Fne Music Magazne by 2MBS Fine Music Sydney

February 2013

MAGAZINE

VLADIMIR ASHKENAZY

The Mystery of Music

CORRALLING THE MASSES

Sydney Philharmonia Choirs

THE MUSICMATH MYTH Simon Tedeschi

MASTER OF MODERNISM Elliott Carter

BIRTH OF AN OPERA

Un Ballo in Maschera

FROM THE ROYAL OPERA

LA BOHEME MARCH 1, 2, 3 & 6

www.palaceoperaandballet.com.au

CONTENTS

EDITOR’S DESK

In our cover story there’s a classic master-meetsapprentice moment as Robert Clark endeavours to find some insights into how the great Vladimir Ashkenazy achieves what he does. Clark finds however, that the practice of making music in the maestro’s realm is more spiritual than tangible.

Vol 40 No 2 4

COVER STORY Vladimir Ashkenazy, Principal Conductor of the Sydney Symphony, talks with Robert Clark and ponders the mysteries of making music

Simon Says

Brett Weymark Interview

Un Ballo in Maschera – Birth of an Opera

Presenter Profile – Tom Zelinka

Young Virtuosi

Meet Kathryn Selby

What’s On

Wagner Events Calendar

CD Reviews

Swinging on the Vine

Directors, Committees, Staff

Fine Music Friends

Crossword and Trivia Quiz

Digital Channel – fine mus On Fine Mus between noon and 4pm weekdays you’ll find new trial programs covering classical up to 3pm and Jazz in Concert until 4pm.

Just one month into the Wagner anniversary year and we appear to be pleasantly awash with all things Wagnerian. In a one page special review, Randolph Magri-Overend lifts the lid on a commemorative Solti Ring cycle 14 CD Box set limited edition and the Wagner Society in NSW unveils a packed calendar of events. Over at the Sydney Symphony, Chief Conductor and Artistic Director designate David Robertson is set to mark the 200th anniversaries of Verdi and Wagner with two July events - Verdi’s Requiem and a concert version of Wagner’s Flying Dutchman. These two concerts are among seven this year where the Sydney Symphony teams up with the Brett Weymark-led Sydney Philharmonia Choirs. Writer Barry Walmsley meets Weymark to talk about the season and he finds a deep thinker who is willing to take risks. On air, you’ll find many hours dedicated to Verdi and Wagner including a new Fine Music Network 10-part series designed to unravel the practical intricacies and cultural fascination related to Wagner’s epic Ring cycle production. The series, supported with funding from the Community Broadcasting Foundation and Hans Henkell, has its own blog where you can find more details - www.countdowntothering.com Sascha Kelly chats with Tom Zelinka, one of the station’s top talents, who is drawing on a background rich in broadcasting knowledge to lead Fine Music into the digital future. And, Troy Fil pays tribute to master of American modernism, Elliott Carter, who passed away last year aged 103. The creative team behind Opera Australia’s Un Ballo in Maschera share insights into their ground-breaking production and we meet leading light of chamber music, Kathryn Selby. Happy reading,

Lizzie Advertising & Sponsorship

Registered Offices & Studios: 87 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 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Lizzie Herbert Subeditors: Chris Blower, Helen Milthorpe Contributors: Robert Clark, Judy Deacon, Troy Fil, Richard Gate, Lizzie Herbert, Kevin Jones, Sascha Kelly, Patrick D Maguire, Michael Morton-Evans, Randolph Magri-Overend, Derek Parker, Chris Shain (imagesforbusiness.com.au - St James’ photography), Simon Tedeschi, Barry Walmsley, 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: Vladimir Ashkenazy, Principal Conductor and Artistic Advisor, Sydney Symphony. Image - www.keithsaundersphotography.com Tel +61 418497791

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FINE MUSINGS FINE MUSIC USA AMBASSADOR Thanks to streaming on the internet, Fine Music 102.5 has fans and pen pals from around the world and one of the ‘faithful’ is honorary Fine Music Ambassador to the USA - New Yorker, Judith Byrnes-Enoch. Judith is pictured with daughter Hannah and below she corresponds with presenter Maureen Meers who dedicated a couple of special music pieces to celebrate a family wedding.

Crouching tiger

Tan Dun’s Martial Arts Trilogy The big orchestra meets the big screen in a concert trilogy based on Tan Dun’s epic film scores for Hero, The Banquet and Crouching Tiger, Hidden Dragon. Tan Dun conductor

22 & 23 February 8pm Sydney Opera House

Two concerTs only!

Dear Maureen, What a delightful friend you are! I have missed many of the jazz team’s programs over the last few weeks due to my now familiar technological black holes. Very sad loss indeed but it does make me even more appreciative when one or two of the 2MBS jazz programs sneaks through. One of these, I am thrilled to say, was your fabulous and thoughtful tribute that began with the Saratoga Drag and ended with Golden Wedding. How incredible of you! And, however did you find an old-time, big band song with Saratoga in the title!!! “Wedding” was probably not so easy either but “Saratoga” astonished me. You gave me a good chuckle at what was probably a tense pre-wedding time period. How to say thank you for that personal touch of yours - but thank you none the less. At the wedding itself,there was so much love and laughter in the air along with hugs and smiles galore. In classic style, the sun poured through just in time following a wet and wild morning. The historic building with its vaulted and stained glass colors was stunning. In terms of music, there was a lot of rock from the 80s for some reason, Bach and Vivaldi were played during dinner while later, my son and I danced to a Van Morrison classic: Have I Told You Lately That I Love You. A very moving and joyful occasion. Later on, when the older crowd had toddled off, I am told that other genres appeared. All tastefully done! We can probably live for years on the memories alone but the photos will be a blast to see. I pass along two for now and perhaps more when the professional photographer’s work comes our way. For now, a picture of the NY Ambassador with part of the family and a photo of my daughter with the bride, my new daughter-in-law.

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

*Booking fees of $7.50-$8.95 may apply. Pre concert talk before both performances.

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Finally, in terms of jazz [programs]…what fun! Just as with guitar jazz, I wouldn’t choose Latin Jazz on my own but now, with your help, I truly enjoyed it. A good teacher opens eyes and ears of her disciples! Fondly, Judith

Simon says:

DISPELLING THE MUSIC-MATHS MYTH

“

Geometry, calculus, algebra, arithmetic, you name it, I hated it..

My paternal grandmother, like many of her generation, was an immigrant. A Berliner born into the prosperous middle class, she fled Germany with her family when her parents saw the writing on the wall. The other side of my family were not so lucky, but that’s another story. Ruth settled in Australia, met my grandfather and slowly began to build a life in this oasis that was so far from the ravages of Europe, a new life that signified both emancipation and a sacrifice. In time, she became a maths teacher and a very good one. Like my father, she cultivated a perfect synergy of didacticism and empathy. One could not help but learn from her. Her readiness to help coupled with an unswerving logic and infinite patience inculcated in her students a strong grasp of the subject that would remain with them for the remainder of their lives. That is, until I came along.

When iPhones came in, I surrendered even the most menial mathematical tasks..

“

In desperation, my parents sent me to my grandmother who did her damndest. I’m not sure how many lessons I received but the verdict was grim. A pervasively patient, giving woman with an unusually progressive mind for her generation, she nevertheless conveyed to my folks that I had a “mathematical disability”. This judgement sealed my fate and I never tried again. When iPhones came in, I promptly surrendered even the most menial mathematical tasks and my neocortex went into early retirement. Ask anybody who has toured with me. Money, CDs, hotel bills hopeless. And yet - give me the most obtuse, convoluted piece of contemporary music and I will devour it like a hyena. Why is this? That’s an answer for a neurologist, perhaps.

Simon Tedeschi. I am dreadful at maths and I am a musician. That combination, like a sensitive-fishwife or a ballerina-lumberjack, is supposedly not possible. But here I am, proof in the flesh. I want to dispel the whole ‘music-maths’ myth once and for all. Please let me qualify this further - I am good at the maths in music, if one considers metre and rhythmic subdivision mathematical. I ultimately regard everything in music as musical. Maybe that’s just the problem - the negative association with the word maths. The very hemisphere of my brain that begins to throb whenever I am doing Sudoku (or even bingo) is not even in use when I am dissecting John Adams.

