179293). Sydney Wind Octet. Fine Music Tape Archive 19 21:30 ART SONG Prepared by Jan Brown Schumann, R. Dedication; The nut-tree, from Myrthen, op 25 nos 1 and 3 (1840). Bryn Terfel, bass-bar; Malcolm Martineau, pf. DG 447 042-2 6 Schubert, F. Antigone und Oedip, D542 (1817). Marie McLaughlin, sop; Thomas Hampson, bar; Graham Johnson, pf. Hyperion CDJ 33014 6

Poulenc, F. Seven chansons. Groupe Vocale de France/John Aldis. EMI 5 65151 2 12

Ravel, M. Chanson espagnole, Chanson hébraïque, from Folk songs (1910). Victoria de los Angeles, sop; Gonzalo Soriano, pf. EMI CMS 5 65061 2 7

Bizet, G. Fantasy for flute on Carmen (1873-74; arr. Borne). Patrick Gallois, fl; Fabrice Pierre, hp; London FO/Ross Pople. DG 445 822-2 12

Vaughan Williams, R. The vagabond (1904). Bryn Terfel, bass-bar; Malcolm Martineau, pf. DG 449 190-2 3

Auric, G. Suite from film, Ruy Blas (1947). Slovak RSO/Adriano. Marco Polo 8.225066

22:00 DIFFERENT PATHS OF THE 20TH CENTURY Prepared by Chris Blower

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

Menotti, G. Ballet suite from Sebastian (1944). New Zealand SO/Andrew Schenck. Koch 3-7005-2 24

19:00 A JAZZ HOUR with Barry O’Sullivan

Copland, A. Four dance episodes, from Rodeo (1942). Cincinnati Pops O/Erich Kunzel. Telarc 80339 19

20:00 LIVE AND LOCAL Part 1: Duo Histoire Recorded by Greg Ghavalas for FINE MUSIC on 22 July 2015 at the Roseville Music Club in St Luke’s Presbyterian Church Piazzolla, A. Bordel 1900, from Histoire du tango (1985). 4 Greenbaum, S. Cloud eight (1995/2003).

Ravel, M. Piece en forme de Habanera (1907). 3 Houghton, P. From the Dreaming (1991/97). 14

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Holst, G. Ballet suite in E flat, op 10. Northern Sinfonia/Richard Hickox. Chandos CHAN 9734 19 Shostakovich, D. Ballet suite: The age of gold, op 22a (1927). New Zealand SO/Christopher Lyndon-Gee. Naxos 8.553126 17 Prokofiev, S. Suite no 1 from Cinderella, op 107 (1946). Royal Scottish NO/Neeme Järvi. Chandos CHAN 8939 29

Friday 22 January 0:00 CONTEMPORARY COLLECTIVE

Haydn, J. Symphony in G, Hob.I:8, Evening (1761). Hanover Band/Roy Goodman. Hyperion CDA66523 22

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

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

9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Sheila Catzel

19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Phil Vendy

Vivaldi, A. Concerto in G for two mandolins, strings and continuo, RV532. Rolf Lislevand, mand, Ensemble Kapsberger. naïve OP 30429 11

Reinhard Goebel

Barber, S. Adagio for strings, op 11 (1936; arr. 1938). I Musici de Montréal/Yuli Turovsky. Chandos CHAN 8515 10

Bach, J.S. Prelude and fugue in E minor, BWV548 (1731; arr. Liszt). Leslie Howard, pf. Hyperion CDA66438 13

Rutter, J. Suite for strings (1971). Royal PO/ John Rutter. ucj 476 124-2 13

Shostakovich, D. Five preludes (1920-21). Martin Jones, pf. AVM AVMCD 1003

Bax, A. Quintet for harp and strings (1919). Mobius. Naxos 8.554507 14 Mozart, W. String quartet no 4 in C, K157 (1772-73). Jerusalem Quartet. Harmonia Mundi HMC 902076 16 Britten, B. Simple symphony for strings, op 4 (1934). Northern Sinfonia/Steuart Bedford. Naxos 8.557205 16 10:30 MORNING CONCERT Prepared by Brian Drummond Salieri, A. Sinfonia, Il giorno onomastico (1775). London Mozart Players/Matthias Bamert. Chandos CHAN 9877

Mozart, W. Piano concerto no 26 in D, K537, Coronation (1788). Alfred Brendel, pf; Academy of St Martin in the Fields/Neville Marriner. Philips 420 838-2 31 Respighi, O. Roman festivals (1928). Cincinnati SO/Jésus López-Cobos. Telarc 80356 24 Chabrier, E. Fête polonaise (1887). Vienna PO/ John Eliot Gardiner. DG 447 751-2 7 12:00 NOONTIME JAZZ with Peter Mitchell

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; O La Scintilla/ Àdám Fischer. 7 Decca 475 9077

Medtner, N. Sonata no 1 in A flat, op 11 (190406). Geoffrey Tozer, pf. Chandos CHAN 9153 9

Sor, F. Elegiac fantasy, op 59. Nicholas Goluses, gui. Naxos 8.553342 18

Handel, G. Suite no 4 in E minor, HWV429 (pub. 1720). Glenn Gould, hpd. CBS MPK 44841 9

Albéniz, I. Sonata no 5, op 82 (c1888). Alberto Guinovart, pf. Harmonia Mundi HMI 987007 24

Moszkowski, M. Étincelles, op 36 no 6. Stephen Hough, pf. Hyperion CDA67043

14:00 ADAM AND EVE Prepared by Randolph Magri-Overend

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 and SO/ Igor Markevitch. Philips 432 824-2 7

Rimsky-Korsakov, N. Overture and suite from Christmas Eve (1895). Moscow SO/Igor Golovschin. Naxos 8.553789 26

Arriaga, J. Symphony in D minor (1824). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall. Astrée E 8532 29

Benjamin, A. Suite from The conquest of Everest (1953; arr. Caratelli, Schürmann). BBC Welsh NO/Rumon Gamba. Chandos CHAN 10713 10 Adam, A. Excerpts from Act II of Giselle (1841). Czecho-Slovak RSO/Ondrej Lenard. Naxos 8.550081 8

13:00 SCARLATTI AND OTHER KEYBOARDS Prepared by Emyr Evans

Adams, J. Shaker loops (1978/83). Bournemouth SO/Marin Alsop. Naxos 8.559031

Scarlatti, A. Harpsichord and organ toccata in A. Rinaldo Alessandrini, hpd. Arcana A3 9

Tavener, J. My gaze is ever upon you. BT Scottish Ensemble/Clio Gould. Linn CKD 085

22:00 BAROQUE AND BEFORE Prepared by Rex Burgess Strozzi, B. L’Eraclito amoroso, op 2 (pub. 1651). Jane Edwards, sop; Marshall McGuire, hp; Erin Helyard, hpd. Artworks AW033 7 Bach, J.S. A musical offering, BWV1079 (1747). Musica Antiqua Cologne/Reinhard Goebel. Archiv 413 642-2 48 Charpentier, M-A. La descente d’Orphée aux Enfers (c1686). Soloists; Les Arts Florissants/ William Christie. Erato 0630 11913-2 56 0:00 CLASSIC-ALL THROUGH THE NIGHT January 2016

fineMusic 102.5

Saturday 23 January Bach, J. Christian Piano sonata in G, op 17 no 4 (c1779). Alberto Nosè, pf. Naxos 8.570361 9

6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 CLASSICAL CHAMBER Boccherini, L. Piano quintet in B flat, op 57 no 2 (1799). Riccardo Caramella, pf; Zagreb String Quartet. Nuova Era 7160 27 9:30 MINING THE MAJORS Prepared by Di Cox Ibert, J. Divertissement (1930). Tapiola Sinfonietta/Paavo Järvi. BIS CD-630

Fauré, G. Suite from Pelléas et Mélisande, op 80 (1898). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8952 17 Poulenc, F. Clarinet sonata (1962). Gervase de Peyer, cl; Gwenneth Pryor, pf. Chandos CHAN 8526 13

11:30 ON PARADE Prepared by Paul Hopwood Willis, W. Swing low sweet chariot (arr. Steadman).

Sedaka-Cody Solitaire.

Rolls Royce Coventry Brass Band (2 above) Sherwin, M. A nightingale sang in Berkeley Square (arr. Catherall). Sellers Engineering Brass Band. 5 Soho CD051 (3 above) Vaughan Williams, R. Variations. Bryan Hurdley, cond. Chandos CHAN 4547 Anon. The boys in blue. Delta 60357

11 2

Williams Fairey Engineering Band (2 above) 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 CLASSICAL PIANO Prepared by Chris Blower Schubert, F. Sonata in A minor, D784 (1823). Vladimir Ashkenazy, pf. Decca 443 579-2 20 44

15:00 MANON AT THE BALLET Prepared by Chris Blower Massenet, J. Manon (1884; arr. Lucas 1974) Royal Opera House O/Richard Bonynge. LP Decca 414 585-2 1:40

Satie, E. Gnossiennes nos 1 to 3 (1890). Roland Pöntinen, pf. BIS CD-317 7

Ravel, M. Ballet: Daphnis et Chloé (1912). Cleveland O/Lorin Maazel. Decca 461 343-2

Weber, C.M. Sonata no 3 in D minor, op 49 (1816). Stephanie McCallum, pf. ABC 462 763-2 24

Schubert, F. Piano trio no 1 in B flat, D898 (1827). Trio Wanderer. Harmonia Mundi HMC 902002/03 40 17:30 STAGING MUSIC with Angela Cockburn

Schubert, F. Mille cherubini in coro (arr. Melichar, Senatra). Roberto Alagna, ten; Choir of St John’s; New London Children’s Choir; Smithills School Junior Choir; London SO/ Robin Smith. DG 480 6800 3 Heilig, heilig, heilig; from Deutsche Messe, D872 (1827). Vienna Boys Choir; Ch Viennensis; Rudolf Scholtz, org; Vienna SO/Uwe Christian Harrer. Philips 468 312-2 4 Ave Maria, D839 (1825; arr.). Gil Shaham, vn; Göran Söllscher, gui. DG 479 2565 7 Der Winterabend, D938 (1828). Ian Bostridge, ten; Leif Ove Andsnes, pf. EMI 5 57901 2 7

