August 2013
MAGAZINE
JESSICA PRATT The acclaimed coloratura soprano
PIANIST INTELLECTUAL AND WRITER America’s Jeremy Denk
THE AUSTRALIAN BALLADEER Peter Dawson
SYDNEY SYMPHONY PRINCIPAL CELLIST
Catherine Hewgill
RE-BIRTH OF AN OPERATIC CAREER
Göknur Shanal
CONTENTS Vol 40 No 8 5
COVER STORY Randolph Magri-Overend interviews Jessica Pratt. The soprano talks about her early career, life in Europe and her dog Fede.
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American Pianist - Jeremy Denk
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Leading Sydney Cellist - Catherine Hewgill
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Peter Dawson, “The Australian Balladeer”
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Young Virtuosi Alumna - Göknur Shanal
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What’s On
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CD Reviews
19
Swinging on the Vine
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Directors, Committees, Staff
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Fine Music Friends
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Crossword and Trivia Quiz
Digital Channel – Fine Mus On Fine Mus between noon and 4pm weekdays you’ll find programs covering classical up to 3pm and Jazz in Concert until 4pm. For more on this month’s digital programs see page 20.
EDITOR’S DESK
Fine Music Alumni This month, we’re including two stories following the careers of gifted sopranos who gained early exposure in Fine Music 102.5’s Young Performer awards. In the first, Randolph Magri-Overend talks with our cover star, Jessica Pratt, who is enjoying fame and accolades in Europe. The other, I had the pleasure of interviewing, is Göknur Shanal. After winning many international awards and on the threshold of a brilliant career, Göknur left the music world for several years. Now she’s back and determined to “go all the way”. More Accolades for Conductor Carolyn Watson Another rising star of Australian music, Carolyn Watson (who we’re proud to have as an occasional music-travel writer for this magazine) was recently presented with the Brian Stacey Award for emerging Australian conductors - a part of the Helpmann Awards. It was a unanimous decision amongst the judges, and you can find out more about Carolyn’s win and career on www.carolyn-watson.com Sydney Symphony Big Day Sydney Symphony’s Catherine Hewgill has a coffee with our own Henry Mendelson, but despite his cajoling the cellist gives nothing away ahead of this month’s announcement of the symphony’s 2014 season. But, on Saturday 17 August, you can tune in to 102.5 (or listen online) and all will be revealed. You’ll hear interviews with the Symphony’s key personnel including chief conductor designate David Robertson and, if you’re lucky, you could pick up a major prize. Live Broadcast On 30 August, you’ll find we’re putting our new performance studio to work with a LIVE broadcast from Studio C as well as a live outside broadcast with the Sydney Conservatorium Big Band. Flashback to the Amazing Peter Dawson Going back to the early half of last century, Derek Parker takes a look at the colourful career of baritone Peter Dawson. “The Australian Balladeer” recorded more than three thousand songs and sold over twelve million records Meet Touring American Pianist Jeremy Denk Mark Della-Libera talks with Jeremy Denk, one of America’s most admired pianists. Known for sharp, vibrant performances, Denk will tour with the Australian Chamber Orchestra this month and the schedule includes dates in Sydney (see our What’s On pages for more). Away from the piano Denk is a well-known writer whose articles regularly appear in The New Yorker and on his own blogspot – www.jeremydenk.net
Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Philip Tower, Circular Quay. ABN 64 379 540 010 Art Direction: Shoebox Design shoeboxdesign@gmail.com Printing: Megacolour, Unit 6, 1 Hordern Place. Camperdown, NSW, 2050 Distribution coordinators: Sissy Stewart, Dennis Oppenheim Advertising Enquiries: sponsorship@finemusicfm.com Editor: Lizzie Herbert Subeditors: Chris Blower, Anne Irish, Helen Milthorpe Contributors: Judy Deacon, Mark Della-Libera, Troy Fil, Richard Gate, Lizzie Herbert, Kevin Jones, Patrick D Maguire, Henry Mendelson, Randolph Magri-Overend, Derek Parker, Phil Vendy, Richard Wong. 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: Jessica Pratt. Photo Luis Condro.
Lizzie
AUGUST AT THE INDEPENDENT THEATRE - Exclusive reader ticket offer Sunday 4 August 3pm Sonus Piano - Quartet Quintets Galore Sunday 11 August 5pm *Artsong NSW - An Afternoon with Teddy Tahu Rhodes Saturday 17 August 3pm ACMS - Chamber Music For Pleasure Sunday 18 August 2pm *The Actors’ Forum - The Two of Us Saturday 24 August 7.30pm The Marais Project - Lady Sings the Viol Saturday 31 August 8pm The Metropolitan Orchestra - Sax with TMO Courtesy of The Australian Elizabethan Trust, readers of Fine Music Magazine can purchase individual tickets for $31 - a generous reduction on normal adult ticket prices and most concessions. Use promotional code ‘FM2013’ when buying your tickets at The Independent. Visit theindependent.org.au or call 1300 302 604 for details and bookings. *Discount does not apply to asterisked events.
August 2013
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H A Y D E N
ORPHEUM
380 military road cremorne . ph 9908 4344 . orpheum.com.au “WITHOUT DOUBT THE GRANDEST CINEMA IN SYDNEY.” TIME OUT SYDNEY
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FINE MUSINGS
Lisa Gasteen Returns A concert of music by Wagner & Bruckner, conducted by Simone Young. Lisa Gasteen is a star currently commanding the big roles of the operatic stage. In 2013 she makes a long-awaited return to the Sydney Symphony, performing Wagner’s Wesendonck Lieder – five mesmerising songs inspired by the elation and heartbreak of a great love affair. It’s Tristan und Isolde in miniature. WAGNER Wesendonck Lieder BRUCKNER Symphony No.9 Simone Young conductor Lisa Gasteen soprano
Wed 7 Aug 8pm Fri 9 Aug 8pm Sat 10 Aug 8pm SYDNEY OPERA HOUSE
Simon Says… Dear Listeners and Subscribers to Fine Music 102.5, Just a short note to thank you for donating so generously in response to our “end of financial year” appeal. As of writing, $19,000 has been raised. We are truly humbled by this gesture of support and as always, your support is validation for the station to continue doing what it loves providing round-the-clock fine music to Sydneysiders and beyond. In the end, it is the mundane realities of financial support that allow Fine Music to go beyond what is everyday or commonplace in all of our lives. As patron, I am so excited to be a part of this station’s family, in a time of real growth and the type of challenges that come with such a logistical feat. Your continued support does, and always will, have a cumulative effect in the hearts and minds of Australia. – Simon Tedeschi, Patron, Fine Music 102.5 Same Old Operas Lyndon Terracini in his article “Voice, Voice and More Voice” (July magazine) ends by saying, “It’s an exciting time to be creating opera in this country.” It’s certainly NOT an exciting time for opera-goers! Where are the operas by Haydn, Respighi, Tippett, Hindemith, Messiaen, Ginastera, B A Zimmermann and Henze - to name but a few. And, what about Shostakovich’s “The Nose” - The Metropolitan Opera in New York is doing this (see the advertisement on page 18 of the July magazine). While Opera Australia keep doing the same old operas, and adapting them (including to make them relevant to today - John Bell knows all about that), and will NOT become adventurous, you won’t see me going anywhere near the Opera Theatre! - Dan MacLeod Looking for something a little more interesting I recently discovered your channel while looking for something a little more interesting. I’m 25 years old and love a wide variety of musical genres from heavy metal to pop and rock but I have now found that my favourite genres by far are classical and jazz. Just wanted to say that I love the station and have become a very regular listener. I’m usually in between channels but 102.5 is generally playing something that I really enjoy. I particularly love the Friday jazz and the more interesting classical pieces with harpsichords and guitar. I came to the website to see if I would be able to find some of the music I had heard and was surprised to find such good records of music being played. Thank you for this service! I will put it to good use. - Scott Saxby Keep up with all matters musical - check out Fine Music’s Facebook page - www.facebook.com/finemusicfm
CLAUDE DEBUSSY by Patrick Thomas (Born 22 August 1862 - Died 25 March 1918)
BOOK NOW! Tickets from $35*
sydneysymphony.com or call 8215 4600 Mon-Fri 9am-5pm Tickets also available at sydneyoperahouse.com 9250 7777 Mon-Sat 9am-8.30pm | Sun 10am-6pm * Selected performances. Booking fees of $7.50 – $8.95 may apply.
Your music is a shimmering sea of sensuousness, ever shifting; Of delicate tonal and poetic painting synthesised. An interplay of darting, suggestive, supple emotions In which haunting, chromatic harmonies are used, Much as the artist manipulates light and darkness. Subtle imagery like no other. From a palette of piquant, pliant nuance and cadence You create scenes of real and imagined atmosphere. A spectrum of separate timbres coalesce, And metamorphose as sonorities exotic, transient. Such sonic sensations intoxicate, and reveal new vistas. Subtle imagery like no other. August 2013
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CINDERELLA AUGUST 3-4
ALADDIN
AUGUST 10-11
PRINCESS AND THE FROG AUGUST 17-18
TANGLED
AUGUST 24-25 5 DISNEY ANIMATED CLASSICS!
WEEKEND MORNINGS AT 10.30AM. WE ENCOURAGE GIRLS TO COME AS THEIR FAVOURITE DISNEY PRINCESS! BRING YOUR TEDDY ALONG TOO!
THE LITTLE MERMAID
AUGUST 31/SEPT 1
HAYDEN ORPHEUM CREMORNE
ALL TIX ONLY
$8
“Nothing I’ve seen or read before tells the story (of Pompeii) in the way the British Museum does.” – The Telegraph (UK)
★★★★★
“This exhibition offers an overarching view of a complex society” - The Times (UK)
Natalie Dessay stars as Verdi’s most beloved heroine in Willy Decker’s stunning production with Matthew Polenzani as her lover,
★ ★ ★ ★ ★ “A majestic event” The Guardian (UK)
POMPEII: CAPTURED LIVE IN HD offers an exclusive private view in high definition of the British Museum’s major exhibition Life and death in Pompeii and Herculaneum. The exhibition focuses on the homes and lives of the inhabitants of the thriving industrial hub of Pompeii and the small seaside town of Herculaneum nearly 2,000 years ago when Mount Vesuvius erupted in 79AD. With more than 400 objects on display, many have never been seen outside of Italy.
ENCORE!
SEP 21/22/26
Director Franco Zeffirelli’s breathtaking production of Puccini’s last opera. Maria Guleghina plays the ruthless Chinese princess of the title, with Marcello Giordani as Calàf.
SAT AUG 31 & SEP 1 AT 1PM
HAYDEN ORPHEUM CREMORNE. SPECIAL PRICES APPLY.
ON STAGE! A MUSICAL TRIBUTE TO...
MET OPERA
ELLA FITZGERALD & MEL TORME
2013/2014 SEASON
SOME OF THE GREATEST SONGS OF THE 2OTH CENTURY CARY GRANT & INGRID BERGMAN IN ALFRED HITCHCOCK’S CLASSIC
JANET SEIDEL SINGS ELLA
“NOTORIOUS”
EUGENE ONEGIN
PRINCE IGOR
THE NOSE
WERTHER
OCT 2013 - 26/27/31
NOV 2013 - 16/17/21
TOSCA
DEC 2013 - 14/15/19
FALSTAFF BEN JONES
SINGS TORME SUNDAY SEPTEMEBER 1 AT 1PM
HAYDEN ORPHEUM CREMORNE.
CAPTURED LIVE IN HD
DIRECT LIVE FROM THE BRITISH MUSEUM
ENCORE!
PLUS! ON SCREEN!
EXCLUSIVE NORTH SHORE SEASON AT HAYDEN ORPHEUM CREMORNE. STARTS AuguST 15Th
★★★★★
AUG 24/25/29
TURANDOT
Outstanding documentary narrated by RUSSELL CROWE. The great chateaux of Bordeaux struggles to accommodate the voracious appetite for their rare, expensive wines, which have become a powerful status symbol in booming China.
POMPEII
THE BEST SEATS AT THE MET AT THE HAYDEN ORPHEUM, CREMORNE
LA TRAVIATA
REDOBSESSION
JAN 2014 - 18/19/23
RUSALKA
MAR 2014 - 1/2/6 THE BEST SEATS AT THE MET AT
MAR 2014 - 22/23/27 APR 2014 - 12/13/17
LA BOHÈME MAY 2014 - 3/4/8
COSÌ FAN TUTTE MAY 2014 - 31 JUNE 1/5
LA CENERENTOLA JUNE 2014 - 14/15/19
HAYDEN ORPHEUM CREMORNE.
JESSICA PRATT
THE WORLD AT HER FEET Some 11 years ago Jessica Pratt was one of the aspiring talents who gained broadcast exposure through the 2MBS (now Fine Music 102.5) youth development programs. Now the much lauded young coloratura soprano performs in Europe’s most important theatres and festivals – often accompanied by a lucky dog called “Federico” - and it seems, that for Jessica, the sky is the limit. Randolph MagriOverend talks with the young star in the wake of her recent prestigious Siolo d’Oro win. On Monday November 20, 2002 Veronica Crowe, Young Performers’ Competition coordinator at 2MBS, announced from Studio C: “Today I am pleased to present soprano Jessica Pratt who will sing a selection of lieder, arias and songs from around the world. Jessica’s associate artist in this recital is Tahu Matheson.” Jessica went on to sing Brown Pansies by Ann Carr-Boyd, Die Lotosblume, Opus 25 No 7 by Robert Schumann, Gretchen am Spinnrade by Franz Schubert, La maja y el ruiseñor from Granados’s opera “Goyescas”, Donde Lieta from Puccini’s “La Boheme”, Dove sono i bei momenti from Mozart’s “The Marriage of Figaro”, The Embroidery aria from Britten’s “Peter Grimes” and finally Pleurez mes yeux from Massenet’s “Le Cid”. Jessica reached the semi-finals of the competition. The following year, Jessica Louise Pratt won the Australian Singing competition; in 2007 she won the Vienna State Opera Award, the Rome Opera Award and in May of this year was awarded the prestigious Siolo d’Oro, a prize bestowed every two years for outstanding coloratura sopranos commemorating the memory of Lina Pagliughi, the Italian soprano.
that threatens “…atocareer equal the feats of
“
Dame Joan Sutherland..
Today Jessica is one of the most sought-after sopranos in Europe and on the threshold of a career that threatens to equal the musical feats of the great, late Dame Joan Sutherland. The New York Times recently hailed her as a soprano of “…gleaming sound, free and easy high notes, agile coloratura runs and lyrical grace.”And all in 11 or so years. Jessica was born in Bristol, England in 1979 to Phil and Ronnie Pratt. At the time Phil was a tenor at the Welsh National Opera company but the
Jessica Pratt as Lucia di Lammermoor at Genova. Photo - Marcello Orselli family emigrated to Brisbane when Jessica was 11. Phil is currently a singing teacher but finds that most of his time is taken up managing a staff of 18 full-time teachers who cater to the musical needs of 800 students at Summer Hill’s Trinity Grammar School in suburban Sydney. “Jessica was a wonderful child,” he recalls. “She was the type of toddler that you could leave playing with her toys and hours later, when you looked in on her, she was still playing with them.” In addition, as a six-year-old she would do singing exercises that some adults would have difficulty with. She and her brother (who now sings with a rock band called “Drawn from Bees”) would compete with each other to be the first to guess the notes in a chord, would harmonise a song endlessly and “drive me crazy with their singing while I was driving.” Jessica’s other interests have included the welfare of animals and at one time she flirted with the idea of becoming a vet. As part of a work experience she helped out as a vet’s assistant but soon gave up any thoughts of going beyond that when she realised that part of her duties would be putting down animals. At 14 she went through a phase of working at McDonalds, a fish and chip shop and at Officeworks in Sydney (where the manager
promised to keep her job open after she left for her first trip to Europe). She later worked “..as a secretary for the English and Maths department at Trinity Grammar School [dads can be handy - my words not hers!] in the David Jones department store and as a clown on weekends painting children’s faces at parties.” But Jessica’s ambitions were always focussed on achieving a career in singing. Except for a year at the Sydney Conservatorium’s Opera School where, according to Phil “they tried to pigeonhole her into the type of singer they wanted her to become”. Jessica spent most of her time either being tutored by her father or, according to her, “taking private lessons in anything that would help me as an artist, for example languages, stage work, dance, movement, the Alexander Technique and so on.” Before allowing her to take singing lessons, Jessica’s father insisted she play the trumpet mainly to help her with her breathing and later, when she joined an orchestra, to help her in working closely with other musicians. The latter has proved an invaluable grounding especially now she has “to sing accurately with other singers.” However, after 10 years of tooting, the trumpet was forsaken following “a lot of tension in my throat.” August 2013
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JESSICA PRATT: THE WORLD AT HER FEET
“I moved to Rome and have lived in Italy ever since,” Jessica continues. “I studied for about six months and then undertook master-classes with Renata Scotto at the Academia di Santa Cecilia for a few years.” What Jessica doesn’t mention is that she lived in Italy for five years without work. The money ran out and all she had left was the return plane ticket to Australia. She spent months sleeping on friends’ couches, but was determined to stick it out. “I wanted to make myself known in one country and then go to other countries,” she explains. Eventually, in 2007 she was awarded the Vienna State Opera Award by Opera Foundation Australia and after living in Vienna for a year moved back to Italy, to Milan this time where she started studying with Lella Cuberli with whom she still prepares for various roles. Seduced by its beauty, Jessica now lives on Lake Como. But, alas, she only enjoys the lakeside home “for about two months (of the year) …I feel like I am on holiday. It is only half an hour by train to Milan.”
Her favourite non-classical singers are Ella Fitzgerald and Frank Sinatra. “I don’t often listen to opera as I can’t relax while listening to it. I either become too technical or cry because it is so emotional. So if I want to relax I put on some jazz and Ella and Frank have a daily presence in my life.”
“ A dog called “Federico”
Besides singing, Jessica’s other great love is a handicapped dog named Fede (short for Federico). “Fede comes touring with me in Italy. In certain cities like Venice and Naples we always stay in the same houses so that it feels familiar to him. However when I sing outside of Italy he has another family in Como with whom he stays, as he is quite old and has lived most of his life in a dog kennel before I adopted him two years ago. The family in Como have been there from the beginning and are wonderful to him. Fede is quite a character - he was physically abused and abandoned, so in the beginning he was not well and took a while to come out of his shell, but he is fine now - he has even grown a lovely coat of fur. When I got him he was bald from stress and missing most of his
Jessica made her professional debut in “Lucia di Lammermoor” in 2007 at the Teatro Sociale in Como and says she cried for a week after it was over. She has since sung Lucia in Berlin, Tel Aviv, Naples, Venice, Genoa, Florence, Skopje, Zurich, Bologna and will sing the role in a new production at La Scala next year. Currently Jessica is in Seville singing Gilda in Verdi’s “Rigoletto” with Leo Nucci in the eponymous role. She has also sung the Queen of the Night in Mozart’s “Magic Flute” at Covent Garden and in May next year will be appear in Melbourne as Violetta in the Victorian Opera production of Verdi’s “La Traviata”. However, she feels more at home singing Donizetti and Rossini and has recently sung the role of Matilde in Rossini’s “William Tell” with Juan Diego Florez in his native Lima, Peru. The conductors she has worked with include Kent Nagano, Christian Thielemann, Daniel Oren, David Parry, Donato Renzetti and the late Sir Colin Davis. 6
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Jessica’s big break came when she caught the eyes (and ears) of Gianluigi Gelmetti, then artistic director of the Sydney Symphony Orchestra. At the time he was adjudicating a singing competition which, oddly enough, Jessica didn’t win. According to Phil Pratt, Gelmetti disagreed with the judges’ choice of winner and invited Jessica to join him at the Rome opera. Money was a problem because the invitation did not carry a bursary. Fortunately, a couple who belonged to a choir that Jessica sang with as a soloist offered to fund her studies with a contribution of $40,000!
Fede
teeth. He has only one eye, is cardiopathic, anaemic, partially deaf and has a smashed leg which just hangs there, but he uses it in an odd way to walk as the injury happened many years ago and was never treated. In Italy he is well known, has free access to the theatres and comes in my dressing room with me when I rehearse and sing. He doesn’t cope with being left alone so he is either with me all the time at home, or in the theatre. Last year I remember a performance of Lucia where we had four dogs in the theatre! There was Fede who slept through the whole show in my dressing room, a little puppy in the makeup department, a big puppy with the stage hands and the maestro’s dog in the dressing room next to mine! Italy has a very dog-friendly culture.” And in case you’re wondering what type of music Fede enjoys, Jessica adds: “Bruce Springsteen was starting his world tour in Naples in Italy when I was singing there last month and the piazza he was performing in was just opposite my balcony so I sat outside for the evening and enjoyed the show!” However, Fede went to bed early “he only seems to like opera!” - Randolph Magri-Overend
The Dynamic Jeremy Denk Pianist, Writer, Intellectual
Jeremy Denk is a pianist and writer from New York. He has fronted most of the major orchestras in his home country and tours regularly, and has established himself as a unique, dynamic voice in American music. He hosts a long-running and popular blog called Think Denk, has written for the New Yorker, the New York Times Review of Books, the New Republic and a long list of others, and is working on a book, based on his experiences of growing into a musical life, slated for publication by Random House in the next couple of years.
Are we? I am, and Denk’s approach moves me. His dualism is subtle and inclusive, and it comes as no surprise that he wins acclaim both for eloquent craftsmanship and for emotive intelligence. Dialectic - between brain and heart, solitary and social, awareness and engagement - characterises much of our discussion. There is a vast legacy of western thought and art informing Denk’s perspective, and though my first impression is of an essentially rationalistic,
When I ask how he approaches the relativities of meaning that are part of any interpretive exercise, he describes breaking a score down into parcels small enough to be intelligible, and amassing these insights until a personality emerges. And it does, inevitably, emerge. This is the synthesis of the scientific method with revelation, each impelling and describing the other. Denk calls it “a kind of weird nerdy faith,” and I think in those few small words, he’s spot on.
score is both a book and a “ Abook waiting to be written.
“
And he’s articulate. He is telling me about how his friend, cellist Steven Isserlis, maintains a structural awareness of the whole, the minutiae of which Denk himself can find too tempting to explore: “I am often ashamed because I let myself get seduced by a couple of beautiful moments - a heartrending change of harmony, a witty turn, a particular colour - to the extent where I forget to consider some of these organising elements. I think this paradox or tension between moments that you love, that you don’t want to let go of, that are completely absorbing in and of themselves, and a larger story that needs to make sense is one of the absolutely key ingredients to an interesting or beautiful performance. I have no idea where it comes from, but I guess I’m addicted to traveling back and forth between thought and experience, between the intense moment of feeling and reflection on it. Isn’t everybody?”
Jeremy Denk. Photo - Michael Wilson empirically critical thinker, the truth is that there is clearly something of the romantic, and perhaps even the mystical, that Denk finds in the in-between places that he loves to explore.
In the context of all this dualistic tension, to divide music and writing along lines of heart and mind is a tempting oversimplification. The more I learn, though, the more apparent it becomes that the two outlets really coexist in a much more intricate entanglement, where Proust and Nabokov have as much to say about how music should be realised, as words can be taken as aesthetic elements of rhythm and timbre. “A score is both a book and a book waiting to be written.” At his best, I think Denk sees past the artificial limitations of form, be they of music or the written word, and appreciates the elusive, unadulterated human experience that precedes them. That he is able to bring that experience
to such persuasive song is as much the result of dedication to betterment as it is the raw building blocks of talent and capacity. Jeremy Denk likes to think, and to express, and he’s gotten to be very good at both.
is not the notes but the “Music relationship between them..
“
He also has a degree in chemistry: this is a man whose varied intelligence (not to discount hard work or passion, of course, both of which have been as central to Denk’s success) might as easily have seen him pursuing a career in academia, or in literature or journalism, as playing Ives for a packed Carnegie Hall, and it’s easy to suppose that he might have been as distinct a voice in the university or the press room as he has proven to be on the stage. He really is celebrated as much for his mind as for his fingers, and between his music and his writing, he is shown to be of wide apprehension and penetrating insight, capable of demanding technicality and heartfelt expression alike.
“Another thing I say to myself very, very often while practising, to spark possibilities, is a mantra of my old teacher Sebok: the music is not the notes, but the relationships between them.” His repertoire bears out this idea: Denk is known for taking on works that are at once rich in sentiment and technically demanding. After all, what is an interesting voice if it has nothing to say? This, I think, is why Denk’s critical acclaim seems to come from so many angles at once - and also why he seems especially susceptible to praiseful, but ultimately insufficient, distillations of what truly makes him remarkable. He is attracted by art that has in common - in his own words - perversity and tenderness, generosity and ingenuity. The mental and physical dexterity Denk brings to bear on that moment between perception and expression has marked him as a powerfully articulate performer, and what is to be found at the intersections of Denk’s influences and inspirations are the whimsy, and the profundity, of art and life. August 2013
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The Dynamic Jeremy Denk Pianist, Writer, Intellectual global figure, his Americanness will be a happy incidental; the impetus will be something much more catholic.
Whatever phrase gets “ played the most beautifully
“
will be the highlight.
In August, with the Australian Chamber Orchestra, Denk will play nine concerts in six Australian cities. Opening the program is Richard Tognetti’s arrangement of the Goldberg Variations, but details are thin: “they are a trade secret, I think.” From Bach to Nancarrow to Ives (including the Concord Sonata), back to Bach and onto the concluding Brahms Piano Quintet. Denk won’t be drawn into predicting a favourite moment, though: “Whatever phrase gets played the most beautifully will be the highlight.” I like his answer a lot, but inasmuch as I was hoping to learn something about his modes of speculation, I am foiled. I try again: what are you expecting of Australia? Jeremy Denk. Photo - Michael Wilson He is known for championing Charles Ives, whose 1919 Concord Sonata has been a career-long favourite with Denk’s audiences across the States. In Ives, “there is tenderness and nostalgia for Beethoven, hymns, ragtime, sentimental ballads, a whole motley world of music that Ives lived in and loved - fused with perversity of course, Ives mashing up all the things that don’t seem to belong together and making a peculiar and American sense of it all.” There’s that Americanness again. Ives is another quintessential American, famously an insurance salesman, whose accomplishments as a composer were underappreciated in his lifetime. He was a pioneer of polyrhythm and polytonality, whose music achieved a complexity considered sophisticated even alongside the Olympian, if hitherto intolerant to the point of hostile, canon of European art music. Ives unites virtuosity with vulnerability, and as a twenty-first century acolyte, Denk seems a perfect fit.
is proud of Denk, “ America and rightly so..
“
Next year, he will be Musical Director for California’s Ojai Music Festival, where he will premiere the opera buffa he is writing now, “the first and last opera ever written about musical analysis.” I imagine Denk enjoys the challenge, enjoys setting himself to the task of corralling and defining moments of intellect through music. He laughs. “You try to figure out what the Subdominant chord would say if she had an aria!” I think I’d better not. 8
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America is proud of Denk, and rightly so. He is much of what is best in music, an affable intelligence compelled to neither selfaggrandisement nor self-deprecation where either is at the cost of integrity; an extraordinary talent, given to finding what is interesting, good and beautiful in the merely suggested, and bringing it to shared, communicated, lived existence. He is confident but approachable, authoritative but earnest, and if anything the insistent spotlight on his Americanness is double-edged, a disservice not to Denk but to the universality of what ultimately inspires and engages all music, and all art. Perhaps he knows that. He is already well received in London, that cultural bridge between the US (and Australia) and Europe’s ancient traditions, and amidst heavy touring across North America in the first half of this year, he performed with the Slovenian Philharmonic in June. I’m supposed to be detached, of course, but I find myself rooting for Denk, having conquered the States, to tackle Europe. The Americanness that Denk represents - whatever it finally is - is surely an improvement on many of the vulgar typecasts that plague that country’s identity right now. Not that America has anything to prove to Europe, I suppose; in the end it’s probably an indefensibly private prejudice that I prefer Denk’s openness and clarity to the righteousness and indulgence that are so often, and often unthinkingly, attributed to American culture these days. Nevertheless, Denk has much to offer to the non-English speaking world, and if he does become a truly
“I have no idea what to expect. Many of my friends love it there, and I’m sure I will too. I’m supposed to have a “flat white,” apparently— although I’m not sure how it’s different from a latte. I’ll say that I really like my Australian friends and acquaintances here in America but I cannot remotely figure out what qualities they all share that makes them likeable.” I suddenly realise that I’m just as guilty of pushing the nationality agenda. The answer, I realise, is: some kind of Australianness, I suppose. - Mark Della-Libera See What’s On pages for details of Denk’s concerts with the ACO www.aco.com.au/www.jeremydenk.net
BOOK & CD FAIR @ LEICHHARDT Opening night Thursday 22 August 6pm–10pm then daily 9am-6pm until 1 September Leichhardt Town Hall, Cnr Marion & Norton St, Leichhardt
CATHERINE HEWGILL:
THE MELLOW CELLO OF THE SYDNEY SYMPHONY Enjoying a coffee with Catherine Hewgill on a sunny winter afternoon, in the knowledge that next year’s Sydney Symphony season program was to be announced in August - well after press time for this issue - journalistic frustration set in. No amount of convincing, coaxing, even abject cajoling was able to break down the curtain of confidentiality surrounding the details. The best the respected leader of the orchestra’s cello section was prepared to let slip was the promise that the line-up of artists for 2014 will be as exciting, if not more so, than the remaining names on the Orchestra’s roster before Christmas this year - they include the Labèque sisters, Pinchas Zukerman and Simone Young. Some Sherlockistics however brought to light the fact that American conductor David Robertson’s plans for 2014 include a series of innovative projects with the orchestra. These involve another annual opera-in-concert, no let up in international touring and exciting commissions of new works.
innovative era “ Another in the making…
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Vladimir Ashkenazy’s successor, already well received in his four preliminary appearances with the Orchestra, assumes the post of Chief Conductor and Artistic Director of the Sydney Symphony in January next year. Hewgill’s take on Robertson was upbeat to say the least, foreshadowing yet another innovative era in the making. As for more of what this will entail, she smiled: “we’ll just have to wait and see”. That said, the highly respected cellist paid huge homage to the effect that the Ashkenazy years have had on the Orchestra which in her early years she recalled as not reflecting today’s dynamic ensemble in terms of its professionalism and work ethic. While acknowledging the contribution to this transformation of the early and sadly shortlived Stuart Challender years and the strict baton wielding regimen throughout the Edo de Waart decade, it was for Ashkenazy’s five year tenure that Hewgill reserved her major acknowledgement. “Of all the conductors I have worked with, he was the one who brought an incredible knowledge of music, and an ability to impart that knowledge to the orchestra, even though he may not have the most refined conducting technique. “He is such a modest man and we are going to be very sad when he leaves”, she stated. On a day which marked a Hewgill ‘round’ birthday, some reminiscing during our
Catherine Hewgill. Photo - Keith Saunders. conversation was to be expected. Adelaideborn into an “amateur music” family and Pertheducated, she was introduced to the ¾ cello by a tutor called (don’t laugh), Mr Bean. Graduating to a full size instrument, the fledgling cellist began her serious studies in Perth under WSO veteran, Jill Cole. In 1978, accompanying her academic father to the UK, she undertook a year’s study at London’s Royal College of Music with cellist/author, Eileen Croxford. Next, to the US, where Catherine (she prefers Katie) auditioned at, and was accepted by several music schools, including the Juilliard, but opted for the University of Southern California (USC) which brought her into the orbit of the man she nominates as her all time cellist great. “His is a total command of the instrument who can make the cello the powerful instrument it
really is. He has everything in place,” Hewgill reminisced about Mstislav Rostropovich. “He taught me how important it is to analyse what you are doing; to think about everything while you are playing and I was lucky enough to have a series of lessons with him.” Having won the Hammer-Rostropovich Scholarship at USC, a performance in a recital at the Second American Cello Congress was followed by a stint with Padua’s I Solisti Veneti, one of the first rank of small Italian chamber orchestras. This for a young Australian, barely in her twenties and not knowing the language, was a daunting prospect. It came about seemingly naturally; having gone to a Padua Music Festival, she fronted I Solisti’s Claudio Scimone and asked to audition. There followed a protracted period of touring throughout Europe with the Paduans. August 2013
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CATHERINE HEWGILL: THE MELLOW CELLO OF THE SYDNEY SYMPHONY Such credentials in her cv opened the doors of the Australian Chamber Orchestra on her return to Sydney in 1989 which led, via a fleeting stint in the Opera and Ballet pit, to the SSO’s cello section which she has led for the past two decades. One of the highlights of her incumbency has been the sponsorship by private philanthropists of her Carlo Tononi cello made in Venice in 1729.
change in today’s “ The culture Sydney Symphony..
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Hewgill describes the Orchestra she joined in 1989 as a shadow of that which Sydney audiences acclaim today - “When I first joined, the orchestra was made up generally of older musicians than today’s members. There was not the culture of really working hard and wanting to make things better.