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It felt good to be told I was a genius..

“

In school, when I wasn’t playing piano, I did well and even achieved some academic honours, especially in the “humanities”, where I excelled. The problem was maths. I just couldn’t hack it. Geometry, calculus, algebra, arithmetic - you name it, I hated it because I wasn’t good at it - or maybe it was vice versa, but I didn’t/ don’t care and thus the cycle repeated itself in perhaps the only modular thinking I will ever understand.

was just pushing the button no more intuitively than a gerbil on a spinning wheel. It felt good to be told I was a genius, but that feeling was quickly dispatched when John Howard introduced the dreaded GST and I had to work out what 10 percent was. Don’t even tell me about carbon tax. In desperation, I consulted my friend, the radio announcer and mathematician extraordinaire Adam Spencer. Adam’s brain is perhaps wired in exactly the opposite way to mine, which is why we have become firm friends. I asked Adam whether my complete inability to count anything was unusual. He replied that some of the very greatest mathematical academics he had encountered were dreadful at ‘real world’ maths but could reason abstractly at a level that very few could understand. It buoyed my spirits. Is music such a form of maths, up there with quantum physics and infinity theory and dark matter? The mind boggles. In any case, I must give up. [Editor] Lizzie Herbert has given me a commission of 800 words per article and I would hate to think that I am in breach. Thank God for the word-count function.

When I was about nine years old, a gentleman doing his PhD in the relationship between maths and music tested me. He placed me before a machine that emitted hundreds of robotic beeps. My job was to identify when the ‘pattern’ changed. The results showed that I had an exceptional ability in both maths and - Simon Tedeschi music. I swear to God that on this very day I

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ASHKENAZY: “LUCKY ME” THE MYSTERY OF MUSIC apartment. Ashkenazy is notoriously punctual and apologises profusely; I’m not bothered in the least.

If you talk to any classical music fan in Sydney, I’d wager they feel a sense of good fortune that Vladimir Ashkenazy has been at the helm of the Sydney Symphony Orchestra for the past five years. But to the internationally cherished, multiple Grammy Award-winning pianist and conductor, the luck is all his. “When they asked me to be their principal conductor I thought, well, ‘lucky me,’” he says, smiling as we sit down to chat.

With Sydney’s glistening harbour as our backdrop, it’s very evident that Ashkenazy feels right at home here (“good climate, wonderful nature” he says). But musically speaking, he confesses that working with the musicians of the Sydney Symphony reminds him of quite a different climate indeed. “I feel like I’m in London,” he says thoughtfully, “there’s a very similar attitude to music; a very thorough preparation, it’s terrific. There’s an absolute devotion to what they do, without any show about it. Just: ‘we’re musicians, we must learn it well, we must express it, that’s what we’re here for.’” He adds that he is fond of what he calls the “British mentality to life in general” because, to him, British musicians possess a certain stoic dedication that resonates with his own work ethic. “I find that they don’t make too much fuss about anything, and yet inside them they know what is important and they just do it.”

Yes that’s right, lucky him. I was taken aback by such a humble statement coming from the Russian maestro, but then again, as I sit comfortably in his serviced apartment at Circular Quay, such humility seems on par with his warm hospitality. He had graciously invited me in after a mix-up with the time of the interview. We had rescheduled our meeting and moved it to a cafe at the entrance to his building, but he felt bad about the delay and thought we’d be more comfortable in his own

Vladimir Ashkenazy. Photo - Keith Saunders

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“

You can’t evaluate what happens when you conduct. It’s a mystery..

“

Robert Clark seeks enlightenment but finds there are more questions than answers in maestro Vladimir Ashkenazy’s spiritual realm.

I can understand why this no-nonsense, all-in approach to music must appeal to Ashkenazy. Watching him conduct the orchestra, I see nothing cerebral about his performance - just sheer, joyous immersion. With furrowed brow and eyes clamped shut, he seems to react to the music as much as direct it. I tell him of my impression and he again gives a disarmingly humble response. “That’s a fantastic compliment!” he chirps with a broad grin. Spurred on by this I ask him to go on and define his approach to conducting, but of course, such a cold dissection would be impossible. “I don’t know. You can’t evaluate what happens when you conduct. It’s a mystery.” As famous for anecdotes as he is for punctuality, Ashkenazy illustrates his point in the form of a story. “Once I had a meeting with Bernard Haitink, one of the greatest conductors, he’s a good friend. It was a long time ago because it was the first time I was conducting Beethoven’s Ninth, and I thought, I’ll ask him for a lesson.

So, why do we like certain composers more than others? I ask, with perhaps a touch of desperation as my list of prepared questions suddenly appears inept. He responds with an avuncular tone: “Well again, you can’t describe why some music is on a higher spiritual level than others. And we know when they reach that level and it’s worth performing, but we can’t describe it.” Mercifully, Ashkenazy indulges me and describes the Lemminkäinen Suite as “a wonderful piece” that he treats as a symphony given its four-movement structure and extended length. Kullervo for him is a rare gem, not often performed due to its early place in Sibelius’ oeuvre but still attractive in its own right.

Dina Kuznetsova. He opened the score and said, ‘ok well here it’s in four and here it’s in three...’ but he didn’t give me anything! ‘Here’s the clarinet solo and here’s...’ Then I said, ‘but how do you do it?’ and he said, ‘no idea.’ So, what was the point of the lesson, you know? You can’t explain what you do - it’s your work but you can’t explain things.”

It’s my fortune that I have such a great orchestra.

“

Certain that any more detail about his technique would not be forthcoming, I swiftly move on to discuss the Sydney Symphony’s 2013 season, and in particular two programs in February that feature Sibelius: The Lemminkäinen Suite in its Legends By The Sea program, and Kullervo in the concert entitled A Finnish Epic. His fondness for Sibelius is well known, so I ask what it is about that composer’s music that he loves so much. Again it seems I’m asking an impossible question. “Well you see I don’t describe music, that’s my principle, and I can’t tell you why I like his music. Basically I think, I hope, that I understand what he wanted to say.” After a pause, he follows with a line that seems destined to be carved in gold somewhere: “Nobody who has any understanding of what music is about will describe anything about music.”

“

I don’t describe music, that’s my principle

and colleague, Ashkenazy is not at all reticent. “He’s a fantastic player,” he says with a jolt. “We always joke about ‘Pinky’. Pinky doesn’t need to practice, he just takes the violin and it plays by itself; he’s a born violinist! It’s like it’s in his system, it’s all there.” “Pinky” will join his wife Amanda Forsyth for the Brahms Double Concerto in Ashkenazy’s final concert for the year, with the last work on the program being Sibelius’ Symphony No. 5. Fear not though, it certainly won’t be the last time we see Vladimir Ashkenazy fronting the Sydney Symphony. “They’ve asked me to come back every year, which I don’t mind at all” he says reassuringly. “It’s my fortune that I have such a great orchestra.” There we go again, his fortune indeed. - Robert Clark www.sydneysymphony.com

Britten’s War Requiem in November is a concert Ashkenazy is clearly also looking forward to. “It is one of my favourite pieces by him. I think it’s one of his most expressive” he says enthusiastically. He is also particularly proud of the soloists that the orchestra has procured for the event. Russian soprano Dina Kuznetsova, British tenor Andrew Staples, and German baritone Dietrich Henschel will grace the stage in keeping with Britten’s wishes to have a singer from each of the three countries represented. Ashkenazy will also be conducting many more of his favourite works this year, as a way of celebrating his five years with the orchestra. Legends By The Sea will also include Debussy’s La Mer and Mélisande’s Song from Fauré’s Pelléas et Mélisande featuring Jacqueline Porter, and A Finnish Epic will also feature Ravel’s Piano Concerto for the Left Hand with French pianist Jean-Efflam Bavouzet. He will then return in May to conduct Beethoven’s Pastoral Symphony, and in a concert entitled Ashkenazy’s Favourites, he will conduct the Fantasy Overture from Tchaikovsky’s Romeo and Juliet, R. Strauss’ Oboe Concerto, and Walton’s Symphony No.1. Only four days after the War Requiem, he will return to conduct Mahler’s Symphony No. 5 and the Bruch Violin Concerto featuring none other than Pinchas Zukerman. Of his long-time friend

Andrew Staples. Photo - Richard Ecclestone

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CORRALLING THE MASSES A MAMMOTH MUSICAL JOURNEY

As one of the most popular composers of our time, Eric Whitacre is solely responsible for the worldwide hit of his Virtual Choir, a phenomenon receiving millions of views on YouTube. In the Opera House, not only will the choir sing his Lux Aurumque, Five Hebrew Love Songs, The Seal Lullaby and Cloudburst, Whitacre will personally be here to conduct the concert in the Opera House. “Eric has a small choir (VOX) and a large choir, the big full-throated choir of the Symphony Chorus to work with in the Opera House.”