Cantata for the birthday of Michael Vogl, D666 (1819). Elly Ameling, sop; Peter Schreier, ten; Dietrich Fischer-Dieskau, bar; Gerald Moore, pf. DG 435 596-2 11 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Styne, J. Excerpts from Funny girl (1964). Barbra Streisand, voice. Columbia 5076792000

Porter, C. Excerpts from Silk stockings (1955). Don Ameche, Hildegarde Neff, voices; members of original Broadway cast; O/ Herbert Greene. drg Theatre DRG-CD-19118 14

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

20:00 INFLUENCES AND CONNECTIONS Johann Nepomuk Hummel Prepared by Elaine Siversen Mozart, W. Serenade no 13 in G, K525, Eine kleine Nachtmusik (1787). Swedish CO/Petter Sundkvist. Naxos 8.557023 18 Hummel, J. Fantasia in C on themes from Mozart’s The marriage of Figaro, op 124 (1833). Madoka Inui, pf. Naxos 8.557836 6 Clementi, M. Piano sonata in B flat, op 24 no 2 (1788-89). Howard Shelley, pf. Hyperion CDA67729 12

18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes

Symphony no 3 in D, D200 (1815). Royal Concertgebouw O/Iván Fischer. Radio Nederland RCO12004

Rodgers, R. Excerpts from Me and Juliet (1953). Isabel Bigley, Bill Hayes, Joan McCracken, Bob Fortier, Barbara Carroll Trio, voices; members of original cast. drg Theatre DRG-CD-19115 19

Salieri, A. Sinfonia, Veneziana (aft. 1786). London Mozart Players/Matthias Bamert. Chandos CHAN 9877 10 Albrechtsberger, J. Prelude and fugue in B flat. Annerös Hulliger, org; Philip Swanton, org. Schwann 3-1047-2 6 Haydn, J. Missa brevis in F, Hob.XXII:1 (1749/1805). Ann Hoyt, sop; Julie Liston, sop; Richard Lippold, bass; Trinity Choir; Rebel Baroque O/J. Owen Burdick. Naxos 8.572127 12 LIszt, F. Allegro di bravura, op 4 no 1 (1824). Leslie Howard, pf. Hyperion CDA66771/2 9 Henselt, A. Love poem, op 3. Piers Lane, pf. Hyperion CDA67495 7 Thalberg, S. Nocturne in E, op 28 (c1835). Francesco Nicolosi, pf. Naxos 8.553701

Hummel, J. Grande serenade no 1, op 63 (c1814). Dieter Klöcker, cl; Jörn Maatz, bn; Ernö Sebestyen, vn; Sonja Prunnbauer, gui; Ighsvan Turnagoel, gui; Werner Genuit, pf. LP Schwann VMS 1051 17 22:00 SATURDAY NIGHT AT HOME Prepared by Frank Morrison Mozart, W. Serenade no 9 in D, K320, Posthorn (1779). Capella Istropolitana/Martin Turnovsky. Naxos 8.550092 43 Dohnányi, E. Piano quintet no 2 in E flat minor, op 26 (1914). Schubert Ensemble of London. Hyperion CDA66786 25 Dvorák, A. Legends, op 59 (1881). Scottish CO/ José Serebrier. ASV DCA 765 42

Sunday 24 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

13:00 WORLD MUSIC: Whirled Wide

6:00 SUNDAY MORNING MUSIC with David Garrett

14:00 AROUND USA IN 60 MINUTES Prepared by Randolph Magri-Overend

Monteverdi, C. Adoramus te; Cantate Domino. Choir of Westminster Cathedral; Andrew Wright, org; Stephen Cleobury, cond. Decca 467 431-2 8

9:00 MUSICA SACRA Prepared by Elaine Siversen

Bernstein, L. Chichester psalms (1965). Corydon Singers/Matthew Best. Hyperion CDA66219

Martin, F. Mass for double choir (1922). Choir of St George’s Cathedral, Perth. Private recording 23

Scarlatti, D. Stabat Mater. Choir of Christ Church Cathedral, Oxford; Anthony Pleeth, vc; Chi-Chi Nwanoku, db; Timothy ByramWigfield, org; Francis Grier, cond. Hyperion CDA66182 27 Charpentier, M-A. Te Deum (c1690; trancr. Lambert). Elsa Saque, sop; Jana Silva, sop; John Williams, ct; Fernando Serafim, ten; Philippe Huttenlocher, bar; José Oliveira Lopes, bass; Bernard Gabel, tpt; Antoine Sibertin-Blanc, org; Gulbenkian Foundation of Lisbon Symphony Ch & O/Michel Corboz. Erato 2292-45083-2 28 10:00 THE CLASSICAL ERA Prepared by Di Cox Rossini, G. Overture to The thieving magpie (1817). New York PO/Leonard Bernstein. CBS MYK 44719 10 Kalliwoda, J. Oboe concertino in F, op 110 (1844). Diana Doherty, ob; Queensland SO/ Werner Andreas Albert. ABC 456 681-2 16 Boccherini, L. String quintet in E, op 13 no 5 (1771). Alexander Schneider, vn; Felix Galimir, vn; Michael Tree, va; David Soyer, vc; Lynn Harrell, vc. Vanguard OVC 8006 24 Gluck, C. Suite from Don Juan (1761). Rhenish CO/Jan Corazolla. Christophorus CHE 0064-2 19 Giuliani, M. Serenade in G, op 127. Mikael Helasvuo, fl; Jukka Savijoki, gui. BIS CD-412 16 Vorisek, J. Symphony in D, op 24 (1823). Scottish CO/Charles Mackerras. Hyperion CDA66800 12:00 SYDNEY JAZZ CLUB PRESENTS Classic jazz and ragtime With John Buchanan

Gershwin, G. Rhapsody in blue (1924). Julius Katchen, pf; London SO/István Kertész.. Philips 456 859-2 16 Glass, P. Spaceship, from Einstein on the beach (1975). Philip Glass Ensemble/Michael Riesman. Elektra 7559-79323-2 13 Barber, S. Adagio for strings, op 11 (1936). Indianapolis SO/Raymond Leppard. Decca 458 157-2

Brahms, J. Cello sonata no 1 in E minor, op 38 (1862-65). Lynn Harrell, vc. EMI 5 56440 2 25 Mozart, W. Andante and 5 variations for piano duet in G, K501. Martha Argerich, pf. DG 477 9523

Scarlatti, D. Concerto grosso no 8 in E minor (arr. Avison 1744). Academy of St Martin in the Fields/Neville Marriner. Philips 438 806-2 10 Grainger, P. The warriors, for six hands on one piano (1916). Philip Martin, Martin Jones, Richard McMahon, pf. Nimbus NI 5286 20 Piazzolla, A. Three preludes (1987). Peter Waters, pf. Divox CDX 29103 16

15:00 SUNDAY SPECIAL Kovacevich at 75 Prepared by Sheila Catzel Beethoven, L. Sonata no 21 in C, op 53, Waldstein (1803-04). EMI CDC 7 54896 2

18:00 SCARLATTI AND OTHER KEYBOARDS Prepared by Emyr Evans

Chopin, F. Nocturne no 17 in B, op 62 no 1. Philips 456 880-2 8 Schubert, F. Moments musicaux, D780: no 5 in F minor; no 6 in A flat (1823-28). EMI 5 62817 2 9 Beethoven, L. Piano concerto no 4 in G, op 58 (1805-06). Australian CO. EMI EMX 2177 34 Stephen Kovacevich, pf (all above) 17:00 HOSANNA Prepared by Warwick Bartle Hymn: From the eastern mountains. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP 12103 3 Various Hail gladdening light; O come down O love divine; The lamb. Stephen Cleobury, cond.

Koehne, G. Gothic toccata (1983). Calvin Bowman, org. Melba PD 70001

19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Hartmann, E. A carnival feast, op 32 (1882). Copenhagen PO/Bo Holten. Dacapo 8.226041 29 Hindemith, P. Konzertmusik, op 50 (1930). Philharmonia O/Paul Hindemith. EMI CDH 7 63373 2 16 Kalinnikov, Vasily. Symphony no 1 in G minor. Royal Scottish NO/Neeme Järvi. Chandos CHAN 9546 38 20:30 NEW HORIZONS Prepared by Robert Small Westlake, N. Orchestral soundtrack of the film, Babe (1995). Melbourne SO/Nigel Westlake. ABC 481 1819 57 Whitwell, S. Loopy lady I, II, III, IV (2007). Sally Whitwell, pf. ABC 481 1704 14 Cutlan, P. Perhaps next time (2011). Paul Cutlan, sax; Brett Hirst, db.

Times past.