Asked to nominate the most memorable concert of her comprehensive career, she revealed herself as the workloaded orchestral musician she is by admitting that none stood out because as one ends, the next one needs total concentration. And while she can lay claim to acclamation for concerto performances of works by Haydn, Elgar, Boccherini and Brahms, she is also an active chamber musician who received enthusiastic reviews – among many – of Messiaen’s Quartet for the End of Time. Among the multifarious Hewgill career highlights are her 2003 tour of Japan with the Orchestra Ensemble Kanazawa and Michael Dauth performing the Brahms Double Concerto and in 2011 playing principal cello in the inaugural concerts of the Australian World Orchestra - the unique undertaking masterminded by Andrew Briger which feature over 100 leading Australian instrumentalists drawn from leading world ensembles such as the Berlin and Vienna Philharmonics, Chicago and London Symphony Orchestras, to name but a few.
was fine, but “ My Icello was in pieces.
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Regrettably, all cannot be listed as highlights. Indeed, the lowest of lowlights literally crashed Katie Hewgill’s career in November 2008 when, in the Sydney Opera House car park, for no accountable reason her legs gave way from under her. Instinctively she shielded her treasured 300-year old cello, which a Sydney Morning Herald report described as being “worth the equivalent of a small Sydney house.” “I held the cello above my head as the rest of me went flying through the air,” she recalled. “It must have looked very dramatic. I landed with the whole weight of the cello and my body on my left hand, the one which does all the fingering, crushing all the bones in my wrist.” The cello, protected by its heavy case, was undamaged. “Not a scratch. Still in tune. My cello was fine, but I was in pieces.” An orchestra colleague who came to her rescue was not slow to realise that for a cellist such an injury could mean the end of a career.
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“People then were not as dedicated as (is the case) today which has a lot to do with the influence of a wider range of world-recognised conductors who have been prepared to come to Australia. Also of course, Australia has become much more internationally focused on the rest of the world.”
Catherine Hewgill. Photo - Keith Saunders. “The wrist looked pretty peculiar. There were bits coming out everywhere,” Hewgill told the Herald at the time. “I went into hysterics and screamed all the way to the hospital. I remember saying, ‘How can I break my wrist? I’m a cellist.”’ The following morning, knowing her professional life could be over if an operation failed, the orchestra arranged for her to be seen by Sydney’s leading wrist surgeon. It was to be another 14 months before Hewgill played professionally again. And it was only when she made a triumphant return to the concert stage in late 2002 that her surgeon let her into a secret. “He told me that he had thought I would never play again, though he hadn’t told me that at the time.” Was the accident a blessing in disguise? She admits that after her recovery there was more introspection. “I thought about things better, not taking anything for granted. In a way, as long as my wrist holds out, it was perhaps not quite as bad after all.” An anxious cinematographer husband still worries - five years after the accident - when he sees his wife chopping onions or cutting through a hard chunk of cheese. Says the mother of a 16-year-old ballerina hopeful daughter and a 13-year-old typical teenager son: “I love cooking. My favourite place to be is in the kitchen.” Which is perhaps a somewhat bravado expression of domesticity when, truth be known, she would in all likelihood prefer the front row chair on the conductor’s right which she has occupied since her early SSO years.
It is to the influence of the numerous conductors over the years and their individual contributions that Hewgill credits the culture change in today’s Sydney Symphony. Each incumbent, whether benign in nature or authoritarian, has brought some refining element to the development of the Orchestra, she noted, citing the example of Charles Dutoit’s ability to pick an orchestra up and take it one level further in a short period of time. “I really admire that”, she said. What of the next level for Catherine Hewgill? What do the next five-ten years hold? Questions of this nature evoke a wistful smile and a determined response. “When I first took this job I thought ‘maybe five years’ - that was in 1990! “Looking to the future, I would still like to be here actively, trying to do better because you never stop learning; never stop trying to sound better; never stop trying to make your section better.” It is a fortunate section which has Catherine Hewgill in its principal’s chair. - Henry Mendelson SYDNEY SYMPHONY DAY Tune in to Fine Music 102.5 on Saturday 17 August 2pm - 6pm for the Sydney Symphony special showcasing latest recordings plus interviews with conductor designate David Robertson, performers and orchestra management. You’ll hear all the latest Sydney Symphony news, including previews of the 2014 season and be in the running for some great prizes. For more information visit www.finemusicfm.com
THE AUSTRALIAN BALLADEER more than three thousand songs “ Heandrecorded sold at least twelve million records.
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Dawson was the son of immigrant Scottish parents, his father an ironworker and plumber, and his career really began when, after singing in an Adelaide church choir, he won a prize for the best bass solo in a competition at Ballarat. In 1903, at twenty-one, he landed in London and in top hat and tails knocked on the door of the famous baritone Charles Santley, who was near the end of a notable career and soon to be knighted. Santley took him on as a pupil for four years, concentrating particularly on oratorio at a time when Messiah, Elijah and The Creation were regularly performed all over England. Dawson, newly married to a professional soprano, Nan Noble, needed to earn a living. Fortunately, early in 1904, Fred Gaisburg came to London on behalf of the Gramophone Company (later H.M.V.) to record Patti, Chaliapin, Gigli and Melba (to say nothing of Tennyson, Browning, Florence Nightingale and Queen Victoria). Less notable, but one of the most active of the early recording artists, was Peter Dawson. A wax master cylinder recording produced only a few copies before becoming useless, so Dawson sang into the huge recording horn for six hours a day, five days a week to produce master after master, earning the considerable sum of £75.
Meanwhile, at Covent Garden, he studied the maestros of his craft: great singers such as Tita Ruffo and Édouard de Reszke, and made his own debut at the opera house in 1909 singing Wagner. He could clearly have made a fine career in opera, but it simply didn’t suit him - “Too much work for too little pay,” he said - which may explain his downfall when performing in Meistersinger at Covent Garden, he accidentally scattered all over the stage the coins he had won playing poker in the wings. Though he sang German Lied with distinction (Schubert, Brahms and Richard Strauss at the Wigmore Hall with the fine accompanist Gerald Moore), his favoured repertoire on the concert stage was drawn from the popular pieces of the day: Handel favourites (“O ruddier than the cherry” and “Arm, arm ye brave”), a little Mendelssohn, and popular operatic arias such as Iago’s credo from Otello and “Even bravest heart” from Faust – which Gounod had written for Dawson’s mentor, Santley. But he and his public, especially those who bought his records, loved the extrovert fervour of the favourite ballads of the day – “Roses of Picardy”, “Drake’s Drum”, “Up from Somerset”, “Boys of the Old Brigade”, “On the Road to Mandalay” and of course “Along the road to Gundagai” and “Waltzing Matilda”. He took part in the earliest recordings of the Gilbert and Sullivan Savoy operas, and one of his greatest successes was a song written by Katie Moss after a visit to Helston in Cornwall: “The Floral Dance” sold more discs than could readily be counted.
rubbish “ Don’tlikeeverthatsingagain!
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When in the early days of recording an executive from Zonophone Records asked a young baritone if he could “sing Scottish”, there was no hesitation. The young man not only obliged with a Scottish ballad, but donned a kilt and a wig and played the Glasgow Coliseum for twelve weeks as “Hector Grant, the Scottish Balladeer”. No-one knew that he was really Peter Dawson, born in Adelaide, South Australia.
On a train journey from London to Margate one day he was reading a collection of Kipling’s poems and, as he read one of them, found himself setting it to a tune: We’re foot-slog-slog-slog-sloggin’ over Africa Foot-foot-foot-foot-sloggin’ over Africa (Boots-boots-boots-boots movin’ up an’ down again!) There’s no discharge in the war! He introduced “Boots” - “a song by J P McCall” - at a Henry Wood Promenade Concert in 1928. “Don’t ever sing rubbish like that again!” said Sir Henry. But Dawson ignored him; Kipling liked the setting, and Dawson made a small fortune from his recording. Eventually he was honoured by the Guinness Book of Recorded Sound as one of the ten top recording artists. He recorded more than three thousand songs and sold at least twelve million records. In the 1920s he was eagerly taken up by 2LO, and broadcast from its first studios (with the celebrated notice: COUGH AND YOU WILL DEAFEN THOUSANDS). He went on singing for the BBC until the 1950s and became one of the first “radio stars”, his picture appearing in magazines advertising cigarettes - “No throat irritation” - and bedtime drinks - “Horlicks and I are old friends.” He made many world tours, returning time and again to Australia, and went on performing until the very end - in January 1961 he sang at Adelaide in a concert for the Australian Broadcasting Commission. He was seventy-nine years old, and died eight months later. - Derek Parker
Peter Dawson singing with NSW Police, 1930s. Photo - Sam Hood
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YOUNG VIRTUOSI – ALUMNI A VOICE OF GREAT BEAUTY - GÖKNUR SHANAL
Lyric soprano Göknur Shanal is one of those rare human beings who not only has a prodigious talent, but a keen intellect, a spiritual backbone, a strong sense of social justice and it’s far from all talk with Göknur. An active fundraiser for charities like Médicine San Frontier`es, she is also a role model for young Muslims and the Turkish community. She’s a voice waiting to be heard - on many levels.
Born in Brisbane to Turkish migrant parents Göknur, now 35, was one of five children. She was raised in Wollongong by her mother Kadriye who then, as a single parent, worked in factories to support the family. From a home where music permeated the walls, Göknur, could sing before she could talk. But while growing up, there was little money to spare for the luxury of singing lessons and so, she turned to the world of philanthropy, of scholarships and awards, to develop her gift. The passion for music as a vocation runs in the family and her cellist-playing mother would later become a music teacher and Hasan, Göknur’s twin, would follow a similar path which today sees him head of music at Balgowlah Boys High.
Göknur is a soprano gifted “with a voice of great beauty... she has the ability to hold an audience with both the intensity of her performance and her musicianship. - Richard Bonynge
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At a time when all the signposts pointed to a brilliant career - early accolades at the top level, academic qualifications including study at the Sydney Conservatorium, London’s Royal College of Music, New York’s Met, and having drawn support from the late, great, Dame Joan Sutherland and Richard Bonynge, Göknur withdrew from the music world and did not sing a note for five years. During that time she went through what she describes as a “very low period of her life”, the reasons for which she chooses to keep private. But now Göknur is back and this time intends “going all the way.”
days were wonderful, stimulating. After that, I won the McDonald’s Operatic Aria where they adjudicated. Then we exchanged a few letters and kept in touch for a while. I found them both down to earth people, unfazed by what was happening around them.”
Göknur Shanal As a 20-year-old, Göknur was a finalist in the Fine Music 102.5 Young Performer Awards (then 2MBS) and earned multiple high level acknowledgements. To name a few - the Australian Singing Competition, Dame Joan Sutherland Scholarship and Award, Metropolitan Opera Award (New York), McDonald’s Operatic Aria, Queen’s Trust for Young Australians, Symphony Australia’s Young Performers Award Vocal Category, Australian Music Foundation Award (London), Countess of Munster Scholarship (London) and the Lorelei Prize at Neue Stimmen International Singing Competition (Germany). She had taken part in master-classes with Dame Joan Sutherland and Richard Bonynge, Sir Thomas Allen and Roger Vignoles, among others. Recalling her first meeting with Dame Joan, Göknur says, “She saw me and said ‘hmm, you have been receiving all sorts of awards named after me. I’ll see you inside…’ Those ten
Göknur Shanal at Neu Stimmen New Voices of the World competition, Germany. 12
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Before her self-imposed exile Göknur, who has an extensive repertoire, appeared as a soloist with major symphony orchestras in Sydney, West Australia, Melbourne and Adelaide and had sung the lead role in OzOpera’s La Boh`eme in 2004. The years away from music have not been lacking in life’s milestones. She is now the mother of two boys, Aoun six, and Murad five, and while juggling infants managed to add a law degree to her scholarly qualifications - in April she graduated from University of Western Sydney. As a resident of Sydney’s west, she also finds time to support the AFL’s Giants typical , some might say, of her support of the underdog. The long road back … Her path back to singing professionally began in earnest towards the end of last year when words of encouragement from people whom she holds in high esteem made the big decision clear and gave her the much needed support. The first encounter, says Göknur, was at a recital attended by renowned former contralto Lauris Elms. “She came up to me and said ‘why aren’t you singing with Opera Australia?’ I told her that there had been a good five years when I had not uttered a note. From then on she asked me to come over to her house and kept a look out for me.” “You’ve got to sing. Please!” Another major inspiration arrived in November in the shape of internationally acclaimed accompanist and vocal coach, David Harper, whom Göknur had known since her youth. “He came to Australia and I decided to go and sing for him. He is one of those rare souls with heart and one of those people I completely trust. He told me that when he heard me at 20, he felt that I was one of those phenomenons that comes along once in a lifetime - then in the middle of
the session he suddenly shouted, ‘You’ve got to sing! Please...’ It was strange hearing these words from someone like David. He re-instilled belief in myself. I made the decision then. “ Göknur has also drawn strength from her former lecturer - adjunct Professor of Law at University of Western Sydney - the Hon Brian Sully QC. A former Justice of the Supreme Court of NSW, and one of the country’s great legal minds, he also has a great passion for music and spends half the year travelling Europe and North America to attend major music festivals and opera seasons. His advice was that there would be little reason why she could not sing and pursue law. Life’s counterpoints.. Law has provided a balancing counterpoint to her musical life. “Law has always intrigued me and when I took a break from singing and started a family, I took the opportunity [to study law]. Law can be a vehicle for greater altruistic reasons. It is a part of everyone’s lives on a day to day basis. It provided me with intellectual stimulation - a world outside of singing, which can be insular and isolating. It was also something I needed to prove to myself - that I can be good at something besides singing. Let’s face it, music is important, vital for the betterment of mankind. It is crucial for the development of young minds, but it doesn’t save lives like medicine does. Law and music allow me to activate both parts of my brain! “Arts are creative pursuits and spirituality allows me to give conscience to my creativity. It reminds me to stay humble and honest and remove the ego from my work. It is very easy to become self-
symphony orchestras “the feeling cannot be described,” she says. As for recital, she enjoys the challenges because “..it is exposed and the audience can see right through to your heart when you’re performing. You cannot afford to fake anything.”
Göknur with the Hon. Brian Sully QC gratifying and ego-driven in the music industry. I am a spiritual person whose foundation is rooted in Islam. The famous Australian soprano Amelia Farrugia and I feature in a book about our relationship with our religion.” Complementing this strong spiritual foundation, Göknur has a humanitarian mindset - already a fund-raiser for her beloved Médecins Sans Frontières, she is looking to facilitate more aid initiatives through her connections in the legal and arts professions. And no doubt, she’ll use any future success to leverage more support for her various causes. Göknur’s endeavours to re-ignite her budding professional career are in part a desire to follow through on unfinished business as well as a craving to once again be a part of those special moments - such as singing with
Sincerity has an important place in performance and in those she’s admired. A style of opera that appeals in particular is verismo “for its honest, real stories and characters.” Honesty comes up again when talking of singers she admires - she looks for “honesty in their work” and for this particular quality names, among others, Dame Joan, Jessye Norman, Arleen Auger, Barbara Bonney, Krassimira Stoyanova and Maria Callas. For now, Göknur’s honesty stretches to her own prospects which she describes as “uncertain”, but she is upbeat about the possibilities and will leave no stone unturned as she undertakes auditions with the likes of Opera Australia and the Queensland Symphony. This month sees her perform in Pergolesi’s Stabat Mater with Lotte Latukefu and in September she’ll be heard in a recital series for the Willoughby Spring Festival. She has also been invited to sing in a concert commemorating Dame Joan’s birthday on 17 November. If all goes to plan, and determination pays off, we can expect to hear a lot more from this voice of great beauty with the character to match, “I had stopped singing just as my singing career was beginning” says Göknur. “This time around I am going all the way.” – Lizzie Herbert
YOUNG VIRTUOSI YOUNG PERFORMER AWARD FINALS 6pm Saturday 7 September, The Verbrugghen Hall, Sydney Conservatorium of Music. Four finalists vie for generous prizes. The event is supported by the NSW Premier’s Office. Guest artist is Organ Music Society of Sydney competition winner 2012, Edith Yam.
YOUNG VIRTUOSI BROADCASTS
UPCOMING EVENTS
Alumni Series 1pm Wednesday 7 August Göknur Shanal in concert with Jared Mundell and Oliver Baker (Six German Songs Op 103, by Louis Spohr and Russian Art Songs of Rachmaninov, Rimsky Korsakov and Tchaikovsky.)
7pm Friday 2 August - Sydney Eisteddfod NSW Drs Instrumental Scholarship Final. The Recital Hall West, Sydney Conservatorium of Music
Sydney Eisteddfod Finals Series 1pm Wednesday 14 August Selections from Joan Sutherland Memorial Vocal Scholarship Finals. 1pm Wednesday 21 August Selections from NSW Doctors’ Instrumental Scholarship Final Enhancement Series 1pm Wednesday 28 August Composition selections. Presenters – Andrew Bukenya, Oscar Foong, Troy Fil. Audio Engineer, Greg Ghavalas.
6pm Saturday 17 August - Sydney Eisteddfod Australian Choral Grand Prix - Salvation Army Congress Hall, Elizabeth St, Sydney. 4pm Sunday 25 August - Concert for Médecins Sans Frontieres, ` Pergolesi’s Stabat Mater -Göknur Shanal, Lotte Latukefu, string ensemble and organ conducted by William Moxey Pitt St, Uniting Church. 7pm Friday 30 August - Sydney Eisteddfod Allison/Henderson Piano Scholarship Final - The Recital Hall West, Sydney Conservatorium of Music. Sponsors of the Young Performer Awards - Joanna Wroblewska, Sydney Piano World and Sauter pianos Young Virtuosi Co-ordinator: Judy Deacon yv@finemusicfm.com
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What’s On
CHAMBER Australia Ensemble Saturday 10 August 8pm University of New South Wales, Sir John Clancy Auditorium Tickets: $17-$47 Bookings: 9385 4874 www.ae.unsw.edu.au Carl Maria von Weber, who liked to draw attention to his cousinly relationship to Mozart’s wife (another Weber), follows the Salzburg-born master in being inspired to write memorably for the clarinet. Weber’s Clarinet Quintet may not scale Mozartian heights but it is an adroitly entertaining piece of music, thrilling at times in its unashamed virtuosity. Britten’s first String Quartet immediately shows a mastery of original string texture and idiomatic quartet writing, closing with a movement of conversational wit. Another British composer of precocious gifts, Richard Rodney Bennett, manages to evoke thoughts of winter without seeming frigid or cramped and Gabriel Pierné, composer, first conductor of Stravinsky’s Firebird and himself a memorable contributor to Parisian ballet music, affirms the French national love affair with the flute, in agreeable companionship with cello and piano. This program starts benignly and finishes with the attention-getting skill of a high-wire act in Weber’s Clarinet Quintet. Image - Geoffrey Collins
CHAMBER AUSTRALIAN CHAMBER ORCHESTRA BRAHMS PIANO QUINTET Saturday 17 August 7pm Tuesday 20 August 8pm Wednesday 21 August 7pm Friday 23 August 1.30pm City Recital Hall, Angel Place Tickets: $40-$105 Bookings: 1800 444 444 www.aco.com.au Brahms’ Piano Quintet, both powerful and tender, is one of the masterworks of 19thcentury chamber music, almost symphonic in its breadth and depth. Jeremy Denk (above) is one of America’s most admired pianists, known for sharp, vibrant performances of programs that are anything but conventional. He is able to take some of the most complex music written and make it sing, bringing forth the universality and inherent beauty that we CHAMBER MUSICA VIVA ELIAS STRING QUARTET Monday 19 August 7pm Saturday 24 August 2pm City Recital Hall, Angel Place Tickets: $34-$91 Bookings: 1800 688 482 www.musicaviva.com.au Britain’s leading young chamber ensemble, the Elias String Quartet, brings its phenomenal sound to Australia. These history-making performances include the latest instalment in the Quartet’s immense undertaking to play through the complete Beethoven cycle in concerts including his String Quartet no. 8 in E minor opus 59 no. 2 “Razumovsky”, alongside a masterpiece from Haydn String Quartet in F major, opus 77 no. 2, and an exuberant world premiere from Matthew Hindson String Quartet no 2, commissioned for Musica Viva ORCHESTRAL NORTH SYDNEY SYMPHONY ORCHESTRA Saturday 17 August 8pm Smith Auditorium Shore School Blue Street, North Sydney Tickets: $15-$28 Bookings: 1300 306 776 www.nsso.org.au
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all love to find in music. He performs one of Bach’s best-loved concertos for keyboard and with the ACO explores Bach and Nancarrow canons. Denk describes Ives’ classic Concord Sonata as “one of the most profoundly nostalgic and tender projects in all of music.” It is this American pianist’s calling card, vividly portraying the idealism, strength, hope, and fierce individuality inherent in the American ethos.
Love, death, longing or just sheer beauty: this North Sydney Symphony Orchestra concert has music to warm your heart this winter. Whether it is the ominous drama of Verdi’s overture to The Force of Destiny, (featured
Australia by Julian Burnside, AO QC. The Elias String Quartet comprises two sisters, Sara and Marie Bitlloch on violin and cello, with Donald Grant on violin and Martin Saving on viola. Marie says, “We’re starting the Beethoven cycle a year before we come to Australia. By then we’ll have played half of all Beethoven’s quartets! It’s going to be wonderful to play Op.59 No.2 in Australia, having been immersed in his music.”
on the soundtrack of Jean de Florette and Manon des Sources), the smoochy melodies and playful wisdom of Dvoˇrák’s Symphony no. 8, or the radiant beauty of Richard Strauss’s Four Last Songs, this is music that speaks directly to the soul. Come and hear this talented band of local musicians who are passionate about what they do, led by the Sydney Symphony’s Shuti Huang, conducted by Steven Hillinger. And don’t miss rising young soprano Sarah Ann Walker (winner of the 2011 Australian National Opera Award - pictured) giving her debut performance of Strauss’s elegiac masterwork, the Four Last Songs.
CHORAL SYDNEY UNIVERSITY GRADUATE CHOIR AND ORCHESTRA BACH ST JOHN’S PASSION Sunday 18 August 3pm Great Hall, University of Sydney Tickets: $20-$42 Bookings: 9351 7940 or 1300 723 038 www.singon.wordpress.com SYMPHONY SYDNEY SYMPHONY Lisa Gasteen Returns Wednesday 7 August 8pm Friday 9 August 8pm Saturday 10 August 8pm Sydney Opera House, Concert Hall Tickets: $35-$125 Bookings: 8215 4600 www.sydneysymphony.com Experience the richness of the Romantic orchestral sound and the power of the voice with Wagner and Bruckner. Lisa Gasteen is a star - commanding the big roles of the operatic stage. In 2013 she makes a longawaited return to the Sydney Symphony, performing Wagner’s Wesendonck Lieder five intense songs inspired by the elation and heartbreak of a great love affair. It’s Tristan und Isolde in miniature. The inspiration behind Bruckner’s final, unfinished symphony was not earthly love but religious faith, and the result is transcendent in its luminous beauty. Continuing this concert is Simone Young - Australia’s most significant interpreter of Bruckner. When she came to Sydney in 2010 to conduct Bruckner’s Seventh, The Australian praised her performance for its “expansive, long-breathed lines” and “thrilling cumulative power”. Bruckner fans: look forward to another sublime treat.
ORCHESTRAL THE METROPOLITAN ORCHESTRA MET SERIES - SAX WITH TMO Saturday 31 August 8pm The Independent Theatre, North Sydney Sunday 1 September 3pm Balmain Town Hall Tickets: $20-$40 Bookings: 8007 7131 www.metorchestra.com.au
This concert features Bach’s St John’s Passion - a timeless masterpiece. It depicts Jesus’ last days, according to the Gospel of St John, as an immense musical fresco. This profoundly compassionate story is masterfully translated into extraordinary, expressive music of intense depth. It is uncompromising, rugged, immediate but also very human and moving. The Sydney University Graduate Choir and Orchestra performs under the baton of music director Christopher Bowen OAM. Tenor soloist Richard Butler, a choral scholar at Kings College, Cambridge, who has performed with prestigious groups such as the Gabrieli Consort and English Baroque Choir, is joined by Henry Choo (tenor), Morgan Pearse (bass 1), Simon Lobelson (bass 2), Belinda Montgomery (soprano) and Jenny Duck-Chong (mezzo soprano). The concert takes place in the historic surrounds of the majestic University of Sydney Great Hall.
The third Met Series promises to take you on a journey full of classical elegance, lyrical intensity, winsome clarity, soaring verve and sheer excitement. Mendelssohn’s fabulous Capriccio and Fugue, followed by Gustav Mahler’s tranquil Adagietto from his fifth Symphony are first on offer. Nicholas Russoniello (left), the 2011 ABC Symphony Australia Young Performer of the Year, then takes to the stage for Alexander Glazunov’s lyrical, sometimes melancholic and sometimes extroverted Alto Saxophone Concerto. To round off the program, TMO leaves you with the exuberant Symphony no 41 by Mozart, the Jupiter. TMO has become recognised for delivering first-class, intimate concert experiences and comprises some of Sydney’s most dynamic musicians. TMO has staged more than 60 acclaimed concerts as part of their highly regarded annual concert season under the considered direction of Artistic Director and Chief Conductor Sarah-Grace Williams.
ORCHESTRAL SYDNEY YOUTH ORCHESTRA SYO3 Sunday 18 August 3pm The Concourse, Chatswood Tickets: $17-$53.50, $103.50 (family) Bookings: 1300 795 012 www.syo.com.au In this, their third concert of the season, the Sydney Youth Orchestra is joined by baritone Teddy Tahu Rhodes and conductor, pianist and educator and director of Victorian Opera, Richard Gill, to perform Wagner and other beautiful bass baritone repertoire. A principal artist with Opera Australia, New Zealandborn Rhodes is a regular guest with all the major orchestras in Australasia. He made his first appearance at New York’s Carnegie Hall in 2009. At this concert the Sydney Youth Orchestra introduces a fresh voice in composition, 20-year-old Philip Jameson, as it performs the world premiere of his new work, Contact. Also on the program - Schumann Symphony no. 3, opus. 97, Wagner Wotan’s Farwell, Verdi Ella giammai m’ami, Mozart Non piu andraj and Wagner Siegfried’s Funeral Music. The SYO Toddlers’ Proms is also on at Chatswood on the 18th between 11.30am and 12.30pm. See website for details. ORCHESTRAL The Ku-ring-gai Philharmonic Orchestra PIANO SPLENDOUR Saturday 31 August 8pm Sunday 1 September 2.30pm Ravenswood Centenary Centre Auditorium, Henry St, Gordon Tickets: $15-$30, $75 (family) Bookings: 1300 306 776 www.kpo.org.au Eminent soloist Phillip Shovk features in Ku-Ring-Gai Philharmonic Orchestra’s Piano Splendour concert. You’ll hear Brahms’ mighty Piano Concerto no. 2 with classical favourite Beethoven Symphony no. 5 and Carl Vine’s Celebrare Celeberrime. Conductor is Ronald Prussing. August 2013
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CD Reviews
EVE DUNCAN: BUTTERFLY MODERNISM Move MD 3362 ✶✶✶✶✶ Five stars, but modernists only need apply. Elements taken from modern architecture on
LENNOX BERKELEY: Complete music for violin and piano, and solo violin Edwin Paling - violin, Arabella Teniswood-Harvey – piano Move MD 3361
✶✶✶✶ With Paling and Teniswood-Harvey welcoming you into music that by their own admission is “poignant”, “soulful”, “stark”, and even “foreboding”, you may wonder what they have lined up for your entertainment. Certainly no expectation of leaving you afterwards whistling cheery little numbers. But wait before you shake your head and go off looking for happy sounds, because once this CD starts you may well find it hard to stop listening, however far
DANIEL HOPE: SPHERES Deutsche Grammophon 479 0571
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a domestic scale have been translated into correspondingly radical musical equivalents, as far as there can be such things, to provide Eve Duncan with her intro into this two full CDs concept package, complete with “crossmedia” collaborations. “How did I get into this?” cries a voice from within one track. The answer comes in the listening, and Duncan lays out the cues she has found, demonstrating that the nature of Butterfly Modernism is far removed from easy explanations, or any chamber music you are likely to have heard before. This is music in the abstract, a whole different artistic form from music as in melody, though audibly sharing the same principles. Duncan stretches her inspirations so that the musicians here it takes you into the unique world of Lennox Berkeley music. You may very well develop an appreciation of why the two musicians also use their CD notes to describe Berkeley as “accomplished, creative and respected” in his own time, without a word about his music being on the mournful side. Not a bit of it. You may even like it, and decide for yourself that on the contrary he was unduly neglected when it comes to composers worth listening to. He was an individualist, and this complete set of sonatas and other works, written in a two-decade period between the early 1930s and early 1950s, comes to life in the way it is presented here that makes it hard to ignore, regardless of what those rather discouraging words might suggest. Stark, Berkeley style, is a long way from being doleful or confronting in the sense of abstract
The coveted yellow Deutsche Grammophon rectangle shines out from the otherwise mostly monochromatic cover of a recording in which violinist Daniel Hope journeys from the 17th century to the present day, searching for the musically timeless, the meditative, the whispering of the spheres. Any more, and he would have run out of space to fit it all on one CD, so 18 tracks makes this good on value, though the average run time of just over four minutes each does impose some restriction on how far Hope can go to demonstrate his ability to explore much in the way of musical development. Elena KatsChernin is here, emerging composer Ludovico Einaudi and pianist Lera Auerbach score two tracks each, other items encompass popular names, like Jenkins and Pärt, and lesser-
find themselves capturing spirits from places as far apart as Tibet and Iceland. None of them sounds quite the way you might have expected as a result of anything you may have encountered previously, but they each indicate how Butterfly Modernism takes the idea of traditional constructs like quintets, quartets and duo sonatas about as far away from the easy listening school of music as you are ever likely, or want, to go. If music of this type is acceptable to your ears, and you had been wondering why there seems to have been so little of it in recent years, this brave commitment by Eve Duncan and her expert ensemble is one you will find rewarding. - Phil Vendy
European serialist-style stark. These two performers provide it in a form that makes it a positive listening experience. - PV
known ones, like Baranowski and Igudesman. In a world where such as Kennedy and Rieu have come to rule the violin roost, here is a more than welcome reminder of what the instrument sounds like when played for the sake of its potential for subtlety, rather than the intention to impress with virtuosity and volume. Sensitive playing here from all the performers. Hope and his colleagues find their level of musical expression a little way above easy listening, adapting their technique to these multiple composers, with a selection that glides smoothly from one item to the next, while the quality of this DG production keeps you listening in anticipation of what is going to come next. A nice CD to have and play, without needing any special effort. - PV
CD Reviews
MUSIC TO ENERGISE Classical Music for your mind Various Artists ABC Classics 348726
✶✶✶ THE ROMANTIC CLARINET BRAHMS Sonatas for Clarinet and Piano, Op. 120; Lieder Transcriptions, Op 57 SCHUMANN Drei Fantasiestucke Op.79 Paul Dean, clarinet, Stephen Emmerson, piano Melba MR301138
✶✶✶✶ The Brahms Sonatas for clarinet and piano have always been controversial and it is better to admit that many people simply cannot stand them, finding them banal and devoid of musical interest. Like much of Brahms’s chamber music, they seem more suited to the quiet confines of domestic or chamber performance and accordingly may make little effect in the concert hall. Listening to them this year in June, I found them the ideal music for a wet,
SCHUBERT: SYMPHONY NO 8 “UNFINISHED” Tasmanian Symphony Orchestra/ Sebastian Lang-Lessing ABC Classics 476 4740
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First of all, as an advocate of classical music stimulating and feeding hungry minds with higher powers and nobler sentiment, I am a wholehearted supporter of what this CD markets. Whether it actually works, I would like to believe so, otherwise my lifetime’s devotion to classical music is nothing more than a ‘fad’, and whether this CD in particular is effective, is debatable, but what is not debatable is that this double CD of mostly obscure classical pieces is an absolute delight and a treasure trove of winners. Every track is performed by Australian musicians of the highest calibre. The very first track is an excerpt from Handel’s Water Music but Graham Abbott’s conducting makes it sound fresh and new and
wintry day. Of the two, the first is probably the most approachable, because of the vigour of the third and fourth movements. Nevertheless, both of them have a quiet melodic charm and are expertly written for both instruments. Heard after the Brahms Sonatas, the Schumann pieces immediately suggest that, even at this late stage of Schumann’s life, inspiration came more easily to him than it did to Brahms. The transcriptions for clarinet and piano of three Brahms songs - Ach, wenden diesen Blick, Es traumte mir and Unbewegte laue Luft - make pleasant enough makeweights, but would be heard better in their original form. It would be difficult to imagine more sympathetic and capable performances than those offered here, the only drawback being the obtrusive clicking noises made by the clarinet mechanism. The
Once again it is gratifying to note that a recording can emerge from Tasmania that is competitive with the world’s best. The performance of the Unfinished Symphony has excellent tempos, great transparency and excellent woodwind and other soloists. The same is true of the excerpts from Rosamunde and it is pleasing that the conductor has included the dramatic allegro moderato Ballet Music, which is not often heard (although it would have been even better had he included some other excerpts that are almost never heard). He is particularly successful in avoiding sentimentality in the more familiar andantino Entra’cte. In view of the excellence of these performances, it would be sensible for ABC Classics to give us this orchestra in more
‘authentic’, which backs up my belief that it is not the instruments which decide the music’s greatness, but the quality of the performance. Other pieces that I would like to draw to your attention as unjustly neglected gems are: Wedding Day at Troldhaugen by Grieg orchestrated by Huppertz and Tobani, March of the Trolls also by Grieg, Mussorgsky’s Gopak from Sorochinsky Fair, and an outstanding piece that no one knows anything about: Ippolitov-Ivanov Procession of the Sardar. The other 33 tracks are, I promise, relatively obscure but well worth being introduced to, making this CD duo a deserved ABC collector’s item, further enhancing the ABC’s reputation for quality music. - Richard Wong
copy of the disc I received had four pages of the notes missing. - Richard Gate
adventurous repertoire. It is clearly capable of providing something other than often recorded classics. Its chief conductor is now Marko Letonja from Slovenia. Could he not give us some Eastern European music not generally heard in Australia? The Tasmanian Symphony Orchestra has already recorded much Australian music and many Romantic piano concertos but perhaps it could go a little further afield. Perhaps some music by Franz Schreker which Letonja has conducted in Europe? I must protest, however, against the practice of printing notes in faint, small type against a green background which makes them almost impossible to read. - Richard Gate August 2013
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JAZZ CD REVIEWS Discourse with Kevin Jones
INSPIRATION George Benson Concord Records 7234268
✶✶✶✶ popular music’s most acclaimed ballad singer. Benson was a good guitarist whose popularity overshadowed his instrumental talent although I must admit Benny Goodman did make him swing. But even a crusty old curmudgeon like me can recognise class when he hears it - and this is a remarkable tribute and heartfelt album of the highest class, book ended by Mona Lisa, one of Cole’s greatest and arguably his most famous “hit”. It is sung first by an eightyear-old Benson on ukulele in 1951 who, at 70, closes the album, sounding uncannily like Cole, his voice soothing and lush. A labour of love,
Benson spent four years touring and developing this album which reprises the original Riddle charts and others developed by Randy Waldman who conducted the impressive Henry Mancini Institute Orchestra which provides beauty (Nature Boy) and swing (Dance Ballerina Dance). Unforgettable, given gentle samba treatment, has an impeccable trumpet solo by Wynton Marsalis and Till Bronner is poignantly supportive on Smile. Only 13 tracks! I could have wished for another half-dozen but hopefully there will be a follow-up. Even better, reissue some of Cole’s best albums.