“

Barry Walmsley interviews the Sydney Philharmonia’s Brett Weymark and finds a deep thinker who is willing to take risks.

is often more of an escape, a solitary activity – almost a withdrawal. And this is where live performance is so crucial; it brings us together.”

After 10 years at the helm of the Sydney Philharmonia Choirs, Music Director Brett Weymark is looking forward to another full year of exciting and challenging choral music for Sydney audiences.

Every one of Weymark’s concerts has something to impact its audiences, from the modernity of Eric Whitacre in Light and Gold, to Opera’s Triple Threat (a birthday party for Verdi, Wagner and Britten).

With fifteen concerts scheduled for 2013, the Sydney Philharmonia Choirs will take audiences on a mammoth journey of musical styles, ranging from the late Baroque through to Cole Porter and modern pop.

In Whitacre’s music, audiences are brought together by his haunting sounds, and the wondrous relationship between text and music. In the words of a London critic, “Whitacre is that rare thing, a modern composer, who is both popular and original.” (The Daily Telegraph)

..music reunites us..with our society and ourselves.

Sitting down with Brett Weymark immediately following his last concert for 2012, he spoke about his philosophy in directing the choirs (Symphony Chorus, Chamber Singers, Festival Chorus and VOX). Revealing himself as a deep thinker, Weymark’s musical intent is to reach out to people right across the spectrum. “In a growing age of disconnection, music reunites us, in a way that no other activity does – with our society and ourselves,” said Weymark. “The unprecedented availability of music of all kinds is one of the privileges of our time. But this has changed music for us: listening to music 6

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“We’re incredibly thrilled to be bringing out Eric Whitacre. Choirs seem to love singing his music. He’s also a very good conductor. He is one of the few composers who’s looking at choral music in this new electronic age with the virtual choir. We’re really lucky to be bringing him out. It’s a real coup for our company,” said Weymark.

“

..Whitacre is one of the most popular composers of our time..

“

Of course, such coups don’t just happen, and this is where the imagination and planning skills of Weymark and his team come to the fore. “It came about over coffee in a Los Angeles café some three years ago. We’ve kept in contact ever since and the planets have aligned.”

“

Brett Weymark.

...risky stuff is what the Sydney Philharmonia Choirs does so well…

Another engaging concert idea in Weymark’s plans will be Tracing Time, the program that will present choral transcriptions of orchestral and chamber pieces, along with classic pop songs from the last four decades. It might sound like risky stuff, but this is what the Sydney Philharmonia Choirs does so well – bringing together great repertoire, sometimes in new settings (both musical and spacial) to give audiences a really memorable event in which they feel totally immersed. It’s about what Weymark refers to as the Performance Triangle: the powerful relationship between composer, performers and audience. Knowing whether the right combinations are achieved is always a risk, but Weymark takes his lead from two of the finest musicians. “Anthony Rowley (from The Consort of Musicke) has said ‘Music exists in the universe, you are just acting as a conduit.’” So for Weymark it is about removing himself from the equation. “Music happens best when it’s not about you. It’s a wonderfully liberating force to remove yourself from the music – this came to me from Simon Rattle on his recent tour of Tokyo, when he said that if it suddenly becomes about you, you’re then in crisis,” said Weymark.

step out of the way and let the music really come alive. Not only do audiences have a huge range of music from which to choose, there is also diversity in performance spaces, from the Opera House and City Recital Hall, Angel Place, but also to The Concourse, and venturing also into western Sydney with selected performances at Riverside Theatres (Parramatta) and the Joan Sutherland Performing Arts Centre (Penrith). Reaching out to more people will no longer be a lofty aim. With the choirs’ move into Western Sydney, it will be a reality.

“

There is a burning need to communicate the great themes of life..

The programming for Sydney audiences is about getting the right mix of music that will challenge, surprise and inspire. In Remember Me: A Garland of Music, the symbolism of flowers is carried through in music such as Britten’s Five Flower Songs, Ross Edwards’ Flower Songs, and Mealor’s Now Sleeps the Crimson Petal. One inspiration for Benjamin Britten was Henry Purcell, and in this concert, Dido and Aeneas will also be performed with Fiona Campbell and a period instrument ensemble. And of course, there is the wonderful partnership with the Sydney Symphony Orchestra in six concerts. Vladimir Ashkenazy will conduct the choir in Sibelius’ Kullervo (A Finnish Epic), and Britten’s War Requiem, whilst the incoming Chief Conductor, David Robertson will conduct Wagner’s The Flying Dutchman and Verdi’s Requiem.

and work with Brett Weymark to prepare the music (in German) over one weekend. For all who join for this one-off event, it is a landmark life experience. Another opportunity for people to join singing with the Sydney Philharmonia Choirs will be the December performances of Handel’s Messiah. As it was originally premiered in Dublin with proceeds going to charitable causes, so with these performances the proceeds will be shared with The Children’s Hospital at Westmead. Members of the public can simply register to sing Messiah, and no audition is required. Getting the right music for the venue, then the right music for the choirs, allows Weymark to

“

Tracing Time. Photo – Lisa Tomasetti

Probably the most ambitious program would be the Architecture of Sound concert, to be held at The Carriageworks. This venture will explore choral music in ways that takes its lead from the space itself. Bach and Purcell will mix with other supremely spiritual offerings from Gorecki and Schultz, and the world premiere of Lyle Chan’s Chaconne (a Bach inspired work). It will be a thrilling year both for the Sydney Philharmonia Choirs and its audiences. Don’t miss out on these performances, as there is something for everyone. In the words of Brett Weymark: “ There is a burning need to communicate the great themes of life through the special blend of voices, that only a great choir can provide.” – Barry Walmsley

Other celebrated conductors will work with the choir in performances of Orff’s Carmina Burana, and Howard Shore’s The Lord of the Rings: The Return of the King.

ChorusOz..a landmark life experience…

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The German Requiem by Brahms will see ChorusOz perform. This is a choir that is made up of people from all over Australia and even from overseas. Choristers register to participate

Architecture of Sound. Photo – Lisa Tomasetti

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UN BALLO IN MASCHERA BIRTH OF AN OPERA

A Masked Ball

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“

Their approach to staging Ballo is quite innovative

But before I start on that let’s try and recapture how the opera was born. When Verdi decided in 1857 to compose an opera based on Scribe’s libretto Gustave III ou le bal masque based on the assassination of King Gustavus III of Sweden (1746-1792), he soon ran into trouble with the Italian censors. They insisted on all kinds of alterations and Verdi finished off by changing the locale to Boston, Massachusetts and altering the king’s name to Richard, Earl of Warwick and his assassinator, Count Anckarstroem, to Renato. Fast forward to 2012 and La Fura have reverted to the original Verdi locale and the original names for

the King and his Count with all the other names remaining the same. They have also updated the era and the conditions the protagonists find themselves in. The production is now set in “the near future or it could be the present” according to Valentina, “and based on George Orwell’s vision of 1984. The set is designed to look dull and grey and we hope to give back to Ballo the original atmosphere that was lost in the censored version.” In trying to portray the days of fascism and Stalinist Russia the locals are dressed in drab costumes, each sporting individual numbers.

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Ulrica’s den is ‘..cold and grey.. like an Adolf Hitler bunker.’

“

That idea soon blossomed and in the next 1000 or so words I’ll attempt to describe how the threads from many disparate ideas and many creative forces coalesced to become one welloiled new production of Un Ballo in Maschera (hereafter called Ballo for short). During our travels you’ll hear from Terracini, from Alex Ollé, (or his charming assistant Valentina Carrasco to be exact because her English is far better than my Catalan) from conductor Andrea Molino (whose English is far better than my Italian) and from cello-playing soprano Taryn Fiebig who sings the vital role of Oscar (whose Western Australian is far better than my English).