Parry, H. Psalm 84. David Willcocks, cond. 14

The NOISE string quartet (2 above) Tall Poppies TP211

Choir of King’s College, Cambridge (2 above) EMI 7243 5 58088 2 0

22:00 AFTER HOURS JAZZ with Kevin Jones January 2016

fineMusic 102.5

Monday 25 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

Rossini, G. Ballet music from William Tell (1829). New Philharmonia O/Charles Mackerras. 9 EMI CDM 1 66417-2

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

Verdi, G. Tomb scene from Aïda (1871). Zinka Milanov, sop; Fedora Barbieri, mezz; Jussi Björling, ten; Rome Opera Ch & O/Jonel Perlea. RCA GD 87799 12

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1899 Prepared by Derek Parker Coleridge-Taylor, S. Overture: The song of Hiawatha, op 30 no 3 (1899). BBC Welsh NO/ Rumon Gamba. Chandos CHAN 10797 11 Ravel, M. Pavan pour une infante défunte (1899). Pascal Rogé, pf. Decca 478 5644 6 Elgar, E. Variations on an original theme, op 36 Enigma (1899). BBC SO/Andrew Davis. Teldec 9031-73279-2 32 Somervell, A. Maud. David Wilson-Johnson, bar; David Own, pf. Hyperion CDH 55089 36

14:00 FROM THE USA Prepared by Paul Hopwood

David Wilson-Johnson

12:00 SWING SESSIONS with John Buchanan 13:00 OPERA IN CONCERT Prepared by Giovanna Grech

Ives, C. Symphony no 1 (1895-98). Detroit SO/ Neeme Järvi. Chandos CHAN 9053 40

Cimarosa, D. Overture to I due baroni di Rocca Azzura (1783). Haydn Philharmonia/Ezio Rojatti. Nuova Era 6726 11

Fine, I. Partita (1949.) Reykjavik Wind quintet. Chandos CHAN 9174 14

10:30 MORNING CONCERT Prepared by Derek Parker

Bizet, G. In the depths of the temple, from The pearl fishers (1863). Nicolai Gedda, ten; Ernst Blanc, bar; Paris Opéra Comique O/Pierre Dervaux. EMI CDM 1 66424 2 5

Mozart, W. Ballet: Les petits riens, K299b (1778). Academy of St Martin in the Fields/ Neville Marriner. Philips 464 940-2 20

Puccini, G. Ch’ella mi creda, from La fanciulla del west (1910). Luciano Pavarotti, ten; National PO/Oliviero de Fabritiis. Decca 400 083-2 2

Somervell, A. Violin concerto in G minor (1930). Anthony Marwood, vn; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67420 33

Saint-Saëns, C. Bacchanale, from Samson and Delilah (1877). Royal Stockholm PO/James DePreist. BIS CD-555 7

Beethoven, L. Symphony no 2 in D, op 36 (1801-02). Vienna PO/Simon Rattle. EMI 5 57448 2 32

Hanson, H. Piano concerto in G, op 36 (1948). Eugene List, pf; Massachusetts Institute of Technology SO/David Epstein. Pantheon D 14104 21

Higdon, J. Violin concerto (2008). Hilary Hahn, vn; Royal Liverpool PO/Vasily Petrenko. DG 477 8777 32 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 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

Verdi, G. Gerusalem, from I Lombardi (1843). Welsh National Opera Ch & O/Richard Armstrong. EMI 5 66115 2 6

• Concerts and Arts eVents News • Delivered FREE every Friday Sign up @ www.finemusicfm.com 46

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Tuesday 26 January

3:00 CLASSICAL TILL DAWN

Beethoven, L. Piano sonata no 4 in E flat, op 7 (1796-97). Paul Lewis, pf. Harmonia Mundi HMC 901906/08 30

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

Schubert, F. Incidental music to Rosamunde, D797 (1823). Vienna PO/Riccardo Muti. EMI CDC 7 54873 2 15

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Tasmin Little Prepared by Chris Blower

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

Elgar, E. Chanson de matin, op 15 no 2 (1899); Chanson de nuit, op 15 no 1 (1897-99; arr. Turner 2013). BBC PO/Andrew Davis. Chandos CHAN 10796 7

Brahms, J. Hungarian dances, nos 2 and 4 to 9 (1868; orch. Peter Breiner). London PO/Marin Alsop. Naxos 8.570233 23

0:00 CONTEMPORARY COLLECTIVE

Ravel, M. Tzigane (1922-24). Piers Lane, pf. EMI 5 73115 2 11 Delius, F. Légende (c1892-95). BBC PO/Andrew Davis. Chandos CHAN 10796 8 Lloyd Webber, W. Benedictus (1942). Ian Watson, org. Chandos CHAN 9595

Vaughan Williams, R. The lark ascending (1914/20). BBC PO/Andrew Davis. Chandos CHAN 10796 16 Finzi, G. Concerto for small orchestra and violin (1925-27). City of London Sinfonia/ Richard Hickox. Chandos CHAN 9888 20 Debussy, C. Violin sonata (1917). Piers Lane, pf. EMI 5 73115 2 13

Bantock, G. A Hebridean symphony (1915). Royal PO/Vernon Handley. Hyperion CDA66450 35 12:00 JAZZ RHYTHM with Jeannie McInnes

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

13:00 A LITTLE NIGHT MUSIC Prepared by Katy Rogers-Davies

19:00 THE JAZZ BEAT with Lloyd Capps

Debussy, C. Clair de lune, from Suite bergamasque (1905). Kathryn Stott, pf. Conifer CDCF 148

20:00 RECENT RELEASES with David Garrett

Field, J. Nocturne no 14 in C (1835). Benjamin Frith, pf. Naxos 8.550762 9 Liszt, F. Impromptu in F sharp, S191 (1872). Vladimir Horowitz, pf. DG 479 2553

Fauré, G. Nocturne no 6 in D flat, op 63 (1894). Stephen Hough, pf. Hyperion CDA67890 8 Chopin, F. Nocturne in F sharp, op 15 no 2. Vladimir Ashkenazy, pf. Decca 478 5644 4

Tasmin Little, vn (all above) 10:30 MORNING CONCERT Prepared by Michael Field Nielsen, C. Pan and Syrinx, op 49 (1918). Scottish NO/Alexander Gibson. Chandos CHAN 6524

Vernon Handley

Rachmaninov, S. Suite no 1 in G minor, op 5 (1893). Martha Argerich, pf; Lilya Zilberstein, pf. Warner Classics 0825646235940 6 9

Mozart, W. Flute concerto no 1 in G, K313 (1778). Patrick Gallois, fl; Swedish CO/Katarina Andreasson. Naxos 8.557011 24 Thomson, V. Acadian songs and dances, from Louisiana story (1948). New London O/Ronald Corp. Hyperion CDA66576 15

Beethoven, L. Piano sonata no 14 in C sharp minor, op 27 no 2, Moonlight (1801). Angela Hewitt, pf. Hyperion CDA67797 15 14:00 FROM GERMANY Prepared by Yvonne Laki Bach, J.S. Violin sonata no 5 in F minor, BWV1018 (bef. 1725). Richard Tognetti, vn; Neal Peres da Costa, hpd, org. ABC 476 594-2 19

22:00 CHAMBER SOIRÉE Boccherini, L. String quintet in E flat, op 10 no 5 (1771). La Magnifica Comunità. Brilliant Classics 92503 20 Zimbalist, E. Sarasateana (arr. 1947; transcr. Primrose). Roberto Diaz, va; Robert Koenig, pf. Naxos 8.557391 16 Templeton, A. Pocketsize sonata no 1. Deborah de Graaff, cl; Len Vorster, pf. Walsingham WAL 8017-2

Beethoven, L. String trio in G, op 9 no 1 (179798). Bell’Arte Trio. Zyx Classic CLS 4066 26 Sor, F. Fantaisie, op 34, L’encouragement (1828). Peter Pieters, gui; Micheline Dumortier, gui. Brilliant Classics 92452 13 Borodin, A. String quartet no 2 in D (1881). Royal Philharmonic Chamber Ensemble/ Jonathan Carney. Tring International TRP 017 28

January 2016

fineMusic 102.5

Wednesday 27 January

3:00 CLASSICAL TILL DAWN

14:00 IN CONVERSATION with Michael Morton-Evans

9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century

15:00 PROKOFIEV EXPLORED Part 4 Prepared by Michael Morton-Evans 10

Vivaldi, A. Concerto in C for mandolins and strings. Concert Veneziano. Sonia Classic Sonia 74436 9 Clementi, M. Sonata in C, op 2 no 2 (1779). Costantino Mastroprimiano, pf. Brilliant Classics 93685 12 Pergolesi, G. Salve Regina in C minor (1736). Basia Retchitzka, sop; Luciana Sgrizzi, hpd; Società Cameristica di Lugano/Edwin Loehrer. Erato 2292-45941-2 16 Locatelli, P. Concerto grosso in C minor, op 1 no 2 (pub.1721). I Solisti, Zagreb. PWM Masters 71162 11 Cambini, G. Trio II in C. Trio Tourte. Tactus TC 740 302

Albinoni, T. Concerto no 12 in C, op 7 (c1715). Heinz Holliger, ob; Camerata Bern. Archiv 427 111-2 9 10:30 MORNING CONCERT Prepared by Rex Burgess Britten, B. Four sea interludes, from Peter Grimes, op 33a (1944-45). Philharmonia O/ Carlo Maria Giulini. EMI CZS 7 67723 2 17 Debussy, C. Nocturnes (1897-99). Philharmonia Ch & O/Carlo Maria Giulini. EMI CDM 1 66432 2 26 Strauss, R. Horn concerto no 2 in E flat (1942). Dennis Brain, hn; Philharmonia O/Wolfgang Sawallisch. EMI 7 47834 2 18 Bartók, B. Suite: The miraculous mandarin, op 19 (1919-27). Philharmonia O/Neeme Järvi. Chandos CHAN 9133 20 48

Nathan, I. Don John of Austria. Opera in three acts. Libretto by Jacob Montefiore after Casimir Delavigne’s play Don Juan d’Autriche. First performed Sydney, 1847.