Washington Monument because of the large crowd, found both Bennett and Brubeck at high points in their careers - the former with his big “hit”, I Left My Heart In San Francisco, and the latter with his exceptionally popular Take Five. It was still fresh and this thrilling version is one of the highlights of the quartet’s fournumber set which opens the disc. Bennett, after six numbers with his trio, spontaneously joined Brubeck’s rhythm section for an unrehearsed jam on four numbers, showing the then affinity between jazz and popular music. Despite Down Beat magazine praising Bennett’s improvement as a singer, in contrast to its criticism of the lamentable standard of popular music, it would be 10 years before he would be heard at his best in a jazz context as he showed with Bill Evans and Stan Getz.
Historically important as the vocals were, the real meat is in the performances by the Brubeck quartet, especially the Latin-inflected Castilian Blues in 5/4 time.
The jazz life is strewn with myths. Take those concerning Billie Holiday and Lester Young who made musical love together in he 1930s, resulting in some of the greatest jazz ever recorded. Some critics claim Young’s greatness ended when the tenor saxophonist left Count Basie’s orchestra: you only have to listen to airchecks when he re-joined Basie in December, 1943 for several weeks, the trio session with Nat King Cole and Buddy Rich in 1946, and another date with Oscar Peterson in the 1950s to end that argument. So it was with Lady Day. Forget her recordings for Norman Granz’s Verve label from 1945-1959 was the cry. Admittedly some LADY SINGS THE BLUES of her Verve recordings verged on the pathetic Billie Holiday Universal (Verve Jazz Club series) 9841964 like at the 1957 Newport Jazz Festival when she was only a pitiful parody of herself. But
her 1956-1957 sessions with admirable backing from Harry Sweets Edison, Ben Webster, Jimmy Rowles and Barney Kessel (Ill Wind and One For My Baby) still remain among my favourite records. Buck Clayton, who was on the great 1930s sessions - the greatest jazz-vocal records ever made - believes the difference between them and her Verve output was like that of a girl and a woman, one who had been used and abused. And it shows - the torments of her personal life and the dissipation through addiction to alcohol and drugs. But no matter what condition she was in, Holiday approached each song on a highly emotional level with a voice on these recordings which was now mature and darkened. This was a voice of someone who had lived.
Both the late Nat “King” Cole and George Benson have one thing in common. Their vocal talents eclipsed their earlier fame as instrumentalists but there the similarity ends. Cole was a great jazz pianist before becoming
THE WHITE HOUSE SESSIONS, LIVE 1972 Tony Bennett and Dave Brubeck Columbia/RPM Records/Legacy 88883718042
✶✶✶✶ This long lost recording by Tony Bennett and Dave Brubeck from August 28, 1962 was fortuitously discovered late last year wrongly labelled in a storage area reserved for classical recordings. Only one track from the session, That Old Black Magic, had ever been released before, first on the Brubeck album Summit Sessions (1971) and 20 years later on another compilation by the pianist, Vocal Encounters (2001). The concert, moved from the Rose Garden of the White House to the grounds of the Sylvan Theatre in the shadow of the
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SWINGING ON THE VINE Z’One For My Baby . . . ”
The day had started so well but as I said to (Not So) Little J as I filled his bowl with an awardwinning shiraz in my Hunter Valley hideaway: “How can a gnarled old reactionary like myself win?” Earlier I had walked into the homestead to be confronted by my insufferable brotherin-law Clifford with the latest in designer stubble telling The Voice about his venture into television karaoke.
more than 50 years ago only one of them was dedicated to a lyricist rather than a composer or composer and lyricist - and that was Mercer. Recorded in 1964, it was probably the best of the bunch although the playing time was poor. Only 13 tracks but Mercer’s astonishing gifts with language are well illustrated, especially on Midnight Sun. And there are other examples - the seemingly so casual lines on Day In, Day Out or Something’s Gotta Give; the marvellously evocative, of time and place, sounds and scents, of Early Autumn; his gift for light-hearted themes and lyrical style (Too Marvellous For Words); and the world weary introspection of One For My Baby (And One More For The Road).
“What, can’t afford razor blades?” was my cheerful remark. I ignored The Voice’s withering glare as Clifford gushed about the new show he was producing called You Wouldn’t Believe It! “Aptly named,” was my comment when told the songs would be written and sung by 10-year-olds, adding that the lyrics would make those of the 1956 atrocity Ape Call sound like something from a Gershwin classic. As I trudge back up the hill, again in disgrace, to find solace and sanity among my numerous bottles of red with the sound of The Voice’s fond remarks - “savage, barbarian and Neanderthal” - still ringing in my ears, I ponder the continual dumbing down of society in this instant-gratification sound-bite world where the quality of journalism has decreased dramatically - where the technology is designed to let you select only the news you care about; where trivia has more importance than substance. (Not So) Little J looks at me expectantly as I choose a bottle of wine from my rack. How can I disappoint him as I fill his bowl. He burps in appreciation with piggish delight. It’s a great vintage and I couldn’t wish for a better accompaniment to a rich red as it slides down my throat than to hear trumpeter Roy Eldridge’s opening half-chorus as he lightly insinuates the melody before Anita O’Day’s lovely vocal on the 1941 recording of Skylark with Gene Krupa’s Orchestra. It was to become a big “hit” the following year through recordings by the orchestras of Glenn Miller and Harry James and vocalists Dinah Shore and Bing Crosby. Forget them! Krupa’s is the classic recording. It was originally written by Hoagy Carmichael for a musical to be based on the life of his deceased friend Bix Beiderbecke. The melody was based on the legendary cornetist’s solos,
Johnny Mercer at least the phrasing, hence the original title Bix Lix (Bix Licks). The musical was never produced so Carmichael gave the melody to Johnny Mercer who rang him back several months later and sang the lyrics of the song now called Skylark to him over the phone. Carmichael had forgotten he had even written it! Skylark is one of the greatest melodies ever written, Mercer’s lyrics rich with imagery as they support the changing moods of the song with such descriptive lines as “a meadow in the mist”, “a valley green with spring”, and “a blossom-coloured lane”. Mercer was the master of his so difficult craft, writing lyrics for more than 1500 songs and winning four Academy Awards - The Atcheson, Topeka and the Santa Fe (1946 with Harry Warren), In the Cool, Cool Of The Evening (1951 with Hoagy Carmichael), Moon River (1961 with Henry Mancini) and with Mancini again in 1962 with Days Of Wine And Roses. He once described writing lyrics as easy as chopping wood. “Usually the title or simple idea comes first and then the rest of the words just fall into place”. When working on both melody and lyrics, he would write a few words then pound out the melody with his onefingered style on the piano. When Ella Fitzgerald recorded those wonderful songbooks for Norman Granz’s Verve label
The Mercer family plot in the Bonaventure Cemetery in Savannah, Georgia, is shaded by a live oak hung with Spanish moss. Engraved on a marble bench near Johnny Mercer’s crypt is a couplet from arguably the most enduring of all his songs One For My Baby (And One More For The Road). “Buddy I’m a kind of poet, And I’ve got a lot of thing to say . . .” For many years Mercer was infatuated with actress and vocalist Judy Garland with whom he had a stormy relationship during a number of on-again off-again affairs despite them both being married. It’s been said the lyrics to Skylark described his longing for her. Mercer told a friend he wrote I Remember You in 1942 for Garland. “I had such a crush on her I couldn’t think straight so I wrote the song.” The following year One For My Baby (And One More The Road) bemoaned his loss of her. These beautiful melodic songs, an important part of the Great American Songbook, will last forever. How can I salute this genius of the lyric who died in 1976 at the age of 66? I stagger to my feet, raise my glass, and bellow (scattering wild life in all directions) from In The Cool, Cool Of The Evening . . . “When the party’s getting a glow on, ’N singin’ fills the air, If I ain’t in the clink, And there’s sumpin’ to drink. You can tell ‘em, I’ll be there” - Patrick D Maguire August 2013
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THE MARAIS PROJECT 700 YEARS OF SONGS FOR VOICE & VIOLS
Five of Australia’s leading singers present 700 years of music for viols and voice. CD Distributed by Move Records www.move.com.au also available from www.maraisproject.com.au Follow the Marais Project on Facebook
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August Digital Schedule Time Monday
Tuesday
Wednesday
Thursday
Friday
12:00
The Symphony
Chamber
At the Keyboard
With the Orchestra
From the 20th Century
14:00
From Current Catalogues Stephen Wilson
In Conversation with Michael Morton-Evans (repeats)
7, 14, 21, 28 August The Voices – the Roles with Angela Cockburn
Treasures of Recorded Music with Randolph Magri-Overend
7 August ACO
2 August - Simon Tedeschi (2 June 2013)
2, 9, 16, 23, 30 August Feature artist or Sydney Symphony with Peter Kurti (2nd Fri of month)
13 August - Jane Rutter (12 June 2013)
21 August Countdown to The Ring. Episode 8
20 August - Conal Coad (19 June 2013)
15:00
Jazz Off the Shelf – a whole new album
27 August – Christine Douglas (26 June 2013) Jazz Standards featuring important compositions
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Jazz Australia showcasing a wealth of local talent
Jazz Biography highlighting a musician and their work
Jazz in Concert live recordings
August Program Highlights
The Florestan Trio FLORESTAN TRIO: 16 YEARS OF MUSIC MAKING Sunday Special Sunday 4 August 2pm “The ensemble is without flaw; its attention to detail is scrupulous and its phrasing is sensitive to the core.” - Palm Beach Daily News, 12 March 2008. Such words were among the many reviews praising this champion group, the Florestan Trio. In a career spanning 1995-2012, they are one of the most-recorded piano trios in the world. Their recordings on Hyperion have received outstanding reviews and all their discs have been nominated for Gramophone Awards, with their Schumann disc winning the award in 1999. In addition to Florestan’s once obviously busy recording schedule, the Trio also ran its own summer festival in East Sussex, UK, where they featured alongside guest artists of international stature. The Trio also set up The Florestan Trust, a charity that promoted many educational activities, including the commissioning of new works and the encouragement of aspiring young musicians. Throughout its 16-year history of tremendous achievement each individual member of Florestan also managed to nurture distinguished solo careers. Sadly in 2011, having recorded almost every piece of music written for Piano Trio, and with growing tensions between the group, their career paths diverged. The violinist Anthony Marwood went on to develop his solo and directing activities. Cellist Richard Lester now performs with The London Haydn Quartet as a soloist and is the principal cello with the Chamber Orchestra of Europe. And pianist Susan Tomes now pursues solo engagements and chamber music projects, as well as writing and broadcasting. In January 2012, the Florestan Trio played their last concert at Wigmore Hall in London, performing a Beethoven cycle of three concerts to packed houses.
A WHOLE LOTTA FELICITY A Lot of Lott Friday 9 August 11.30am Lott Sings Wednesday 21 August 11.30am This month two of our programmers have gone bonkers for the English soprano and for good reason, so we thought we’d remind ourselves of the many achievements of this most beloved soprano. Dame Felicity Lott was born in Cheltenham, into a family of amateur musicians. From an early age she learnt piano and violin, and took singing lessons. However her real love was the French language and she went on to study a degree in French and Latin at Royal Holloway College, University of London, with a vague idea of becoming an interpreter. Little did she then know she would go on to become one of the world’s top sopranos. In 1975 Felicity made her debut at the English National Opera as the delightful Pamina in Mozart’s The Magic Flute. In the following year she began her long relationship with Glyndebourne in the role of the Countess in Capriccio and in 1977 she appeared at the Festival for the first time, as Anne Trulove in Stravinsky’s The Rake’s Progress. She went on to appear at all the great opera houses of the world: Vienna, Milan, Paris, Brussels, Munich, Hamburg, Dresden, Berlin, New York and Chicago. Her many roles have included the Marschallin (Rosenkavalier / Strauss), Arabella (Strauss), Christine (Intermezzo / Strauss) Countess Almaviva (Le Nozze Di Figaro / Mozart), Fiordiligi (Cosi Fan Tutte / Mozart), Ellen Orford (Peter Grimes / Britten), The Governess (The Turn Of The Screw / Britten), Lady Billows (Albert Herring / Britten), and Blanche (Les Dialogues des Carmelites / Poulenc). Conductors she has worked with on the opera stage include Andrew Davis, Bernard Haitink, Vladimir Jurowski, Carlos Kleiber, Antonio Pappano and Simon Rattle. Felicity’s love of French, and that early degree she undertook in the language really do shine in her performances of French song. So perfected are her performances that she has been awarded the title Officier de l’Ordre des Arts et des Lettres and the Legion d’Honneur by the French government. Back at home, she was made a CBE in the 1990 New Year
Felicity Lott. Photo - Trevor Leighton
Honours and, in 1996, was created a Dame Commander of the British Empire. In February 2003 she was awarded the title of Bayerische Kammersängerin, and most recently she was made Doctor Honoris Causa of the University Paris Sorbonne. FOR THOSE THAT LOVE TO MOVE Music of the Dance Sundays 9am-10am We at Fine Music 102.5 have cottoned-on to the fact that you, our beloved listeners, have been in dire need of a bit of groovin’. Well, perhaps not, but if you’ve been a regular listener to ‘At the Ballet’, our monthly program which was to be found at 4.30pm on the fourth Saturday, you’ll note that last month it disappeared from the airwaves. We’re pleased to inform you that all is not lost! We now have a weekly dose of dance music in the form of ‘Music of the Dance’. This program will duplicate much of the content that we know has been much enjoyed in ‘At the Ballet’, only our programmers are throwing in other aspects of the dance, including waltzes, tangos, habaneras, clogs and all other forms of dance you can think of. As always we value your feedback and would love you to let us know what you think of this new dance avenue. Contact editor@finemusicfm.com - Troy Fil NOT TO BE MISSED! Friday 2 August 2.30pm Seldom Heard Composers Wednesday 7 August 3pm Janos Starker: Master of the Cello Tuesday 20 August 10pm - Beyond the Romantic Era: Gabriel Pierné 150th Anniversary Saturday 31 August 12noon-7pm - FINE MUSIC LIVE (includes jazz, Conservatorium Big Band, Gerard Willems and much more!) CONTINUING SERIES Wednesday 17 August 8pm - At the Opera: Legendary Met Performances Luisa Miller (17 February 1968) Sunday 18 August 9pm - New Horizons: Modern Britain Wednesday 21 August 8pm - At the Opera: Legendary Met Performances Carmen (10 October 1973) ANNIVERSARY PROGRAMS Verdi 200 Wednesday 17 August 8pm - At the Opera: Legendary Met Performances Luisa Miller (17 February 1968) Saturday 13 July 8pm - Live and Local: Verdi Requiem Wagner 200 Wednesday 28 August 8pm - At the Opera: Tristan und Isolde August 2013
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Thursday 1 August 0:00 CONTEMPORARY COLLECTIVE
d’Indy, V. Symphony on a French mountain song, op 25 (1886). Duncan Gifford, pf; Tasmanian SO/Sebastian Lang-Lessing. ABC 476 192-8 27
3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore
Spohr, L. Symphony no 4 in F, op 86 (1832). Swiss Italian O/Howard Shelley. Hyperion CDA67622 36
9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Michael Morton-Evans
11:30 PIANO GAMES Prepared by Chris Blower
Puccini, G. Capriccio sinfonico (1883). Prelude to Le villi (1884). Berlin RSO/Riccardo Chailly (2 above) Decca 410 007-2
Ravel, M. Jeu d’eaux (1901). Pascal Rogé, pf. Decca 440 836-2 6 3
Addio mio dolce, from Edgar (1889). Cheryl Barker, sop; O Victoria/Richard Bonynge. Melba MN-301085 3 Intermezzo to Act III of Manon Lescaut (1893). Berlin RSO/Riccardo Chailly. Decca 410 007-2 5 O soave fanciulla, from La bohème (1896). Nuccia Focile, sop; Luciano Pavarotti, ten; Royal PO/Maurizio Benini. Decca 443 260-2
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E lucevan le stelle, from Tosca. Plácido Domingo, ten; Philharmonia O/Giuseppe Sinopoli. DG 459 362-2 4 Scherzo in A minor (1880). Raphael String Quartet. Etcetera KTC 1050 1 Addio fiorito asil, from Madama Butterfly (1904). Joseph Calleja, ten; Giuseppe Verdi O/ Riccardo Chailly. Decca 475 250-2 2 Chi il bel sogno di Doretta, from La rondine (1917). Renée Fleming, sop; English CO/Jeffrey Tate. Decca 458 858-2 4 O mio babbino caro, from Gianni Schicchi (1918). Yvonne Kenny, sop; Melbourne SO/ Vladimir Kamirski. ABC 442 509-2
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Nessun dorma, from Turandot (1920-24; compl. Alfano 1926). Plácido Domingo, ten; Royal Opera House Ch & O; London SO/Luis Cobos. Sony 88697298152 5 Puccini, G. Morire? (1917). Roberta Alexander, sop; Tan Crone, pf. Etcetera KTC 1050 3 10:00 MORNING CONCERT Prepared by Michael Morton-Evans Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). Philharmonia O/Riccardo Muti. EMI CDM 1 66420 2 19 22
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Bizet, G. Children’s games (1871). Michel Béroff, Jean-Philippe Collard, pf. EMI 5 74112 2
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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
15:00 BAROQUE VOICES Prepared by Brian Drummond Purcell, H. Welcome to all the pleasures. Collegium Vocale/Philippe Herreweghe. Harmonia Mundi HMC 901643 19 Handel, G. Gentle Morpheus. Emma Kirkby, sop; Academy of Ancient Music/Christopher Hogwood. 7 Decca 476 821-6 Vivaldi, A. Gloria in D, RV588. Jennifer Smith, sop; Anna Bernardin, sop; Edmund Barham, ten; English Bach Festival Ch & Baroque O/Michael Corboz. Erato 4509-91936-2 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 JAZZ VIBES with Matt Bailey Contemporary and modern sounds of now in jazz from all corners of the globe
13:00 A FIELD GUIDE TO MUSIC Michael Field takes a close look at some of his favourite music. In today’s program he will be discussing and playing Brahms’ Symphony no 4 in E minor.
20:00 EVENINGS WITH THE ORCHESTRA Prepared by Madilina Tresca
14:00 PARADISE LOST AND FOUND Prepared by Randolph Magri-Overend
Mozart, W. Symphony no 35 in D, K385, Haffner (1782). CBS MYK 44778
Riisager, K. Fools’ paradise, suite II, op 33 (1940). Helsingborg SO/Thomas Dausgaard. Marco Polo 8.224082 14 Respighi, O. Sopra un’aria antica, from Four songs on the Paradise poem by Gabriele d’Annunzio (1920). Leonardo di Lisi, ten; Reinild Mees, pf. Channel Classics CCS 14998 6 Anon. There is a paradise on earth. Gentlemen Songsters. Conifer TQ 158
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Fraser-Simson, H. A paradise for two, from The maid of the mountains (1916). Marilyn Hill Smith, sop; Peter Morrison, bar; Chandos Singers; Chandos Concert O/Stuart Barry. Chandos CHAN 8759 4 Howells, H. Paradise rondel (1925). London SO/Richard Hickox. Chandos CHAN 9410 10 Henze, H. Paradise, from six songs from the Arabian (1999). Ian Bostridge, ten; Julius Drake, pf. EMI 5 57112-2 6 Delius, F. The walk to the Paradise garden, from A village Romeo and Juliet (1900-01). Queensland SO/Wilfred Lehmann. ABC 446 282-2 9
Stravinsky, I. Fireworks, op 4 (1908-9). Igor Stravinsky, cond. 4 Sony S2K89910
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Schubert, F. Incidental music to Rosamunde, D797 (1823). Sony SMK 64478 20 Bruno Walter, cond (2 above) Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). Isaac Stern, vn; George Szell, cond. Sony SM3K 66 475 28 Brahms, J. Symphony no 2 in D, op 73 (1877). Bruno Walter, cond. Sony SMK 64 471 41 Columbia SO (all above) 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Chausson, E. Concert in D, op 21 (1889-91). Philippe Graffin, vn; Pascal Devoyon, pf; Chilingirian Quartet. Hyperion CDA66907 39 Spohr, L. Octet in E, op 32 (1814). Nash Ensemble. CRD 3354 27 Dvorák, A. Piano trio no 1 in B flat, op 21 (1875). Raphael Trio. Newport NCD 60074
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Martinu, B. Sextet (1932). Raphael Ensemble. Hyperion CDA66516 16
Friday 2 August 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter
12:00 NOONTIME JAZZ with Peter Mitchell Accessible in-the-hammock jazz to ease you into the weekend
19:00 FRIDAY JAZZ SESSION with Sally Cameron A focus on the current Sydney jazz scene mixed with a range of international jazz stars and a weekly a cappella item
13:00 HORACE KEATS Mainly instrumental Prepared by George Hilgevoord Keats, H. A summer breeze. John King, pf. Wirrapang WIRR 006
Echo. Jane Parkin, sop; Alexa Still, fl; Clemens Leske, pf. Wirrapang WIRR 040 4
Carl Czerny
Early Autumn. Mark Walton, sax; David Miller, pf. Wirrapang WIRR 003 5
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN
Movement. Janine Grantham, fl; Paula Newcombe, vn; Matthew Farrell, vc. Wirrapang WIRR 014
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus
Reger, M. Serenade in D, op 77a (1904). PeterLukas Graf, fl; Sandor Vegh, vn; Rainer Moog, va. Claves 50 8104 19 Weber, C.M. Variations, op 33 (1811). Walter Boeykens, cl; Robert Groslot, pf. Harmonia Mundi HMC 901481 14
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10:00 MORNING CONCERT Prepared by Angela Bell Kodály, Z. Summer evening (1929-30). Philharmonia Hungarica/Antal Dorati. Decca 443 006-2
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The valley lay smiling before me. Emma Knott, fl; David Miller, pf. Wirrapang WIRR 005 3
9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Frank Morrison
Fauré, G. Sonata no 2, op 117 (1921). Anne Gastinel, vc; Suzy Bossard, pf. Ottavo OTR C 79032
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Mozart, W. Piano concerto no 23 in A, K488 (1786). Jenö Jandó, pf; Concentus Hungaricus/ Mátyás Anta. Naxos 8.5500204 25 Czerny, C. Symphony no 2 in D, op 781. Frankfurt Brandenburg State O/Nikos Athidäos. Christophorus CHE01402 41 11:30 KEYBOARD VARIATIONS Prepared by Elaine Siversen
She walks in beauty. Geoffrey Chard, bar; David Stanhope, pf. Private recording
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13:30 MUSIC FOR THE TEMPEST Prepared by Derek Parker
20:00 THE AGE OF EMOTION Some Northern Romantics Prepared by Robert Small Grieg, E. Two Nordic melodies, op 63 (1869). Gothenburg SO/Neeme Järvi. DG 437 520-2 13 Piano concerto in A minor, op 16 (1868). Stephen Hough, pf; Bergen PO/Andrew Litton. Hyperion CDA 67824 30 Berwald, F. Symphony no 1 in G minor (1842). Helsingborg SO/Okko Kamu. Naxos 8.553051 31 Tchaikovsky, P. Serenade in C for strings, op 48 (1880). London PO/Vladimir Jurowski. LPO LPO-2009AUS 32
Locke, M. Incidental music to Shakespeare’s The tempest (1674). La Rêveuse. Naxos 8.554262 5
22:00 BAROQUE AND BEFORE North German counterpoint Prepared by Robert Small
Purcell, H. The tempest (c1695). Meredith Hall, sop; Gillian Keith, sop; Rosemary van der Hooft, mezz; Nils Brown, ten; Michael Colvin, ten; Brett Poligato, bar; Paul Grindlay, bar; Aradia Baroque Ensemble/Kevin Mallon. Naxos 8.554262 49
Buxtehude, D. Sonata in F, op 1 no 1. Purcell Quartet. Chandos CHAN 0766 9
14:30 SELDOM HEARD COMPOSITIONS Prepared by Frank Morrison Vogler, G. Symphony in D minor (1782). London Mozart Players/Matthias Bamert. Chandos CHAN 10504 19 Szabelski, B. Flute concerto (1964-65). Pawel Bronkowski, fl; Polish Radio NSO/Jan Krenz. Olympia OCD 300 10 Just, J. Sonata no 2 in F, op 13 (pub. 1781). Camerata Classica/Philip Swanton, fp & dir. Walsingham WAL 80422 12
Hummel, J. Variations on a theme from Gluck’s Armide, op 57 (c1811). Howard Shelley, pf. Chandos CHAN 9807 10
Marsh, J. String quartet in B flat (c1818). Salomon Quartet. Hyperion CDA66780
Walther, J. Variations on Jesu, meine Freude. Piet Kee, org. Chandos CHAN 0520 16
Joachim, J. Violin concerto in G minor in one movement, op 3 (1851). Suyoen Kim, vn; Staatskapelle Weimar/Michael Halász. Naxos 8.570991 20
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Bach, J.S. Magnificat in E flat, BWV243a (1723). Collegium Vocale/Philippe Herreweghe. Harmonia Mundi HMX 2971782 33 Scheidt, S. Fantasia super Io son ferito (c1624). Amsterdam Loeki Stardust Quartet. L’Oiseau-Lyre 421 130-2 10 Graupner, C. Overture in F (c1735-37). Yves Testu, chalumeau; Florence Jacquemart, chalumeau; Mensa Sonora/Jean Maillet. Pierre Verany PV794114 27 Mattheson, J. Suite in G minor. Attilio Cremonesi, hpd; Alessandro de Marchi, hpd. Harmonia Mundi HMC 905235 10 Fasch, J. Quartet in F for oboe, violin, bassoon and continuo. Members of Epoca Barocca. cpo 777 204-2 7 Byrd, W. Infelix ego. Cardinall’s Musick. Hyperion CDA67779 August 2013
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Saturday 3 August 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Derek Parker
0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson
Straus, O. Excerpts from Die lustigen Nibelungen. Gabriel Henkel, sop; Christine Mann, sop; Daphne Evangelatos, mezz; Lisa Griffith, mezz; Heinz Heidbuchel, ten; Martin Gäntner, bar; Gerd Grochowsky, bass-bar; Cologne Radio Ch & O/Siegfried Köhler. Capriccio C5088 18
9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 SPOTLIGHT ON CHARLES GOUNOD Prepared by Maureen Meers Gounod, C. Little symphony in B flat (1885). Athena Ensemble. Chandos CHAN 6543 20 Song cycle: Biondina (1871-72). Anthony Rolfe Johnson, ten; Graham Johnson, pf. Hyperion CDA66801/2 35 Symphony no 1 in D (1855). Academy of St Martin in the Fields/Neville Marriner. Philips 462 125-2 26 Ave Maria (1853). Håkan Hardenberger, tpt; Simon Preston, org. Philips 434 074-2
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Messe chorale. Ensemble vocal de Lausanne; Daniel Fuchs, org; Michel Corboz, cond. apex 8573 89235 2 27
Teresa Cahill 13:00 CHINESE MOSAIC + POSTCARDS FROM SHANGHAI Prepared by Paolo Hooke A monthly exploration of the best of Chinese classical, traditional and film music, incorporating material specially provided by Shanghai Radio
Stolz, R. Excerpts from Wenn die kleinen Veilchen bluhen. Melitta Muszely, sop; Renata Holm, sop; Hedy Fassler, sop; Rudolph Schock, ten; Ferry Gruber, ten; Adolf Dallapozza, ten; Vienna Volksoper Ch & O/Robert Stolz. Eurodisc 258 3667 18
14:00 MUSICAL EXPLORATIONS Pole to Pole Prepared by Stephen Schafer Breiner, P. Songs and dances, from The Silk Road (2003). Takako Nishizaki, vn; New Zealand SO/James Judd. Naxos 6.110082 35 Various. Music of the Silk Road
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11:30 ON PARADE Music that’s band Prepared by Owen Fisher
Sheng, B. Red silk dance (1999). Bright Sheng, pf; Seattle SO/Gerard Schwarz. Naxos 8.559610 15
Auber, D. Overture: The black domino. Denzil Stephens, cond. EMI 054 06 301 6
Trad. Karsilama. Gypsy Music of Constantinople. Membran 231681
Powell, T. March: The spacemen. Polydor 2485-014
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Weber, C.M. Huntsmen’s chorus, from Der Freischütz. Treorchy Male Choir. EMI TWO 1014 5 Mozart, W. Allegro preciso. Decca SB 319
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H.A. Kenny, cond (3 above) Joplin, S. Maple leaf rag. Denzil Stephens, cond. EMI CAS-949 4 Cory Band (all above) 12:00 JAZZ THEN AND NOW with Michael Cooper A diverse range of jazz from days gone by up to the present with wonderful Australians featured 24
Abraham, P. Excerpts from Die Blume von Hawaii. Anneliese Rothenberger, sop; Liselotte Schmidt, sop; Rudolph Schock, ten; Harry Friedauer, ten; Günther-Arndt Ch; FFB O/ Werner Schmidt-Vorlke. LaserLite 16 048 14
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15:30 MUSIC FOR WORDS Prepared by Rex Burgess Coleridge-Taylor, S. Hiawatha’s wedding feast. Helen Field, sop; Arthur Davies, ten; Bryn Terfel, bass-bar; Welsh National Choir & O/Kenneth Alwyn. Decca 458 591-2 34 Satie, E. Three pieces in the form of a pear (1903). Franki Glazer, Richard Deas, pf. Vox CDX 5107 14 Elgar, E. Scenes from The saga of King Olaf, op 30 (1894-96). Teresa Cahill, sop; Philip Langridge, ten; Brian Rayner Cook, bass; London Philharmonic Choir; London PO/ Vernon Handley. EMI CDS 7 47659-8 1:33 18:00 FOCUS ON FOLK Folk Federation of NSW with Gerry Myerson
20:00 LIVE AND LOCAL Part 1: Musica Viva presents Dimity Hall and Julian Smiles Recorded by Roger Doyle for FINE MUSIC Bach, J.S. Suite no 3 in C, BWV1009 (c1720). Julian Smiles, vc. 23 Kodály, Z. Duo, op 7 (1914). Dimity Hall, vn; Julian Smiles, vc. 26 20:55 Part 2: Another duo Beethoven, L. Sonata no 9 in A, op 47 (1803). Ronald Woodcock, vn; Colleen Rae-Gerrard, pf. Fine Music Tape Archive 33 21:30 SOME LATE ROMANTICS Prepared by Francis Frank Chabrier, E. Rapsodie: España (1883). Sydney SO/Stuart Challender. ABC 426 289-2 6 Humperdinck, E. Ballad, from The sleeping beauty (1902). Bamberg SO/Karl Anton Rickenbacher. 4 Virgin VC 7 91494-2 Svendsen, J. Romance, op 26 (1881). Richard Tognetti, vn; Nordic CO/Christian Lindberg. 8 BIS CD-1538 Saint-Saëns, C. Romance in C, op 48 (1874). Olivier Charlier, vn; Orchestral Ensemble of Paris/Jean-Jacques Kantorow. 6 EMI 5 55587 2 22:00 AFTER HOURS with Kevin Jones Laid back late night music to give a wonderfully smooth end to the busy day; lie back, relax and enjoy
Sunday 4 August 14:00 SUNDAY SPECIAL Florestan Trio: 16 years of music making Prepared by Sheila Catzel
18:00 CLASSICAL GUITAR SOCIETY The essential Villa Lobos Prepared by Sue McCreadie
Schumann, R. Trio no 1 in D minor, op 63 (1847). Hyperion CDA67063 30
Villa-Lobos, H. 12 Estudios. Fabio Zanon, gui. Musicmasters 67188 34 Bachiana Brasilerias no 1. Brazilian Guitar Quartet. Delos DE 3245 17
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Schumann, R. Piano quartet in E flat, op 47 (1842). Thomas Riebl, va. Hyperion CDA67175 26
Smetana, B. Three salon polkas, op 7 (1854). András Schiff, pf. Teldec 3984-21261-2 11
Mozart, W. Piano trio no 1 in B flat, K254, Divertimento (1776). Hyperion CDA67609 18
Veress, S. Four Transylvanian dances (1943-49). Australian CO/Richard Tognetti. Sony SK 62005 13
Florestan Trio (3 above)
Gounod, C. Salut demeure chaste et pure, from Faust (1859). Vasile Moldoveanu, ten; Würrtemberg State Opera O/Josef Düunnwald. Art of Classics INT 885.819 5
0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSIC OF THE DANCE Prepared by Di Cox Bartók, B. Romanian folk dances (1917). Hungarian State SO/Adám Fischer. Nimbus NI 5309
Liszt, F. Introduction and coda on Smetana’s polka (c1880; arr. Howard). Leslie Howard, pf. Hyperion CDA67414/17 5 Kodály, Z. Dances of Marosszék (1930). Philharmonia Hungarica/Antal Doráti. Decca 443 006-2
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10:00 THE DEFINING YEARS Music from the Classical era Prepared by Philip Lidbury Paisiello, G. Overture to Il barbiere di Siviglia (1782). Haydn Philharmonia/Ezio Rojatti. Nuova Era 6726 4 Bach, J. Christian Piano concerto in D, op 13 no 2. Hanover Band/Anthony Halstead, pf & dir. cpo 999 601-2 17 Haydn, M. Divertimento in E flat for viola, cello and double bass (pub. c1970). Members of the Salzburger Hofmusik/Wolfgang Brunner. cpo 999 230-2 15 Myslivecek, J. Dunque Licida ingrato; Che non mi disse un dil; from L’Olympiade (c1778). Magdalena Kozená, mezz; Prague PO/Michel Swierczewski. DG 471 334-2 8 Salieri, A. Concerto in C (pub. 1774). Richard Adeney, fl; James Brown, ob; English CO/ Richard Bonynge. Decca 460 302-2 18 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Vienna PO/Simon Rattle. EMI 5 57448 2 44 12:00 SPEAK EASY, SWING HARD with Richard Hughes The Golden Era of jazz, as seen through the knowledge and experience of one of Australia’s leading exponents 13:00 WORLD MUSIC: Whirled Wide Traditional and contemporary music from around the globe with Johan Rahman
Dvorák, A. Nocturne in B, op 40 (c1869). Anthony Marwood, vn; Susan Tomes, pf. Hyperion CDA66934
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Beethoven, L. Piano trio in E flat, op 70 no 2 (1808). Florestan Trio. Hyperion CDA67327 29 16:00 CHAMBER SHOSTAKOVICH Prepared by Chris Blower Shostakovich, D. Quintet in G minor, op 57 (1940). Sviatoslav Richter, pf; Borodin String Quartet. EMI C 7 47507-2 36 Quartet no 13 in B flat minor, op 138 (1970). Emerson String Quartet. DG 463 284-2 19 17:00 HOSANNA Prepared by Meg Matthews Hymns: All my hope on God is founded; Praise my soul; A mighty fortress; O what their joy. Choir of King’s College, Cambridge; Benjamin Bayl, org; Thomas Williamson, org; Stephen Cleobury. cond. EMI 557026-2 14 Trad. Simple gifts (arr. Copland). Yvonne Kenny, sop; Melbourne SO/Vladimir Kamirski. 2 Wagner, R. Pilgrims’ chorus, from Tannhäuser. Cantillation/Brett Weymark. ABC 476 284-1 (2 above) 4 Verdi, G. Pater noster (1880). Choir of King’s College, Cambridge/Stephen Cleobury. Argo 425480-2 7 Fauré, G. Cantique de Jean Racine, op 11. David Drury, org; Antony Walker, cond.