But first a definition of La Fura dels Baus and their unusual name. Literally it means ‘The Ferret from Els Baus’ - a title which is lost in translation but ‘Dels Baus’ is the toponym from two of the founders’ birthplaces. That’s what Wikipedia tells me and who am I to argue? They were founded in 1979 as a street theatre company but have gone on to produce countless theatrical events including the opening ceremony of the 1992 Barcelona Olympics. Remember the flaming arrow that set the Olympic torch alight?

“

Julie Andrews said it best. “Let’s start at the very beginning,” she sang. And it really is a very good place to start because the A, B, Cs of anything starts with the germ of an idea. Lyndon Terracini, Artistic Director of Opera Australia had that germ echoing through his brain roughly around the middle of 2010. “I spoke to Alex Ollé from La Fura dels Baus about producing an opera in Brisbane originally but it didn’t work out. We then put the production of Ballo into the OA schedule for the 2013 Verdi celebrations, the cast was chosen and I went out and secured other opera houses as partners and now there are four of them who contribute a substantial amount of money making it cheaper for us to produce the opera.”

Taryn Fiebig is very up-beat about the designs and the sets. “The staging is amazing. It consists of one room which is continuously being added to or taken away. We were shown a computerised version of the set when we arrived for our first rehearsal in early December in Melbourne. It is multi-levelled with platforms emerging out of nowhere, ceilings flying up and down and it is all stark and sterile. It’s the kind of set that shows up the absolute power of the king and that corruption is rife. Except for the intimate moments, we always wear a

Melbourne? “Oh yes. I had been told they would be excellent arias to learn when I was at the Opera Studio (an acting/singing school run by Greg Yurisich an ex-opera singer) in Western Australia. That was 10 years ago but now it’s wonderful to get to play the role although I didn’t know the opera very well. Verdi writes in a very conversational manner and you really need all the other parts to make sense of the music.”

Andrea Molino. Photo – Michele Crosera mask. Sometimes, especially in the scene with Ulrica (who is portrayed as a subversive person) we also wear hoods.” Valentina describes the atmosphere of Ulrica’s den as “cold and grey” and the set “a bit like an Adolf Hitler bunker.” Meanwhile amidst the seemingly controlled chaos, conductor Andrea Molino is quietly instilling his musical expertise into the ensembles. The orchestra is rehearsing in separate quarters and the chorus under Michael Black is gradually being brought up to speed. When I talked to Molino in Zurich he was very happy with the choice of principals and was particularly effusive about Taryn Fiebig as Oscar the page, who it turns out, has been given a make-over and is not the ‘pants’ role that is traditionally portrayed but a mature woman with high heels, a close-fitting costume who is now a confidante of the king. Molino was also “looking forward to learning” from the experienced Tamar Iveri who sings Amelia - the Count’s wife - whom the latter thinks is having an affair with the King thus precipitating the climactic masked ball when the count does the dirty deed! Ah yes, we are not to be denied the usual convoluted operatic story!

Taryn Fiebig. Photo – Stephen Godbee

One of the questions I asked Molino (he is a composer in his own right) was how he prepared for such a grand opera as Ballo - which he has never conducted. “I get the score,” he starts off cautiously. “I read it and I try without any reference to anything I have ever heard, to approach it as if it was composed yesterday and the composer was trying to speak to me through his notes. My way of learning is a very imaginative way; I barely touch the piano and try to read the score by letting it sound in my head, not only in a musical way but also in a human way. I try to identify myself with the physical attitude and try to understand what it means to the singer when they sing certain passages. I also look at the instrumental parts,” he continues. “For example there’s a beautiful passage for the English horn. Verdi has notated it to be played in a very high register which is very demanding. But it is that degree of difficulty that adds tension. Had the passage been easy to play it would not have had that theatrical energy.” What is it like I ask Fiebig to be privy to a new production? “It’s the first time I’ve rehearsed with an overseas company,” she observes. “It felt a bit edgy. We had a presentation by the production staff with all the principals present and there’s all this art work on the wall plus there’s the costumes for us to look at.” Fiebig had already been measured for her costume six months beforehand, so knew what to expect. “The production staff speak in Spanish so there’s translations all the time but there’s Italian and English being thrown around as well. It’s fantastic, especially hearing Italian all day and suddenly you get into the rhythm of the language. Molino and Ollé talk in their own language but you soon pick up what they’re talking about and that’s an added bonus.” I ask whether she already knew her arias and ensembles before she started rehearsing in

Schedule-wise, Terracini explains how, after the initial get-together, rehearsal times are arranged. “The schedule is very fixed with the singers and the conductor and the director. There are individual and ensemble calls, then the conductor meets with them to shape what he expects from them musically and there are also rehearsals with the director. The first week is taken up with act one, the second with act two and so on. All the moves are set down and then we do a run of act one musically and then act two and act three. After the Christmas break we all come back to Sydney where we have a rehearsal on stage from a technical point of view (lighting, familiarity with the set etc). Then we have a piano dress rehearsal with the singers in costume. A sitzprobe (all singers, including chorus, sitting down with the orchestra for the first time) takes place one morning but I am not convinced it’s such an important thing anymore because having a rehearsal on stage with the orchestra in the pit is far more beneficial. Anyway, we do eventually have rehearsals on stage with the orchestra two or three of those - and then we have a final dress rehearsal with selected members of the public (known in the trade as a general - the rehearsal not the audience) then we have a day off before opening.” And that’s how an opera is born. Or, in this case, resurrected. I wonder what Verdi would say if he were invited to the premiere? Probably: “Nice opera house!” - Randolph Magri-Overend Ballo - Sydney Opera House 16 January - 12 February

Alex Ollé

fineMusic FM 102.5

PRESENTED IN ASSOCIATION WITH

A PERFECT COMBINATION

THE BEST SEATS AT THE MET IN THE ELEGANCE OF SYDNEY'S MAGNIFICENT ART-DECO

HAYDEN ORPHEUM, CREMORNE THE METROPOLITAN OPERA HD CAPTURED LIVE IN HIGH DEFINITION & SCREENING CONCURRENTLY WITH THE NEW YORK SEASON

LES TROYENS

SAT February 9 AT 11.30AM SUN February 10 AT 1PM THU February 14 AT 11.30AM

Francesca Zambello’s acclaimed 2003 production of Berlioz’s Trojan War epic returns to the Met for its first revival. Cast: Deborah Voigt (Cassandra), Susan Graham (Dido), Marcello Giordani (Aeneas), Dwayne Croft (Coroebus), Kwangchul Youn (Narbal)

MARIA STUARDA

SAT February 23 AT 11.30AM SUN February 24 AT 1PM THU February 28 AT 11.30AM

Mezzo-soprano Joyce DiDonato, one of the world’s most exciting singers, takes on the virtuosic bel canto role of the doomed Mary, Queen of Scots. Cast: Joyce DiDonato (Maria Stuarda), Elza van den Heever (Elisabetta), Francesco Meli (Leicester), Joshua Hopkins (Cecil), Matthew Rose (Talbot)

MET OPERA 2013 SEASON

Rigoletto - Sat/Sun March 23/24 & Thu 28 Parsifal - Sat/Sun April 13/14 & Thu 18 Francesca Da Rimini - Sat/Sun May 4/5 & Thu 9 Giulio Cesare - May Sat/Sun 18/19 & Thu 23 FOR FURTHER INFO VISIT W W W.O R P H E U M .CO M . AU 10