13:00 YOUNG VIRTUOSI

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti

Cimarosa, D. Overture to La circe (1783). Toronto CO/Kevin Mallon. Naxos 8.570279

20:00 AT THE OPERA Prepared by Elaine Siversen

12:00 JAZZ SKETCHES with Robert Vale

0:00 CONTEMPORARY COLLECTIVE

Prokofiev, S. Piano concerto no 4 in B flat, op 53, mvt 1 (1931). Vladimir Ashkenazy, pf; London SO/André Previn. Decca 425 572-2 4 Kije’s wedding; Troika, from Lieutenant Kijé, op 60 (1934). Lille NO/Jean-Claude Casadesus. Naxos 8.557725 5 The young Juliet, from Romeo and Juliet. Kirov O/Valery Gergiev. Philips 442 775-2 5 March; Grasshoppers, from For children, op 65 (1935). Geoffrey Tozer, pf. Tall Poppies TP001 2 Excerpt from Peter and the wolf, op 67 (1936 arr. Markov). Alexander Markov, vn; Dmitriy Cogan, pf. Apex 2564 67430-0 4 Semyon and his mother, Symphonic Suite from Semyon Kotko, op 81bis (1939). Scottish NO/Neeme Järvi. Chandos CHAN 8803 4 Hor! Pust’ nachinajet hor! from War and peace. Kirov O/Valery Gergiev. Philips 442 775-2

Symphony no 5 in B flat, op 100, mvt 2 (1944). Mariinsky TO/Valery Gergiev. Mariinsky MAR0549 9 Ode on the end of war, op 105 (1945). USSR Ministry of Culture SO/Gennady Rozhdestvensky. Melodiya 10-00205 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

DON JOHN OF AUSTRIA: Steve Davislim, ten DONNA AGNES: Cheryl Barker, sop PHILIP II: Grant Doyle, bar DON QUEXADA: Paul Whelan, bass-bar Sydney Phiharmonia Chamber Singers; Sydney SO/Alexander Briger. ABC 476 4114 2:10 Don John, bastard son of Emperor Charles V, does not know of his royal parentage. He wants a life of action and is in love with Donna Agnes. His halfbrother, Philip II, King of Spain, realises that Agnes is the lady whom he also desires and he orders John to enter the monastery. Don Quexada, who raised John, takes him to the monastery where Charles V lives in retirement. Taking pity on his long-lost son, he promises to get John out of religious life. Philip, who had wooed Agnes in disguise as a ‘Count’, asserts his kingly authority to persuade her to marry him but she refuses and reveals that she is a Jew knowing this could mean her death. Don John returns to rescue her but when he confronts the ‘Count’, they are both taken prisoner. When Philip realises that John’s sword belonged to Charles V, he is enraged but Quexada assures him that John is unaware of his royalty and knows Charles only as kindly Brother Carlos. Philip agrees to spare John’s life on condition that he returns to a monastery. John and Agnes are brought before Philip and it is made clear that Agnes will burn if John does not become a monk. Charles V resumes his imperial authority long enough to extract an oath of loyalty from John and a promise from Philip that he will not harm John. Charles reveals to John that he is his father and because of his royalty, he cannot marry Agnes. She bids John farewell forever. 22:30 TWENTIETH CENTURY Prepared by Emyr Evans Elgar, E. Coronation march, op 65 (1911). London SO/Barry Tuckwell. IMP PCD 913

Koehne, G. Powerhouse: Rhumba for orchestra (1993). Adelaide SO/David Porcelijn. ABC 442 349-2 11 Tippett, M. Piano concerto (1955). Benjamin Frith, pf; BBC Scottish SO/George Hurst. Naxos 8.553591 38 Honegger, A. Symphony no 1 (1929-30). Bavarian RSO/Charles Dutoit. Erato 2292-45242-2

Thursday 28 January Grechaninov, A. Snowflakes, op 47 (1910). Ludmilla Kuznetsova, mezz; Russian State SO/ Valéry Polyansky. Chandos CHAN 9397 14 14:00 CLASSICAL CONCERTI Prepared by Gael Golla Mozart, W. Horn concerto no 4 in E flat (1786). Barry Tuckwell; hn; London SO/Peter Maag. Decca 417 767-2 16

Carlo Maria Giulini

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 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 Heather Sykes Respighi, O. The birds (1927). Australian CO/ Christopher Lyndon-Gee. Omega OCD 1007 19 Field, J. Piano concerto no 1 in E flat (1799). Míceál O’Rourke, pf; London Mozart Players/ Matthias Bamert. Chandos CHAN 9368 20 Sinding, C. Symphony no 1 in D minor, op 21 (1890/95). Oslo PO/Øivin Fjeldstad. NKFCD NKFCD 50016-2 40

Haydn, J. Cello concerto no 2 in D, Hob.VIIb:2 (1783). Yo-Yo Ma, vc; English CO. CBS M2K 44562 25 Cimarosa, D. Oboe concerto in C (c1795; ed. Benjamin). Heinz Holliger, ob; I Musici. Philips 420 189-2 10 Hummel, J. Trumpet concerto in E (1803). Håkan Hardenberger, tpt; Academy of St Martin in the Fields/Neville Marriner. Philips 420 203-2 18 Beethoven, L. Piano concerto no 3 in C minor, op 37 (c1800). Arturo Benedetti Michelangeli, pf; Vienna SO/Carlo Maria Giulini. DG 423 230-2 40 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

Doretta Balkizas

21:30 MUSICAL DELIGHTS Prepared by Frank Morrison Paderewski, I. Thème varié in G flat, op 15 (c1888). Karol Radziwonowicz, pf. Harmonia Mundi LCD 2781073/75 8 Saint-Saëns, C. Introduction and rondo capriccioso, op 28 (1863). Maxim Vengerov, vn; Israel PO/Zubin Mehta. Teldec 9031-73266-2 9 Schobert, J. Quartet in E flat, op 14 no 1 (pub. 1761-67). Chiara Banchini, vn; Véronique Méjean, vn; Philipp Bosbach, vc; Luciano Sgrizzi, fp. Harmonia Mundi HMC 1901294 10

19:00 A JAZZ HOUR with Barry O’Sullivan

22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Judy Ekstein

20:00 LIVE AND LOCAL West Side Story Recorded by Jayson McBride for FINE MUSIC on 2 May 2015 in The Concourse, Chatswood

Kennan, K. Three pieces for orchestra (1936). James Austin, tpt; Francis Tursi, va; EastmanRochester O/Howard Hanson. Mercury 475 6274 9

Bernstein, L. Excerpts from West Side story (1957; arr. Mason). 10

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Korngold, E. Violin concerto in D, op 35 (1945). Doretta Balkizas, vn. 27

13:00 EARLY 20TH CENTURY VOICE Prepared by Chris Blower

Copland, A. Fanfare for the Common Man (1942). 4

Reger, M. O Lord, rebuke me not, from Three five-part motets, op 110 (1909-1912). Danish National Radio Choir/Stefan Parkman. Chandos CHAN 9298 17

Bernstein, L. Symphonic dances, from West Side story (1957). 23

Vaughan Williams, R. On Wenlock Edge (1908). Adrian Thompson, ten; Iain Burnside, pf; Delmé String Quartet. Hyperion CDA66385 23

Mambo from Symphonic dances, from West Side Story. 3

Overture to Candide (1956/88).

Willoughby SO/Nicholas Milton (all above)

Bartók, B. String quartet no 1, op 7 (1908-09). Vermeer Quartet. Naxos 8.557543-44 29 Eckhardt-Gramatté, S-C. Piano sonata no 3 (1924). Marc-André Hamelin, pf. Altarus AIR-9052 26 Schuman, W. New England triptych (1956). Eastman-Rochester O/Howard Hanson. Mercury 475 6274 16 Barber, S. Cello concerto, op 22 (1945). Steven Isserlis, vc; Saint Louis SO/Leonard Slatkin. RCA 09026-68283-2 26 January 2016

fineMusic 102.5

Friday 29 January

3:00 CLASSICAL TILL DAWN

Beethoven, L. Piano sonata no 5 in C minor, op 10 no 1 (1798). Stephen Kovacevich, pf. EMI 5 62700 2 17

Debussy, C. Prélude à l’après-midi d’un faune (1894). London SO/Andre Previn. EMI CDM 1 66432 2 10

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

Mozart, W. Piano quartet no 1 in G minor, K478 (1785). Menuhin Festival Piano Quartet. Mediaphon MED 72.117 25

Bizet, G. Symphony no 1 in C (1855). New York PO/Leonard Bernstein. CBS MYK 44718 28

9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Jennifer Foong

14:00 LEGENDARY CONDUCTORS Arturo Toscanini Prepared by Randolph Magri-Overend

22:00 BAROQUE AND BEFORE Two way traffic: north and south

0:00 CONTEMPORARY COLLECTIVE

Mozart, W. String duo no 1 in G, K423 (1783). Igor Oistrakh, vn; David Oistrakh, va. Decca 470 258-2 16 Tchaikovsky, P. String quartet in B flat (1865). New Haydn Quartet, Budapest. Naxos 8.550848 13 Brahms, J. String sextet no 2 in G, op 36 (1864). Jascha Heifetz, vn; Israel Baker, vn; William Primrose, va; Virginia Majewski, va; Gregor Piatigorsky, vc; Gabor Rijto, vc. RCA GD87965 29 Raff, J. String octet in C, op 176 (1872). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 8790 24 10:30 MORNING CONCERT Prepared by Giovanna Grech Dvorák, A. Scherzo capriccioso, op 66 (1883). London SO/István Kertész. Decca 417 724-2 12 Beethoven, L. Violin concerto in D, op 61 (1806). Kyung-Wha Chung, vn; Vienna PO/Kyrill Kondrashin. Decca 400 048-2 45 Schubert, F. Symphony no 3 in D, D200 (1815). Northern Sinfonia/Heinrich Schiff. Chandos CHAN 9136 24 12:00 NOONTIME JAZZ with Peter Mitchell

Brahms, J. Academic festival overture, op 80 (1880). RCA GD60257 10 Tchaikovsky, P. Piano concerto no 1 in B minor (1875). Vladimir Horowitz, pf. LP RCA Victrola VIC-1554 Verdi, G. Va, pensiero, sull’ali dorate, from Nabucco (1842). Westminster Choir. RCA CD 60299(2)

Brahms, J. Liebeslieder-Walzer, op 52 (186869). Ch; Arthur Balsam, pf; Joseph Kahn, pf. RCA GD60260 18 Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). RCA GD60252 46 NBC SO/Arturo Toscanini (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Sally Cameron