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Lauridsen, M. O magnum mysterium (1994). Brett Weymark, cond. 6
19:00 OPERA HIGHLIGHTS
Verdi, G. Mia madre aveca una povera ancella ... Piangea cantando, from Otello (1887). Kiri Te Kanawa, sop; Elzbieta Ardam, mezz; Chicago SO/Georg Solti. Decca 436 286-2 12 Rossini, G. Un segreto d’importanza, from La Cenerentola (1817). Paolo Montarsolo, bar; Sesto Bruscantini, bar; Maggio Musicale Fiorentino O/Oliviero de Fabritis. Sward AW 28677 6 19:30 SUNDAY NIGHT CONCERT Prepared by Chris Blower Janácek, L. Suite for orchestra, op 3 (1891). Brno State PO/Frantisek Jílek. Supraphon 11 1521-2 031 14 Elgar, E. Serenade in E minor for strings, op 20 (1892). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00030 12 Atterberg, K. Horn concerto, op 28 (1926). Sören Hermansson, hn; Umeä Sinfonietta/ Edvard Tjivzjel. BIS CD-376 21 Bruch, M. Symphony no 3 in E, op 51. London SO/Richard Hickox. Chandos CHAN 9738 35 21:00 NEW HORIZONS Prepared by Phil Vendy Broadstock, B. Timeless (2002). Tasmanian SO/Ola Rudner. ABC 476 8041 11 Ornstein, L. Sonata no 7 (1988). Janice Weber, pf. Naxos 8.559104 17 Gellman, S. Quartet (2003). Anne Robert, vn; Aaron Au, va; Paul Marleyn, vc; Stéphane Lemelin, pf. Ottawa CAM 11001 22
Cantillation (2 above) ABC 476 284-1
Kholminov, A. Concerto-symphony, op 54. ALexander Korneyev, fl; Ulianovsk Philharmonia CO/Igor Zhukov. LP Melodiya C10 19243 005
Britten, B. Hymn to Saint Cecilia, op 27 (194142). London Symphony Ch/George Malcolm. London 436 396-2 11
22:30 ULTIMA THULE Ambient and atmospheric music: www. ultimathule.info for detailed playlist August 2013
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Monday 5 August Scheibe, J. Sinfonia in D, from Cantata, Der tempel des Ruhmes. Concerto Copenhagen/ Andrew Manze. Chandos CHAN 0550 8
0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small
Buxtehude, D. Jubilate Domino. Andreas Scholl, ct; Concerto de viole; Basel Consort. 9 Harmonia Mundi HMG 501651
9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Madilina Tresca Davis, C. Sophie and Dr Harrison, from Cranford suite (2007/09; arr. Davis 2010). Philharmonia O/Carl Davis. Carl Davis C010
Lumbye, H. Amélie waltz (1846). Odense SO/ Peter Guth. Unicorn-Kanchana DKP 9089 10
Tartini, G. Concerto grosso no 3 in C (1734; arr. Meneghini). Ensemble 415/Chiara Banchini. Harmonia Mundi HMC901548 9 Haydn, J. Grand duet no 1 in A, from String quartet, Hob.III:7 (bef. 1765; arr. de Fossa). Jukka Savijoki, gui; Erik Stenstadvoid, gui. apex 0927 49452 2 18
Mikhail Vaiman 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
Vine, C. Smith’s Alchemy (1994; arr. from String quartet no 3). Tasmanian SO/Ola Rudner. ABC 476 226-7 19
13:00 FANTASIA Prepared by Derek Parker
10:00 MORNING CONCERT Prepared by Jan Brown
Bottesini, G. Fantasia on Lucia di Lammermoor. Thomas Martin, db; Anthony Halstead, pf. Naxos 8.570399 11
Telemann, G. Suite: Don Quixote. Northern CO/Nicholas Ward. Naxos 8.554019 18 Bruch, M. Violin concerto no 3 in D minor, op 58 (1891). Maxim Fedotov, vn; Russian PO/ Dmitry Yablonsky. Naxos 8.557793 37 Schubert, F. Symphony no 3 in D, D200 (1815). City of London Sinfonia/Richard Hickox. IMP P 848 24 11:30 OFF STAGE Prepared by Chris Blower Donizetti, G. L’amor funesto.
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Verdi, G. Il tramonto, from Six romances (pub. 1845). 3 José Carreras, ten; Martin Katz, pf (2 above) Sony SK 45863 Bellini, V. Sogno d’infanzia, romanza (1835); L’allegro marinaro, ballata (pub. 1844). Veronika Kincses, sop; Loránt Szücs, pf. Hungaroton H 12423 9 Meyerbeer, G. Master Flea’s song (1839).
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Rossini, G. Baby’s song.
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Thomas Hampson, bar; Geoffrey Parsons, pf (2 above) EMI C 7 54436 2 26
15:00 BRITISH COMPOSERS OF THE ROMANTIC ERA Prepared by Frank Morrison
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Beethoven, L. Fantasia in G minor, op 77 (1809). Natasha Vlassenko, pf. Master Performers MP 003 10
Delius, F. Dance rhapsody no 1 (1908; ed Beecham). Royal PO/Norman Del Mar. Unicorn-Kanchana UK 2071
Bridge, F. Phantasie in C minor (1906). Hartley Trio. Heritage HTGCD 218 15 Bennett, W. Sterndale Piano concerto no 1 in D minor, op 1 (1832; ed. Byers). Malcolm Binns, pf; London PO/Nicholas Braithwaite. Lyrita SRCD 204 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 SPIRIT OF JAZZ with Susan Gai Dowling Mainstream to contemporary jazz, with an emphasis on Australian performers.
Mozart, W. Fantasia in D minor, K397 (1782). Tamara Anna Cislowska, pf. 2MBS MBS42 6
20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg
Pasculli, A. Fantasia on Meyerbeer’s Les Huguenots. Ivan Paisov, ob; Natalia Shcherbakova, pf. Naxos 8.570567
Stravinsky, I. Three movements from Petrouchka (1911). Shura Cherkassky, pf. Aura AUR 143-2
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Bach, W.F. Fantasia in D minor (c1770). Julia Brown, hpd. Naxos 8.570530 3 Lovreglio, D. Fantasia, from Concerto on themes from Verdi’s La traviata, op 45. Michael Collins, cl; Piers Lane, pf. Chandos CHAN 10615 10 14:00 DANISH ODYSSEY Prepared by Francis Frank Gade, N. Overture: Echoes from Ossian, op 1 (1840). Danish National RSO/Dmitri Kitaienko. Chandos CHAN 9422 15 Nielsen, C. Pan and Syrinx (1918). Gothenburg SO/Neeme Järvi. DG 447 757-2 9
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22:00 KEYBOARD CONTRASTS
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Chopin, F. Polonaise in C sharp minor, op 26 no 1 (1834-35). Ronald Farren-Price, pf. 8 Move MD 3147 Rachmaninov, S. Trio no 2 in D minor, op 9, Elégïaque (1893). Mikhail Vaiman, vn; Mstislav Rostropovich, vc; Pavel Serebrekov, pf. Russian Legacy RL 8408 46 Ravel, M. Pavane pour une infante défunte (1899). Riccardo Zadra, pf. 7 Aura AUR 414-2 Bach, J.S. French suite no 6 in E, BWV817 (c1724). Christiane Jacottet, hpd. Point Classics 26 50162
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Haydn, J. Arietta and 12 variations in E flat, Hob.XVII:3 (c1770-74). Geoffrey Lancaster, pf. ABC 465 702-2 17
Tuesday 6 August
Håkan Hardenberger. Photo - M. Borggreve
Rafael Kubelik Dvorák, A. Symphony no 1 in C minor, The bells of Zlonice (1865). Berlin PO/Rafael Kubelik. DG 469 550-2 48
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds
11:30 LITTLE SONATAS Pleyel, I. Sonatina no 3 in A. Dieter Klöcker, cl; Sonja Prunnbauer, gui. Dabringhaus Grimm MD&G L3319 5
9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Håkan Hardenberger Prepared by Di Cox Corelli, A. Sonata in D. I Musici. Philips 442 131-2 Albinoni, T. Adagio in G minor. Simon Preston, org. Philips 434 074-2 Schmitt, F. Suite, op 133 (1955). Roland Pöntinen, pf. Philips 426 144-2 Torelli, G. Sonata in D. I Musici. Philips 442 131-2
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Gounod, C. Ave Maria (1853). Simon Preston, org. Philips 434 074-2 3 Hummel, J. Trumpet concerto in E (1803). Academy of St Martin in the Fields/Neville Marriner. Philips 420 203-2 18
Dvorák, A. Sonatina in G, op 100 (1893). Mischa Maisky, vc; Pavel Gililov, pf. DG 477 746-5
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12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades including many Australian bands 13:00 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore Highlights and previews of the month’s concerts including interviews with the key players 14:00 BEETHOVEN: SACRED & PROFANE Prepared by Francis Frank
10:00 MORNING CONCERT Prepared by Elaine Siversen
Beethoven, L. Cantata on the accession of Emperor Leopold II, WoO88 (1790). Judith Howarth, sop; Jean Rigby, mezz; John Mark Ainsley, ten; José van Dam, bass; Corydon Singers; Corydon O/Matthew Best. Hyperion CDA66880 23
Byrd, W. William Byrd suite (arr. Jacob 1923). Queensland SO/Patrick Thomas. LP ABC 5ABCL 8001 13
Danses allemandes nos 1-12, WoO8 (1795). Ensemble Bella Musica of Vienna. Harmonia Mundi HMA 1901017 18
Mozart, W. Flute concerto no 2 in D, K314 (1778). Judith Hall, fl; Philharmonia O/Peter Thomas. IMP PCD 871 20
Mass in C, op 86 (1807). Choir & O of Christ Church St Laurence/Neil McEwan. Fine Music Tape Archive 42
Håkan Hardenberger, tpt (all above)
Rondo in B, WoO6 (c1791). Sviatoslav Richter, pf; Vienna SO/Kurt Sanderling. Philips 456 949-2 9 Mayr, S. Cantata for the death of Beethoven (1827). Talia Or, sop; Altin Piriù, ten; Nikolay Borchev, bass; Simon Mayr Choir; Ingolstadt Georgian CO/Franz Hauk. Naxos 8.557958 15 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 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 Derek Parker 22:00 BEYOND THE ROMANTIC ERA Prepared by Phil Vendy Debussy, C. La mer (1903-05). Royal Concertgebouw O/Bernard Haitink. Radio Nederland RCO12004
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Cadman, C. Sonata in G (1930). Peter Zazofsky, vn; Paul Pasnak, pf. Naxos 8.559067 25 Varèse, E. Arcana (1925-7). Chicago SO/Pierre Boulez. DG 471 137-2 20 Granados, E. Melodies. Douglas Riva, pf. Naxos 8.570325
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Arnold, M. Sonatina, op 29 (1951). Paul Meyer, cl; Eric Lesage, pf. Denon CO-18016 8 Martinu, B. Symphony no 2 (1943). BBC SO/Ji Onyx 4061 25 August 2013
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Wednesday 7 August 0:00 CONTEMPORARY COLLECTIVE
Dohnányi, E. Concert piece in D, op 12 (1905). Seattle SO/Gerard Schwarz. Delos DE 3095 24
3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti
János Starker, vc (3 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Ogilvie
9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Angela Bell Vivaldi, A. Double concerto in C, RV537. Håkan Hardenberger, tpt; Reinhold Friedrich, tpt; I Musici. Philips 442 131-2 7 Graun, J. Concerto in C minor for violin and viola da gamba. Ensemble Baroque de Limoges. Auvidis E 8617 24 Couperin, F. Troisième leçon de ténèbres (pub. 1717). Monserrat Figueras, sop; MariaCristina Kiehr, sop; Rolf Lislevand, theorbo; Jordi Savall, bass viol; Pierre Hantaï, hpd. Auvidis/Valois V 4640 13 Biber, H. Sonata no 5 in C, from Fidicinium Sacro-Profanum (pub. 1683). Cantilena/Adrian Shepherd. Chandos CHAN 8448/9 10 10:00 MORNING CONCERT Prepared by Anne Irish Khachaturian, A. Suite from Masquerade (1941). Philharmonia O/Aram Khachaturian. EMI CDC 5 55035 2 11 Beethoven, L. Piano concerto no 1 in C, op 15 (1795). Vladimir Ashkenazy, pf; Vienna PO/ Zubin Mehta. Decca 411 900-2 37 Frøhlich, J. Symphony in E flat, op 33 (1833). Danish National RSO/Christopher Hogwood. Chandos CHAN 9609 34 11:30 MINI DUPARC Prepared by Randolph Magri-Overend Duparc, H. L’invitation au voyage (1870). Kiri Te Kanawa, sop; Richard Amner, pf. CBS MK 76868 4 Phidylé (1882). Thomas Allen, bar; Roger Vignoles, pf. Hyperion CDA66323
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Chanson triste (1868/1902). Barbara Hendricks, sop; Lyon Opera O/John Eliot Gardiner. EMI CDC 7 49689 2 3 28
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19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz Bénédicte Tauran
20:00 AT THE OPERA Cephalus and Procris Prepared by Paul Roper
Au pays où se fait la guerre (1869). Kiri Te Kanawa, sop; Richard Amner, pf. CBS MK 76868
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Élégie (1874). Sarah Walker, mezz; Roger Vignoles, pf. Hyperion CDA66323
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12:00 THE SOUND OF JAZZ with Kevin Jones Jazz from the 1930s to the present day, with tracks from the DownBeat archives and recent releases 13:00 YOUNG VIRTUOSI Alumni series: Russian art songs with Troy Fil; recorded by Greg Ghavalas Features Göknur Shanal, soprano; Oliver Baker, flute; Jared Mundell, clarinet; and Patrick Keith, piano Proudly supported by St Catherine’s School, Waverley 14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music? Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it. 15:00 JÁNOS STARKER Master of the cello Prepared by Sheila Catzel Diamond, D. Kaddish (1987). Seattle SO/ Gerard Schwarz. Naxos 8.559155
Grétry, A-E-M. Céphale et Procris. Ballet héroïque in three acts. Libretto by JeanFrancois Marmontel. First performed Versailles, 1773. CÉPHALUS: Pierre-Yves Pruvot, bar PROCRIS: Katia Vellétaz, sop AURORA: Bénédicte Tauran, sop Namur Chamber Choir; Les Agrémens/Guy van Waas. Ricercar RIC 302 2:29 Cephalus was married to Procris. Aurora, goddess of dawn; kidnapped Cephalus when he was hunting and seduced him. Cephalus pined for Procris so an angry Aurora sent him back. Cephalus tested Procris by seducing her in disguise. Procris fled to the forest but returned bringing a magic javelin that never missed its mark, which she gave to her hunter husband. When he went to the forest, the suspicious Procris followed, and hearing a noise Cephalus threw the javelin and Procris was impaled. Cephalus was distraught at the death of his beloved and went into exile. Gossec, F-J. Symphony in C, op 12 no 3 (1769). Les Agrémens/Guy van Waas. Ricercar RIC 218 16 23:00 SYDNEY SOLOISTS PLAY MOZART Recorded by Kerry Joyner for FINE MUSIC
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Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). London SO/Antal Dorati. Mercury 432 010-2 19
Mozart, W. . Masonic funeral music, K477 (1785). Serenade no 10 in B flat for 13 wind instruments, K361, Gran partite (1781). Sydney Soloists (2 above)
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Thursday 8 August 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 JAZZ VIBES with Matt Bailey
13:00 FROM ALL OVER EUROPE Prepared by Philip Lidbury
20:00 EVENINGS WITH THE ORCHESTRA The symphonies of Martinu Prepared by Elaine Siversen
Lully, J-B. Ballet de Xerxès (1660). Aradia Baroque Ensemble/Kevin Mallon. Naxos 8.554003
9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Troy Fil Franck, E. Overture: Roman Carnival, op 21 (1854). Württemberg PO/Ola Rudner. Audite 97.686 8 Sonata in E, op 60 (1882). James Tocco, pf. Audite 91.553
12:00 JAZZ, PURE AND SIMPLE with Maureen Meers
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Presto, from Trio no 4 in D, op 58. Claret Lluis, vc; Klaus Hellwig, pf. Audite 92.567 6 Konzertstuck (1844). Württemberg PO/Ola Rudner. Audite 97.686 14
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Handel, G. Lascia ch’io pianga, from Rinaldo (1711); Torna mi a vagheggiar, from Alcina (1735). María Bayo, sop; Capriccio Stravagante/Skip Sempé. Astrée E8674 8
Telemann, G. Paris quartet no 6 in E minor (pub. 1730). Ensemble Florilegium/Neal Peres da Costa. Channel Classics CCS 5093 19
Half time (1924). Brno State PO/Petr Vronsky. Supraphon SU 3058-2 011 9
Poulenc, F. Suite française (1935). French NO/ Charles Dutoit. Decca 476 2181 12
Hebden, J. Concerto no 3 in E minor (c1745). Cantilena/Adrian Shepherd. Chandos CHAN 8339 8
Spohr, L. Clarinet concerto no 2 in E flat, op 57 (1810). Michael Collins, cl; Swedish CO/ Robin O’Neil. Hyperion CDA67509 25
14:30 THE MAGIC HARP Prepared by Stephen Wilson
Rawsthorne, A. Symphony no 3 (1964). Bournemouth SO/David Lloyd-Jones. Naxos 8.557480
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Weatherburn, R. Mnidra (1986). Rhonda Gillespie, pf; Robert Weatherburn, pf. AVM AVMCD 1022
Ravel, M. Introduction and allegro for harp, flute, clarinet and string quartet (1905). Louise Johnson, hp; Australia Ensemble. Fine Music Tape Archive 10 Parish Alvars, E. Harp concerto in G minor, op 81. Marielle Nordmann, hp; Franz Liszt CO/ Jean-Pierre Rampal. Sony SK 58919 29 Krumpholtz, J-B. Symphony no 2 for solo harp, op 11 (c1784). Jan Walters, hp. ASV GAU 209 20
11:30 FOUR AND SIX HANDS
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Khachaturian, A. Suite in three movements. Joan Yarbrough, pf; Robert Cowan, pf. Pantheon D 20910 11 Bach, J.S. Toccata in F, BWV540 (1712-17; arr. Grainger). Robert Chamberlain, pf; Max Cooke, pf; Darryl Coote, pf. Move MD 3158 8
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Concertino for piano trio and string orchestra (1933). Dresden Trio; New Berlin CO/Martin Fischer-Dieskau. BIS CD-578 19
10:00 MORNING CONCERT Prepared by Keith Glendinning
Turina, J. Evangelio, op 12 (1915). Gran Canaria PO/Adrian Leaper. ASV DCA 1066 13
Suite no 2 from the ballet Spalicek (193133/40). Brno State PO/Jirí Waldhans. LP Supraphon 1 10 1129
Bach, J.S. Orchestral suite no 2 in B minor, BWV1067 (c1739). Rolf Smedvig, tpt; Scottish CO/Jahja Ling. Telarc CD-80227 19
Vivaldi, A. Qual cantido fiore, from Orlando furioso, RV728 (1727). Lajos Kozma, ten; I Solisti Veneti/Claudio Scimone. Erato 0630-13819-9 5
Christiane Edinger, vn (3 above)
Martinu, B. Jazz suite (1928). Zdenek Jílek, pf; Members of Prague SO/Zbynek Vostrák. Supraphon SU 3058-2 011 12
Brahms, J. Four songs, op 17 (1860). RIAS Chamber Choir; Stefan Jezierski, hn; Manfred Klier, hn; Marie-Pierre Langlamet, hp; Marcus Creed, cond. Harmonia Mundi HMC 901592 15 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock
Double concerto (1936). Janne Thomsen, fl; Bohuslav Matousek, vn; Czech PO/Christopher Hogwood. Hyperion CDA67671 19 Symphony no 2 (1943). Royal Scottish NO/ Bryden Thomson. Chandos CHAN 8916 23 22:00 CHAMBER SOIRÉE Prepared by Angela Bell Schumann, R. Sonata no 1 in A minor, op 105 (1851). Lydia Mordkovitch, vn; Gerhard Oppitz, pf. Chandos CHAN 8529 17 Spohr, L. Quartet no 12 in C, op 45 no 1 (1819). New Budapest Quartet. Marco Polo 8.223257 30 Debussy, C. Sonata in G minor for flute, viola and harp (1916). Osian Ellis, hp; members of Melos Ensemble. Decca 421 154-2 16 Vierne, L. Sonata, op 23 (1905-07). Alexis Galpèrine, vn; François Kerdoncuff, pf. Timpani 2C2019
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Hotteterre, J-M. Suite no 3 in G, op 2 (1708). Masahiro Arita, fl; Kiyomi Suga, fl; Masako Hirao, bass viol; Yasunori Imamura, theorbo; Chiyoko Arita, hpd. Denon CO-75957/8 13
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Friday 9 August 0:00 CONTEMPORARY COLLECTIVE
Hahn, R. The last waltz (1926). Hyperion CDA67141/2
3:00 CLASSICAL TILL DAWN
Felicity Lott, sop (all above) 12:00 NOONTIME JAZZ with Peter Mitchell
9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Sheila Catzel
20:00 THE AGE OF EMOTION Prepared by Judy Ekstein Berlioz, H. Overture: Roman carnival, op 9 (1844). New York PO/Pierre Boulez. Sony SM3K 64 103 9
Graham Johnson, pf (2 above)
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus
Berwald, F. Quintet no 1 in C minor (1853). Susan Tomes, pf; Gaudier Ensemble. Hyperion CDA66835 23
13:00 FROM BERLIN TO HAMBURG Prepared by Philip Lidbury
Bottesini, G. Grand duo concertante in A (1880). Ernö Sebestyén, va; Wolfgang Güttler, db; Berlin RSO/Matthias Bamert. Schwann 311 042 H1 15
Rossini, G. Overture to La gazza ladra (1817; arr. Carulli). Debra Wendells Cross, fl; Robert Alemany, cl; JoAnn Falletta, gui. Virginia Arts Festival VA901 10
Bach, C.P.E. Sonata in E, Wq48 no 3, Prussian (1741). Gustav Leonhardt, hpd. Pro Arte D 248 11
Ireland, J. Phantasie trio (1907). Lydia Mordkovitch, vn; Karine Georgian, vc; Ian Brown, pf. Chandos CHAN 9377/8 11
Keyboard concerto in F, Wq43:1 (1772). Andreas Staier, hpd; Freiburg Baroque O/Petra Müllejans. Harmonia Mundi HMC 902083.84 14
Brahms, J. Trio no 3 in C minor, op 101 (1886). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf. EMI 7 54725 2 21
Granados, E. Quintet in G minor, op 49 (1894). Manuel Porta Gallego, vn; Joaquin Riquelme Garci, va; Lom Piano Trio. Naxos 8.572262 16
Sonata in G, Wq133, Hamburg (1786). Alain Marion, fl; Daniele Roi, hpd. Fonè 89 F 02-26
Beethoven, L. Sonata no 29 in B flat, op 106, Hammerklavier (1817-18). Wilhelm Kempff, pf. DG 429 306-2 40
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Turina, J. Danzas fantásticas, op 22 (1920). Guitar Trek. ABC 476 338-9 15
Double concerto in E flat, Wq47 (1788). Eric Lynn Kelley, hpd; Jos van Immerseel, fp; Collegium Aureum. DHM 05472 77410 2 19
10:00 MORNING CONCERT Prepared by Di Cox
14:00 SCHUBERTIADE Prepared by Yvonne Laki
Ireland, J. A London overture (1936). West Australian SO/David Measham. ABC 434 713-2 13
Schubert, F. Four impromptus, D899 (1827). Alfred Brendel, pf. Philips 442 543-2 27
Bliss, A. Piano concerto in B flat (1939). Peter Donohoe, pf; Royal Scottish NO/David LloydJones. Naxos 8.557146 39
Ballet music from Rosamunde, D797 (1823). Vienna SO/Nikolaus Harnoncourt. Apex 0927 498132 16
Grieg, E. Elegiac melodies, op 34 (1881). Academy of St. Martin in the Fields/Neville Marriner. Decca 442 8196 9
Notturno in E flat, D897 (c1827). Macquarie Trio. ABC 465 792-2 11
Mozart, W. Symphony no 29 in A, K201 (1774). London Mozart Players/Jane Glover. ASV DCA 717 21
15:00 TIME AND TIME AGAIN Prepared by Randolph Magri-Overend
11:30 A LOT OF LOTT Prepared by Michael Morton-Evans
Grieg, E. Suite: From Holberg’s time, op 40 (1884; orch. 1885). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 4523 19
Schubert, F. Ave Maria: Ellens Gesang III, D839 (1825). Graham Johnson, pf. IMP PCD 898 6 Strauss, R. Ruhe, meine Seele, op 27 no 1 (1894). Scottish NO/Neeme Järvi. Chandos CHAN 8631
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Mozart, W. Come scoglio immota resta, from Così fan tutte, K588 (1790). Scottish CO/ Charles Mackerras. Telarc 80529 5 Schubert, F. Gretchen am Spinnrade, D118 (1814). IMP PCD 898 4
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22:00 BAROQUE AND BEFORE Austria Prepared by Philip Lidbury Wagenseil, G. Trombone concerto in E flat (1751-63). Warwick Tyrrell, tb; Adelaide SO/ Nicholas Braithwaite. ABC 438 825-2 9 Memoriam, from Confitebor (ed. Raum). Monica Groop, mezz; Christian Lindberg, tb; Ann Wallström, vn; Marit Bergman, vn; Olof Larsson, vc; Björn Gäfvert, org. 3 BIS CD-548 Fux, J. Suite in A minor. Robert Kohnen, hpd. Accent ACC 10022 14 Plaudite, sonat tuba. Martin Klietman, ten; Edward H. Tarr, tpt; Capella Savaria/Pál Németh. Hungaroton HCD 31134 17 Schmelzer, J. Sonata V, from Sonatae unarum fidium (pub. 1664). Romanesca. Harmonia Mundi HMU 907143 10
Schultz, A. Once upon a time, op 70 (2006). Jennifer Pike, vn; Tasmanian SO/Richard Mills. ABC 476 4519 19
Monn, M. Cello concerto in G minor. Jacqueline du Pré, vc; London SO/John Barbirolli. EMI CZS 5 68132 2
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Trad. Long time ago (arr. Copland). Taryn Fiebig, sop; Andrew Greene, pf. ABC 476 6169
Werner, G. August, from Musicalisher Instrumental-Calendar (1748). Concilium Musicum/Paul Angerer. Christophorus CHE 0164-2
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Broadstock, B. Timeless (2002). Tasmanian SO/Ola Rudner. ABC 476 8041 11 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Emyr Evans 19:00 FRIDAY JAZZ SESSION with Sally Cameron
Oswald von Wolkenstein. Planctus Mariae Magdalenae. Ensemble für frühe Musik, Augsburg. Christophorus CHE 0160-2 4 Wagenseil, G. Symphony in B flat (c1764). L’Orfeo Baroque O/Michi Gaig. cpo 999 450-2 16
Saturday 10 August Goold, C. Dodginomics (2002). Arnold Slamm, voice; Cameron Goold, elec. 3
0:00 CLASSIC-ALL THROUGH THE NIGHT
13:00 HISTORIC RECORDINGS
6:00 SATURDAY MORNING MUSIC with David Garrett
Tchaikovsky, P. Romance, op 51 no 5; Valse sentimentale, op 51 no 6 (1882). 11
9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney
Arensky, A. Sari, op 28 no 4.