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THE DEFINITIVE RADIO PEDIGREE: TOM ZELINKA Tom Zelinka’s resume is the definitive example of a radio pedigree. In the present Fine Music 102.5 community, Zelinka is the Chair of the Digital Project Committee, but his illustrious career started in 1975 with 2MBS; Fine Music’s previous incarnation. He explains; “I was asked to come on board and help set up the midnight until dawn slot, five nights a week. I played rock and jazz.” It all went from there it seems. “I had been involved with Double J (today Triple J), before it started broadcasting, so I was asked to be a producer/presenter there as well.” It was the beginning of a career in expert multi-tasking. “In those days many of the people involved at Double J were also working at 2MBS. The stations broadcast on AM and FM frequencies respectively, so there was a crossover of resources and materials to the benefit of the community listeners. In 1980, Double J became Triple J and moved across to the FM frequency. Subsequently, Zelinka stopped his work at 2MBS. “A new generation was coming through, and I knew it was in good hands. Instead I found myself getting heavily involved in a wider variety of roles at Double J - presenting, producing, DJ’ing and eventually becoming station coordinator in 1986.” At the end of 1986, Zelinka decided to leave Triple J and launched himself into what he describes as “the wild world of commercial radio”. His next major move was to transfer his talents as producer and manager into TV, becoming Head of Scheduling at ABC television in 1988.

asked me to broadcast again - from midnight to dawn - right back where I started!” It’s not hard to see how a self-described “hands on” volunteer goes from presenting at midnight to starting the development of Fine Music’s digital station. “I had heard that we were broadcasting digitally, so I asked a few questions and discovered we were only broadcasting a simulcast. There was a real opportunity to develop an accompanying station that also serves its own identity. We have the resources and the talent, so I was compelled to do something. “The digital development will take place in three stages, and the first stage of development has been going since the 1st of July this year. That means we are broadcasting four hours of material prepared specifically for the digital station from Monday to Friday. The rest of the time is simulcast with Fine Music 102.5. Our audience will expect regular weekly programs with all the music selected to fit a certain theme; like ‘At the Keyboard’, or ‘From the 21st Century’.” So what does the future look like for this station? Zelinka explains, “The final stage sees us as a 24 radio station with 100 percent digitaldriven content with no simulcast. Eventually I’d like it to be available for streaming online. Listeners, at the moment, can only access the station if they own a digital radio. “We have so many talented people at Fine Music who are eager to be involved, but I’m

cautious of not wanting to drain the resources available. The benefit of the digital station is that all the material will be pre-prepared, so our presenters and programmers will be able to record the material when it best suits them”. That sounds like enough to keep anyone busy, but Zelinka is astonishingly balancing this project with formal studies. “I went back to university five years ago and started a coursework Masters, where I wrote a fifteen thousand word thesis on the role of the producer.” I venture that Zelinka would have had no problem writing any amount on that topic, and he humbly agrees. “I did quite well, so that has led to my current research dissertation on the ideas of Habermas, Bourdieu and McLuhan and the formation of modern media.” It’s 10.30 at night when we finish our conversation, but Zelinka hasn’t slowed down. He’s on the radio that night, starting at midnight. “When you work in radio, you may only be in the station for a couple of hours, but you have to be aware of what is happening on the station 24/7. The radio doesn’t stop for Christmas, or holidays. If this is your chosen career, it has to be a passion, because you don’t stop thinking about it when you go home.” I ask him what he’s presenting that evening, and Zelinka it seems has musical taste as varied as his career. “A ‘reggae’ program,” he laughs. - Sascha Kelly Fine Music 102.5 broadcasting on digital channel Fine Mus

Zelinka couldn’t completely abandon the airwaves. He left the ABC in 1990 to start up a new radio station - 2000FM. The multilingual community radio station in Sydney still broadcasts twenty years later. “Still going strong”, he declares. Zelinka seems to never just have had one project on the go - so he used his experience in television to establish Channel 31, now Television Sydney (TVS). This association lasted right up until 2004, when it was taken on by the University of Western Sydney. Zelinka goes on to explain that after this point, he developed SCTV - a multicultural community satellite television station. Zelinka says life came full circle when he semiretired five years ago. “I returned to where it all started. I was planning on just helping out in a small way at 2MBS, I thought I’d keep out of the way.” This veteran of the industry didn’t fly under the radar for long. He laughs, “No, when they found out my involvement in the industry, they

Double J - 1980s - Tom Zelinka with announcer Chris Winters. Photo ABC Archives

fineMusic FM 102.5

Young Virtuosi

This month Fine Music continues its broadcasts of virtuosic music presenting the first of 13 semi-finalists from the 2013 Fine Music 102.5 Young Performer Awards.

These broadcasts showcase a sample of just some of the youthful talent who take up the recording opportunities offered by Fine Music 102.5 throughout the year. Head of youth development, Judy Deacon, says the whole year’s cycle from auditions through to getting broadcasts to air is a challenging one, “It is indeed a privilege being involved with these entertainers of the future and so exciting following their progress and development. It certainly makes the hard work and efforts we all put in rewarding and worthwhile. “An essential part of putting to air our broadcasts is the recording by the audio engineer. Once the tracks have been put down, they have to be mixed and given to the presenter who programs the notes and information given to them by the artists.”

recording and producing this year will be all the finals of the Sydney Eisteddfod beginning in June with the Choral Championships. This is the 80th anniversary of the Eisteddfod so expect some extra special events. Broadcasting of ensembles, Even Younger Performers, Young Organists, Enhancement projects composition, schools, the IFAC Australian Singing Competition, and many other projects will be put to air to give listeners a varied and full musical feast.

Broadcasts begin with performances of flautist Antonia Berg and violinist Grace Clifford two semi-finalists of the Young Performer Awards adjudicated by flautist Cathy Fraser, pianist Bradley Gilchrist, conductor Steven Hillinger and singer Ayse Goknur Shanal. These esteemed adjudicators took on the difficult task of selecting the semi-finalists two of whom are profiled below.

Flautist Antonia Berg

Recording team - Gabe Zeng, Greg Simmons, Jong Hyun Park Antonia Berg

Darren Pene Pati with Richard Bonynge Deacon says that one of the highlights of the youth competitions is the Sydney Eisteddfod McDonald’s Operatic Aria. One of the outstanding talents, and 2011 winner of that event, was Samoan-born tenor Darren Pene Pati who also last year won the Joan Sutherland and Richard Bonynge Bel Canto Award. Darren is currently studying at the Denis O’Neil Welsh Academy of Music. Some of the events that the Fine Music volunteer audio and presenter team will be busy 12

fineMusic FM 102.5

Violinist Grace Clifford

Antonia started playing the piano at the age of four in 1999. The following year she joined the Conservatorium of Music’s Open Academy program, continuing there until she started at the Conservatorium High School in 2007. Antonia started to study the flute with performer, pianist and teacher Jocelyn EdeyFazzone in 2005. She has continued studying both flute and piano and was awarded her AMusA in piano and AMusA and LMusA with distinction in flute at ages 15 and 16. Antonia is a member of two ensembles of the Sydney Youth Orchestras and was for a period a member of an ensemble in The Arts Uni. She has competed with considerable success in the Ryde, Penrith, Sydney, and Galston Eisteddfods, and was a finalist at the Australian Flute Festival’s Young Artists Competition 2011. Antonia has just completed her final year of study at the Conservatorium High School and has accepted a scholarship at the Guildhall School of Music and Drama.

Grace Clifford Grace has loved the violin from an early age. She commenced lessons with Katie Betts at four and a half and completed the final Suzuki level at ten. In 2009 she joined the Rising Stars program at the Sydney Conservatorium of Music and began studying with Robin Wilson. Grace was awarded the Robert Pikler Scholarship. In 2010 she won first prize in the Wenkart Foundation Junior Violin Award at the Sydney Eisteddfod. The following year she was overall winner of the New South Wales Secondary Schools’ Concerto Competition and collected first prize in the Sydney Eisteddfod’s Open Age Violin Award where she went on to win first prize at the 2011 Prize-winners’ Concert. Last year Grace was awarded 4th prize in the Junior Section of the Yehudi Menuhin International Violin Competition in Beijing. She was one of four finalists in the Kendall National Violin Competition and received the prize for the Best Performance of Bach and the Audience Choice Award. Other performance highlights include the Emerging Artists’ Concerts at City Recital Hall, Angel Place in 2011 and 2012 and the Mendelssohn Violin Concerto with the Ku-ringgai Philharmonic. This month Grace has the privilege of touring with Selby & Friends as their first Development Artist.