Dufay, G. Quel fronte signorille in paradiso. Studio for Early Music. EMI-Electrola CDM 8 26493-2 3 Nuper rosarum flores à 4 (1436). Cantillation/ Brett Weymark. 6 ABC 472 881-2 Bertali, A. Chiacona a violino solo. John Holloway, vn. ECM 465 066-2

Josquin Desprez. Virgo prudentissima. The Clerk’s Group/Edward Wickham, bass & dir. 5 ASV GAU 302 Kapsberger, G. Aria di Fiorenza (1604). Paul O’Dette, chitarrone. Harmonia Mundi HMU 907020 11 Willaert, A. Quante volte diss’io; Vecchie letrose, non valete niente. Katelijne van Laethem, sop; Sophie Watillon, treble, bass viol; Piet Stryckers, bass viol; Frank Liegeois, bass viol; Hannelore Devaere, hp; Philippe Malfeyt; lute, perc & dir. 6 Ricercar RIC 331

20:00 THE ROMANTIC CENTURY Prepared by Rebecca Zhong

Steffani, A. Suite from Niobe, regina di Tebe (1688). I Barocchisti/Diego Fasolis. 7 Decca 478 5741

Chaminade, C. Trio no 1 in G minor, op 11 (1881). Tzigane Piano Trio. ASV DCA 965 22

Obrecht, J. Salve crux, arbor vitae praeclara. Orlando Consort. Metronome MET 1015 12

Chausson, E. Viviane, op 5 (1882/87). BBC PO/ Yan Pascal Tortelier. Chandos CHAN 9650 12

Locatelli, P. Flute sonata in D (1732). Jed Wentz, fl; Norbert Kunst, bn; Marcelo Bussi, org. Vanguard 99099 10

13:00 CLASSICAL PIANO Prepared by Chris Blower

Franck, C. Violin sonata in A (1886). Arthur Grumiaux, vn; György Sebok, pf. Philips 468 307-2 27

Clementi, M. Sonata in B flat, op 24 no 2, Magic flute (c1781). Nikolai Demidenko, pf. Hyperion CDA66808 12

Viardot, P. Havanaise. Cecilia Bartoli, mezz; Jean-Yves Thibaudet, pf. Decca 455 981-2 5

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Josquin Desprez Missa Hercules dux Ferrariae à 4. David James, ct; Ashley Stafford, ct; Robert Jones, ct; Rogers Covey-Crump, ten; John Potter, ten; Mark Padmore, ten; Gordon Jones, bar; David Beavan, bass; Paul Hillier, bass & dir. EMI CDC 7 49960-2 27

Saturday 30 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Arek Sinanian 9:00 CLASSICAL CHAMBER Cherubini, L. String quartet no 2 in C. Quartetto David. BIS CD-1003

Handel, G. Concerto grosso no 5 in D, HWV323 (1739). English Concert/Trevor Pinnock. Archiv 479 1932 16 Gould, M. Derivations for solo clarinet and band (1955). Stephanie Zelnick, cl; University of Kansas Wind Ensemble/Scott Weiss. Naxos 8.572629 17 Delius, F. The walk to the Paradise Garden, from A village Romeo and Juliet (1907). Melbourne SO/Charles Mackerras. ABC 476 3224 11

Ravel, M. Daphnis and Chloë suite no 2 (1905). London SO/Charles Mackerras. Centaur CRC 2090 16 Brahms, J. Song of the Parcae, from Iphegenia in Tauris, op 89 (1882). Gächinger Kantorei Stuttgart; Bach-Collegium Stuttgart/Helmuth Rilling. Hänssler 98.122 12 Saint-Saëns, C. Bacchanale, from Samson and Delilah (1877). Staatskapelle Dresden/Silvio Varviso. Philips 468 148-2 7 15:00 FROM THE USA Prepared by Paul Hopwood

Respighi, O. Ballet: La boutique fantasque, after Rossini (1918). BBC PO/Gianandrea Noseda. Chandos CHAN 10081 45 11:30 ON PARADE with Black Dyke Prepared by Robert Small Rimsky-Korsakov, N. Trombone concerto (1877; arr. Langford). Norman Law, tb. 11 Sparke, P. Concerto grosso. Roger Webster, cornet; Philip Shaw, cornet; Sandy Smith, hn; Robert Childs, euphonium. 15 John Foster Black Dyke Mills Band/Peter Parkes (2 above) Chandos CHAN 8793 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 INSPIRED BY GREEK MYTHOLOGY Prepared by Stephen Wilson Delibes, L. Marche et cortège de Bacchus, from Sylvia (1876). Philharmonia O/Robert Irving. EMI 1 66446 2 6 Blow, J. Suite from Venus and Adonis (1681). Stephen Pedder, vn; Julia Kuhn, vn; Mark Levy, va da gamba; William Carter, theorbo. Wigmore Hall Live WHLive0065 12 Offenbach, J. Orphée aux enfers (1858). Philharmonia O/Antonio de Almeida. Philips 422057-2

Wagner, R. Overture and Venusberg ballet scene from Tannhäuser (1845). Royal Scottish NO/Neeme Järvi. Chandos CHSA 5077 20 Monteverdi, C. Excerpts from Orfeo (1607; arr. Pickett). Ensemble/Philip Pickett. Linn CKD 031 7

9:30 MINING THE MAJORS Prepared by Derek Parker

Brahms, J. Waltzes, op 39 (1865). Alfons Kontarsky; Aloys Kontarsky, pf. DG 479 1965

Purcell, H. But death, alas! from Dido and Aeneas (1689). Janet Baker, sop; St Anthony Singers; English CO/Benjamin Britten. Decca 443 393-2 9

Barber, S. Suite from ballet, Medea, op 23 (1946). Eastman-Rochester O/Howard Hanson. Mercury 432-016-2 25 Carter, E. Piano sonata (1946). Michael Kieran Harvey, pf. Program Promotions PP-2 22

19:00 THE MAGIC OF STAGE AND SCREEN Dancing on stage Prepared by Chris Blower Shostakovich, D. The bolt, suite from the ballet, op 27a (1933). Russian State SO/Dmitri Yablonsky. Naxos 8.555949 29 Respighi, O. Ballet: La pentola magica (1920). BBC PO/Gianandrea Noseda. Chandos CHAN 10081 25 20:00 INFLUENCES AND CONNECTIONS Sergei Prokofiev Prepared by Frank Morrison Prokofiev, S. Symphony no 1 in D, op 25, Classical (1917). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00042 14 Taneyev, S. Canzona (1883). Stanislav Jankovsky, cl; Novosibirsk Academic SO/ Thomas Sanderling. Naxos 8.570584

Glière, R. Overture on Slavonic themes, op 4 (1902). BBC PO/Vassily Sinaisky. Chandos CHAN 9518 10 Glazunov, A. Slavonic festival in G, op 26a (1888). USSR RSO/Odisseiy Dimitriedi. Melodiya MA 15746 13 Myaskovsky, N. Sonata no 3 in C minor, op 19 (1920/39). Murray McLachlan, pf. Olympia OCD 214 13 Lyadov, A. The enchanted lake. Kirov O/ Valery Gergiev. Philips 442 775-2

Chadwick, G. Symphonic sketches (18951904). Czech State PO/José Serebrier. Reference Recordings RR-64 30

Tcherepnin, A. Symphonic march, op 80 (1951). Noriko Ogawa, pf; Singapore SO/Lan Shui. BIS CD-1317 6

Grofé, F. Grand Canyon suite (1931). Cincinnati Pops O/Erich Kunzel. Telarc 80086 32

Rimsky-Korsakov, N. Sadko: Musical picture, op 5 (1869/92). Seattle SO/Gerard Schwarz. Naxos 8.572787 11

17:00 LEGENDARY CONDUCTORS Thomas Beecham Prepared by Randolph Magri-Overend

Prokofiev, S. Cello concertino in G minor, op 132 (1953). Steven Isserlis, vc; London PO/ Andrew Litton. Virgin VC 7 90811-2 20

Bizet, G. Suite no 2 from L’arlésienne (1872). Royal PO. EMI CDC-7 47794 2 17

22:00 SATURDAY NIGHT AT HOME Prepared by Heather Sykes

Sibelius, J. Violin concerto in D minor, op 47 (1903/05). Jascha Heifetz, vn; London PO. Naxos 8.110938 26 Delius, F. A village Romeo and Juliet. Margaret Ritchie, sop; Dorothy Bond, sop; René Soames, ten; Dennis Dowling, bar; Fredierick Sharp, bar; Royal Philharmonic Ch & O. Naxos 8.110982-83 39 Bizet, G. Symphony in C (1855). French National RSO. EMI CDC-7 47794 2 Thomas Beecham, cond (all above)

Parish Alvars, E. Harp concerto in G minor, op 81. Marielle Nordmann, hp; Franz Liszt CO/ Jean-Pierre Rampal. Sony SK 58919 29 Lalo, E. Symphonie espagnole, op 21 (1875). Sarah Chang, vn; Royal Concertgebouw O/ Charles Dutoit. EMI 5 55292 2 33 Rodrigo, J. Concierto Andaluz (1939). Los Romeros; San Antonio SO/ Victor Alessandro. Mercury 434 369-2 25 Soler, A. Sonata no 94 in G, op 4 no 4 (1779). Gilbert Rowland, hpd. Naxos 8.553465 20 January 2016

fineMusic 102.5

Sunday 31 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC 9:00 MUSICA SACRA Prepared by Stephen Matthews Bach, J.L. Missa sopra (1716). Rheinische Kantorei; Das Kleine Konzert. Capriccio C5080

Fux, J. Motet: Plaudite, sonat tuba (170723). Weiner Akademie Choir and O/Martin Haselböck. cpo 999 5282-2 18

Fauré, G. Cantique de Jean Racine. Choir of Westminster Cathedral; Iain Simcock, org; James O’Donnell, cond. 6 Hyperion CDA66669

Albinoni, T. Sinfonia in G. I Solisti Aquilani/ Vittorio Antonellini. Nuova Era 7066 9