9:30 SPOTLIGHT ON ERNÖ DOHNÀNYI Prepared by Francis Frank
Medtner, N. Novella in C minor, op 17 no 2. 6
Borodin, A. Mazurka in C, from Petite suite. 3
Dohnányi, E. American rhapsody, op 47 (1953). BBC PO/Matthias Bamert. Chandos CHAN 9647 14 Ruralia Hungarica, op 32d (c1930). Maria Kliegel, vc; Jenö Jandó, pf. Naxos 8.554468 6 Serenade in C, op 10 (1902). Hibernia String Trio. Dun Laoghaire County Council recording 20 Quintet in C minor, op 1 (1895). Donald Weilerstein, vn; Peter Salaff, vn; Atar Arad, va; Paul Katz, vc; Barry Snyder, pf. Pro Arte CDD 238 28 Symphonic minutes, op 36 (1933). West Australian SO/Jorge Mester. ABC 438 197-2
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Variations on a nursery song, op 25 (1914). Arthur Ozolins, pf; Toronto SO/Mario Bernardi. CBC SMCD 5052 24 11:30 ON PARADE Prepared by Robert Small Williams, J. Theme from Superman. Grimethorpe Colliery UK Coal Band. RCA 74321 88393 2
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Goldenweiser, A. Song and dance, from Kabardino.
Whelan, W. Riverdance (arr. Farr). Gary Cutt, cond. Chandos CHAN 4546 4
Alexander Goldenweiser, pf (all above) BMG 74321 251732
Werder, F. Monograph (2001). Trevor Barnard, pf. 7 The divine art 2-5017
14:00 LISTENERS’ CHOICE with Christina MacGuinness Phone 9439 4777 or go to finemusicfm.com and follow the links to choose your music
19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Loesser, F. Excerpts from Guys and dolls (1959). Robert Alda, Vivian Blaine, Stubby Kay, Isabel Bigley, voices; members of original Broadway cast. Naxos 8.120786 18
15:30 AT THE MOVIES Prepared by Pat Hopper Herrmann, B. Soundtrack from Vertigo. Studio O/Bernard Herrmann. Varese Sarabande VSD 5759
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16:30 ARTS IN FOCUS with Sydney Youth Orchestra Produced by Debbie Scholem 17:00 COLOURS OF THE KING Program of the Organ Music Society of Sydney Prepared by Andrew Grahame 8
Whitlock, P. Fidelis and fanfare, from Four extemporisations (1933). 10 Sumsion, H. Cradle song.
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Langford, G. An Offenbach fantasy. Chandos CHAN 4542
Christopher Bowers-Broadbent, org (3 above) Priory PR 917
Grimethorpe Colliery Band (3 above) 12:00 JAZZ THEN AND NOW with Michael Cooper
Rodgers, R. Excerpts from Pal Joey (1940). Jane Froman, Dick Beavers, Lewis Bolyard, Helen Gallagher, voices; members of Broadway cast. DRG 19054 14 Brown, N. Excerpts from Singin’ in the rain (1952). Gene Kelly, Debbie Reynolds, Donald O’Connor, voices. Classic Music/Warners 8122-74497-2 18
Schumann, R. Six studies in canon form, op 56 (1845). 22
Peter Parkes, cond (2 above)
Yates, S. Trietto (2007). Members of Sydney Consort. Sydney Consort SC004 5 Werder, F. V-line (1985). Tape realized by the composer. Australian Computer Music Association Vol 1 11
Rodrigo, J. Adagio, from Concierto de Aranjuez (arr. Bolton). Mark Walters, flugel hn. Chandos CHAN 4546 5 10
France, S. Three miniatures (2002). Barbara Gilby, vn; David Pereira, vc; Kate Bowan, pf. Tall Poppies TP177 10
Rachmaninov, S. Suite no 2, op 17 (1900-01). Grigori Grinsburg, pf. 24
Dubois, T. Toccata. John Winter, org. 7
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Nazarian, M. Flowing pieces (2002). Voices; Mastaneh Nazarian, elec. Canberra School of Music CSM:37 (2 above) 3
18:00 AUSTRALIAN COMPOSERS’ HOUR Felix and friends Prepared by Troy Fil Dang Kim Hien - Bandt. Inside/outside (2000). Dang Kim Hien, voice, zither, perc; Ros Bandt, bass viol, rec. Move MD 3263 11
20:00 LIVE AND LOCAL The Coriole Music Festival 2012 Recorded by Kym Wilson for 5MBS-FM At the 14th annual Coriole Music Festival in McLaren Vale, South Australia, the Song Company performed three concerts during 5-6 May 2012. Their repertoire included three different settings of Stabat Mater: a 13th century plainchant; from Palestrina in the 16th century; and Pergolesi’s stunning setting from the early 18th century. Two madrigals, written in 2012 by Sydney composer Raffaele Marcellino, were given a world premiere and audiences also delighted in songs of Elena Kats-Chernin and Renaissance madrigals by Monteverdi, Verdelot (the beautiful Italia mia), Piccini and Orlando di Lasso. 21:35 GRAND CHAMBER Berwald, F. Grand septet (1842). Gervase de Peyer, cl; Melos Ensemble. EMI 5 65995 2 23 22:00 AFTER HOURS with Kevin Jones August 2013
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Sunday 11 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSIC OF THE DANCE Prepared by Oscar Foong Tórroba, F. Moreno Sonatina trianera for four guitars and castanets. Angelita Romero, castanets; Los Romeros. Philips 412 609-2 8 Palomo, L. The Flamenco stage. Pepe Romero, gui, Seville RSO/Rafael Frühbeck de Burgos. Naxos 8.557135 7 Liszt, F. Rondo fantastique sur un thème espagnol, El contrabandista (1836). Leslie Howard, pf. Hyperion CDS44536 12 Shchedrin, R. Excerpts from Carmen suite (1967). Russian NO/Mikhael Pletnev. DG 471 136-2 11 Murcia, S. de Fandango.
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Trad. La Petenera.
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Ruiz de Ribayaz, L. Jácaras (arr. Pluhar, Habichuela).
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L’Arpeggiata/Christina Pluhar (3 above) naïve V 5055 10:00 THE DEFINING YEARS Music from the Classical Era Prepared by Frank Morrison Schubert, F. String quartet in A minor, D804 (1824). Artis Quartett. Sony SK 66720 34 Czerny, C. Grand capriccio in C minor, op 172 (1828). Martin Jones, pf. Nimbus NI 5872/3 14 Bach, J.C.F. Symphony in C (1770). Leipzig CO/ Morten Schuldt-Jensen. Naxos 8.572217 17 Danzi, F. Quintet in F, op 56 no 3 (pub. 1821). Berlin Philharmonic Wind Quintet. BIS CD-552 22 Mozart, W. Violin concerto no 1 in B flat, K207 (1773). Isaac Stern, vn; Columbia SO/George Szell. Sony SM3K 66 475 21 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide Traditional and contemporary music from around the globe with Josh Oshlak 14:00 SUNDAY SPECIAL The first romantic Prepared by Rex Burgess Berlioz, H. Eight scenes from Faust, op 1 (1829). Susan Graham, sop; Susanne Mentzer, mezz; John Mark Ainsley, ten; Philip Corokinos, bar; Montreal Symphony Choir & O/Charles Dutoit. Decca 475 097-2 36 32
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Overture: Waverley, op 1 (1827-28). Montreal SO/Charles Dutoit. Decca 452 480-2 10
Erlkönig, D328 (1815; arr. Ernst). Alexander Markov, vn; Dmitriy Cogan, pf. Apex 2564 67430-0
The death of Orpheus (1827). Daniel Galvez Vallejo, ten; Northern Region Choir; Lille NO/ Jean-Claude Casadesus. Harmonia Mundi HMC 901542 13
String quartet no 2 in C, D32 (1812). Melos Quartet. DG 419 879-2 17
La captive, op 12 (1832). Catherine Robbin, mezz; Lyon Opera O/John Eliot Gardiner. Erato 2292-45517-2
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Harold in Italy, op 16 (1834). Yuri Bashmet, va; Frankfurst RSO/Eliahu Inbal. Brilliant Classics 9999/2 40 16:00 CHAMBER SHOSTAKOVICH Prepared by Chris Blower Shostakovich, D. Trio in E minor, op 67 (1944). Dene Olding, vn; Julian Smiles, vc; David Bollard, pf. Tall Poppies TP052 29 Quartet no 12 in D flat, op 133 (1968). Emerson String Quartet. DG 463 284-2 26 17:00 HOSANNA Prepared by Heather Sykes
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19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech Smetana, B. Polka, from The bartered bride (1866). Berlin PO/Herbert von Karajan. DG 474 617-2 5 Rossini, G. Sì, ritovarla lo giuro, from La Cenerentola (1817). Juan Diego Flórez, ten; Milan Giuseppe Verdi Symphony Ch & O/ Riccardo Chailly. Decca 470 024-2
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Leoncavallo, R. Mamma! lo non l’ho avuta mai! from Zazà (1900). Elizabeth Whitehouse, sop; O Victoria/Richard Bonynge. Melba MR 301 104 3 Offenbach, J. Cést une chanson d’amour, from The tales of Hoffmann (1881). Victoria de los Angeles, sop; Conservatoire Concerts Society O/André Cluytens. EMI CDM 7 63448 2 8
Hymns: For all the saints; Rock of ages; The King of love my shepherd is; Jesu lover of my soul. Choir of Paisley Abbey; Choir of St Mark’s Church, London; Choir of St John’s College, Cambridge. Decca 452252-2 15
19:30 SUNDAY NIGHT CONCERT Prepared by Troy Fil
Conti, F. The martyrdom of San Lorenzo (1710/24). Bernarda Fink, mezz; Il Giardino Armonico/Giovanni Antonini. L’Oiseau-Lyre 478 1466
Beethoven, L. Triple concerto in C, op 56 (1803-04). Itzhak Perlman, vn; Yo-Yo Ma, vc; Berlin PO/Daniel Barenboim, pf & dir. EMI 5 55516 2 35
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Bortnyansky, D. Sacred concerto no 11 (179095). Russian State Symphonic Capella/Valery Polyansky. Chandos CHAN 9783 10 Bruckner, A. Ave Maria; Locus iste; Os justi; Christus factus est (1861-84). Choir of Christ’s College, Cambridge/David Rowland. CCC 003 15 Hymns: Now thank we all our God; O praise ye the Lord. Choir of King’s College, Cambridge; Richard Farnes, org; Stephen Cleobury, cond. Argo 414-809-2
Krips, H. Legend. Janis Laurs, vc; Adelaide SO/ Guy Noble. ABC 476 272-2 8
Ives, C. Symphony no 2 (1902-10). Nashville SO/Kenneth Schermerhorn. Naxos 8.559076 42 21:00 NEW HORIZONS Old roads, new destinations Prepared by Troy Fil Márta, I. A doll’s house story (1985). Synergy. ABC 442 350-2 13 Adès, T. America: A prophecy, op 19 (1999). Susan Bickley, mezz; City of Birmingham SO/ Thomas Adès. EMI 5 57610 2 16
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18:00 SYDNEY SCHUBERT SOCIETY Prepared by Ross Hayes Schubert, F. Mass in C, D452 (1816). Lucia Popp, sop; Brigitte Fassbaender, cont; Adolf Dallapozza, ten; Dietrich Fischer-Dieskau, bass; Bavarian RSO & Choir/Wolfgang Sawallisch. EMI CDM 7 69222 2 25 Hymn to the infinite, D232 (1815). Elly Ameling, sop; Janet Baker, mezz; Peter Schreier, ten; Dietrich Fischer-Dieskau, bar; Gerald Moore, pf. DG 435 596-2 3
Zivkovic, N. Tales from the centre of the earth (2003). Benjamin Toth, perc; Hartt School Wind Ensemble/Glen Adsit. Naxos 8.572109 17 Rautavaara, E. Symphony no 8, The journey (1999). New Zealand SO/Pietari Inkinen. Naxos 8.570069 30 Greenbaum, S. New roads, old destinations (1996). Ian Holtham, pf. Move MD 3239 10 22:30 ULTIMA THULE
Monday 12 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Francis Frank Bizet, G. Overture (1855; arr. d’Almeida). Montreal SO/Charles Dutoit. Decca 452 102-2
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Alyabyev, A. The Russian nightingale (arr. Richardson). Beverly Hoch, sop; Hong Kong PO/Kenneth Schermerhorn. IMP P 827 6 Haydn, J. Divertimento in B flat, Hob.II:46, St Antoni (bef. 1784: arr. Perry). Sydney Wind Quintet. Fine Music Tape Archive 11 Bach, J.S. Chorale prelude, BWV654 (bef. 1732; arr. Schoenberg). Sydney SO/Edo de Waart. ABC 454 515-2 8 Sarti, G. Lungi dal caro bene, from Armida e Rinaldo (arr. Gamley). Renata Tebaldi, sop; New Philharmonia O/Richard Bonynge. Decca 458 185-2 3 Albinoni, T. Sinfonia in G (arr. Camden). Anthony Camden, ob; Alison Alty, ob; London Virtuosi/John Georgiadis. Naxos 8.553002 8 10:00 MORNING CONCERT Prepared by Sheila Catzel Poulenc, F. Les biches (1923). Ulster O/Yan Pascal Tortelier. Chandos CHAN 9023 20 Godard, B. Piano concerto no 1 in A minor, op 31 (1875). Victor Sangiorgio, pf; Royal Scottish NO/Martin Yates. RSNO LX 7274 29 Chausson, E. Symphony in B flat, op 20 (188990). BBC PO/Yan Pascal Tortelier. Chandos CHAN 9650 33 11:30 CHAMBER ENCORE Prepared by Sheila Catzel Poulenc, F. Adagietto, from Les biches (1923). Eric Parkin, pf. Chandos 8637 3 Sonata (1957). Sharon Bezaly, fl; Ronald Brautigam, pf. BIS SACD-1729
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Godard, B. Two pieces, op 61 (1882). Mats Lidström, vc; Bengt Forsberg, pf. Hyperion A66888 10
Eduardo Fernández
H. Villa-Lobos
12:00 SWING SESSIONS with John Buchanan
Villa-Lobos, H. Fantasy: Mômoprecóce (1938). Cristina Ortiz, pf; New Philharmonia O/ Vladimir Ashkenazy. LP HMV/WRC QR 06072 23
13:00 BAROQUE FESTIVAL Prepared by Marilyn Schock Vivaldi, A. Guitar concerto in D, RV93. Eduardo Fernández, gui; English CO/George Malcolm. Decca 455 364-2 11
Tchaikovsky, P. Concert fantasy in G, op 56 (1884). Konstantin Scherbakov, pf; Russian PO/ Dmitry Yablonsky. Naxos 8.557824 28
Locatelli, P. Concerto grosso in C, op 1 no 10 (pub. 1721). Capella Istropolitana/Jaroslav Krecek. Naxos 8.553446 9
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton
Marcello, A. Oboe concerto in D minor (pub. c1717). Kirsten Barry, ob; Australian Brandenburg O/Paul Dyer. ABC 476 284-0
19:00 SPIRIT OF JAZZ with Susan Gai Dowling 11
Telemann, G. Quartet in B flat. Karlheinz Steeb, va; Musica Antiqua Cologne/Reinhard Goebel. Archiv 477 5379 6 Handel, G. Harp concerto in B flat, HWV294 (1735-36; arr. Zabaleta). Nicanor Zabaleta, hp; Paul Kuentz CO/Paul Kuentz. DG 469 544-2 13 14:00 FANTASIES GALORE Prepared by Phil Vendy Debussy, C. Fantasy (1889-90). Walter Gieseking, pf; Hesse RO/Kurt Schröder. EMI 5 65855 2
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Boulanger, N. Fantasy (1912). David Greilsammer, pf; French Radio PO/Steven Sloane. naïve V 5224 20 Schumann, R. Fantasy in C, op 131 (1853). Thomas Zehetmair, vn; Philharmonia O/ Christoph Eschenbach. apex 0927-49592-2
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20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 KEYBOARD CONTRASTS Prepared by Judy Ekstein MacDowell, E. Woodland sketches, op 51 (1896). James Barbagallo, pf. Marco Polo 8.223631 19 Bartók, B. Sonata (1926). Jenö Jandó, pf. Naxos 8.554717
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Skryabin, A. Twelve études, op 8 (1894). Piers Lane, pf. Hyperion A 66607 30 MacDowell, E. Fireside tales, op 61 (1902). James Barbagallo, pf. Marco Polo 8.223631 12 Shostakovich, D. Piano trio no 1 in C minor, op 8 (1944). Oslo Trio. Simax PSC 1014 14 Khachaturian, A. Sonata (1976). Peter Waters, pf. Divox X 29103 22 August 2013
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Tuesday 13 August
Mischa Maisky
Riccardo Muti
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: Mischa Maisky Prepared by Barrie Brockwell Schumann, R. Three fantasy pieces, op 73 (1849). Martha Argerich, pf. DG 469 524-2 10 Mendelssohn, F. Variations concertantes, op 17 (1829). Sergio Tiempo, pf. DG 471 565-2 8 Falla, M. de Suite populaire espagnole (191415; arr. Kochanski, Maréchal). Lily Maisky, pf. DG 477 8100 18 Bach, J.S. Andante; Allegro moderato, from Sonata in G, BWV1027. Martha Argerich, pf. 6 Brahms, J. Rondo alla zingarese, from Quartet no 1 in G minor, op 25 (1861). Gidon Kremer, vn; Yuri Bashmet, va; Martha Argerich, pf. DG 477 9523 (2 above) 8 Mischa Maisky, vc (all above)
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans
11:30 SONATAS FOR TWO Prepared by Paul Hopwood
18:00 SYDNEY SYMPHONY 2013 Produced by Peter Kurti
Busoni, F. Sonata in C (1876). Cristiano Rossi, vn; Marco Vincenzi, pf. Dynamic CDS 87 12
What’s on in concerts during the next month
Debussy, C. Sonata in G minor (1917). Isabell van Keulen, vn; Ronald Brautigam, pf. Schwann 3-1527-2 13
19:00 THE JAZZ BEAT with Lloyd Capps
12:00 JAZZ RHYTHM with Jeannie McInnes
20:00 RECENT RELEASES with David Ogilvie
13:00 DEUTCHE WELLE CONCERT HOUR By courtesy of Radio Deutsche Welle
22:00 BEYOND THE ROMANTIC ERA Prepared by Frank Morrison
Ginastera, A. Variaciones concertantes, op 23. Falla, M. de Suites 1 and 2, from The threecornered hat (1919). Gewandhaus O/Josep Pons (2 above) Radio Deutsche Welle transcription 14:00 REVOLUTIONARY TIMES Prepared by Philip Lidbury Haydn, J. Quartet in C, Hob.III:77, Emperor (1797). Emerson String Quartet. DG 445 598-2 24 Paganini, N. Caprice no 12 in A flat (1801-07; transcr. Gallois). Patrick Gallois, fl. DG 435 768-2 3
10:00 MORNING CONCERT Prepared by Barrie Brockwell
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Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Yevgeny Kissin, pf; Philharmonia O/James Levine. Sony SK 62926 40
Britten, B. Serenade for tenor, horn and strings, op 31 (1943). Ian Bostridge, ten; Marie Luise Neunecker, hn; Bamberg SO/Ingo Metzmacher. EMI 5 56871 23
Cherubini, L. Mass for the coronation of Louis XVIII (1816-9). London Philharmonic Ch & O/Riccardo Muti. EMI 5 72786 2 44
Mozart, W. Adagio and fugue in C minor, K546 (1788). English CO/Benjamin Britten. BBC BBCB 8010-2
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Stanford, C. Villiers Symphony no 5 in D, op 56, L’allegro ed il penseroso (1894). Donald Davison, org; Ulster O/Vernon Handley. Chandos CHAN 8581 43
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Bernstein, L. Suite from West Side story (1960; arr. Brown). Joshua Bell, vn; Philharmonia O/David Zinman. Sony SK89358 19 Gubaidulina, S. Chaconne (1963). Natalia Zagalskaya, pf. ABC 461 651-2
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Nielsen, C. String quintet in G (1888). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9258 24 Enescu, G. Chamber symphony for 12 solo instruments, op 33 (1954). Cluj-Napoca PO/ Ion Baciu. Marco Polo 8.223143 17 Bartók, B. Concerto for orchestra (1943). Budapest FO/Iván Fischer. Philips 456 575-2
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Wednesday 14 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti 9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Frank Morrison Bach, J.S. Brandenburg concerto no 6 in B flat, BWV1051 (1720). Scottish Ensemble/Jonathan Rees. Virgin VJ 7 91564-2 17 Schütz, H. Meine Seele erhebt den Herren. Rosemary Hofmann, sop; Réné Jacobs, ct; Basle Madrigalists; Schola Cantorum Basiliensis O/Fritz Näf. Harmonia Mundi GD 77177 7 Telemann, G. Double concerto in D. Micaela Comberti, vn; Collegium Musicum 90/Simon Standage, vn & dir. Chandos CHAN 0512 9 Scheidt, S. Suite (pub. 1621). London Gabrieli Brass Ensemble. ASV QS 6013 8 Quantz, J. Concerto à 10 in G. Jed Wentz, fl; Musica ad Rhenum/Florian Deuter. Vanguard 99040 11 10:00 MORNING CONCERT Prepared by Derek Parker Wolf-Ferrari, E. Suite from The jewels of the Madonna (1911). BBC PO/Gianandrea Noseda. Chandos CHAN 10511 17 Walton, W. Violin concerto in B minor (193839/43). Joshua Bell, vn; Baltimore SO/David Zinman. Decca 478 3156-67 31 Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ (1886). Marie-Claire Alain, org; French National RO/Jean Martinon. apex 8573 89244 2 35 11:30 A WIND INTERLUDE Prepared by Elaine Siversen Sculthorpe, P. Songs of sea and sky (1987-88; arr. 1988). Geoffrey Collins, fl; David Miller, pf. MBS 13CD 15 Hyde, M. Trio in G (1948). Christine Draeger, fl; Anne Brisk, cl; James Muir, pf. Walsingham 2WAL8036-2 11
Scene from Luisa Miller 12:00 THE SOUND OF JAZZ with Kevin Jones 13:00 YOUNG VIRTUOSI Sydney Eistedfodd: Joan Sutherland Memorial Vocal Scholarship finalists with Andrew Bukenya; recorded by Greg Ghavalas Proudly supported by St Catherine’s School, Waverley 14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music? Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it. 15:00 LOOK NO HANDS Prepared by Phil Vendy Joplin, S. Piano rags (pub. 1916). Scott Joplin, player pf. Foné 90 F 16 17 Chopin, F. Polonaise in A flat, op 53 (1842). Ignacy Paderewski, reproducing pf. Naxos 8.110678 6 Gershwin, G. Piano pieces (pub. 1916). George Gershwin and others, player pf. Foné 90 F 16 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 JAZZ STARS AND STRIPES with Peter Mitchell
20:00 AT THE OPERA Legendary Met performances: 17 February 1968 Prepared by Michael Tesoriero Verdi, G. Luisa Miller. Opera in three acts. Libretto by Salvatore Cammarano. First performed Naples, 1849. LUISA MILLER: Montserrat Caballé, sop MILLER: Sherrill Milnes, bar COUNT WALTER: Giorgio Tozzi, bass RODOLFO: Richard Tucker, ten WURM: Ezio Flagello, bass Metropolitan O & Ch/Thomas Schippers. Sony 90994-2 2:09 Count Walter is furious that his son Rodolfo loves Luisa Miller. Walter imprisons Luisa’s father, then gets Wurm to force Luisa to write a letter to Rodolfo saying she is in love with another. Rodolfo, however, knows a terrible secret which brings the Count to his knees. Rodolfo confronts Luisa with the letter, which she admits writing. When the Count gives Rodolfo permission to marry Luisa, he tells him it is too late as she has betrayed him. He poisons both Luisa and himself. Dying, Luisa tells him Wurm forced her to write the letter. Miller, Count Walter and Wurm arrive to find the lovers dying and Rodolfo summons his last strength to stab Wurm before he falls dead beside Luisa. 22:30 PINI, HAZELWOOD AND FRIENDS Recorded by Kerry Joyner for FINE MUSIC Schubert, F. Trio in B flat, D471, Triosatz (1816). Carl Pini, vn; Elena Pini, va; Daniel Pini, vc. 8 Mozart, W. Divertimento in E flat, K563 (1788). 41 Quintet in D, K593 (1790). Carl Pini, vn; Alexander Todicescu, va.
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Donald Hazelwood, vn; Jane Hazelwood, va; Georg Pedersen, vc (2 above) August 2013
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Thursday 15 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Francis Frank Taneyev, S. Overture in D minor (1875). Novosibirsk Academic SO/Thomas Sanderling. Naxos 8.570584 15 Canzona in F minor (1883; arr. Taneyev). Vytautas Sondeckis, vc; Lithuanian CO/David Geringas. Naxos 8.554381 6 A prayer, op 27 no 6 (1909). Moscow State Chamber Choir/Vladimir Minin. DG 474 377-2 5 Entr’acte from Act III of Oresteia, op 6 (1889). Novosibirsk Academic SO/Thomas Sanderling. Naxos 8.570584 5 String quartet no 3 in A, op 30 (c1908). Talan Quartet. Olympia O 543 21 10:00 MORNING CONCERT Prepared by Michael Morton-Evans Anderson, L. Irish suite (1947-49). BBC Concert O/Leonard Slatkin. Naxos 8.559381 20 Dohnányi, E. Variations on a nursery tune, op 25. Julius Katchen, pf; London PO/Adrian Boult. Philips 456 859-2 23 Rachmaninov, S. Symphony no 3 in A minor, op 44 (1935-36/38). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 39 11:30 THE HILLS ARE ALIVE Prepared by Michael Morton-Evans Fraser-Simson, H. A paradise for two, from The maid of the mountains (1916). Marilyn Hill Smith, sop; Peter Morrison, bar; Chandos Singers; Chandos Concert O/Stuart Barry. Chandos CHAN 8759 4 Grieg, E. In the mountains, from Pictures from everyday life, op 19 (1870-71). Einar SteenNökleberg, pf. Naxos 8.550883 5 Quilter, R. Over the mountains. Kathleen Ferrier, cont; Phyllis Spurr, pf. Decca 417 192-2 2 Vaughan Williams, R. The lake in the mountains (1941). Ian Brown, pf. Hyperion A67313 4 Coates, E. Green hills o’ Somerset (1916). Joan Hammond, sop; Gerald Moore, pf. EMI 166284 2 4 Rodgers, R. The hills are alive with the sound of music, from The sound of music (1965). June Bronhill, sop; Princess Theatre O/Eric Clapham. EMI 3891632 3 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 36
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13:00 A FIELD GUIDE TO MUSIC Michael Field takes a close look at some of his favourite music. In today’s program he will be discussing and playing Richard Strauss’ tone poem Ein Heldenleben (A hero’s life).