YOUTH BROADCASTS 1pm Wednesday 13 February Antonia Berg (flute), Presenter Andrew Bukenya 1pm Wednesday 27 February Grace Clifford (violin), Presenter Andrew Bukenya All recordings for the Young Performers Award series took place at St Catherine’s School Waverley. Audio Engineer: Greg Ghavalas, Piano tuning: Ron Overs, Overs Pianos Co-ordinator: Judy Deacon yd@finemusicfm.com

MEET KATHRYN SELBY who are the most talented are the most humble and generous. My teachers, Nancy Salas, Bela Siki, Claude Frank and Rudolf Firkusny, all gave unstintingly of their time and expertise over years of my development as an artist. I rely on their teachings every day. Growing up I admired the pianists Solomon, Serkin, Cherkassky, Arrau, Perahia, Richter and Uchida but there are many more. Everyone’s taste is different and therefore what appeals to me may not appeal to others. However, a beautiful warm sound, quicksilver fingers and a big heart have always appealed to me in a pianist. I really enjoy Denis Matsuev of the younger lions of the keyboard. Composers who inspire me.. I think the answer to this has probably changed over the years but I can honestly say that I have never strayed from Mozart, Beethoven, Schubert, Brahms, Mendelssohn, Bach, Dvorak and I could go on and on. There is something in each of them, but I probably find Beethoven the most complete in every way.

Kathryn Selby. Pre-eminent chamber music pianist Kathryn Selby is the artistic director of Selby & Friends. She talks with Fine Music ahead of presenting her “A Little Lunch Music” concerts at Sydney’s City Recital Hall, Angel Place. The early years.. I would have been 11 or 12 when I started at the Conservatorium High School which I remember as one of the best times of my life. I began taking piano lessons at seven and was pretty passionate about playing the piano. I had asked my parents for a piano and must have really wanted it because I have never stopped practicing since! However, I was also passionate about my pets, school, chocolate and swimming in the pool so perhaps my childhood was a reflection of a happy and well-rounded home life. I do remember learning to read music from the venerable Henry Penn, discovering Anna Magdalena Bach with my charming first teacher Mrs Morrison and finally studying with a woman who became like another grandmother to me - the incomparable Nancy Salas. By the time I was about nine or ten the ABC were involved with me. I was recording for them and studying with Nancy Salas. A visiting ABC artist, Bela Siki, heard me on the radio and asked to see and hear me. He then offered to

teach me and from the ages of 12 through to 14 I went with one of my parents every six months to Seattle for a month for intensive study with Bela. He was the one who suggested I audition for the Curtis Institute in Philadelphia and that is where I went to study just before I turned 15. However, Sir Bernard Heinze, Miriam Hyde, Sonya Hanke, Clive Pascoe and others were involved with my early education. Life’s turning points.. I think meeting Bela Siki was a turning point as it meant leaving Australia and studying and living in the US for the next 11 years. Growing up, essentially in the US as I did, meant I was influenced by what was going on around me there, what I saw and heard and with whom I worked and performed. These influences shaped me as a musician and I am still feeling those influences today. I admire.. ..people with resilience and those who are willing to work hard, even when it seems the odds are against them. I admire those who create and invent from imagination and determination and I admire those who see this in others and lend support and encouragement wherever possible. As a pianist I have always responded to artists whose musicianship and talent touch me. I have always found that those

Away from music.. ..I love walking, baking, reading. Not a lot of time for any of that. My family comes first and for them I want lots of time. I care deeply for the natural environment and animals, education and the fostering of kindness to others. Most memorable non-music related moment.. ..probably falling off a boat when I was eight in Fiji and trying to stay afloat in the heaving ocean until the boat returned to pick me up would be one! The other would be moving to the USA to study and crying every day for a week upon arrival there because I was missing home. A constant state of learning I think the beauty of being an artist is that you never achieve everything you want to achieve. You are always in a constant state of learning and growing, and if you are not, then you are just being arrogant. I would very much like to keep performing, collaborating with colleagues, creating concerts and opportunities for colleagues both young and more experienced. I love teaching so much and would like to do a lot more of that. No regret s! – Lizzie Herbert Read the full interview on www.finemusicfm.com For information on the upcoming A Little Lunch Music series visit www.cityrecitalhall. com and for full Selby & Friends’ season details - www.selbyandfriends.com.au fineMusic FM 102.5

What’s On CHAMBER AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI’S MOZART Sunday 10 February 2pm Sydney Opera House Tuesday 12 February 8pm Wednesday 13 February 7pm Friday 15 February 1.30pm Saturday 16 February 7pm City Recital Hall, Angel Place

CHAMBER SELBY AND FRIENDS TOUR 1, 2013 Tuesday 19 February 7pm City Recital Hall, Angel Place Tickets: $36-$68 Bookings: 8256 2222 www.cityrecitalhall.com Featuring Dvoˇrák’s glorious Piano Quintet, the opening tour for 2013 presents the three popular piano and strings combinations favoured by composers over the last two and a half centuries and does so in grand fashion. Opening with Mozart’s inimitable development of the piano trio as an ensemble to be reckoned with, this concert then moves through the impressionistic warmth of Fauré’s first piano quartet to the Dvoˇrák, one of the most popular piano quintets of all time. With return appearances by British violinist Elizabeth Layton and US cellist Clancy Newman, this concert also welcomes Tobias Breider (Sydney Symphony Orchestra, principal violist) and young violinist Grace Clifford (Selby & Friends Development Artist 2013) who join Artistic Director/pianist Kathryn Selby for an impressive, melody filled evening of great music performed by superb artists.

Tickets: $43-$119 Bookings: 1800 444 444 www.aco.com.au The opportunity to hear Richard Tognetti perform one of Mozart’s enchanting, theatrical violin concertos is not to be missed. Tognetti’s Mozart recordings have been singled out by critics internationally as arguably the best on offer. Mozart’s Symphony No. 25 is the dramatic opening

CHORAL CHOIR & OF ST JAMES’ METAMORPHOSIS SERIES Saturday 2 March 5pm St James’ Church, King Street, Sydney Tickets: from $45 Bookings: 8256 2222 www.cityrecitalhall.com www.sjks.org.au

OPERA OPERA AUSTRALIA ORPHEUS IN THE UNDERWORLD Thursday February 28 to Wednesday March 27 Sydney Opera House Tickets: $44-$145 Bookings: 9250 7777 www.sydneyoperahouse.com

fineMusic FM 102.5

The worlds of musical theatre and comic opera collide when the sensational song-anddance man Todd McKenney takes the lead of Aristaeus/Pluto in Orpheus in the Underworld. The stylish fooling and satire by Jonathan

music in the film Amadeus and was inspired by Haydn’s thrilling Sturm und Drung symphonies such as No. 49. Australian composer Brett Dean received the Grawemeyer Award, one of the world’s most prestigious composition prizes, for his violin concerto and Australian Chamber Orchestra enthusiasts will await his electric violin concerto for Richard Tognetti with keen anticipation. In 2013 St James’ Church launches The Metamorphosis concert series as well as a CD of the same title. The series, which commences on 2 March, highlights the relevance that generations of composers and their works have to a 21st century audience, and illustrates how ancient creative ideas continue to inspire today’s finest musicians. Brooke Shelley’s brilliant Messe Sans Regret and Stravinsky’s motets are two examples of what will be heard in the Metamorphosis series. Also this year, St James’ celebrates anniversaries of Benjamin Britten and Carlo Gesualdo, and secular music meets sacred in two epic works from Monteverdi and Brahms. St James’ continues to bring the best Australian singers to Sydney audiences this year welcoming sensational vocalists - The Idea of North - in June as guest ensemble and collaborating once again with St Mary’s Cathedral. Biggins and Phil Scott re-ignite Offenbach’s 1850s parody to make its vision of lust and power ripe for the times. Designer Mark Thompson’s imaginative towers and temples and gorgeous and witty costumes create a setting as vibrant and bright as a Broadway musical. The production brings together a dream cast - soprano Rachelle Durkin (Eurydice), tenor Andrew Brunsdon (Orpheus), baritone Luke Gabbedy (Jupiter) and, making a welcome return to the Sydney stage, mezzo-soprano Suzanne Johnston (Public Opinion). With its frenzied pace, sight gags and a show-stopping finale it is sure to be the most fun-filled event of the summer season.