Wood, C. O thou the central orb. Choir of Guildford Cathedral; Peter Wright, org; Andrew Millington, cond. Priory PRCD257 5

15:00 SUNDAY SPECIAL The Leningrad Symphony Prepared by Paolo Hooke Shostakovich, D. From Salute Spain! op 44 (1936, 1977; arr. Solin). Rustem Hayroudinoff, pf. Chandos CHAN 9907 6

Bach, J.S. Jesu, meine Freude, BWV227 (172350). Kammerchor Stuttgart/Frieder Bernius. Carus 83.298 20

Desyatnikov, L. Wie der alte Leiermann. Gidon Kremer, vn; Kremerata Baltica. DG 477 6534

10:00 THE CLASSICAL ERA Prepared by Andari Anggamulia

Shostakovich, D. Symphony no 7 in C, Leningrad, op 60 (1941). Chicago SO/Leonard Bernstein. DG 427 632-2 1:25

Dussek, J. Concert duo, op 73 (1813). Masumi Nagasawa, hp; Richard Egarr, pf. Etcetera KTC1436 23 Wranitzky, A. String quintet in E flat, op 8 no 3. Ensemble Cordia. Brilliant Classics 94168 25

17:00 HOSANNA Prepared by Jeremy Hall Hymns: Praise to the Holiest; The King of love my shepherd is; Abide with me. 9 McKie, W. We wait for thy loving kindness. 3

Myslivecek, J. Wind octet no 2 in E flat. Harmoniemusik of London. Virgin 5 61368 2

Stepán, J. Fortepiano concerto in B flat. Andreas Staier, fp; Concerto Cologne. Teldec 4509-94569-2

Vanhal, J. Symphony in E minor (1771-73). Camerata Schweiz/Howard Griffiths. cpo 777 612-2 20 12:00 SYDNEY JAZZ CLUB PRESENTS Classic jazz and ragtime with Jeannie McInnes

13:00 WORLD MUSIC: Whirled Wide 14:00 ITALIAN INSPIRATIONS Prepared by Denis Patterson Cimarosa, D. Overture to L’armida immaginaria (1777). Toronto CO/Kevin Mallon. Naxos 8.570279 5 Scarlatti, A. Silenzio, aure volanti (1686). Vivien Hamilton, sop; Chacona/Rosalind Halton. ABC 476 617-0 18 52

Sammartini, G.B. Concerto in G for oboe, strings and bass continuo. O di Padova e del Veneto/Diego Dini Ciaccim, ob & dir. cpo 777 715-2 16

Choir of Westminster Abbey/Martin Neary (2 above) Sony 31-491346-10

Eccard, J. When to the temple Mary went. 4 Byrd, W. Senex puerum portabat.

Holst, G. Nunc dimittis.

Choir of St Paul’s Cathedral; Huw Williams, org; John Scott, cond (3 above) Hyperion CDA67269 Lauridsen, M. O nata lux. Polyphony/Stephen Layton. Hyperion CDA67449 4 Burgon, G. Nunc dimittis.

Rutter, J. Hymn to the Creator of light.

For a digital schedule turn to page 20 or find online: www.finemusicfm.com/digital.html

Baker, A. Phoenix songs: Prelude, arabesque and rhapsody (1992). Genevieve Lacey, rec; Robert Chamberlain, pf. Move MD 3165 18 Oliveiro, M. Calliphora. Alicia Crossley, rec; Ben Carey, elec. aliciacrossley.com.au 20110825 12 Bandt, R. Subterra (c1983). Ros Bandt, rec. Move MD 3075 13 Sammartini, G. Sonata no 6 in D minor. Sally Melhuish, rec; Emily Baines, rec; Tim Blomfield, vc; Chris Berensen, hpd. Salut Baroque SAL006 9 19:00 SUNDAY NIGHT CONCERT Gounod, C. Ballet music from Faust (1859). London SO/Alfred Scholz. Point Classics 267 1222 17

Parry, H. Psalm 84. Choir of St John’s, Elora; Michael Bloss, org; Noel Edison, cond. Naxos 8.554823 4

Choir of Jesus College, Cambridge; Rebecca Crawshaw, tpt; Robert Dixon, org; Mark Williams, cond (2 above) Signum SIGD269

18:00 SOCIETY SPOT Sydney Society of Recorder Players Prepared by Robert Small

d’Albert, E. Cello concerto in C (1899). Christoph Henkel, vc; Berlin RSO/Jirí Stárek. Schwann 11628 23 Schubert, F. Sonata in C, D812, Grand duo (1824; orch. Joachim). American SO/Leon Botstein. Koch International 3-7307-2 H1 42 20:30 NEW HORIZONS Prepared by Robert Small Dallwitz, B. The secret river: original soundtrack from the TV mini-series (2015). Erkki Veltheim, vn, mand; various performers. ABC 481 1824 57 Herrera, K. Piano sonata no 2 (2009). Ken Herrera, pf. Move MCD 518 28 22:00 AFTER HOURS JAZZ with Kevin Jones

The following composers have works of at least five minutes on the January dates listed Adam, A. 1803-1856 22 Adams, J. b1947 22 Adès, T. b1971 10 Agrell, J. 1701-1765 20 Albéniz, I. 1860-1909 11,18,22 Albinoni, T. 1671-1751 14,27,31 Albrechtsberger, J. 1736-1809 23 Alcock, W. 1861-1947 3 Alfvén, H. 1872-1960 1,16,19 Alkan, C-V. 1813-1888 17 Allworth, R. b1943 1 Angulo, H. b1932 7 Arensky, A. 1861-1906 19 Arnold, M. 1921-2006 1,14 Arriaga, J. 1806-1826 5,22 Atterberg, K. 1887-1974 8 Auric, G. 1899-1983 21 Bach, C.P.E. 1714-1788 10,13 Bach, J. Christian 1735-1782 10,23 Bach, J.L. 1677-1731 31 Bach, J.S. 1685-1750 3,8,9,14,15,19,22,26,31 Bainton, E. 1880-1956 3 Baker, A. 20th c 31 Balakirev, M. 1837-1910 8 Bandt, R. b1951 31 Bantock, G. 1868-1946 26 Barber, S. 1910-1981 19,22,24,28,30 Barbieri, F. 1823-1894 22 Barrios, A. b1917 16 Bartók, B. 1881-1945 4,6,9,10,19,27,28 Bax, A. 1883-1953 6,22 Bazzini, A. 1818-1897 12 Beach, A. 1867-1944 20 Beethoven, L. 1770-1827 1,3,8,9 ,10,11,12,15,16,21,24,25,26,28,29 Bellinati, P. b1950 16 Bellini, V. 1801-1835 16,19 Bellman, C. 1740-1795 20 Benjamin, A. 1893-1960 21,22 Bennett, W. Sterndale 18161875 14 Berlioz, H. 1803-1869 1,3,15,18,19 Bernstein, L. 1918-1990 5,10,24,28 Bertali, A. 1605-1669 29 Berwald, F. 1796-1868 16 Bizet, G. 1838-1875 17,21,25,29,30 Bliss, A. 1891-1975 1 Blow, J. 1649-1708 30 Boccherini, L. 1743-1805 7,13,15,23,24,26 Boïeldieu, A. 1775-1834 3,5 Bononcini, G. 1670-1747 6,13 Borodin, A. 1833-1887 10,19,26 Boyd, A. b1946 5 Brahms, J. 1833-1897 2,3,8,13,14,20,24,26,29,30 Bréton, T. 1859-1923 11 Britten, B. 1913-1976 3,22,27 Bruckner, A. 1824-1896 17 Buxtehude, D. 1637-1707 9,14 Caldara, A. c1670-1736 6 Cambini, G. 1746-1825 27

Campra, A. 1660-1744 10 Carter, E. b1908 30 Carulli, F. 1770-1841 17 Chabrier, E. 1841-1894 22 Chadwick, G. 1854-1931 30 Chaminade, C. 1857-1944 29 Charpentier, M-A. 1635-1704 4,22,24 Chaumont, L. 1630-1712 15 Chausson, E. 1855-1899 29 Chávez, C. 1899-1978 14 Cherubini, L. 1760-1842 2,10,17,30 Chopin, F. 1810-1849 2,9,13,17,24 Cimarosa, D. 1749-1801 11,25,27,28,31 Clementi, M. 1752-1832 2,23,27,29 Coleridge-Taylor, S. 18751912 25 Connesson, G. b1950 10 Copland, A. 1900-1990 21 Corelli, A. 1653-1713 11,14 Cutlan, P. 20th c 24 Czerny, C. 1791-1857 10 d’Albert, E. 1864-1932 31 d’Indy, V. 1851-1931 15 Dallwitz, B. b1959 31 Debussy, C. 1862-1918 5,7,8,15,18,26,27,29 Delibes, L. 1836-1891 30 Delius, F. 1862-1934 8,26,30 Desyatnikov, L. b1955 31 Dohnányi, E. 1877-1960 4,23 Donizetti, G. 1797-1848 5,21 Doppler, F. 1821-1883 1,4 Dubois, T. 1837-1924 17 Dussek, J. 1760-1812 31 Dvorák,, A. 1841-1904 4,9,13,14,17,23,29 Dvorák, A. 1841-1904 4,9,13,14,17,23,29 Dvorák,, A. 1841-1904 4,9,13,14,17,23,29 Eckhardt-Gramatté, S-C. 1899-1974 28 Elgar, E. 1857-1934 4,7,10,13,18,25,26,27 Ellington, D. 1899-1974 12 Eno, B. b1948 17 Erlebach, P. fl 1690-1700 11 Falla, M. de 1876-1946 11 Fauré, G. 1845-1924 1,21,23,26,31 Field, J. 1782-1837 2,26,28 Fine, I. 1914-1962 25 Finzi, G. 1901-1956 26 Fiocco, J-H. 1703-1741 15 Fossa, F. de 1775-1849 5 Françaix, J. 1912-1997 12 Franck, C. 1822-1890 29 Frederick II. 1712-1786 3 Fux, J. 1660-1741 31 Galuppi, B. 1706-1785 13 Garcia, M. 1775-1832 22 Geminiani, F. 1687-1762 14 German, E. 1862-1936 15 Gershwin, G. 1898-1937 5,24 Gibbons, C. 1615-1676 8