Berwald, F. Violin concerto in C sharp minor, op 2 (1820). Arve Tellefsen, vn; Royal PO/Ulf Björlin. EMI M 5 65073 2 21
14:00 MUSICAL FANTASIES Prepared by Francis Frank
Sibelius, J. The swan of Tuonela, op 22 (189395). Alf Nilsson, cora; Royal Swedish CO/Mats Lilyefors. Polar POL 404 8
Nielsen, C. Rhapsodic overture: a fantasy journey to the Faroes (1927). Gothenburg SO/ Neeme Järvi. DG 447 757-2 9
Alfvén, H. Swedish rhapsody no 2, op 24, Uppsala rhapsody (1907). Royal Scottish NO/ Niklas Willén. Naxos 8.553962 11
Mertz, J. Hungarian fantasy, op 65 no 1. László Szendrey-Karper, gui. Hungaroton H 12894 7
Berwald, F. Serious and joyful fancies. Gävle SO/Petri Sakari. Naxos 8.555370 9
Meyerbeer, G. Clarinet fantasy (1839). Consortium Classicum/Dieter Klöcker, cl & dir. Orfeo C314 941 A 9
Nielsen, C. Symphony no 6, Sinfonia semplica (1924-25). San Francisco SO/Herbert Blomstedt. Decca 425 607-2 34
14:30 CHRISTOPHER HOGWOOD Harpsichordist & conductor Prepared by Philip Lidbury Arne, T. Overture no 5 in D (pub. 1751). L’Oiseau-Lyre 436 859-2
Larsson, L-E. Pastoral suite, op 19 (1938). Royal Swedish CO/Mats Liljefors. Polar POL 404 13 7
Rise, Glory, rise, from Rosamond (1733). Emma Kirkby, sop. L’Oiseau-Lyre 443 200-2 7 Mozart, W. Double concerto in C, K299 (1778). Lisa Beznosiuk, fl; Frances Kelly, hp. L’Oiseau-Lyre 417 622-2 28 Academy of Ancient Music/Christopher Hogwood (3 above) Bach, C.P.E. Sonata in D minor, Wq63 no 2. Christopher Hogwood, clvd. Decca 444 162-2 7 Mozart, W. Ch’io mi scordi te?, K505 (1787). Emma Kirkby, sop; Steven Lubin, fp. L’Oiseau-Lyre 425 835-2 10 Haydn, J. Symphony in E flat, Hob.I:22, Philosopher (c1764). L’Oiseau-Lyre 430 082-2
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Academy of Ancient Music/Christopher Hogwood (2 above)
Arne, T. Trio sonata in B minor, op 3 no 6 (pub. 1757). Utako Ikeda, fl; Catherine Weiss, vn; Mark Caudle, vc; Paul Nicholson, hpd. Amon Ra SAR 42 8 Mozart, W. Quartet no 3 in G, K156 (1772). Australian String Quartet. ABC 434 721-2 12 Avison, C. Sonata in C minor/major, op 5 no 2 (1756). London Baroque. Amon Ra SAR 14 8 Giuliani, M. Seven dances, from Twelve dances with coda (pub. 1819; arr. Lacey, Schaupp). Genevieve Lacey, rec; Karin Schaupp, gui. ABC 476 524-9
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Mozart, W. Grand sextet in concertante style (1779; arr from Sinfonia concertante in E flat, K364). Australia Ensemble. ABC 438 199-2 31 Telemann, G. Sonata in F minor, TWV41:f1. Matthew Wilkie, bn; Kees Boersma, db; Neal Peres da Costa, hpd. Melba MR 301124 11
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh
Beethoven, L. Trio in E flat, WoO38 (179192). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf. Sony SM2K 64510 15
19:00 JAZZ VIBES with Matt Bailey 20:00 EVENINGS WITH THE ORCHESTRA Music of Scandinavia 1820-1938 Prepared by Judy Ekstein Stenhammar, W. Symphonic overture: Excelsior!, op 13 (1896). Gothenburg SO/ Neeme Järvi. DG 445 857-2
22:00 CHAMBER SOIRÉE Prepared by Francis Frank
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Vivaldi, A. Piccolo concerto in A minor, RV83. Gunilla von Bahr, piccolo; Willie Sundling, vn; Jan-Olav Wedin, vn; Lars Jonsson, va; LarsOlof Bergstrom, vc; Sten Westling, db; Eva Nordenfelt, hpd. BIS CD-21 11
Friday 16 August Kodály, Z. Dances of Galanta. Chicago SO/ Neeme Järvi. Chandos CHAN 8877 17
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus
Bartók, B. Suite: The miraculous mandarin. Hungarian State SO/Adam Fischer. Brilliant Classics 6488 22
9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Jan Brown
14:00 THE EARLY ROMANTICS Prepared by Philip Lidbury
Schubert, F. Overture in C minor for string quintet (1811). Gyozo Mathe, va; Kodály Quartet. Naxos 8.557126 9
Arriaga, J. Overture to Nonetto, op 1 (c1817). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall. Astrée E 8532 8
Debussy, C. Trio no 1 in G (1880). Trio Chausson. Mirare MIR 163 23 Shebalin, V. Piano trio in A, op 39 (1947). Oistrakh Trio. Brilliant Classics 9272
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Czerny, C. Andante e polacca, op posth (1848). Barry Tuckwell, hn; Daniel Blumenthal, pf. Etcetera KTC1121 12 10:00 MORNING CONCERT Handel, G. Suite: The gods go a’begging (arr. Beecham 1928). Royal PO/Yehudi Menuhin. RPO RPD 9004 22 Myslivecek, J. Cello concerto in C. Virtuosi di Praga/Oldrich Vicek, Cantus Classics CA 8.00128 D 23 Svendsen, J. Symphony no 1 in D, op 4 (186566). Norwegian RO/Ari Rasilainen. apex 0927 40621 2 37 11:30 A BOUQUET OF ROSES Prepared by Francis Frank Fall, L. Rose of Istanbul (1916). Vienna SO/ Robert Stolz. Eurodisc 258 667
Mendelssohn, F. String octet in E flat, op 20 (1825). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 8790 31 Schubert, F. Der Sänger, D149 (1815). Martyn Hill, ten; Graham Johnson, pf. Hyperion J 33010 8 Moscheles, I. Piano concerto no 7 in C minor, op 93, Pathétique (1835). Tasmanian SO/ Howard Shelley, pf & dir. Hyperion A67385 22 Giuliani, M. Sérénade, op 127 (pub. 1827). Nora Shulman, fl; Norbert Kraft, gui. Naxos 8.554560 17 Gade, N. Symphony no 4 in B flat, op 20 (1849-50). Danish National RSO/Christopher Hogwood. Chandos CHAN 9609 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps
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Grainger, P. Fantasy on the final love duet from Der Rosenkavalier. Geoffrey Saba, pf. IMP P 858 7
19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE AGE OF EMOTION Prepared by Heather Sykes
JoAnn Falletta 22:00 BAROQUE AND BEFORE Immigrants to England Prepared by Elaine Siversen Notari, A. Variations on Ruggiero. Parley of Instruments Renaissance Violin Band/Peter Holman. Hyperion CDA66806 6 Intenerite voi; Occhi miei; Su la riva del Tebro; Piangino el pianger mio. Emma Kirkby, sop; Evelyn Tubb, sop; Anthony Rooley, lute. LP Hyperion A66140 12 Gaultier, J. Three courantes, from Lord Herbert of Cherbury’s lute book. Paul O’Dette, lute. Harmonia Mundi HMU 907068 4 Nau, S. Suite in F, Ballet in F; Pavan and galliard. Parley of Instruments Renaissance Violin Band/Peter Holman. Hyperion CDA66806 18 Dieupart, C. Suite in A (pub. 1701). Frans Brüggen, rec; Anner Bijlsma, baroque vc; Gustav Leonhardt, hpd, org. LP Telefunken SMA 25073
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Paisible, J. Sett in D, from Six setts of aires (pub. 1720). Musica Barocca. Naxos 8.555045 13
Schumann, R. Meine Rose, op 90 no 2 (1850). Matthias Goerne, bar; Eric Schneider, pf. Decca 475 6012 5
Vianna da Motta, J. Fantasia dramática (1893). Artur Pizarro, pf; Gulbenkian O/Martyn Brabbins. Hyperion A67163 29
Strahan, D. Before, from Rose of the bay. Lauris Elms, cont; Deborah de Graaff, cl; David Miller, pf. Revolve RDS-003 5
Alard, J-D. Duo no 3, from Duos brillantes, op 27. Ilya Gringolts, vn; Alexandr Bulov, vn. BIS 1016 22
The Queen’s farewell march, from Music for Queen Mary. New London Consort/Martin Neary. Sony SK 66243 5
Suk, J. Ten songs for female voices and piano, op 15 (1899). Prague Chamber Choir; Marian Lapsansky, pf; Daniel Buranovsky, pf; Josef Pancík, cond. Chandos CHAN 9257 18
Loeillet of London, J.B. Sonata in G. Frans Brüggen, rec; Anner Bijlsma, baroque vc; Gustav Leonhardt, hpd. LP Telefunken SMA 25073 11
Zemlinsky, A. The mermaid, orchestral fantasy after Andersen (c1903). Buffalo PO/ JoAnn Falletta. Buffalo PO recording 43
Hellendaal, P. Concerto grosso in D, op 3 no 5 (c1758). Combattimento Consort Amsterdam/Jan Willem de Vriend. NM Classics 92019
12:00 NOONTIME JAZZ with Peter Mitchell 13:00 A TASTE OF HUNGARY Prepared by Michael Field Liszt, F. Fantasy on Hungarian folk melodies. Shura Cherkassky, pf; Berlin PO/Herbert von Karajan. DG 419 862-2 16
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Saturday 17 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 SPOTLIGHT ON MALCOLM WILLIAMSON Prepared by Brian Drummond Williamson, M. Serenade, intermezzo and finale. Iceland SO. Chandos CHAN 10359 9 This Christmas Night. David Miller, pf; Sydney Philharmonia Motet Choir/Antony Walker. ABC 446 975-2 3 Concert suite: The display (pub. 1964). Sydney SO/John Hopkins. ABC 438 195-2 24
18:00 FOCUS ON FOLK Folk Federation of NSW with Paul Jackson
12:00 JAZZ THEN AND NOW with Michael Cooper 13:00 CLASSIC VOICES Prepared by Maureen Meers
Sydney, from Travel diaries. Antony Gray, pf. ABC 472 902-2 10
Rossini, G. Selva opaca, from William Tell (1829). Leona Mitchell, sop; NPO/Kurt Herbert Adler. Decca/Eloquence 466 903-2 9
Piano concerto no 3 in E flat (1962). Malcolm Williamson, pf; London PO/Leonard Dommett. LP Lyrita/WRC R 03107 32
Mozart, W. Qual mi conturba; Fuor de mar, from Idomeneo, K366 (1781). Placido Domingo, ten; Munich RO/Eugene Kohn. EMI C 7 54329-2 7
Harvest thanksgiving. Cathy Weber, sop; Adelaide Singers; James Thiele, org; Patrick Thomas, cond. LP ABC RRCS 400
Strauss, R. Herrgott im Himmel! from Der Rosenkavalier, op 59 (1911). Elisabeth Schwartzkopf, sop; Irmgard Seefried, sop; Vienna PO/Herbert von Karajan. EMI H 7 69793-2
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Sinfonietta (1967). Melbourne SO/Yuval Zaliouk. LP RCA VRL1 0192 21 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Bernstein, E. The magnificent seven. Denzil Stephens, cond. EMI 054 06 301 2 Boccherini, L. Minuet. Polydor 2485-014
Hamner, R. Waltz with a beat. Decca SB 319
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H.A.Kenney, cond (3 above) Horovitz, J. Les girls. Denzil Stephens, cond. EMI 054 06 301 1 Cory Band (all above) fineMusic 102.5
Mozart, W. A te, fra tanti affanni, from Davidde Penitente, K469 (1785). Plácido Domingo, ten; Munich RO/Eugene Kohn. EMI CDC 7 54329-2 Strauss, R. Four last songs (1948). Lubja Welitsch, sop; Paul Ulanowsky, pf. Sony MH2K 62866
August 2013
19:00 THE MAGIC OF STAGE AND SCREEN Classic stories on stage Prepared by Sue Jowell How works from Dickens, Hugo, and others have been set to music 20:00 LIVE AND LOCAL Strathfield Symphony Orchestra Recorded by Peter Bell for FINE MUSIC Hyde, M. Piano concerto no 2 in C sharp minor (1934-35). Strathfield SO/Sadaharu Muramatsu. 26
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Ravel, M. Ondine, from Gaspard de la Nuit (1908). 8 Alexey Yemtsov, pf (2 above)
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Sullivan, A. Pirates’ chorus, from The pirates of Penzance. Treorchy Male Voice Choir. EMI TWO 1014 5
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David Robertson conducts the Sydney Symphony
14:00 SHOWCASING THE SYDNEY SYMPHONY Fine Music 102.5 celebrates the 2014 season of the Sydney Symphony Orchestra in this their 82nd year. The Sydney Symphony has been privileged to work with Vladimir Ashkenazy since 2009 as Principal Conductor and Artistic Advisor. At the end of 2013, he hands over the baton to new Chief Conductor and Artistic Director David Robertson. This special program will showcase recordings and interviews with members of both the performing and managing sides of the orchestra and will include all the up-to-date Sydney Symphony news, including their latest CD releases.
Tchaikovsky, P. Symphony no 6 in B minor, op 74, Pathétique (1893). Strathfield SO/ Sadaharu Muramatsu. 48 21:30 FROM THE 18TH CENTURY Prepared by Phil Vendy Graziani, C. Sonata in G, op 3 no 1. Antonio Meneses, vc; Gustavo Tavares, vc. Rosana Lanzelotte, hpd. Sanctus SCS 002/3 12 Dittersdorf, C. Oboe concerto in G (c1770). Heinz Holliger, ob; Camerata Bern/Thomas Füri. Archiv 410 599-2 15 22:00 AFTER HOURS with Kevin Jones
Sunday 18 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Paul Roper 9:00 MUSIC OF THE DANCE Tales for children Prepared by Elaine Siversen
Ravel, M. Spanish rhapsody (1907). Herbert von Karajan, cond. DG 413 588-2 15 Verdi, G. Già nella notte densa, from Othello (1887). Angela Gheorghiu, sop; Roberto Alagna, ten; Claudio Abbado, cond. EMI 556656-2 11
19:00 OPERA HIGHLIGHTS Prepared by Jan Brown Puccini, G. Sono andanti, from La bohème (1896). Barbara Hendricks, sop; José Carreras, ten; French NO/James Conlon. Erato 2292-45317-2 6
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Massenet, J. Air des lettres, from Werther (1892). Denyce Graves, mezz; Monte Carlo PO/ Marc Soustrot. FNAC 592056 8
Ravel, M. Mother Goose (1908-10; transcr. Walter). Claire Désert, pf; Moraguès Quintet. Le Chant du Monde LDC2781116 15
Brahms, J. Serenade no 2 in A, op 16 (185859/75). Claudio Abbado, cond. DG 477 542-4 34
Giordano, U. Un di all’azzurro spazio, from Andrea Chénier (1896). Richard Margison, ten; Canadian Opera Company O/Richard Bradshaw. CBC SMCD 5158 5
Prokofiev, S. Suite no 3 from Cinderella, op 109 (1944). Ukranian State SO/Theodore Kuchar. Naxos 8.550968-9 27
Berlin PO (all above)
Riisager, K. Six dances, from Hans Christian Andersen’s ballet Twelve by the mail, op 37 (1939). Helsingborg SO/Thomas Dausgaard. Marco Polo 8.224082 11
10:00 THE DEFINING YEARS Prepared by Chris Blower Méhul, É-N. Overture to La chasse du jeune Henri (1797). Gulbenkian Foundation O/Michel Swierczewski. Nimbus NI 5184/5 11 Clementi, M. Musical characteristics, op 19 (1787/1807). Howard Shelley, pf. Hyperion CDA 67850 21 Mozart, W. Exsultate jubilate, K165 (1773). Sara Macliver, sop; O of the Antipodes/Antony Walker. ABC 476 4064 15 Hummel, J. Trumpet concerto in E (1799). Urban Agnas, tpt; London Mozart Players/ Howard Shelley. Chandos CHAN 9925 19 Haydn, J. String quartet in D, Hob.III:63, Lark (1790). Emerson String Quartet. DG 471 327-2 18 Weber, C.M. Symphony no 1 in C, op 19 (1807). Academy of St Martin in the Fields/Neville Marriner. Brilliant 99935 25 12:00 SPEAK EASY, SWING HARD with Richard Hughes 13:00 WORLD MUSIC: Whirled Wide Traditional and contemporary music from around the globe with Linda Marr 14:00 SUNDAY SPECIAL The Berlin Philharmonic Prepared by Philip Lidbury
Sibelius, J. Finlandia, op 26 (1899-1900). Herbert von Karajan, cond. EMI 166451-2
Mozart, W. Madamina, il catologo è questo, from Don Giovanni, K527 (1787). Teddy Tahu Rhodes, bass-bar; Tasmanian O/Ola Rudner. ABC 472 826-2 6
16:00 CHAMBER SHOSTAKOVICH Prepared by Chris Blower Shostakovich, D. String quartet no 11 in F minor, op 122 (1966). Jerusalem Quartet. Harmonia Mundi HMG 508392.93 17 Piano trio in C minor, op 8 no 1 (1923). Trio Wanderer. Harmonia Mundi HMG 501825 12 Quartet no 14 in F sharp minor, op 142 (1972-3). Emerson String Quartet. DG 463 284-2 25
19:30 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Weber, C.M. Overture to Der Freischütz (1821). Los Angeles PO/Zubin Mehta. Decca 475 7470 9 Lalo, E. Cello concerto in D minor (1877). Maria Kliegel, vc; Nicolaus Esterházy Sinfonia/ Michael Halász. Naxos 8.554469 28
17:00 HOSANNA Prepared by Keith Glendinning
Schoenberg, A. Symphonic poem: Pelleas und Melisande, op 5 (1903). Paris O/Daniel Barenboim. CBS MK 38557 43
Hymns: Hail gladdening light; Praise to the Holiest in the height; Praise my soul the King of Heaven; O strength and stay. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP 12102 11
21:00 NEW HORIZONS Modern Britain Prepared by Oscar Foong
Stanford, C. Villiers Te deum; Jubilate, from Morning service in C. Choir of Ely Cathedral/ Paul Trepte. Guild GM 7117 11 Bach, J.S. Rest in peace thy sacred limbs; O Lord send thy dear angels, from St John Passion, BWV245. Choir of New College, Oxford; Collegium Novum/Edward Higginbottom. Naxos 8.557297
McDowall, C. Rain, steam and speed (2006). Ulster O/George Vass. Dutton Epoch CDLX 7292 10 Shipping forecast (2011). Andrew Hobday, narr; Choir of Merton College, Oxford; Orchestra Nova/George Vass. Dutton Epoch CDLX 7292 14 Clements, D. Groaning oceans. Peter Sheridan, fl, elec. Move MD 3349 6
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Fauré, G. Pie Jesu; Sanctus, from Requiem, op 48 (1893). Edinburgh Festival Ch; O de Paris/ Daniel Barenboim. EMI 7.64634 2 1 10
Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Mstislav Rostropovich, vc; Herbert von Karajan, cond. DG 447 413-2 19
Brahms, J. Blessed are they that mourn, from A German requiem, op 45 (1857-68). Vienna State Opera Ch; Vienna PO/Carlo Maria Giulini. DG 445 546-2 11
Mozart, W. Symphony no 18 in F, K130 (1772). Karl Böhm, cond. DG 469 552-2 19
18:00 A FIELD OF TALL POPPIES with Julie Simonds A monthly program of recordings selected from the Tall Poppies label
Taggart, H. Noisy oyster. Peter Sheridan, fl. Move MD 3349 12 Jackson, G. A ship with unfurled sails (2009). Latvian State Choir/Maris Sirmais. Hyperion CDA67976 7 Pitts, A. XL, after Spem in alium (2003). Berlin Radio Choir/Simon Halsey. Harmonia Mundi HMC 801873 13 Tavener, J. In Alium. Eileen Hulse, sop; Maria Kliegel, vc; Ulster O/Takuo Yuasa. Naxos 8.554388 15 22:30 ULTIMA THULE August 2013
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Monday 19 August Beethoven, L. Bagatelle in A minor, WoO59, Für Elise (1808) from Rosemary’s Baby. Gerard Willems, pf. ABC 476 411-3 3
0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small
Barber, S. Adagio for strings, op 11 (1938) from Platoon. Melbourne SO/Jorge Mester. ABC 438 611-2 8
9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Chris Blower Debussy, C. Children’s corner (1908; arr. Caplet). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8756
14:30 ROMANTIC RARITIES Prepared by Stephen Wilson 17
Chabrier, E. Overture to Gwendoline (1885). Vienna PO/John Eliot Gardiner. DG 447 751-2 9
Tchaikovsky, P. Capriccio italien, op 45 (1880; arr. Langer). Aurora Piano Quartet. Naxos 8.557717D 13 Haydn, J. Quartet in D for concertante guitar, violin, viola and cello (arr. from String quartet op 2 no 2) (bef. 1765). Karin Schaupp, gui; members of Flinders Quartet. ABC 476 443-5 23 10:00 MORNING CONCERT Prepared by Giovanna Grech Wagner, R. Liebestod, from Tristan und Isolde (1857-59). Chicago SO/Georg Solti. Decca 417 752-2 7 Svendsen, J. Norwegian artists’ carnival, op 14. Trondheim SO/Ole Kristian Ruud. Virgin 5 45128 2 7 Shostakovich, D. Violin concerto no 1 in A minor, op 77 (1947-48/55). Lydia Mordkovitch, vn; Scottish NO/Neeme Järvi. Chandos CHAN 8820 38 Schubert, F. Symphony no 5 in B flat, D485 (1816). Northern Sinfonia/Heinrich Schiff. Chandos CHAN 9136 27 11:30 ANDANTE PLUS Prepared by Chris Blower Mozart, W. Andante and variations in G, K501 (1786). Vienna Flautists. Orfeo C 239 911 A 9 Sibelius, J. Andante-Allegro molto in D (188889). Tempera Quartet. BIS CD-1376 6 Weber, C.M. Andante and Hungarian rondo, op 35 (1809). Laurent Verney, va; Claire Marie le Guay, pf. Pierre Verany PV793121 10 12:00 SWING SESSIONS with John Buchanan 40
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Apocalypse Now 13:00 MOVIE CLASSICS Prepared by Randolph Magri-Overend Wagner, R. Ride of the Valkyries, from Die Walküre (1854-56; transcr. Stokowski) from Apocalypse Now. Bournemouth SO/José Serebrier. Naxos 8.570293 6
Bruch, M. Violin concerto no 3 in D minor, op 58 (1891). Salvatore Accardo, vn; Gewandhaus O/Kurt Masur. Philips 462 167-2 38 Taneyev, S. Symphony no 1 in E minor (1874). Novosibirsk Academic SO/Thomas Sanderling. Naxos 8.570336 34 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett
Verdi, G. Overture to La forza del destino (1862) from Jean de Florette. State of Mexico SO/Enrique Bátiz. ASV DCA 856 8
19:00 SPIRIT OF JAZZ with Susan Gai Dowling
Mozart, W. Andante in F, from Piano concerto no 21, K467 (1785; arr. Saint-Saëns) from Elvira Madigan. Takako Nishizaki, vn; Capella Istropolitana/Johannes Wildner. Naxos 8.550414 8
22:00 KEYBOARD CONTRASTS Prepared by Phil Vendy
Giordano, U. La mamma morta, from Andrea Chénier (1896) from Philadelphia. Maria Callas, sop; Philharmonia O/Tullio Serafin. EMI 557056-2 5 Mahler, G. Adagietto, from Symphony no 5, from Death in Venice. Royal PO/Daniele Gatti. Sony 88697290382 10 Dukas, P. The sorcerer’s apprentice (1897) from Fantasia. Scottish NO/Alexander Gibson. Chandos CHAN 6503 10 Allegri, G. Miserere mei Deus, from Chariots of fire. Cantillation/Antony Walker. ABC 472 881-2 12 Handel, G. Arrival of the Queen of Sheba, from Solomon (1749) from Four weddings and a funeral. West Australian SO/David Measham. ABC 438 192-2 3
20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg
Satie, E. Sarabandes 1 to 3 (1887). Reinbert de Leeuw, pf. Philips 462 162-2 20 Haydn, J. Sonata no 62 in E flat, Hob.XVI:52 (1794). Andreas Staier, fp. Harmonia Mundi RD 77160 21 MacDowell, E. First modern suite, op 10 (c1881). James Barbagallo, pf. Marco Polo 8.223632
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Bach, J.S. Suite in E flat, BWV819a, French (1725-28). Davitt Moroney, hpd. Virgin VCD 7 91201-2 20 Mozart, W. Trio no 1 in G, K496 (1786). Robert Ingram, vn; Georg Pedersen, vc; Gerard Willems, pf. Tall Poppies TP070 27
0:00 CONTEMPORARY COLLECTIVE
Tuesday 20 August (1924-25). Royal Scottish O/Bryden Thomson. Chandos CHAN 9047 35 11:30 RARE BIZET Prepared by Elaine Siversen Bizet, G. Nocturne in D (1868); Grande valse de concert (1854). Setrak, pf. Harmonia Mundi HMA 1905223.24 11 Variations chromatiques (1868). Glenn Gould, pf. Philips 456 808-2 14 12:00 JAZZ RHYTHM with Jeannie McInnes Alice Giles
Gabriel Pierné
3:00 CLASSICAL TILL DAWN
13:00 CHILDREN’S WORLD Prepared by Jan Brown
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds
Moroi, S. Sinfonietta in B flat, op 24, For children (1943). NSO of Ireland/Takuo Yuasa. Naxos 8.557162 16
9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Alice Giles Prepared by Madilina Tresca
Bartók, B. Ten pieces from For children (190809; arr. Weiner). Il Quartettone. Giulia GS 201013 9
Fauré, G. Impromptu, op 86. Schwann 310 179 G1
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Koetsier, J. Metamorphoses on a theme from Smetana’s The Moldau, op 102 (1985). Budapest Brass Quintet. Koch Schwann 3-1173-2 8 Salzedo, C. Scintillation (1936). Tall Poppies TP137
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Shankar, R. The enchanted dawn. Geoffrey Collins, fl. Tall Poppies TP031 13 Zagwijn, H. Of the seasons (1901). Arnan Wiesel, pf. Schwann 3-1765-2
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Alice Giles, hp (all above) 10:00 MORNING CONCERT Prepared by Heather Sykes Strauss, R. Suite from Der Rosenkavalier, op 59 (1909-10). Sydney SO/Stuart Challender. ABC 426 480-2 23 Haydn, J. Oboe concerto in C, Hob.VIIg:C1 (1780-90). Derek Wickens, ob; Royal PO/Elgar Howarth. ASV ACA 1003 27
Nielsen, C. Symphony no 6, Sinfonia semplice
Mosonyi, M. Hungarian children’s world (1859). István Kassai, pf. Marco Polo 8.223557
Tchaikovsky, P. 1812 Overture (1880). Sydney SO/Stuart Challender. ABC 434 717-2 15 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Ogilvie 19:00 THE JAZZ BEAT with Lloyd Capps
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20:00 RECENT RELEASES with Charles Barton
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22:00 BEYOND THE ROMANTIC ERA Gabriel Pierné 150th anniversary Prepared by Oscar Foong
Elgar, E. Dream children, op 43 (1902). Welsh National Opera O/Charles Mackerras. Argo 433 214-2 7
Pierné, G. Impromptu-caprice, op 9 ter (1885/1900). Isabelle Moretti, hp. Auvidis V 4779
14:30 WAR AND PEACE Prepared by Randolph Magri-Overend
Piano concerto in C minor (1887). Jean-Efflam Bavouzet, pf; BBC PO/Juanjo Mena. Chandos CHAN 10633 19
Villa-Lobos, H. Children’s carnival (1920). Sonia Rubinsky, pf; Tatiana Rankovich, pf. Naxos 8.555717
Beethoven, L. Wellington’s victory, op 91 (1813). Czecho-Slovak RSO/Ondrej Lenard. Naxos 8.570154-55 15 Prokofiev, S. Waltz from War and peace, op 96 (1941-42). Boris Berman, pf. Chandos CHAN 9017 6 Edwards, R. Symphony, Da Pacem, Domine (1992). Sydney SO/David Porcelijn. ABC 438 610-2 29 Duparc, H. Au pays où se fait la guerre (1869). Yvonne Kenny, sop; Malcolm Martineau, pf. Walsingham Classics WAL 8022-2CD 5 Verdi, G. Pace, pace, mio Dio, from The force of destiny (1862). Marilyn Richardson, sop; Queensland SO/Vladimir Kamirski. ABC 438 196-2 5
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Concertpiece, op 39 (1901). Annie Challen, hp; Société des Concerts du Conservatoire O/ André Cluytens. EMI 5 68220 2 14 Ramuntcho suites nos 1 and 2 (1910). BBC PO/ Juanjo Mena. Chandos CHAN 10633 34 Free variations and finale, op 51 (1933). Mirage Quintet. Naxos 8.570444 11 Sonata in F sharp minor, op 46 (1919). Mats Lidström, vc; Bengt Forsberg, pf. Hyperion CDA66979 25
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Wednesday 21 August Paganini, N. Violin concerto no 1 in D, op 6 (c1817). Maxim Vengerov, vn; Israel PO/Zubin Mehta. Teldec 9031-73266-2 35
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter
9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Brian Drummond Handel, G. Organ concerto no 13 in F, HWV295, Cuckoo and the nightingale (1739). Nicholas Parle, org; London Baroque/Charles Medlam. EMI CDC 7 49799 2 13 Benda, F. Violin sonata in A minor. Collegium Musicum 90/Simon Standage. Chandos CHAN 0541 13 Bach, J.S. Wir eilen mit schwachen Schritten, from Cantata, BWV78 (1724). Sara Macliver, sop; Sally-Anne Russell, cont; O of the Antipodes/Antony Walker. ABC 476 118-3 5 Corbetta, F. Allemande. Robin Jeffrey, gui. Saydisc CD-SDL 385 3 Quantz, J. Flute concerto in A. Rachel Brown, fl; Brandenburg Consort/Roy Goodman. Hyperion CDA66927 17 10:00 MORNING CONCERT Prepared by Michael Field Mozart, W. Overture to Così fan tutte, K588 (1790). Staatskapelle Berlin/Otmar Suitner. Berlin Classics 0300249BC 4 Poulenc, F. Concert champêtre (1927-28). Ton Koopman, hpd; Rotterdam PO/James Conlon. Erato ECD 88141 25 Respighi, O. Belkis, Queen of Sheba (1932). SBS Youth O/Matthew Krel. SBS YME-5CD 24 Vine, C. Choral symphony (1996). Sydney Philharmonia Motet Choir; Sydney SO/Edo de Waart. ABC 456 698-2 29 11:30 FELICITY LOTT SINGS Prepared by Randolph Magri-Overend Bizet, G. Les adieux de l’hôtesse arabe (1866). Graham Johnson, pf. Harmonia Mundi HMC 901138 5 42
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19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Legendary Met performances: 10 October 1973 Prepared by Michael Tesoriero
Eistedfodd Scholarship Sponsor NSW Doctors’ Orchestra Mozart, W. Per pietà, ben mio, perdona, from Così fan tutte, K588 (1790). Scottish National CO/Charles Mackerras. Telarc 80529 8 Strauss, R. Ruhe, meine Seele!, op 27 no 1 (1894). Scottish NO/Neeme Järvi. Chandos CHAN 8631
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Schubert, F. Ave Maria: Ellens Gesang III, D839 (1825). Graham Johnson, pf. IMP P 898 6 Felicity Lott, sop (all above) 12:00 THE SOUND OF JAZZ with Kevin Jones 13:00 YOUNG VIRTUOSI Sydney Eistedfodd: NSW Drs Orchestra Instrumental Scholarship final with Oscar Foong; recorded by Greg Ghavalas Proudly supported by St Catherine’s School, Waverley 14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music? Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it. 15:00 FROM ITALIAN COMPOSERS OF THE ROMANTIC ERA. Prepared by Frank Morrison Verdi, G. Overture to Nabucco (1842). State of Mexico SO/Enrique Bátiz. ASV DCA 856 8 Ponchielli, A. Capriccio. Heinz Holliger, ob; Gabriel Bürgin, pf. Philips 426 288-2 11
Bizet, G. Carmen. Opera in four acts. Libretto by Henri Meilhac. First performed Paris, 1875. CARMEN: Marilyn Horne, mezz DON JOSÉ: James McCracken, ten MICAËLA: Adriana Maliponte, sop ESCAMILLO: Tom Krause, bar Metropolitan Opera O & Ch/Leonard Bernstein. DG 427440
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Micaëla, a country girl, seeks Don José, a corporal. Cigarette girls come from a factory, including Carmen, who rejects male advances, but throws a rose at silent Don José. Micaëla gives José a letter from his mother. In a factory struggle Carmen stabs another woman and José must take her to jail. Carmen flirts with him, he allows her to escape and is jailed. At an inn, the bullfighter Escamillo propositions Carmen who rejects him. Carmen persuades José to desert and join her smuggler friends. On their march to the border, Carmen becomes tired of José’s jealousy. Carmen foretells death in the cards. Micaëla tells José his mother is dying and they leave, but José vows to return for Carmen. She however follows Escamillo to the bullfights in Seville. José returns and, when Carmen refuses him, stabs her. 23:00 ACADEMY TRIO Recorded by FINE MUSIC Debussy, C. Trio in G (1880).
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Schubert, F. Trio no 1 in B flat, D898 (1827). 36 John Harding, vn; Nathan Waks, vc; John Winther, pf (2 above)
Thursday 22 August 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 JAZZ VIBES with Matt Bailey 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Denis Patterson Haydn, J. Symphony in F sharp minor, Hob.I:45, Farewell (1772). Capella Istropolitana/ Barry Wordsworth. Naxos 8.550382 25 James Galway 13:00 BAROQUE ACROSS EUROPE Prepared by Frank Morrison
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN
Vivaldi, A. Gloria in D, RV589. Emma Kirkby, sop; Tessa Bonner, sop; Michael Chance, ct; Collegium Musicum 90/Richard Hickox. Chandos CHAN 0518 29
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 10:00 MORNING CONCERT Prepared by Elaine Siversen Smetana, B. Three dances from The bartered bride (1866). Cleveland O/George Szell. Sony SBK 48 279 11
Seixas, C. Sinfonia in B flat. Algarve O/Alvaro Cassuto. Naxos 8.557207 8 Telemann, G. Suite in G minor. Peter Bree, ob; Dries Munnik, vc; Christian Lambour, hpd. Etcetera KTC 1083 13 Zelenka, J. Hipocondrie a 7 concertanti in A (1723). Camerata Bern. Archiv 469 842-2 10
Dvorák, A. Czech suite, op 39 (1879). Scottish CO/José Serebrier. ASV DCA 765 23
Rameau, J-P. Ballet music from Hippolyte et Aricie (1733). Les Arts Florissants/William Christie. Erato 3984-26129-2 20
Brumby, C. Clarinet concerto (1988). Paul Dean, cl; Queensland SO/Wilfred Lehmann. Jade JAD 1062 17
14:30 FLUTE PLUS Prepared by Jan Brown
Weill, K. Symphony no 2 (1933-34). Bournemouth SO/Marin Alsop. Naxos 8.557481
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11:30 WEILL ENCORE Prepared by Elaine Siversen Weill, K. Berlin im Licht (1928); Je ne t’aime pas (1934). Dawn Upshaw, sop; Margo Garrett, pf. Musicmasters 7045-2-C 7 The Berlin Requiem, op 12 (1928). Sons of Orpheus/Robert Sund. BIS CD-733 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers
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Bach, C.P.E. Sonata in A minor, Wq132 (1747). Gunilla von Bahr, fl. BIS CD-21 12
Rheinberger, J. Organ concerto no 1 in F, op 137. Paul Skevington, org; Amadeus O/Timothy Row. Naxos 8.557787 27 Bach, J.S. Harpsichord concerto no 5 in F minor, BWV1056 (1735-40). English CO/ Raymond Leppard, hpd & dir. Philips 422 497-2
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Weber, C.M. Clarinet concerto in F minor no 1, op 73 (1811). City of London Sinfonia/Michael Collins, cl & dir. Chandos CHAN 10702 21 Beethoven, L. Symphony no 8 in F, op 93 (1812). Scottish CO/Charles Mackerras. Hyperion CDS44301/5 26 22:00 CHAMBER SOIRÉE Dussek, J. Quintet in F minor, op 41 (1799). Nepomuk Fortepiano Quintet. Brilliant Classics 93203 24 Mozart, W. Overture to The magic flute, K620 (1791; arr. Blinkley). Modern Mandolin Quartet. Windham Hill 01934 11108-2
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Brahms, J. Sextet no 1 in B flat, op 18 (185860). Stuttgart String Sextet. Naxos 8.550436 33
Hotteterre, J-M. Suite in D. Barthold Kuijken, fl; Wieland Kuijken, bass viol; Gustav Leonhardt, hpd. LP RCA RL 30425 17
Spohr, L. Fantasie in C minor, op 35 (1816). Anna Lelkes, hp. Forum 462 073/74-2 11
Beethoven, L. Serenade in D for flute, violin and viola, op 25 (1801). Israel Flute Ensemble. CDI 18809 24
Beethoven, L. Sonata no 5 in F, op 24, Spring. Maxim Vengerov, vn; Itamar Golan, pf. apex 0927-49422-2/3 23
Mozart, W. Flute concerto no 1 in G, K313 (1778). James Galway, fl; New Irish CO/André Prieur. RCA RD 60450 27
Stamitz, C. Oboe quartet in E flat, op 8 no 4. Salzburg Soloists. Masters of the Millenium MM 2081 12 August 2013
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Friday 23 August
Matthias Bamert
Frank Beermann
0:00 CONTEMPORARY COLLECTIVE
11:30 OLDE ENGLISH Prepared by Angela Bell
3:00 CLASSICAL TILL DAWN
Bacheler, D. Daniells jigg; Pavan; Galliard; Galliard. Paul O’Dette, lute. Harmonia Mundi HMU 907389 10
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus
Lawes, W. Concort sett a 6 in F (1600’s). Fretwork, viols. Virgin Classics 0946 3 95164 2 1
9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Di Cox Hummel, J. Piano trio in E flat no 1, op 12 (c1803). Borodin Trio. Chandos CHAN 9529
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Schubert, F. String quartet no 6 in E flat, D87 (1813). Melos Quartet. DG 419 879-2 25 10:00 MORNING CONCERT Prepared by Angela Bell Vaughan Williams, R. Fantasia on a theme by Thomas Tallis (1910/19). London FO/Ross Pople. ASV DCA 779 16
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Cramer, J. Piano concerto no 7 in E, op 56 (pub. 1816). London Mozart Players/Howard Shelley, pf & dir. Chandos CHAN 10005 26 Wranitzky, P. Grand characteristic symphony for the peace with the French Republic, op 31 (1797). London Mozart Players/Matthias Bamert. Chandos CHAN 9916 31 44
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12:00 NOONTIME JAZZ with Peter Mitchell
Françaix, J. Petit quatuor pour saxophones (1888). Fairer Sax. Collins 11302 7
Vivaldi, A. Perfidissimo cor! Iniquo fato!, RV674. Caterina Calvi, cont; Ensemble Concerto/Roberto Gini. Nuova Era 6859
Vivien Hamilton
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Sinding, C. Symphony no 1 in D minor, op 21 (1890/95). Oslo PO/Øivin Fjeldstad. NKF 50016-2 40 22:00 BAROQUE AND BEFORE Prepared by Rex Burgess Scarlatti, A. Silenzio, aure volanti (1686). Vivien Hamilton, sop; Chacona/Rosalind Hamilton. ABC 476 617-0
13:00 SELECT YOUR CLASSICS with Stephen Schafer New and recent releases from Select AudioVisual Distribution
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India, S. d’ Lamento di Giasone (1623). Judith Nelson, sop; Concerto Vocal/René Jacobs. Harmonia Mundi HMA 1901011 10
15:00 CONCERT HALL Prepared by Stephen Schafer Herzogenberg, H. Six choral songs, op 10 (1870). Ensemble Cantissimo/Markus Utz. Carus 83-452
Chausson, E. Quartet in A, op 30 (1897). Touchwood Piano Quartet. ASV QS 6241
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Symphony no 1 in C minor, op 50 (1885). NDR Radio Philharmonie/Frank Beermann. cpo CP0777 122-2 42 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker
Gabrieli, G. Timor et tremor a 6, from Music for San Rocco (1608). Gabrieli Consort & Players/Paul McCreesh. Archiv 449 180-2 7 Monteverdi, C. Penelope’s lament, from The return of Ulysses (1640). Evelyn Tubb, sop; Consort of Musicke/Anthony Rooley. IMP PCD 881 12
19:00 FRIDAY JAZZ SESSION with Sally Cameron
Albertini, I. Sonata no 4 in C minor. Pablo Valetti, vn; members of Concerti de Viole; members of Basel Consort. Harmonia Mundi HMG 501651 6
20:00 THE AGE OF EMOTION Prepared by Phil Vendy
Strozzi, B. Il lamento. Ensemble Incantato. cpo 999 533-2 17
Beethoven, L. Sonata no 3 in A, op 69 (18078). Heinrich Schiff, vc; Till Fellner, pf. Philips 462 601-2 27
Marais, M. La gamme (1723). London Baroque/Charles Medlam. Harmonia Mundi HMA 1901105
Rossini, G. Overture to The thieving magpie (1817). National PO/Riccardo Chailly. Decca 400 049-2 9
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Saturday 24 August Molloy, J. Love’s old sweet song (arr. McCann). Phillip McCann, cornet; Simon Lindley, org.