ORCHESTRA & FILM SYDNEY SYMPHONY: TAN DUN’S MARTIAL ARTS TRILOGY Friday 22 February 8pm Saturday 23 February 8pm Sydney Opera House Tickets: $35-$125 Bookings: 8215 4600 www.sydneysymphony.com

ORCHESTRAL/CHORAL SYDNEY SYMPHONY: A FINNISH EPIC Friday 15 February 8pm Saturday 16 February 2pm Sydney Opera House Tickets: $53-$125 Bookings: 8215 4600 www.sydneysymphony.com In A Finnish Epic, Vladimir Ashkenazy conducts a program featuring Kullervo - Sibelius’ first large-scale orchestral work - and Ravel’s Piano Concerto for the left hand - one of the most brilliant and important of 20th century concertos for any instrument. The singers of the Sydney Philharmonia Choir join the Sydney Symphony for this concert - one of seven thrilling collaborations for 2013. Finnish soprano Helena Juntunen, internationally recognised for her expressive portrayals of the lyric repertoire, makes her Sydney Symphony debut performing Kullervo. Also making his Sydney Symphony debut is fellow Finn - Ville Rusanen (above) - a dynamic young bassbaritone. They are joined by the charismatic multi-award winning French pianist JeanEfflam Bavouzet - one of the most engaging live performers of his generation - and the Men of the Sydney Philharmonia Choirs.

The big orchestra meets the big screen in a concert trilogy based on Tan Dun’s epic film scores for Hero, The Banquet and Crouching Tiger, Hidden Dragon. The composer/ conductor’s score for Ang Lee’s Crouching Tiger received a Grammy Award in 2001 and an Oscar in 2000 for best original score. Conducted by Tan Dun, each concerto features a different heroine. The erhu is Llo, dreaming of transcendence through martial arts, the violin is Flying Snow in a story of revenge and redemption, and the piano is the Empress Ano, sacrificing love for power. Gorgeous sound, epic vision, thrilling emotion and high drama are accompanied by projected scenes from the original films. The program comprises Hero - Violin Concerto, Crouching Tiger - Erhu Concerto and The Banquet - Piano Concerto

SYMPHONY SYDNEY SYMPHONY LEGENDS BY THE SEA: ASHKENAZY CONDUCTS SIBELIUS Wednesday 6 February 8pm Friday 8 February 8pm Saturday 9 February 8pm Sydney Opera House Tickets: $35-$125 Bookings: 8215 4600 www.sydneysymphony.com Vladimir Ashkenazy (left), the Sydney Symphony and Sibelius - it’s a winning combination. You

ORCHESTRAL THE METROPOLITAN ORCHESTRA BEETHOVEN, BRAHMS AND SIBELIUS Saturday 23 February 8pm Eugene Goosens Hall Sunday 24 February 3pm Balmain Town Hall Tickets: $35 Bookings: 1300 150 465 www.metorchestra.com.au The Metropolitan Orchestra opens its season with Beethoven’s electrifying Egmont Overture, then welcomes back Katherine Lukey (principal 1st violin, Melbourne Symphony) who wowed audiences with her mesmerising performance of Mendelssohn’s Violin Concerto in 2012. She is joined by Simon Cobcroft (associate principal cello, Queensland Symphony) to perform the stunning Double Concerto by Brahms. The concert wraps up with Sibelius’ triumphal Symphony No 3. TMO’s 2013 concert series has some of the greatest symphonic repertoire on offer along with world premieres, world-class soloists and intimate chamber programs. Its chief conductor and artistic director, Sarah-Grace Williams, is one of the foremost conductors of her generation. The Metropolitan Orchestra appears in many forms, from small chamber ensemble through to a large scale symphony orchestra. won’t hear better than this! At the end of Sydney Symphony’s Sibelius Festival in 2004, Ashkenazy told the audience: “I have never heard Sibelius played better!” That festival has become the stuff of legend - the excitement in the hall, the glowing performances. Now it’s time to revisit Finland’s musical hero and the high point of this program is a thrilling set of legends about Lemminkäinen – a young, handsome and reckless Finnish hero. Ashkenazy begins with Fauré’s gentle music for a play about doomed lovers and in the first half of the concert builds on a watery theme with La Mer - Debussy’s musical sketches of the ocean.

Mazda Opera in the Domain - La Bohème - Free on 2 February at 8pm. See www.opera-australia.org.au for details. fineMusic FM 102.5

1813

2013 PROGRAM

200 th Anniversary

WAGNER

2013

WAGNER SOCIETY IN NSW Date

Event

Venue

9 Feb 9am-5.30pm 10 Feb 12.30pm-5.30pm

Willoughby Uniting Church

17 March 2pm

Antony Ernst Workshop on the Ring: Forging Meaning out of Music: Heritage, Complexity and Vision of The Ring Sydney Chamber Opera: Climbing Toward Midnight, Introducing their new stage work focusing on the relationship between Parsifal and Kundry Faeries and Vampyres: Concert by Bradley Cooper and Sarah-Ann Walker; accompanist Bradley Gilchrist

Mosman Art Gallery

15, 17, 19, 20 April

Sydney Chamber Opera: Climbing Toward Midnight. Sponsored by Wagner Society in NSW

Parade Theatre Kensington

14 April 2pm

Dr David Schwartz: Wagner on the Couch: Psychological Motivation in The Ring

Goethe Institut

22 May 6pm

Wagner Licht Exhibition opening / Wagner Birthday Dinner

TBA

26 May

AGM and concert by singer Luke Stoker; accompanist Bradley Gilchrist

Goethe Institut

30 June 2pm

Tony Legge OA: Bayreuth Career

Goethe Institut

14 July 9.30am-5pm

Riding the Storm: Seminar on The Flying Dutchman

Goethe Institut

11 August 2pm

Lisa Gasteen: Preparing for Major Wagnerian Roles

Goethe Institut

25 August 2pm

Swords and Storms.Concert by David Corcoran; accompanist Bradley Gilchrist

Mosman Art Gallery

8 September 2pm

Neil Armfield: The Ring Adventure

Goethe Institut

September

Sydney Eisteddfod: Awards for Wagnerian and German repertoire. Sponsored by Wagner Society in NSW

6 October 2pm

Susan Bullock: Singing Wagner

10 March 2pm

Goethe Institut

Further information - www.wagner.org.au

BANGALOW MUSIC FESTIVAL 2013 August 16-18 • Early Bird Subscription – Special Offer An enchanting weekend of classical music featuring world class artists performing in the idyllic and luscious surrounds of northern NSW. Described by legendary Australian composer Peter Sculthorpe as “The finest music festival outside of a capital city I have attended in the world.”

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Fine Music 102.5 FM EXCLUSIVE EARLY BIRD SPECIAL 9 Magnificent Festival Concerts + the Festival Champagne Launch Only $260.00. That’s only $26 per event!!! Save $45 on your tickets by purchasing an ‘Early Bird’ subscription!

Early Bird Subscription discounts are only available until 15 March 2013. Secure your tickets early so you can plan your beautiful weekend to Bangalow. Regular price after Early Bird offer expires is $305 (full) or $270 (groups of 6 or more) so get in early and save! For details on festival artists and to purchase, visit southernxsoloists.com or phone (07) 3842 9468 Full program will be announced in March.