Gibbons, O. 1583-1625 8 Giménez, J. 1854-1923 11 Ginastera, A. 1916-1983 3 Giordani, T. 1730-1806 2 Giuliani, M. 1781-1829 15,16,24 Glass, P. b1937 24 Glazunov, A. 1865-1936 15,21,30 Glière, R. 1875-1976 30 Glinka, M. 1804-1857 1,16 Gluck, C. 1714-1787 24 Gossec, F-J. 1734-1829 17 Gould, M. 1913-1996 30 Gounod, C. 1818-1893 15,31 Grainger, P. 1882-1961 5,7,24 Granados, E. 1867-1916 11 Grechaninov, A. 1864-1956 3,28 Greenbaum, S. b1966 21 Grieg, E. 1843-1907 2,16,18 Grime, H. b1981 10 Grofé, F. 1892-1972 30 Halévy, F. 1799-1862 16 Halffter, E. 1905-1989 14 Handel, G. 1685-1759 2,14,22,30 Hanson, H. 1896-1981 25 Hartmann, E. 1836-1898 24 Harty, H. 1879-1941 6 Haydn, J. 1732-1809 1,2,3,8,10,16,17,19,22,23,28 Henselt, A. 1814-1889 23 Hérold, F. 1791-1833 16 Herrera, K. 20th c 31 Herzogenberg, H. 1843-1900 19 Higdon, J. b1962 25 Hill, A. 1870-1960 2 Hindemith, P. 1895-1963 3,8,24 Hoffmeister, F. 1754-1812 10 Holst, G. 1874-1934 11,19,21 Homs, J. b1906 14 Honegger, A. 1892-1955 21,27 Hough, S. b1961 3 Houghton, P. b1954 21 Hovhaness, A. 1911-2000 2 Howarth, E. b1935 2 Hummel, J. 1778-1837 2,10,23,28 Ibert, J. 1890-1962 23 Ippolitov-Ivanov, M. 18591935 2 Ireland, J. 1879-1962 8 Isasi, A. 1890-1940 14 Ives, C. 1874-1954 25 Jadin, L. 1768-1853 5 Jephcott, D. b1949 21 Jolivet, A. 1905-1974 19 Josquin Desprez c1440-1521 29 Kabalevsky, D. 1904-1987 9 Kalinnikov, Vasily. 1866-1901 4,24 Kalliwoda, J. 1801-1866 24 Kapsberger, G. c1580-1651 29 Kay, R. 20th c 7 Kellaris, J. b1956 7 Kennan, K. b1913 28 Khachaturian, A. 1903-1978 16

Kodály, Z. 1882-1967 8 Koehne, G. b1956 19,24,27 Korngold, E. 1897-1957 19,28 Kraus, J.M. 1756-1792 17,20 Kreutzer, R. 1766-1831 12 Krommer, F. 1759-1831 16 Krumpholtz, J-B. 1742-1790 5 Lalo, E. 1823-1892 30 Lalor, S. b1962 7 Lambert, C. 1905-1951 15 Langgaard, R. 1893-1962 4 Leclair, J-M. 1697-1764 2 Lidl, A. 1740-1789 10 Ligeti, G. 1923-2006 4 Linley, T. the elder 1733-1795 17 Liszt, F. 1811-1886 4,17,21,23 Locatelli, P. 1695-1764 27,29 Loeillet de Gant, J.B. 1688c1720 15 Lortzing, A. 1801-1851 21 Lutoslawski, W. 1913-1994 7 Lyadov, A. 1855-1914 30 MacDowell, E. 1860-1908 8,10 Mahler, G. 1860-1911 5,9,15 Marschner, H. 1795-1861 16 Martin, F. 1890-1974 24 Martini, G. 1706-1784 13 Martinu, B. 1890-1959 7 Mascagni, P. 1863-1945 16 Massenet, J. 1842-1912 4,5,8,10,18,23 Mayer, C. 1799-1862 2 Medtner, N. 1880-1951 22 Mendelssohn, F. 1809-1847 5,9,12,15,16,17,19 Menotti, G. 1911-2007 21 Mertz, J. 1806-1856 4 Messiaen, O. 1908-1992 2,10 Meyerbeer, G. 1791-1864 16,17 Milhaud, D. 1892-1974 21 Mills, R. b1949 3 Moeran, E.J. 1894-1950 19 Moncayo García, J. 19121958 14 Monteverdi, C. 1567-1643 1,3,24,30 Moore, K. b1979 10 Moscheles, I. 1794-1870 5 Mozart, W. 1756-1791 5,8,9,15,1 6,17,21,22,23,24,25,26,28,29 Mussorgsky, M. 1839-1881 1,10,12,18 Muthel, J. 1728-1788 17 Myaskovsky, N. 1881-1950 30 Myslivecek, J. 1737-1781 31 Nardini, P. 1720-1793 13 Neukomm, S. 1778-1858 10 Nielsen, C. 1865-1931 18,26 Norman, A. 20th c 3 Obrecht, J. c1450-1505 29 Offenbach, J. 1819-1880 15,17,30 Oliveiro, M. b1983 31 Paderewski, I. 1860-1941 9,28 Paganini, N. 1782-1840 12

Parish Alvars, E. 1808-1849 5,30 Parry, H. 1848-1918 24 Pepusch, J. 1667-1752 11 Pergolesi, G. 1710-1736 9,11,27 Petrini, F. 1744-1819 5 Pezel, J. 1639-1704 12 Piazzolla, A. 1922-1992 21,24 Ponce, M. 1882-1948 14 Popper, D. 1843-1913 8 Porter, C. 1891-1964 23 Poulenc, F. 1899-1963 21,23 Prokofiev, S. 1891-1953 3,6,9,15,20,21,30 Purcell, H. 1659-1695 30 Rachmaninov, S. 1873-1943 6,12,19,26 Raff, J. 1822-1882 29 Rameau, J-P. 1683-1764 1 Ravel, M. 1875-1937 4,7,12,21,23,25,26,30 Reger, M. 1873-1916 28 Regondi, G. 1822-1872 16 Reinecke, C. 1824-1910 4 Respighi, O. 1879-1936 1,3,8,18,22,28,30 Revueltas, S. 1899-1940 14 Richter, F. 1709-1789 12 Rimsky-Korsakov, N. 18441908 10,12,16,18,22,30 Rodgers, R. 1902-1979 9,23 Rodrigo, J. 1901-1999 3,14,30 Roman, J. 1694-1758 20 Röntgen, J. 1855-1932 19 Rosier, C. 1640-1725 15 Rossini, G. 1792-1868 3,17,24,25 Rózsa, M. 1907-1995 7 Rutter, J. b1945 22,31 Sacchini, A. 1730-1786 3 Saint-Saëns, C. 1835-1921 4,12,17,25,28,30 Salieri, A. 1750-1825 6,10,22,23 Sammartini, G. 1693-1750 6,31 Sammartini, G.B. 1700-1775 13,31 Sarasate, P. de 1844-1908 11 Satie, E. 1866-1925 12,18,23 Saunders, R. b1967 10 Scarlatti, A. 1659-1725 11,22,31 Scarlatti, D. 1685-1757 5,14,19,24 Schobert, J. 1740-1767 28 Schoenberg, A. 1874-1951 7 Schubert, F. 1797-1828 1,2,3,9,10 ,17,21,23,24,26,29,31 Schuman, W. 1910-1992 28 Schumann, R. 1810-1856 8,9,20,21 Schwartz, S. b1948 9 Sculthorpe, P. b1929 3,7 Shostakovich, D. 1906-1975 3,6,18,21,22,30,31 Sibelius, J. 1865-1957 7,16,30 Sinding, C. 1856-1941 28 Smetana, B. 1824-1884 12,13,17 Smith, R. b1958 9 Soler, A. 1729-1783 30 Somervell, A. 1863-1937 25 Sondheim, S. b1930 9

Sor, F. 1778-1839 5,22,26 Sousa, J.P. 1854-1932 2 Sparke, P. b1951 30 Spohr, L. 1784-1859 1 Stamitz, J. 1717-1757 17 Stanford, C. Villiers 1852-1924 3,7,8 Stanley, J. 1712-1786 17 Starzer, J. 1726-1787 10 Steffani, A. 1654-1728 29 Stepán, J. 1726-1797 31 Strauss, J. II 1825-1899 7,16 Strauss, R. 1864-1949 2,11,16,18,27 Stravinsky, I. 1882-1971 3,19 Strozzi, B. 1619-1664 22 Styne, J. 1905-1994 23 Suk, J. 1874-1935 17 Sullivan, A. 1842-1900 16 Taneyev, S. 1856-1915 17,30 Tárrega, F. 1852-1909 11 Tartini, G. 1692-1770 4,11 Tavener, J. b1944 4,17,22 Tchaikovsky, P. 1840-1893 1,2,3,6,8,10,12,15,17,18,29 Tcherepnin, A. 1899-1977 30 Telemann, G. 1681-1767 1,11 Templeton, A. 1909-1963 26 Thalberg, S. 1812-1871 23 Thomas, A. 1811-1896 3 Thomson, V. 1896-1989 26 Tippett, M. 1905-1998 11,27 Torelli, G. 1658-1709 14 Tormis, V. b1930 1 Tórroba, F. Moreno 18911982 5 Turina, J. 1882-1949 5 Valentini, Giuseppe. 15831649 11 Vanhal, J. 1739-1813 31 Vaughan Williams, R. 18721958 7,11,23,26,28 Veracini, F. 1690-1768 6 Verdi, G. 1813-1901 3,12,17,21,25 Vianna da Motta, J. 18681948 22 Villa-Lobos, H. 1887-1959 2 Vine, C. b1954 19 Viotti, G. 1755-1824 5 Vivaldi, A. 1678-1741 6,9,22,27 Vorisek, J. 1791-1825 24 Wagner, R. 1813-1883 16,21,30 Weber, C.M. 1786-1826 8,14,15,16,20,23,26 Westlake, N. b1958 10,24 Whitwell, S. b1974 24 Widor, C-M. 1844-1937 19 Wikmanson, J. 1753-1800 20 Willaert, A. c1490-1562 29 Wolf-Ferrari, E. 1876-1948 19 Wölki, K. 1904-1983 7 Woods, J. 20th c 7 Wranitzky, A. 1761-1820 31 Zemlinsky, A. 1871-1942 7 Zimbalist, E. 1890-1985 26