0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell
Trad. The Londonderry air (arr. Richards). Phillip McCann, cornet; Sellers Engineering Band/Roy Newsome. Chandos CHAN 4503 (2 above) 4
9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 SPOTLIGHT ON GLINKA Prepared by Francis Frank Glinka, M. Spanish overture no 1: Jota aragonesa (1845). London SO/Charles Mackerras. Mercury 434 352-2 9 Trio pathétique in D minor (1832). Colin Lawson, cl; Alberto Grazzi, bn; Olga Tverskaya, fp. Opus 111 OPS 30-230 16 Valse-fantasie (1839-56). L’Orchestre de la Suisse Romande/Ernest Ansermet. Decca 480 003-8
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Mazurkas: in A minor; in C minor; in B flat; in F; Polka in E. Francesco Bertoldi, pf. Nuova Era 7232 14 Nocturne in E flat (1828). Susan Drake, hp. Hyperion A66340
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Sonata in D minor (1825-28). Norbert Blume, va; Olga Tverskaya, fp. Opus 111 OPS 30-230 18 Oriental dances in Chernomor’s castle, from Ruslan and Ludmila (1842). USSR SO/Yevgeny Svetlanov. Melodiya SU 10-00166 7 To Molly (1840). Lina Mkrtchyan, mezz; Yevgeny Talisman, pf. opus OPS 30-227 Doubt (1838). Piotr Glouboky, bass; Yuri Loievski, vc; Ilya Scheps, pf. Le Chant du Monde LDC 288 037
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Serenade on themes from Donizetti’s Anna Bolena (1832). Bolshoi TO Soloists/Alexander Lazarev. Le Chant du Monde LDC 288 068 17 11:30 ON PARADE From Ireland Prepared by Chris Blower Sousa, J.P. The Irish Dragoon overture. Slovak RSO/Keith Brion. Naxos 8.578001 4 Grainger, P. Irish tune from County Derry (1911). Hawthorn Band/Ken MacDonald. Walsingham WAL 9000-2 Trad. Ballycastle Bay. Williams-Fairey Engineering Band. Delta 60357
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MacMurrough, D. Macushla (arr. McCann). Phillip McCann, cornet; Malcolm Hicks, org. Chandos CHAN 4502 3
Trad. Irish washerwoman (arr. Langford). John Foster Black Dyke Mills Band/Roy Newsome. Chandos CHAN 4533 3 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 LISTENERS’ CHOICE with Christina MacGuinness Phone 9439 4777 or go to finemusicfm.com and follow the links to choose your music 15:30 AT THE MOVIES Prepared by Nicholas Chaplin Schifrin, L. Original soundtrack: Bullitt (1968). Bud Shank, sax, fl; Mike Melvoin, pf; Ray Brown, bass; Larry Bunker, drums; Studio O/ Lalo Schifrin. Aleph Records 018 54
18:00 AUSTRALIAN COMPOSERS’ HOUR Music for the guitar Prepared by Janie Fitch Charlton, R. Quintet in A (1981). Ronald Chadwick, gui; New Britten String Quartet. New Classical 465 357-1 15 Bracanin, P. Guitar concerto (1991). Karin Schaupp, gui; Queensland SO/Ronald Spigelman. ABC 480 6461 23 Chadwick, R. Letter from LA (1997). Roland Chadwick, gui; Roland Gallery, gui; Vincent Lindsay-Clarke, gui. New Classical 465 357-1 15 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Arlen, H. Excerpts from The Wizard of Oz. Gillian Bevan, Joyce Grant, Paul Greenwood, Trevor Peacock, voices; Ch & O of the Royal Shakespeare Company. TER MUS C N09 19 Loewe, F. Excerpts from Camelot. Richard Burton, Julie Andrews, voices. Columbia SK 60542 14 Excerpts from Brigadoon. David Brooks, Marion Bell, Pamela Britton, Lee Sullivan, voices. RCA Victor 1001-2-RG 17
16:30 ENGLAND BEFORE THE ROMANTICS Prepared by Philip Lidbury
20:00 LIVE AND LOCAL Magical miniatures Recorded by Tim Sadler for FINE MUSIC
Lawes, W. Fantasia suite no 6 in D. London Baroque. Harmonia Mundi HMC 901423 9
Bruch, M. Pieces for clarinet, viola and piano, op 83 nos 2, 5 and 6 (1910). Cathy McCorkill, cl; Julian Smiles, vc; Kathryn Selby, pf. 12
Purcell, H. Ode for the birthday of Queen Mary: Love’s goddess sure was blind this day (1692). Deller Consort; Stour Music Festival CO/Alfred Deller. Harmonia Mundi HMA 190222 21
Debussy, C. Première rapsodie (1910). Cathy McCorkill, cl; Kathryn Selby, pf. 8
Clementi, M. Sonata in B flat, op 24 no 2, Magic flute (c1781). Nikolai Demidenko, pf. Hyperion A66808 12 Paisible, J. Sonata in D. Mark Bennett, tpt; Michael Laird, tpt; members of Parley of Instruments; Peter Holman. Hyperion A66817 4 Handel, G. Organ concerto in A, HWV307. Paul Nicholson, org; Brandenburg Consort/Roy Goodman. Hyperion A67291/92 15 Bishop, H. Lo! here the gentle lark, from The comedy of errors (1819). Joan Sutherland, sop; Alexander Murray, fl; London SO/Richard Bonynge. Decca 421 883-2 4 Bach, J. Christian Piano concerto in D, op 1 no 6 (1763). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus. Philips 438 712-2 13
Schultz, A. After Nina (2007).
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Schumann, R. Excerpts from Fairy tales, op 132 (1853). 15 Cathy McCorkill, cl; Julian Smiles, vc; Kathryn Selby, pf (2 above) Cage, J. Sonata for solo clarinet (1933). Cathy McCorkill, cl. 4 Fauré, G. Élégie, op 24 (1880). Julian Smiles, vc; Kathryn Selby, pf. 8 Brahms, J. Trio in A minor, op 114 (1891). 26 Bruch, M. Piece for clarinet, viola and piano, op 83 no 3 (1910). 12 Cathy McCorkill, cl; Julian Smiles, vc; Kathryn Selby, pf (2 above) 21:40 A LITTLE SUITE Debussy, C. Petite suite (1889). Amsterdam Guitar Trio. Newton 8802093 17 22:00 AFTER HOURS with Kevin Jones August 2013
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Sunday 25 August 0:00 CLASSIC-ALL THROUGH THE NIGHT
14:00 SUNDAY SPECIAL At Beethoven’s funeral Prepared by Philip Lidbury
6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSIC OF THE DANCE Prepared by Emyr Evans Britten, B. Choral dances, from Gloriana (1967). Peter Pears, ten; Osian Ellis, hp; Ambrosian Singers; English CO/Benjamin Britten. BBC Music BBCB 8009-2 12 Brumby, C. Two exotic dances (1961). Jane Rutter, fl; Louise Johnson, hp; Brian Nixon, perc; Ian Cleworth, perc. ABC 476 647-5
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Borodin, A. Polovtsian dances, from Prince Igor (1890; compl. and orch. Rimsky-Korsakov, Glazunov). London Ch & SO/Georg Solti. Decca 478 3156-67 14 Skryabin, A. Two dances, op 73 (1914). Vladimir Ashkenazy, pf. Decca 425 081-2
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Edwards, R. More marimba dances (2004). Claire Edwardes, mar, perc. Tall Poppies TP193 7 Arnold, M. Four Welsh dances, op 138. Queensland SO/Andrew Penny. Naxos 8.553526
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10:00 THE DEFINING YEARS Music from the Classical era Prepared by Denis Patterson Cimarosa, D. Overture to La circe (1783). Toronto CO/Kevin Mallon. Naxos 8.570279
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Schubert, F. Unfinished sonata in F minor, D625 (1818). Ian Holtham, pf. Tall Poppies TP 219 16 Haydn, M. Symphony no 10 in F (c1765). Slovak CO/Bohdan Warchal. cpo 999 153-2 18 Paganini, N. Introduction and variations on Di tanti palpiti, from Rossini’s Tancredi (1819). Livia Sohn, vn; Benjamin Loeb, pf. Naxos 8.570202 11
12:00 CLASSIC JAZZ AND RAGTIME With John Buchanan 13:00 WORLD MUSIC: Whirled Wide Traditional and contemporary music from around the globe with Ann Tranter 46
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19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech
Schubert, F. Abschied, D957 no 7, from Schwanengesang (1928). Bryn Terfel, bass-bar; Malcolm Martineau, pf. ABC 476 443-8 5
Gluck, C. Dance of the blessed spirits, from Orpheus and Eurydice (1774). Melbourne SO/ Richard Divall. ABC 426 482-2 6
Beethoven, L. Sonata no 12 in A flat, op 26 (1801). Arthur Schnabel, pf. EMI CHS 763765 2 22
Donizetti, G. Vivi ingrato, from Roberto Devereux (1837). Montserrat Caballé, sop; Radio France Lyric O/Gian-Franco Masini. Rodolphe RCP 32455
Gyrowetz, A. Symphony in E flat, op 6 no 2 (c1790). London Mozart Players/Matthias Bamert. Chandos CHAN 9791 18 Hummel, J. Mass in B flat, op 77 (1810). Collegium Musicum 90/Richard Hickox. Chandos CHAN 0681
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16:00 CHAMBER SHOSTAKOVICH Prepared by Chris Blower Shostakovich, D. String quartet no 1 in C, op 49 (1938). Jerusalem Quartet. Harmonia Mundi HMG 508392.93 14 Sonata in D minor, op 40 (1934). Sol Gabetta, vc; Hélène Grimaud, pf. DG 479 009-0 27 String quartet no 7 in F sharp minor, op 108 (1960). Shostakovich Quartet. Olympia O 532 12
Glinka, M. Trio pathétique in D minor (1832). Oistrakh Trio. Brilliant Classics 9272 16
Hummel, J. Quintet in D minor, op 74. Nepomuk Fortepiano Quintet. Brilliant Classics 94377
Czerny, C. Piano concerto for four hands in C, op 153. Liu Xiao Ming, pf; Horst Göbel, pf; Frankfurt State O (Oder)/Nikos Athinäos. signum SIG X78-00 31
18:00 WHAT’S ON AT THE CON with Julie Simonds A monthly program of music, news and interviews from the Sydney Conservatorium
17:00 HOSANNA Prepared by Warwick Bartle Hymns: All things bright and beautiful; All creatures of our God and King; Glorious things of Thee are spoken. Choir of Truro Cathedral; Simon Morley, org; Andrew Nethsinga, cond. Priory PR 5019 12 Harris, W. Evening canticles in A. Choir of Ripon Cathedral; Robert Marsh, org; Kerry Beaumont, cond. Priory PR 555 6 Tallis, T. Spem in alium. Choir of KIng’s College, Cambridge; Cambridge University Musical Society; John Langdon, org; David Willcocks, cond. Decca 467 431-2 12 Howells, H. Psalms: no 122; no 121. Choir of St John’s, Elora, Ontario; Matthew Larkin, org; Noel Edison, cond. Naxos 8.557781 10 Hymns: God be in my head; Before the ending of the day; The day Thou gavest, Lord. Choir of Truro Cathedral; Simon Morley, org; Andrew Nethsinga, cond. Priory PR 5019 7 Willan, H. Introduction, from Introduction, passacaglia and fugue. Patrick Wedd, org. Naxos 8.557375 4
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Bellini, V. Ah! Per sempre io ti perdei, from I Puritani (1835). Dmitri Hvorostovsky, bar; Philharmonia O/Ion Marin. 5 Philips 434 912-2 Ponchielli, A. Laggiù fra le nebbie remote, from La gioconda (1876). Franco Corelli, ten; Renata Tebaldi, sop, Remo Cambiati, bar; Suisse Romande O/Anton Guadagno. 6 Decca 467 918-2 19:30 SUNDAY NIGHT CONCERT Smetana, B. Symphonic poem: Blaník. RSO Frankfurt/Eliahu Inbal. Teldec 9031-74778-2 14 Saint-Saëns, C. Violin concerto no 3 in B minor, op 61 (1880). Ruggiero Ricci, vn; Luxemburg RSO/Pierre Cao. Mediaphon 25407-148
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Tchaikovsky, P. Suite no 3 in G, op 55 (1884). Audrey Park, vn; NSO of Ireland/Stefan Sanderling. Naxos 8.550728 43 21:00 NEW HORIZONS Prepared by Robert Small Nelson, M. Brolga dances. Jill Johnson, mand; Michelle Nelson, gui; Melbourne Mandolin O/ Slava Iourgaev. Move MCD 410 11 Biscardi, C. Quintet (2004). Curtis Macomber, vn; Yonah Zur, vn; Daniel Panner, va; Greg Hesselink, vc; Blair McMillen, pf. Naxos 8.559639 14 Kakabadse, L. The phantom listeners (200507). Kit Hesketh-Harvey, narr; Emma BrainGabbott, sop; Claire McCaldin, mezz; Michael Bundy, bar; Ensemble/George Vass. Naxos 8.572524 39 Fuchs, K. An American place (2005). London SO/JoAnn Falletta. Naxos 8.559224 19 22:30 ULTIMA THULE
Monday 26 August Sessions, R. Concerto for orchestra (1981). Boston SO/Seiji Ozawa. LP Hyperion A66050 16 Shostakovich, D. Cello concerto no 2 in G, op 126 (1966). Mstislav Rostropovich, vc; Boston SO/Seiji Ozawa. DG 439 481-2 33 11:30 SIBELIUS IN SONG Prepared by Elaine Siversen
Joseph Silverstein. Photo Michael Schoenfield
Sibelius, J. The origin of fire, op 32 (1902). Tommi Hakala, bar; YL Male Voice Choir. BIS CD-1906/08 11
0:00 CLASSIC-ALL THROUGH THE NIGHT
My own land, op 92 (1918). Jubilate Choir.
6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter
Lahti SO/Osmo Vänskä (2 above) BIS CD-1906/08
9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Francis Frank Nathan, I. Overture to Don John of Austria (1846; arr. Mackerras). Sydney SO/Charles Mackerras. ABC 434 713-2 9 Debussy, C. Rêverie (1890; arr. Lynch). Prudence Davis, fl; Jeffrey Crellin, ob; Peter Lynch, gui. Move MD 3090 5 Cimarosa, D. Concerto for oboe and strings (pub.1941; arr Benjamin). Geoffrey Payne, tpt; Melbourne SO/Michael Halász. ABC 982 697-6 11 Mussorgsky, M. Joshua (1877; arr. RimskyKorsakov). Elena Zaremba, mezz; Prague Philharmonic Choir; Berlin PO/Claudio Abbado. DG 445 238-2 5 Grieg, E. Funeral march in memory of Rikard Nordraak (1866; arr. Halvorsen). Bergen PO/Ole Kristian Ruud. BIS CD-1740/42 8 Bizet, G. Fantasy on Carmen (1873-74; arr. Borne). Patrick Gallois, fl; Fabrice Pierre, hp; London FO/Ross Pople. DG 445 822-2 12 10:00 MORNING CONCERT Prepared by Rex Burgess Strauss, R. Also sprach Zarathustra, op 30 (1895-96). Joseph Silverstein, vn; Boston SO/ Seiji Ozawa. Philips 400 072-2 33
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Holst, G. St. Paul’s suite, op 29 (1913). English Sinfonia/Howard Griffiths. Naxos 8.570339 12 Stanford, C. Villiers Clarinet concerto in A minor, op 80 (1902). Janet Hilton, cl; Ulster O/ Vernon Handley. Chandos CHAN 8991 19
12:00 SWING SESSIONS with John Buchanan 13:00 JOHANN FRIEDRICH FASCH Prepared by Francis Frank Fasch, J. Concerto grosso in D. Tempesta di Mare. Chandos CHAN 0751 13 Lute concerto in D minor. Hopkinson Smith, lute; Chiara Banchini, vn; David Plantier, vn; David Courvoisier, va; Roel Dieltiens, vc. Astrée E 8641 15 Canon in F for recorder, bassoon and continuo. Members of Epoca Barocca. cpo 777 204-2
Seiji Ozawa
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 SPIRIT OF JAZZ with Susan Gai Dowling 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 KEYBOARD CONTRASTS Prepared by Frank Morrison
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Trumpet concerto in D. Anthony Pope, tpt; Dominic Perisinotto, org. Move MD 3273 7 Triple concerto in E. Peter Thomas, vn; John Anderson, ob; John Wallace, tpt; Philharmonia O/Christopher Warren-Green. Nimbus NI 7016 15 Passio Jesu Christi (1723). Mária Zadori, sop; Zoltán Megyesi, ten; Péter Cser, bass; Schola Cantorum Budapestiensis; Capella Savaria Baroque O/Mary Térey-Smith. Naxos 8.570326 48 15:00 BRITISH COMPOSERS OF THE ROMANTIC ERA Prepared by Frank Morrison Elgar, E. Overture: In the South, op 50, Alassio (1904). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00029 21
Haydn, J. Sonata in A flat, Hob.XVI:46 (c1767). Geoffrey Lancaster, fp. Tall Poppies TP201 26 Ravel, M. Piano trio (1914). Joachim Trio. Naxos 8.550934
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Grieg, E. Allegro marcato, from Norwegian dances for piano four hands, op 35 (1881). Eva Knardahl, Kjell Ingebretsen, pf. BIS CD-113 6 Arensky, A. Suite no 1, op 15. Stephen Coombs, pf; Ian Munro, pf. Hyperion CDA66755
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Boismortier, J. de Suite no 3, op 59 (pub. 1736). Beatrice Martin, hpd. Naxos 8.554457 11 Beethoven, L. Sonata no 17 in D minor, op 31 no 2, Tempest (1801-02). Alfred Brendel, pf. Brilliant Classics 94272 21 August 2013
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Tuesday 27 August 0:00 CONTEMPORARY COLLECTIVE
Beethoven, L. Symphony no 8 in F, op 93 (1812). Australian CO/Richard Hickox. Fine Music Tape Archive 26
3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds
14:30 CHAMBER MASTERWORKS Prepared by Frank Morrison Schubert, F. String trio in B flat, D581 (1817). Grumiaux Trio. Philips 438 700-2 20
9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Diana Doherty Prepared by Jennifer Foong Bach, J.S. Double concerto in C minor, BWV1060 (c1736). Australian CO/Richard Tognetti, vn & dir. ABC 476 569-1
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Doráti, A. Duo concertante (1983). David Korevaar, pf.
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Agrell, Jeffrey. Blues for DD (1993). ABC 465 782-2 (2 above)
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Edwards, R. Love duet, from Oboe concerto. Alexandre Oguey, cora; Sinfonia Australis/ Mark Summerbell. ABC 481 011-6 4
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Purcell, H. Suite from The prophetess (1690). Le Concert des Nations/Jordi Savall. Alia Vox AVSA 9866 14 Elgar, E. Violin concerto in B minor, op 61 (1909-10). Pinchas Zukerman, vn; London PO/ Daniel Barenboim. Sony SB2K 63247 51 Britten, B. Variations and fugue on a theme of Purcell, op 34, The young person’s guide to the orchestra (1946). City of Birmingham SO/ Simon Rattle. EMI 5 55394 2 17 11:30 VOICE OF AMERICA Prepared by Chris Blower Ives, C. Allegro (1899). Lielle Berman, sop; Eric Trudel, pf. 2 At parting (1899). Kenneth Tarver, ten; Douglas Dickson, pf. 2 Because of you (1898). David Pittsinger, bass; Eric Trudel, pf. 3 fineMusic 102.5
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Canon I (1893). Kenneth Tarver, ten; Douglas Dickson, pf. 1 Canon II (1894). Sarah Jakubiak, sop; Douglas Dickson, pf. 1 Chanson de Florian (1899). Mary Phillips, mezz; J.J. Penna, pf. 2
Naxos 8.559269 (all above)
10:00 MORNING CONCERT Prepared by Michael Field
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Berceuse (1903). Mary Phillips, mezz; J.J. Penna, pf. 2
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Myslivecek, J. Wind octet no 2 in E flat. Harmoniemusik of London. Virgin 5 61368 2
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Dohnányi, E. String quartet no 1 in A, op 7 (1899). Kodály Quartet. Hungaroton HCD 11853 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 19:00 THE JAZZ BEAT with Lloyd Capps
Charlie Rutlage (1920). Mary Phillips, mezz; Patrick Carfizzi, bass-bar; Douglas Dickson, pf.
Diana Doherty, ob (4 above) Bach, J.S. Oboe d’amore concerto in A, BWV1055 (1735-40). Diana Doherty, ob d’amore; Ironwood. ABC 476 367-3
Diana Doherty. Photo - Brendan Read
Debussy, C. Piano trio no 1 in G (1880). Australian Trio. ABC 476 123-1
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Gottschalk, L. Ven, hija del amor; Vivir es gozar, amar es vivir, from Escenas campestres cubanas (1859-60; reconstr, ed. Rosenberg). Anna Noggle, sop; Darryl Taylor, ten; Richard Ziebarth, bass-bar; Hot Springs Festival SO/Richard Rosenberg. Naxos 8.559320 10 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 BEFORE THE ROMANTICS Prepared by Philip Lidbury Mozart, L. Sinfonia for horns. Hermann Baumann, hn; Radovan Vlatkovic, hn;Timothy Brown, hn; Nicholas Hill, hn; Academy of St Martin in the Fields/Iona Brown. Philips 416 815-2 11 Bach, J.S. Six little preludes, BWV933 to 938 (1722-25). Angela Hewitt, pf. Hyperion CDA67121/2 11 Haydn, J. Quartet in D minor, Hob.III:76, Fifths (1799). Emerson String Quartet. DG 471 327-2 23 Heaven and earth, from The Creation, Hob.XXI:2 (1796-98). Gundula Janowitz, sop; Dietrich Fischer-Dieskau, bar; Weiner Singverein; Berlin PO/Herbert von Karajan. DG 435 077-2 10
20:00 RECENT RELEASES with Robert Small 22:00 BEYOND THE ROMANTIC ERA Busoni and beyond Prepared by Rex Burgess Busoni, F. Two studies for Doktor Faust, op 51 (1918-19). Hong Kong PO/Samuel Wong. Naxos 8.555373 19 Casella, A. Trio sonata, op 62 (1938). Carlo Lazari, vn; Carlo Teodoro, vc; Aldo Orvieto, pf. ASV DCA 1085 25 Respighi, O. Brazilian impressions (1928). West Australian SO/Jorge Mester. ABC 442 348-2 20 Dallapiccola, L. Mary Stuart’s prayer, from Songs of prison (1938-41). New London Chamber Choir; Ensemble InterContemporain/Hans Zender. apex 8573 89230 2
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Malipiero, G. Double concerto (1956). Janine Reding, pf; Henry Piette, pf; French NO/Rafael Kubelík. Olympia O 270 16 Tórroba, F. Moreno Concierto de Castille (1960). Renata Tarragó, gui; Madrid Concerts O/Jésus Arrámbari. LP Erato/WRC S/4744 20
Wednesday 28 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti
19:00 JAZZ STARS AND STRIPES with Peter Mitchell
Bach, J.S. Sonata no 2 in A, BWV1015 (bef. 1725). Lucy van Doel, vn; Bob van Asperen, hpd. Naxos 8.554614 14
20:00 AT THE OPERA Prepared by Colleen Chesterman
Bach, C.P.E. Trio sonata in A for flute, violin and continuo, Wq146 (1731/47). Ensemble of the Classic Era. ABC 456 365-2 12
9:00 DIVERSIONS IN FINE MUSIC: Aspects of Baroque: Handel’s sopranos Prepared by Oscar Foong Handel, G. Disserratevi, o porte d’Averno, from The Resurrection, HWV47 (1708).
11:30 BACH SONATAS Prepared by Angela Bell
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Let the bright seraphim, from Samson, HWV57 (1743). 5 Sandrine Piau, sop; Accademia Bizantina/ Stefano Montanari. (2 above) naïve OP 30484 A song for St Cecilia’s day, The soft complaining flute. Lucy Crowe, sop; Florian Cousin, fl; Les Musiciens du Louvre/Marc Minkowski. naïve V 5294 6 Chi l’intende, from Berenice (1737). Johannette Zomer, sop; Bart Schneeman, ob; Musica Amphion/Pieter-Jan Belder. Channel CCS SA 29209 6 Prophetic raptures swell my breast, from Joseph and his brethren HWV59 (1743). Karina Gauvin, sop; Il Complesso Barocco/Alan Curtis. naïve V 5261 9 Ah! mio cor, schernito sei!, from Alcina, HWV34 (1735). Patricia Petibon, sop; Venice Baroque O/Andrea Marcon. DG 477 876-3 12 Myself I shall adore, from Semele, HWV58 (1743). Kathleen Battle, sop; English CO/John Nelson. ABC 442 981-2 7 10:00 MORNING CONCERT Prepared by Derek Parker Bizet, G. Patrie: Overture, op 19. Mexico PO/ Enrique Bátiz. Brilliant Classics 94404 14 Schumann, R. Piano concerto in A minor, op 54 (1845). Martha Argerich, pf; O della Svizzera Italiana/Alexander Vedernikov. DG 477 988-4 30 Mendelssohn, F. Symphony no 1 in C minor, op 11 (1824). Bergen PO/Andrew Litton. BIS SACD-1584 30
12:00 THE SOUND OF JAZZ with Kevin Jones 13:00 YOUNG VIRTUOSI Composition series, Part 1 with Troy Fil Proudly supported by St Catherine’s School, Waverley 14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music? Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it. 15:00 JUST LOOK AT THE TIME! Prepared by Philip Lidbury Anderson, L. Syncopated clock. Sound in Brass Handbells. Saydisc CD-SDL 333
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Tomkins, T. A sad pavan for these distracted times. Christopher Kite, virginals. Hyperion CDA66067 3 Ponchielli, A. Dance of the hours, from La gioconda (1876). Philharmonia O/Herbert von Karajan. EMI CDM 7 69041 2 10 Various. Time, cruel Time; Time stands still (pub. 1603). Emma Kirkby, sop; Anthony Rooley, lute. Hyperion CDA66186 7 Chopin, F. Waltz no 6 in D flat, op 64 no 1, Minute (1846-47). Idil Biret, pf. Naxos 8.553170 2 Haydn, J. Symphony in D, Hob.I:101, Clock (1793-94). Concertgebouw O/Nikolaus Harnoncourt. Teldec 243 675-2 28 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson
Wagner, R. Tristan and Isolde. Opera in three acts. Libretto by composer. First performed Munich,1865. ISOLDE: Waltraud Meier, mezz TRISTAN: Siegfried Jerusalem, ten BRANGANE: Marjana Lipovsek, mezz MARK: Matti Salminen, bass Berlin Staatsoper Ch; Berlin PO/Daniel Barenboim Teldec 4509-94568-2
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Isolde, daughter of the king of Ireland, on her way to be married to King Mark of Cornwall, confronts Tristan, the king’s nephew, who had killed Morold, to whom she was betrothed. She offers him a drink of atonement, in fact poison, intending that they should die together, but her attendant Brangäne has substituted a love potion. Tristan and Isolde fall into each other’s arms as the ship reaches land and King Mark approaches to claim his bride. Wesendonck Lieder (1858). Lisa Gasteen, sop; John Harding, vn; West Australian SO/Simone Young. ABC 476 681-1 25 22:00 AUSTRALIAN CHAMBER MUSIC IN A MODERN VEIN Prepared by Phil Vendy Werder, F. Music for clarinet and string quartet (1965). Donald Westlake, cl; Australian String Quartet. LP HMV OASD 7553 22 Strahan, D. Piano trio no 1 in F (1987). Sydney Ensemble. Jade JADCD 1059 33 Sutherland, M. Sonata (1925). Marina Marsden, vn; Robert Chamberlain, pf. Tall Poppies TP116
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Gifford, H. Fantasy (1958). Laura Chislett, fl; Stephanie McCallum, pf. ABC 446 738-2 7 Lumsdaine, D. Bagatelles (1985). Tall Poppies Ensemble/David Stanhope. Tall Poppies TP133 21 August 2013
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Thursday 29 August Tárrega, F. Fantasia on themes of Verdi’s La traviata. Silvina Strano, gui. Walsingham 2WAL 8028-2 7
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore
Catalani, A. Ebben? ... Ne andrò lontan, from La Wally (1892). Joan Carden, sop; Queensland PO/Roderick Brydon. Walsingham WAL 8026-2CD 4
9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Chris Blower Sinding, C. Rustle of spring; Popular song, from Six pieces, op 32 (1896). Helge Antoni, pf. Etcetra KTC 1047 5 Suite in A minor, op 10 (1906). Andrej Bielow, vn; NDR Radiophilharmonie Hannover/Frank Beermann. cpo 777 114-2 13 Trio no 3 in C, op 87, mvt 1 (1908). András Kiss, vn; Tamás Koó, vc; Ilona Prunyi, pf. Marco Polo 8.223283 11 Songs, op 50: no 6, Poppy in the field; no 11, Mother of God, exalted, mild; no 2, A frightened bird flies from the grove; op 128: no 1, The stars shine so red; no 3, The dark wine; no 4, Barcarolle. Bondil Arnesen, sop; Erling Ragnar Eriksen, pf. Naxos 8. 553905 12 Piano concerto in D flat, op 6, mvt 2 (1889/1901). Piers Lane, pf; Bergen PO/Andrew Litton. Hyperion CDA67555 10 10:00 MORNING CONCERT Prepared by Frank Morrison Rossini, G. Overture to Semiramide (1823). Melbourne SO/Hiroyuki Iwaki. ABC 442 369-2 12 Mozart, W. Clarinet concerto in A, K622. Dieter Klöcker, cl; Salzburg Mozarteum O/ Leopold Hager. Teldec 8.44056 27 Beethoven, L. Symphony no 7 in A, op 92 (1811-12). Northern Sinfonia of England/Richard Hickox. ASV QS 6066 43 11:30 SOME LATE ROMANTICS Prepared by Francis Frank Svendsen, J. Norwegian folksong: I Fjol Gjaett’e Gjeitinn (1874). Bournemouth Sinfonietta/Richard Studt. Naxos 8.553106 50
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Humperdinck, E. Suse, liebe, Suse. Brüderschen, Komm Tanz, from Hansel and Gretel (1893). Elisabeth Schwarzkopf, sop; Irmgard Seefried, sop; Philharmonia O/Josef Krips. EMI 5 67634 2 9 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers
Ravel, M. Sonatina in F sharp minor, Jeux d’eau (1901). Debussy, C. Children’s corner suite (1906-08). Falla, M. de Fantasia Baetica (1919).
14:00 CLEVER DICKS Prepared by Randolph Magri-Overend
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Arnold, M. Symphony no 3, op 63 (1957). London SO/Richard Hickox. Chandos CHAN 9290 34 Donizetti, G. Mad scene, from Lucia di Lammermoor (1835). Joan Sutherland, sop; Elizabethan Sydney O/Richard Bonynge. ABC 465 687-2 21
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Strauss, R. Metamorphosen (1944-45). New Philharmonia O/John Barbirolli. EMI CDM 5 65078 2 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm With Stephen Wilson 19:00 JAZZ VIBES with Matt Bailey
Ippolitov-Ivanov, M. Turkish fragments, op 62 (1930). Singapore SO/Choo Hoey. Marco Polo 8.220217 14 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). Arthur Grumiaux, vn; London SO/Colin Davis. Philips 438 323-2 27
Haydn, J. Symphony in G, Hob.I:100, Military (1794). Les Musiciens du Louvre/Marc Minkowski. naïve V 5176 23 Lully, J-B. La cérémonie des Turcs, from Le bourgeois gentilhomme (1670). Gilles Ragon, ten; Michel Laplénie, ten; Michel Verschaeve, bar; Bernard Delétré, bass; Philippe Cantor, bass; Les Musiciens du Louvre/Marc Minkowski. Erato 245 286-2 13
Juan Perez Floristan, pf (all above) Radio Deutsche Welle transcription
Smetana, B. Richard III (1858). BBC PO/ Gianandrea Noseda. Chandos CHAN 10413
Mozart, W. Overture to The abduction from the seraglio, K384 (1782). Zurich Opera House Mozart O/Nikolaus Harnoncourt. Teldec 0630-13811-9 4
Spohr, L. Notturno in C for winds and Turkish band, op 34 (1815). Consortium Classicum/ Dieter Klöcker. Orfeo C 155 871 A 28
13:00 DEUTSCHE WELLE CONCERT HOUR By courtesy of Radio Deutsche Welle Prepared by Phil Vendy
Wagner, R. Overture to Rienzi (1838-40). Vienna PO/Zubin Mehta. Decca 475 747-0
20:00 EVENINGS WITH THE ORCHESTRA Prepared by Stephen Wilson
22:00 CHAMBER SOIRÉE Prepared by Jennifer Foong Veracini, F. Sonata no 6 in A minor (pub. 1716). Il Giardino Armonico. Nuova Era 6789 9 Spohr, L. Octet in E, op 32 (1814). Vienna Octet. Decca 466 580-2
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Suk, J. Quartet no 1 in B flat, op 11 (1896). Suk Quartet. CRD 3472 27 Carter, E. Woodwind quintet (1948). Berlin Philharmonic Wind Quintet. BIS CD-952 8 Trad. The Abergeldie Castle set. Jordi Savall, viol; Andrew Lawrence-King, hp. Alia Vox AVSA 9878 13 Fauré, G. Quartet in C minor, op 15 (1876-79). Artur Rubinstein, pf; Members of Guarneri Quartet. RCA RD 86256 32
Friday 30 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSIC TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Paul Hopwood Arne, T. Trio sonata no 1 in A (1757). Collegium Musicum 90. Chandos CHAN 0666 16
13:00 RUSSIAN THEMES Prepared by Francis Frank Rimsky-Korsakov, N. Overture on Russian themes, op 28 (1868/80). USSR Academic SO/ Yevgeny Svetlanov. Melodiya MCD 211 12 Tchaikovsky, P. Seven Russian folk songs, op 13 (1868-69). Joan Yarbrough, pf; Robert Cowan, pf. Pantheon D 07183 6 Prokofiev, S. Russian folk songs, op 104. Lucia Popp, sop; Geoffrey Parsons, pf. Orfeo C 363 941 B 7
Danzi, F. Quartet in D minor, op 40 no 2 (pub. c1814). Robert Thompson, bn; Roger Coull, vn; David Curtis, va; John Todd, vc. CRD 3503 24
Sviridov, G. A herd of horses, from 5 Choruses to lyrics by Russian poets. Glinka A Cappella Choir of Leningrad/Vladimir Chernushenko. LP Melodiya C10 18857-8 5
Bach, C.P.E. Sonata in D, Wq83 (c1747). Alain Marion, fl; Daniele Roi, hpd. Fonè 89F 02 26 CD 14
Glazunov, A. Variations on a Russian theme (1901). Oxana Yablonskaya, pf; Moscow SO/ Dmitri Yablonsky. Naxos 8.553928 13
10:00 MORNING CONCERT Prepared by Randolph Magri-Overend Beethoven, L. Overture to Leonore, no 3, op 72a (1806). Berlin PO/Herbert von Karajan. DG 445 112-2 15 Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708; arr. Lovelock). Sydney SO/ Patrick Thomas. ABC 476 456-5 9 Mozart, W. Piano concerto no 21 in C, K467 (1785). Moura Lympany, pf; Philharmonia O/ Herbert Menges. Dutton CDCLP 4000 28 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Gewandhaus O/Kurt Masur. Teldec 243 463-2 29 11:30 GOBBI SINGS Prepared by Randolph Magri-Overend Verdi, G. Fuoco di gioia ... Inaffia l’ugola, from Otello (1887). John Lanigan,ten; John Dobson, ten; Royal Opera House O/Georg Solti. Decca 480 0952 8 Figlia! A tal nome io palpito, from Simon Boccanegra (1857/81). Victoria de los Angeles, sop; Rome Opera TO/Gabriele Santini. EMI 562777-2 4 Puccini, G. Te Deum: Tre sbirri, una carrozza, from Tosca (1900). Renato Ercolani, ten; Paris National Opera Ch; Conservatoire Concert Society O/Georges Prêtre. EMI CDM 63087 2 4 Rossini, G. Largo al factotum, from The barber of Seville (1816). Alberto Erede, cond. EMI CDM 1 66417-2 5 Tito Gobbi, bar (all above) 12:00 NOONTIME JAZZ with Peter Mitchell
Britten, B. Russian funeral for brass and percussion (1936). London Collegiate Brass/James Stobart. CRD 3444 7
Dvorák, A. Suite in A, op 98b, American (1895). Prague Philharmonia/Jakub Hrusa. Supraphon SU 3882-2
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Franck, C. Les djinns (1884). Aldo Ciccolini, pf; Belgian NO/André Cluytens. EMI 565153-2 12 Bruckner, A. Symphony no 2 in C minor (1871). Chicago SO/Georg Solti. Decca 436 844-2
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22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Albinoni, T. Concerto in D minor, op 9 no 2 (arr. Stokowski 1918-19). Kirsten Barry, ob; Australian Brandenburg O/Paul Dyer. ABC 476 284-0 12 Vivaldi, A. Violin concerto no 1 in D minor, RV549, from L’estro armonico. Alan Loveday, vn; Iona Brown, vn; Carmel Kaine, vn; Roy Gillard, vn; Academy of St Martin in the Fields/Neville Marriner. Decca 467 432-2 7
14:00 BORN IN THE CLASSICAL ERA .. but some were Romantics
Handel, G. Cuopre tal volta il cielo, HWV98 (1708). Michael Leighton Jones, bar; Arcadia/ Jacqueline Ogeil. Tall Poppies TP173 10
Schumann, R. Overture to Genoveva, op 81 (1847). Vienna PO/Karl Münchinger. Decca 470 261-2 9
Telemann, G. Trio in B flat, TWV42:B1 (1718). Members of Cologne Camerata. cpo 999 957-2 8
Schubert, F. Rondeau brillant sur des motifs originaux français, D823 (c1825; arr. Tausig). Dennis Hennig, pf. Etcetera KTC 1086 12
Vivaldi, A. Bassoon concerto in B flat, La Notte, RV501. Sergio Azzolini, bn; Sonatori de la Gioiosa Marca. Opus 111 OP 30379 10
Cimarosa, D. Double concerto in G (1793). Aurèle Nicolet, fl; Christiane Nicolet, fl; Stuttgart CO/Karl Münchinger. Decca 460 302-2 18
Handel, G. Pensieri, voi mi tormentate, from Agrippina, HWV110 (c1708). Renée Fleming, sop; O of the Age of Enlightenment/Harry Bicket. Decca 475 547-2 5
Diabelli, A. Sonata in F. Eduardo Fernandez, gui. Decca 414 160-2 13
Marcello, A. Concerto in D minor (pub. c1717). Kirsten Barry, ob; Australian Brandenburg O/ Paul Dyer. ABC 476 284-0 11
15:00 SEASONAL MOODS Prepared by Phil Vendy Janácek, L. In the mists (1912). Alain Planès, pf. Harmonia Mundi HMG 501508 14 Langgaard, R. Symphony no 13, Belief in wonders (1946-47). Danish NSO/Thomas Dausgaard. Dacapo 6.220517 28 Vitols, J. Autumn song (1927). Latvian NSO/ Dmitry Yablonsky. Marco Polo 8.223756 12 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm With Oscar Foong 19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE AGE OF EMOTION Prepared by Jocelyn Cameron Brahms, J. Sonata in F minor, op 120 no 1 (1894; arr. Berio). James Campbell, cl; London SO/Geoffrey Simon. Cala CACD 1006 22
Purcell, H. Symphony: The fairy queen (1692; arr. Britten). English CO/Benjamin Britten. Decca 467 454-2 7 When I am laid in earth, from Dido and Aeneas (1689). Catherine Bott, sop; Academy of Ancient Music Ch & O/Christopher Hogwood. Decca 467 454-2 7 Dall’Abaco, E. Concerto a più instrumenti in D, op 5 no 6 (pub. 1719). Australian Brandenburg O/Paul Dyer. ABC 476 284-0 9 Vivaldi, A. Oboe concerto in A minor, RV461. Hans Peter Westermann, ob; Sonatori de la Gioiosa Marca. Opus 111 OP 30379 9 Corelli, A. Sonata in F, op 5 no 4 (1700). Lucy van Dael, vn; Bob van Asperen, hpd. Naxos 8.557165 10 August 2013
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Saturday 31 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Oscar Foong 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 SPOTLIGHT ON THE ENGLISH CHAMBER ORCHESTRA Prepared by Marilyn Schock Giménez, J. La boda de Luis Alonso, intermedio (1897). Teresa Berganza, mezz; Enrique Garcia Asensio, cond. Ensayo ENY 3407
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Mozart, W. Rondo in C, K373 (1781). Isaac Stern, vn; Alexander Schneider, cond. Sony SM3K 66 475
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Sydney Conservatorium Big Band
Korngold, E. Glück, das mir verblieb, from Die tote Stadt (1920). Renée Fleming, sop; Jeffrey Tate, cond. Decca 458 858-2 6 Falla, M. de Nights in the gardens of Spain (190716). Joaquin Soriano, pf; José Serebrier, cond. ASV DCA 775 24 Walton, W. Te Deum laudamus (arr. Palmer). Westminster Abbey Choir; Martin Neary, cond. Cantoris-Griffin CSACD3050 10 Albeniz, I. Asturias. Michael Conn, gui; Leslie Williams, cond. Decca 480 391-3 6 Rachmaninov, S. Vocalise, op 34 no 14 (1915). Renée Fleming, sop; Jeffrey Tate, cond. Decca 458 858-2 6 Galuppi, B. Concerto a quattro no 1 in G minor. Jörg Ewald Dähler, hpd; Paul Angerer, cond. LP Claves D 8306 11
Sousa, J.P. Jazz America (1925). Royal Norwegian Navy Band/Keith Brion. Naxos 8.559397
Sonata in F, op 24, Spring (1801).
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Sonata in A minor, op 23 (1800).
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Carl Pini, vn; Julie Haskell, pf (all above) 8
Part 2: Beethoven for four Beethoven, L. String quartet in G, op 18 no 2 (c1800). Members of Australia Ensemble. 2MBS Tape Archive 22
FINE MUSIC LIVE
21:30 SOME LATE ROMANTICS Prepared by Francis Frank
12:00 The Sydney Conservatorium Big Band 13:00 Jazz from Chandos Street Mary & The Banks 14:00 Jazz from Chandos Street (2) 15:00 Tucana Flute Quartet (TBC) 16:30 Gerard Willems in recital
19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers
August 2013
Beethoven, L. Sonata in D, op 12 no 1 (1797-98). 18
Bernstein, L. Presto barbaro, from On the waterfront (1954). Summit Brass. Pro Arte CDD 318 4
Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). Jacqueline du Pré, vc; Daniel Barenboim, cond. EMI CMS 7 63283 2
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Jenkins, J.W. American overture (1955). Lone Star Wind O/Eugene Migliaro Corporon. Naxos 8.570968 5
18:00 Australia Quartet
English CO (all above)
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Whitacre, E. October. Youngstown State University Symphonic Wind Ensemble/ Stephen L. Gage. Naxos 8.570946
Mercadante, S. Variations in A. Jean-Pierre Rampal, fl; Claudio Scimone, cond. LP Erato STU 71320 9
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20:00 LIVE AND LOCAL Part 1: Carl Pini plays Beethoven sonatas Recorded by Kerry Joyner for FINE MUSIC
11:30 ON PARADE Prepared by Robert Small
See www.finemusicfm for updated program details
Shield, W. Rosina (1782). Elizabeth Harwood, sop; Margreta Elkins, mezz; Monica Sinclair, cont; Robert Tear, ten; Kenneth MacDonald, bar; Ambrosian Singers; London SO/Richard Bonynge. ABC 461 992-2 51
Chabrier, E. Prélude pastoral (1888). Vienna PO/John Eliot Gardiner. DG 447 751-2 7 Sarasate, P. de Navarra, Spanish dance in A, op 33 (1889). David Oistrakh, vn; Igor Oistrakh, vn; Gewandhaus O/Franz Konwitschny. DG 463 616-2 6 Chaminade, C. Carnival waltz, op 73. Peter Jablonski, pf; Bengt Forsberg, pf. DG 471 331-2 6 Humperdinck, E. The Christmas dream, from The blue bird (1912). Bamberg SO/Karl Anton Rickenbacher. Virgin VC 7 91494-2 5 22:00 AFTER HOURS with Kevin Jones
The following composers have works of at least five minutes on the August dates listed Abraham, P. 1892-1960 3 Adès, T. b1971 11 Alard, J-D. 1815-1888 16 Albeniz, I. 1860-1909 31 Albertini, I. c1644-1672 23 Albinoni, T. 1671-1751 6,12,30 Alfvén, H. 1872-1960 15 Allegri, G. 1582-1652 19 Alyabyev, A. 1787-1851 12 Anderson, L. 1908-1975 15 Arensky, A. 1861-1906 26 Arlen, H. 1905-1986 24 Arne, T. 1710-1778 15,30 Arnold, M. 1921-2006 6,25,29 Arriaga, J. 1806-1826 16 Atterberg, K. 1887-1974 4 Auber, D-F-E. 1782-1871 3 Avison, C. 1709-1770 15 Bach, C.P.E. 1714-1788 9,15,22,28,30 Bach, J. Christian 1735-1782 4,24 Bach, J.C.F. 1732-1795 11 Bach, J.S. 1685-1750 2,3,5,8,12,13,1 4,18,19,21,22,27,28,30 Bacheler, D. fl c1574-1610 23 Barber, S. 1910-1981 19 Bartók, B. 1881-1945 4,12,13,16,20 Beethoven, L. 1770-1827 3,4, 5,6,7,9,11,13,15,20,22,23,25,26,27 ,29,30,31 Bellini, V. 1801-1835 5 Benda, F. 1709-1786 21 Bennett, W. Sterndale 18161875 5 Berlioz, H. 1803-1869 9,11 Bernstein, L. 1918-1990 13 Berwald, F. 1796-1868 2,9,10,15 Biber, H. 1644-1704 7 Biscardi, C. b1948 25 Bizet, G. 1838-1875 1,12,20,21,26,28 Bliss, A. 1891-1975 9 Boismortier, J. de 1689-1755 26 Borodin, A. 1833-1887 25 Bortnyansky, D. 1751-1825 11 Bottesini, G. 1821-1889 5,9 Boulanger, N. 1887-1979 12 Bracanin, P. b1942 24 Brahms, J. 1833-1897 1,8,9,13,18,22,24,30 Breiner, P. b1957 3 Bridge, F. 1879-1941 5 Britten, B. 1913-1976 4,13,25,27,30 Broadstock, B. b1952 4,9 Brown, N. 1896-1964 10 Bruch, M. 1838-1920 4,5,19,24 Bruckner, A. 1824-1896 11,30 Brumby, C. b1933 22 Busoni, F. 1866-1924 13,27 Buxtehude, D. 1637-1707 2,5 Byrd, W. 1543-1623 2,6
Cadman, C. 1881-1946 6 Carter, E. b1908 29 Casella, A. 1883-1959 27 Chabrier, E. 1841-1894 3,19,31 Chadwick, R. b1957 24 Chaminade, C. 1857-1944 31 Charlton, R. b1955 24 Chausson, E. 1855-1899 1,12,23 Cherubini, L. 1760-1842 13 Chopin, F. 1810-1849 5,14 Cimarosa, D. 1749-1801 25,26,30 Clementi, M. 1752-1832 18,24 Clements, D. 18 * Coleridge-Taylor, S. 1875-1912 3 Conti, F. 1681-1732 11 Corelli, A. 1653-1713 6,30 Couperin, F. 1668-1733 7 Cramer, J. 1771-1858 23 Czerny, C. 1791-1857 2,11,16,25
Giuliani, M. 1781-1829 15,16 Glazunov, A. 1865-1936 30 Glinka, M. 1804-1857 24,25 Gluck, C. 1714-1787 25 Godard, B. 1849-1895 12 Gossec, F-J. 1734-1829 7 Gottschalk, L. 1829-1869 27 Gounod, C. 1818-1893 3 Grainger, P. 1882-1961 16 Granados, E. 1867-1916 6,9 Graun, J. 1702-1771 7 Graupner, C. 1683-1760 2 Graziani, C. d 1787 17 Greenbaum, S. b1966 11 Grieg, E. 1843-1907 2,9,15,26 Gubaidulina, S. b1931 13 Gyrowetz, A. 1763-1850 25
Handel, G. 1685-1759 1,8,12,16,21,24,30 d’Indy, V. 1851-1931 1 Harris, W. 1883-1973 25 Dall’Abaco, E. 1675-1742 30 Haydn, J. 1732-1809 5,12,13,15,18,1 Dallapiccola, L. 1904-1975 27 9,20,22,26,27,28,29 Danzi, F. 1763-1826 11,30 Haydn, M. 1737-1806 4,25 Davis, C. b1936 5 Hebden, J. 1712-1765 8 Debussy, C. 1862-1918 Hellendaal, P. 1721-1799 16 6,8,12,13,16,19,21,24,27 Henze, H. b1926 1 Delius, F. 1862-1934 1,5 Herrmann, B. 1911-1975 10 Diabelli, A. 1781-1858 30 Herzogenberg, H. 1843-1900 23 Diamond, D. b1915 7 Holst, G. 1874-1934 26 Dieupart, C. c1667-c1740 16 Hotteterre, J-M. 1674-1763 8,22 Dittersdorf, C. 1739-1799 17 Howells, H. 1892-1983 1,25 Dohnányi, E. 1877-1960 Hummel, J. 1778-1837 7,10,15,27 2,6,18,23,25 Donizetti, G. 1797-1848 5,25,29 Humperdinck, E. 1854-1921 29,31 Doráti, A. 1906-1988 27 Hyde, M. 1913-2005 14,17 Dubois, T. 1837-1924 10 Dukas, P. 1865-1935 19 India, S. d’ 1582-1629 23 Dussek, J. 1760-1812 22 Ippolitov-Ivanov, M. 1859Dvorák, A. 1841-1904 1,6,22,30 1935 29 Ireland, J. 1879-1962 9 Edwards, R. b1943 20,25 Ives, C. 1874-1954 11 Elgar, E. 1857-1934 3,4,20,26,27 Enescu, G. 1881-1955 13 Jackson, G. b1962 18 Janácek, L. 1854-1928 4,30 Fall, L. 1873-1925 16 Joachim, J. 1831-1907 2 Falla, M. de 1876-1946 13,31 Joplin, S. 1868-1917 14 Fasch, J. 1688-1758 2,26 Just, J. c1750-1791 2 Fauré, G. 1845-1924 2,4,18,20,24,29 Kakabadse, L. b1955 25 Françaix, J. 1912-1997 23 Khachaturian, A. 1903-1978 France, S. b1968 10 7,8,12 Franck, C. 1822-1890 30 Kholminov, A. b1925 4 Franck, E. 1817-1893 8 Kodály, Z. 1882-1967 2,3,4,16 Frøhlich, J. 1806-1860 7 Koetsier, J. b1911 20 Fuchs, K. b1956 25 Korngold, E. 1897-1957 31 Fux, J. 1660-1741 9 Krips, H. 1912-1987 11 Krumpholtz, J-B. 1742-1790 8 Gabrieli, G. c1556-1612 23 Gade, N. 1817-1890 5,16 Lalo, E. 1823-1892 18 Galuppi, B. 1706-1785 31 Langford, G. b1930 10 Gellman, S. b1947 4 Langgaard, R. 1893-1962 30 Gershwin, G. 1898-1937 14 Larsson, L-E. 1908-1986 15 Gifford, H. b1935 28 Lauridsen, M. b1943 4 Giménez, J. 1854-1923 31 Lawes, W. 1602-1645 23,24
Liszt, F. 1811-1886 4,11,16 Locatelli, P. 1695-1764 12 Locke, M. c1621-1677 2 Loeillet of London, J.B. 16801730 16 Loesser, F. 1910-1969 10 Loewe, F. 1901-1988 24 Lovreglio, D. 1841-1907 5 Lully, J-B. 1632-1687 8,29 Lumbye, H. 1810-1874 5 Lumsdaine, D. b1931 28 MacDowell, E. 1860-1908 12,19 Mahler, G. 1860-1911 19 Malipiero, G. 1882-1973 27 Marais, M. 1656-1728 23 Marcello, A. 1684-1750 12,30 Marsh, J. 1752-1828 2 Márta, I. b1952 11 Martinu, B. 1890-1959 1,6,8 Massenet, J. 1842-1912 18 Mattheson, J. 1681-1764 2 Mayr, S. 1763-1845 6 McDowall, C. b1951 18 Medtner, N. 1880-1951 10 Méhul, ƒ-N. 1763-1817 18 Mendelssohn, F. 1809-1847 13,16,28,30 Mercadante, S. 1795-1870 31 Mertz, J. 1806-1856 15 Meyerbeer, G. 1791-1864 15 Monn, M. 1717-1750 9 Monteverdi, C. 1567-1643 23 Moroi, S. b1930 20 Moscheles, I. 1794-1870 16 Mosonyi, M. 1815-1870 20 Mozart, L. 1719-1787 27 Mozart, W. 1756-1791 1,2,4,5,6,9,1 1,13,14,15,17,18,19,21,22,29,30,31 Mussorgsky, M. 1839-1881 26 Myslivecek, J. 1737-1781 4,16,27
Quantz, J. 1697-1773 14,21 Rachmaninov, S. 1873-1943 5,10,15,31 Rameau, J-P. 1683-1764 22 Rautavaara, E. b1928 11 Ravel, M. 1875-1937 1,5,8,17,18,26 Rawsthorne, A. 1905-1971 8 Reger, M. 1873-1916 2 Respighi, O. 1879-1936 1,21,27 Rheinberger, J. 1839-1901 22 Riisager, K. 1897-1974 1,18 Rimsky-Korsakov, N. 18441908 30 Rodgers, R. 1902-1979 10 Rossini, G. 1792-1868 4,9,11,17,23,29
Saint-Saëns, C. 1835-1921 3,7,14,25,31 Salieri, A. 1750-1825 4 Salzedo, C. 1885-1961 20 Sarasate, P. de 1844-1908 31 Satie, E. 1866-1925 3,19 Scarlatti, A. 1659-1725 23 Scheibe, J. 1708-1776 5 Scheidt, S. 1587-1654 2,14 Schifrin, L. b1932 24 Schmelzer, J. c1620-1680 9 Schmitt, F. 1870-1958 6 Schoenberg, A. 1874-1951 18 Schubert, F. 1797-1828 1,5,9,11,14,1 6,19,21,23,25,27,30 Schultz, A. b1960 9,24 Schumann, R. 1810-1856 4,8,10,12,13,24,28,30 Schütz, H. 1585-1672 14 Sculthorpe, P. b1929 14 Seixas, C. 1704-1742 22 Sessions, R. 1896-1985 26 Shankar, R. b 1920 20 Shchedrin, R. b1932 11 Shebalin, V. 1902-1963 16 Nathan, I. 1790-1864 26 Sheng, B. b1955 3 Nau, S. 1600-1661 16 Shield, W. 1748-1829 31 Nelson, M. 20th c 25 Shostakovich, D. 1906-1975 Nielsen, C. 1865-1931 5,13,15,20 4,11,12,18,19,25,26 Notari, A. 1566-1663 16 Sibelius, J. 1865-1957 15,18,19,26 Sinding, C. 1856-1941 23 Offenbach, J. 1819-1880 11 Skryabin, A. 1872-1915 12,25 Ornstein, L. c1895-2002 4 Smetana, B. 1824-1884 4,11,22,25,29 Paganini, N. 1782-1840 21,25 Sousa, J.P. 1854-1932 31 Paisible, J. 1650-1721 16 Spohr, L. 1784-1859 1,8,22,29 Palomo, L. b1938 11 Stamitz, C. 1745-1801 22 Parish Alvars, E. 1808-1849 8 Stanford, C. Villiers 1852-1924 Pasculli, A. 1842-1924 5 13,18,26 Pierné, G. 1863-1937 20 Stenhammar, W. 1871-1927 15 Pitts, A. b1969 18 Stolz, R. 1880-1975 3 Ponchielli, A. 1834-1886 21,25,28 Strahan, D. b1935 16,28 Poulenc, F. 1899-1963 8,12,21 Straus, O. 1870-1954 3 Prokofiev, S. 1891-1953 18,20,30 Strauss, R. 1864-1949 Puccini, G. 1858-1924 1,18 17,20,26,29 Purcell, H. 1659-1695 1,2,24,27,30 Stravinsky, I. 1882-1971 5 Strozzi, B. 1619-1664 23
Suk, J. 1874-1935 16,29 Sumsion, H. 1899-1995 10 Sutherland, M. 1897-1984 28 Svendsen, J. 1840-1911 3,16,19 Sviridov, G. 1915-1998 30 Szabelski, B. 1896-1979 2 Taggart, H. 20th c 18 Tallis, T. c1505-1585 25 Taneyev, S. 1856-1915 15,19 Tárrega, F. 1852-1909 29 Tartini, G. 1692-1770 5 Tavener, J. b1944 18 Tchaikovsky, P. 1840-1893 1,2,10,12,17,18,19,20,25,30 Telemann, G. 1681-1767 5,8,12,14,15,22,30 Torelli, G. 1658-1709 6 Tórroba, F. Moreno 1891-1982 11,27 Turina, J. 1882-1949 8,9 Varèse, E. 1883-1965 6 Vaughan Williams, R. 18721958 23 Veracini, F. 1690-1768 29 Verdi, G. 1813-1901 4,18,19,20,21,30 Veress, S. 1907-1992 4 Vianna da Motta, J. 18681948 16 Vierne, L. 1870-1937 8 Villa-Lobos, H. 1887-1959 4,12,20 Vine, C. b1954 5,21 Vitols, J. 1863-1948 30 Vivaldi, A. 1678-1741 1,7,8,12,15,22,23,30 Vogler, G. 1749-1814 2 Wagenseil, G. 1715-1777 9 Wagner, R. 1813-1883 19,29 Walther, J. 1684-1748 2 Walton, W. 1902-1983 14,31 Weatherburn, R. b1940 8 Weber, C.M. 1786-1826 2,18,19,22 Weill, K. 1900-1950 22 Werder, F. b1922 10,28 Werner, G. 1693-1766 9 Whitacre, E. b1970 31 Whitlock, P. 1903-1946 10 Williams, J. b1932 10 Williamson, M. 1931-2003 17 Wolf-Ferrari, E. 1876-1948 14 Wranitzky, P. 1756-1808 23 Yates, S. b1957 10 Zagwijn, H. 1878-1954 20 Zelenka, J. 1679-1745 22 Zemlinsky, A. 1871-1942 16 Zivkovic, N. b1962 11
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 rec: recorder sax: saxophone sop: soprano August 2013
tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vle: violone vn: violin fineMusic 102.5
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personnel MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD
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FINE MUSIC FRIENDS Benefactors
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crossword 1
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6 Cheekily ransom a paddler (7) 7 Our home goes on first even after ridiculous things happen (5) 9 10 9 Substantive problem without a world forum (4) 11 12 13 14 10 Perhaps Emmy racist, maybe crooked ? (10) 15 16 17 18 11 Creative, satiric person needs a bar put in (8) 13 Elementary particle would 19 20 21 22 support weight (6) 15 Full of passion, sometimes laze in 23 24 25 26 confusion (4) 17 Excitement of bookmaker linked 27 28 with trendy drug (5) 18 Warm crossway without conflicts (4) Compiled by Nevil Anderson 19 Half Australian duststorm first Name:_______________________________________________ deals chaotically (6) Address: _____________________________________________ 20 Can’t be proud now bringing about this deluge ! (8) Tel:______________ Email_______________________________ 23 Disgustingly bluffs aged campers To go in the draw to win Stars of Opera with kit holders (6,4) Australia: Famous Arias and Duets DVD email 2 6 Underground railway for starters your answers to competitions@finemusicfm, or talks up bigger effort (4) post to the below address by 22 August 2013 27 Former Cat no saint - one neither wins nor loses (5) The Crossword 72-76 Chandos Street 28 Measure and roast ! Mix up ! (7) 6
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St Leonards NSW 2065
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. Which British conductor earned the nickname Flash Harry? 2. Which well-known ballet set to the music of Chopin had its origin in a suite called Chopiniana orchestrated by Glazunov? 3. Which 19th century Italian composer became a British subject and was knighted by King Edward VII in 1908? 4. Which well-known Australian composer gave music away to become a website designer, but then thankfully returned to composition? 5. Begin the Beguine is a popular 1935 song by Cole Porter. But what is a beguine? 6. Which opera was given its premiere in October 1942 in Munich at the height of Allied air raids which forced the company to perform it without an interval so that the audience could return home safely before the raids started? 7. Which famous English contralto began life as a post office telephone operator, went on to sing round the world and was said, on her death in 1953, to have had the most beautiful voice of all English singers? 8. Which well-known British band-leader had the same name as an equally well-known British Prime Minister? To go in the draw to win the book Finding the Rhythm in Music by Marla Swift email your answers to competitions@ finemusicfm, or post to the below address by 22 August 2013. The Quiz Master 72-76 Chandos Street St Leonards NSW 2065 JULY TRIVIA ANSWERS: Guido of Arezzo in about 1020AD, 2. Woodwinds, 3. Bolero, 4. It’s an Ukrainian word meaning thought - generally applied to slightly melancholy pieces of music, 5. The Pentatonic 5-note scale, 6. The Minute Waltz (Waltz in D flat,Op.64 No.1), 7. The Mikado, 8. The Castle of Monsalvat 56
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August 2013
Down
1 Just shockingly crippled in this version (10) 2 Consequence of flibbertigibbet performance (6) 3 McCracken vying with covetousness (4) 4 How could palm reed become an American deciduous tree ? (3,5) 5 Mixed up and abbreviated aristocrat just an unruly kid (4) 6 Love dismal redolence (5) 8 Funny how a word meaning atrocious in England could sound like a Scotsman addressing a highly titled person (7) 12 Unsurprisingly cider brought tears to my eyes (5) 14 No brainer ! Cop caution rather than lose your job ! (10) 16 Pleasure lover on therapy (7) 17 James Bond middy designed by Galileo (8) 21 Green condiment used to be a bit without an end (6) 22 Albumen needs no indefinite article to describe unusual flower inflorescence (5) 24 Iron and Roman pedal extremities (4) 25 Somehow, French impressionist painter lost final direction when past it (4)
Crossword Solution -July 2013 Across: 6 Sucre, 7 Ringside, 10 Arduous, 11 Imbibed, 12 Basmati, 13 Relieve, 14 Speedometer, 19 Mailbox, 21 Noisily, 23 Renewal, 25 Residue, 26 Prurient, 27 Storm. Down: 1 Acidosis, 2 Fedora, 3 Cross-index, 4 Anti, 5 Edible, 6 Shabby, 8 Subplot, 9 Udder, 13 Remunerate, 15 Embower, 16 Raindrop, 17 Smirk, 18 Lyceum, 20 Ignore, 22 Insist, 24 Lien.
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