Key Music duration is shown after the record and citation SO: Symphony Orchestra Orchestra bshn: basset horn

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

Prom O: Promenade Orchestra Ch & O: Chorus & Orchestra NSO: National Symphony Orchestra alto: male alto ban: bandoneon bar: baritone

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 sax: saxophone January 2016

sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vle: violone vn: violin fineMusic 102.5

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. DIRECTORS Janine Burrus – Chair, Lloyd Capps – Deputy Chair, Andrew Dziedzic - Secretary, David Brett, Ian Dunbar, Jeannie McInnes, Simon Moore, Stephen Wilson STAFF David Sidebottom - General Manager, Peter Bailey - Technical Manager, Sue Ferguson - Financial Administrator, Michael Guilfoyle- Production Coordinator, Steve-Marc McCulloch - Program Coordinator, Dave Nolan - Sponsorship Manager, Alix Fiveash - Marketing Manager. COMMITTEE CHAIRS Programming - Chris Blower, Presenters - Ross Hayes, Technical - Max Benyon, Volunteers - Sissi Stewart, Finance – David Brett, Jazz - Jeannie McInnes, Library- Bob Hallahan, Young Virtuosi - Troy Fil/Conan Tran, Work Health and Safety - John Mitchelll FRIENDS OF FINE MUSIC ADMINISTRATOR Allen Ford YOUNG VIRTUOSI COORDINATOR Judy Deacon MAGAZINE DISTRIBUTION Sissi Stewart INTERNSHIP COORDINATOR Heather Middleton PROGRAM SUBEDITORS Jan Akers, Chris Blower, Di Cox, Colleen Chesterman, Susanne Hurst, Elaine Siversen, Halyna Van Ewyk, Teresa White LIBRARIANS Jan Akers, Barbara Brady, Gaby Brown, Lynn Forrester, Valerie Haynes, Bob Hallahan, David Hieron, Helen Milthorpe, Mike Marchbank, Philip McGarn, Susan Ping Kee, David Richardson, Gary Russ, Mark Renton, Manfred Stauber, Ray Thatcher, Anne Wiseman. VOLUNTEER RECORDING ENGINEERS Peter Bell, Roger Doyle, Greg Ghavalas, George Hilgevoord, John Ingham , Alicia Limasa, Jayson McBride, Tim Saddler, Greg Simmons, Conan Tran, Joanna Wroblewska VOLUNTEER PROGRAMMERS AND PRESENTERS Andari Anggamulia, Warwick Bartle, Charles Barton, Peter Bell, Chris Blower, Barbara Brady, David Brett, Barrie Brockwell, Jan Brown, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Sally Cameron, Lloyd Capps, Vince Carnovale, Sheila Catzel, Colleen Chesterman, Andrew Clark, Angela Cockburn, Liam Collins, Paul Cooke, Angus Cornwell, Marc Cottee, George Coumbis, Di Cox, George Cruickshank, Nick Dan, Kate Delaney, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Ian Dunbar, Andrew Dziedzic, Judy Ekstein, Emyr Evans, Michael Field, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Francis Frank, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Gael Golla, Raj Gopalakrishnan, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Ross Hayes, Andre Hayter, Paolo Hooke, Paul Hopwood, Richard Hughes, James Hunter, Leita Hutchings, Anne Irish, Paul Jackson, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Peter Kurti, Yvonne Laki, Ray Levis, Anthony Mackey, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, Christina Macguinness, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Heather Middleton, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Josh Oshlack, Barry O’Sullivan, Derek Parker, Denis Patterson, Katy Rogers-Davies, Paul Roper, Genji Sato-Fraser, Marilyn Schock, Debbie Scholem, Jon Shapiro, Dan Sharkey, Julie Simonds, Arek Sinanian, Elaine Siversen, Robert Small, Manfred Stäuber, Garth Sundberg, Heather Sykes, Patrick Thomas, Anna Tranter, Madilina Tresca, Maddy Tropman, Robert Vale, Phil Vendy, Richard Verco, Brendan Walsh, Ken Weatherley, Alastair Wilson, Stephen Wilson, Glenn Winfield, Chris Winner, Bella Woods, John Yates, Orli Zahava, Tom Zelinka, Sioban Zhang, Rebecca Zhong MEMBERSHIP The Music Broadcasting Society of NSW Co-Operative Ltd is registered under the Co-operatives Act 1992 (NSW). Annual membership fee is $22 and members are entitled to vote at Society general meetings. Enquiries - admin@finemusicfm.com VOLUNTEERS Fine Music’s many volunteers are supported by a small team of staff. To find out how to join our volunteers visit finemusicfm.com or call 9439 4777.

BOOK & CD FAIR @ CROWS NEST Crows Nest Centre, 2 Ernest Place, Crows Nest Opening Night Thursday 21 January, 2016, 6pm-10pm Then daily until Sunday 31 January, 2016, 9am-6pm

CD and book donations pick-up line - 9487 1111 54

January

2016

fineMusic 102.5

Fine music patrons & friends DIAMOND PATRONS ($50,000+)

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PLATINUM PATRONS ($2500-$49,999)

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SILVER PATRONS ($500-$999)

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BRONZE PATRONS ($250-$499)

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January 2016

fineMusic 102.5

Crossword and Trivia 1

9 10

Compiled by Gwynn Roberts

Name:_______________________________________________ Address: _____________________________________________ Tel:______________ Email_______________________________ To go in the draw to win a copy of Andrea Bocelli: Cinema from Decca, email your crossword answers to: competitions@finemusicfm.com by 23 January 2016 The Crossword 72-76 Chandos Street St Leonards NSW 2065

ACROSS

DOWN

1 We rang the changes for this composer (6) 4 Composer cuts herb fragments (8) 10 American composer Roger at singular jam (7) 11 Cure with a silent banjo (7) 12 Even the Old Boy network recalls this composer (9) 13 French writer partly gives back nasty envelope (5) 14 Composer 1 across lost right to become Australian (5) 16 Echoed sound inside reed (9) 19 Tide din. Very loud. Work shy (9) 21 Swiss song involved melody without metre (5) 23 English composer on a pub crawl (5) 24 Organisation lends short binoculars for defective eyesight (9) 26 First male worker is stubborn (7) 27 A beginner’s Logie fabricated for astronomer (7) 28 Old raven flutters between Sydney and Perth (8) 29 The singing Elms (6)

1 Instrument for your dirty linen maybe (9) 2 Seating arranged for lost work of 4 across (7) 3 Hit I’d composed for the little sparrow (5) 5 Round loud sound (5) 6 May be sweet, but not very nice (9) 7 Disrupted grandee was furious (7) 8 British soldier in rock musical (5) 9 College poetry for the cosmos (8) 15 Hell with a twist at seat of British government (9) 17 Sings set arrangements (8) 18 Sound lies constitute unreal fantasies (9) 20 Food for enthusiasts heralded by brass (7) 22 Redback around healthy inhabitant (7) 23 Often accompanies standing ovation (5) 24 Continue innings with conductor’s aid (5) 25 Handel tarantella includes triangle (5)

CROSSWORD SOLUTION - DECEMBER 2015

Across: Across: 1 Softpedal, 4 Polka, 6 Orchestration, 9 Again, 10 Ambrosian, 12 Dna, 13 Terpsichore, 14 Fauxbourdon, 17 Les, 18 Castanets, 20 Comus, 21 Illuminations, 22 Thyme, 23 Lutenists Down: 2 Fermata, 3 Despair, 4 Petrol Can, 5 Leoni, 7 Hen, 8 Angels, 11 Bis, 12 Defect, 13 Tablature, 15 Use, 16 Descant, 17 Laments, 19 Selby, 20 Cui

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. Who wrote the opera May Night? 2. In which year was London’s Albert Hall opened? Was it 1871, 1881 or 1891? 3. What is the smallest interval of the modern Western tone system? 4. By what other name is the 17th century aria When I am laid in Earth better known? 5. For what instrument was Grieg’s Holberg Suite originally written? 6. How many strings does a theorbo have? 7. Charles Perrault was a French writer of fairytales, two of which were turned into ballets. Can you name the two? 8. The Symphony of Psalms was a choral work by which Russian composer?

Charles Perrault

TRIVIA ANSWERS

Rimsky-Korsakov 2.1871 3. A semitone 4. Dido’s Lament 5. Piano 6. Some have 16, some 20 7. The Sleeping Beauty and Cinderella 8. Stravinsky 56

January

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.

From left to right: Phoebe Briggs, Jeremy Kleeman, Emma Matthews and Sally-Anne Russell

MUSICA VIVA AND VICTORIAN OPERA PRESENT

Voyage to the Moon TICKETS2 PROGRAM

Baroque music is set to 21st-century words to tell of a knightâ&#x20AC;&#x2122;s journey to the Moon in this brand new operatic work of love, loss and hope. Written and directed by Michael Gow, featuring a stellar cast of Australian singers and instrumentalists.

Monday 22 Feb, 7pm; Tuesday 23 Feb, 7pm and Saturday 27 Feb, 2pm City Recital Hall, Sydney musicaviva.com.au/Voyage 1800 688 482 In partnership with the ARC Centre of Excellence for the History of Emotions and supported by the Musica Viva Amadeus Society.