CD Review Critic’s Pick

WAGNER: DER RING DES NIBELUNGEN George Solti Limited Edition Set - 17 CDs, 1 DVD, Blu-ray Audio, Libretto Book and more Decca 1958-1964

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I am writing this on the eve of the predicted day for the end of the world. Which means that if you are reading this, then the prediction has not materialised. But then Wagner’s Ring cycle is all about fire and brimstone and the picture we mortals have of what the end of the world is meant to be like. Which is exactly what the last cycle in Der Ring des Nibelungen, Götterdämmerung or Twilight of the Gods is concerned with - the extinction of the old world order and the rebirth of a new one. But we are not here to speculate about such matters. In fact, we are here not to bury Solti’s epic recording but to praise it, and in particular the Decca de-luxe edition of the re-mastered version of this pioneering extravaganza. It took seven years - from September 24, 1958 to November 19, 1965 – to complete the original version and it was the first ever complete recording of the Ring cycle. It included a full set of sound-effects, on long playing records, and was hailed as the greatest recording of all time. Today the re-mastered set is beyond superlatives. Allow me to itemise what this set includes: a) the complete Ring cycle on 14 re-mastered CDs b) a single Blu-Ray recording (audio only) of the complete cycle c) a comprehensive booklet written by the original producer, John Culshaw, on what went on behind the scenes d) two CDs narrated by musicologist Deryck Cooke analysing Wagner’s music e) many original session photographs, Decca’s original advertising posters plus some facsimiles of Solti’s scores with editing marks by Solti himself f) the Gramophone magazine’s original review of the recordings g) complete libretti for the entire cycle h) supplementary CDs containing Siegfried Idyll which Wagner composed as a birthday present for his wife, Wagner overtures and the Kinderkatechismus and i) a BBC documentary, now on DVD, of the actual recording of Götterdämmerung. All of the items are encased in four black hardcover books and each copy is individually numbered. Wagner’s libretti for the four operas were written in reverse order but you’ll be pleased to know that the music was composed in sequence. Das Rheingold was composed in 1853 with Die Walküre the following year

and Siegfried in 1856. Wagner then had a rest from the cycle mainly because of financial problems in finding an opera house big enough to perform it. Plus he took advantage of the lull to compose Tristan und Isolde in 1857 followed by Die Meistersinger von Nürnberg in 1862. Eventually he started work on Götterdämmerung in 1869 although he had already laid the groundwork in a piece he called Siegfrieds Tod a few years earlier. The chosen location of Bayreuth for the opera house was finally opened in 1876 and the complete Ring cycle was conducted by Hans Richter under the supervision of Wagner himself. If you believe that all operatic plots are convoluted then you won’t be surprised to learn that the plot for the cycle is the daddy of them all. One wag, explaining it in the simplest of terms, described it as what happens when one god defaults on the repayments on his house. Putting it simply, it involves the theft of gold, the forging of a ring from that gold, the rippling effect of a curse on all who covet that ring, a touch of incestuous love (Siegmund and Sieglinde) and the stabbing and immolation of their love child and his girlfriend (Siegfried and Brünnhilde) to try and save the world. Somewhere along the line various species of gods stick their noses where they don’t belong and suffer accordingly. But it is the music and the way Solti interprets that music that is the triumph of these recordings. The re-mastered sound is thrilling and clean, the singers instil the recording with an energy unequalled in probably anything they’d ever done. The sound effects create an

atmosphere that can only be described as making the listener feel part of a live performance and the stereo effects, so effective in the original long playing recordings, now create a spaciousness that transcends audio excellence. The Vienna Philharmonic Orchestra is exceptional and guided by Solti the brass section punctuates the drama in the score and the strings elevate the lyricism in the orchestral interludes to new heights. The final accolades go to the choice of singers. There’s Birgit Nilsson as Brünnhilde, Hans Hotter’s Wotan, Wolfgang Wingassen’s Siegfried, Gustav Neidlinger’s Alberich and James King’s and Regine Crespin’s Siegmund and Sieglinde. Other ‘cameo’ appearances are supplied by George London’s Wotan jr, Dietrich Fischer-Dieskau’s Gunther and the mighty Kirsten Flagstad discarding the mantle of retirement to sing Fricka. There are also supporting roles by Christa Ludwig and Lucia Popp. No wonder I can’t take the smile off my face. - Randolph Magri-Overend

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CD Reviews The Brahms first symphony was deliberately composed to be recognised as Beethoven’s Tenth symphony but contemporary to the modern times that Brahms lived in, as Romanticism was reaching its zenith. Brahms’ third symphony is a proclamation of his life motto “free but happy” and is more contemplative than the heroic first symphony.

BRAHMS SYMPHONY 1 IN C MAJOR AND SYMPHONY 3 IN F MAJOR The London Philharmonic Orchestra BBC Recording Conducted by Klaus Tennstedt

✶✶✶✶ BEETHOVEN SYMPHONY NO 3 IN E-FLAT, OP. 55 (EROICA); CREATURES OF PROMETHEUS OVERTURE OP. 43; EGMONT OVERTURE OP. 84 Simon Bolivar Symphony Orchestra of Venezuela/Gustavo Dudamel Deutsche Grammophon 479 0250

✶✶✶✶ This is, of course, the famous youth orchestra that is the result of El Sistema, the Venezuelan government’s policy of finding their most talented (and impoverished and deprived) young musicians and exploiting their potential. Not having been greatly impressed by previous

These mighty masterworks are both conducted by the Teutonic maestro Klaus Tennstedt (1926-98) who obviously delighted in conducting the London Philharmonic Orchestra and thankfully, this double CD recording has captured two of his inspired performances. In the first symphony, Tennstedt has taken a stately tempo that communicates the angst that Brahms recordings by this orchestra, I was delighted to find that this is as fine a recording of the Eroica as one is likely to hear today. Tempos throughout are judicious - neither too fast nor too slow - and the phrasing is sensitive and pleasing. Dudamel has not adopted the graceless and jerky practices of the period instrument players; his performance is more reminiscent of performances by Beecham, Walter and other conductors of a previous generation. At the same time, however, it has great transparency; the listener is delighted, when following with the score, to hear that everything in it is audible. Even though the performance is along traditional lines, it is never heavy or stodgy but at the same time it reveals the greatness of the work and its epic nature. The playing of the young musicians is very fine. One important test of Tall Poppies’ 222nd release is a contemplative historical journey through the best of Australian music for cello. Couple the sensitive performance by Timothy Young at the piano, with the stalwart-of-everything-cello on the Tall Poppies label David Pereira, (he’s also a fantastic cellist!) and you really have something special.

BLUE SILENCE: AUSTRALIAN MUSIC FOR CELLO & PIANO David Pereira, cello Timothy Young, piano Tall Poppies TP222

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The eight works included on Blue Silence provide the perfect link into Pereira’s ever-growing catalogue of cello works released on TP. In fact, if ever there was a CD to provide a tap into Australian cello music as a whole this is the one! Kats-Chernin’s title track opens the CD, unfortunately for this review words cannot describe how gorgeous, yet wrought with anguish it is. The cold harsh reality of Don

intended, and he also avoids the hysteria that often is unintentionally added. From the first notes to the last, everything about the performance is as good it should be, but it is only after repeated hearings that one can really appreciate the plasticity of the tempo and the naturalness of the rubato. The third symphony performance, like the first symphony, does not grab you like a revelation, but we can sense Tennstedt’s soul vibrating in sympathy with Brahms’. The performance has no weaknesses and the phrasing sounds just right. Both performances reveal understated virtues and great intimacy - exactly as Brahms would have wanted. To paraphrase the great composer as he spoke about his violin concerto, “My music is like fine wine - it gets better with age.” - Richard Wong

any performance of this music is the trio of the scherzo where the horns have particularly hard parts to play. Usually, in any performance, one of the horns fluffs at least one note. Not here; the players emerge triumphant. - Richard Gate Banks’ early experiment with atonality in his Three Studies for Cello and Piano is exactly where it should be in the recording - definitely not an afterthought. Hindson’s Jungle Fever is the last work on the release and I can’t help but feel it finishes with a question mark, pointing toward the fact that this isn’t all! Who knows what’s going to be composed for cello in the future? Overall the mood is largely one of contemplation, Grainger’s La Scandiniare does provide a bit of a break, but it certainly won’t have you dancing around the lounge room. Blue Silence is for those pensive moments; a testament to the depth of emotion our composers can inject into their music, and the depth of emotion our musicians can likewise then convey. - Troy Fil

CD Reviews DEBUSSY POUR LE PIANO; ESTAMPES; L’ISLE JOYEUSE SZYMANOWSKI; PRELUDE AND FUGUE IN C SHARP MINOR; SONATA IN C MINOR, OP. 8 Rafal Blechacz, piano Deutsche Grammophon 417 9548

✶✶✶✶ BARBER & DEBUSSY Barber: Sonata in C minor, Op. 6; Bloch: From Jewish Life (three pieces); Falla: Suite populaire espagnole; Granados: Madrigal; Debussy: Sonata for cello and piano David Berlin, cello, Len Vorster, piano Tall Poppies TP214

✶✶✶ This CD adds up to less than the sum of its parts. David Berlin and Len Vorster are both masters of their instruments. The performances are excellent as is the reproduction. The problem lies in the choice of material. The Barber Sonata is, according to the liner notes, Barber’s

ELGAR IN SUSSEX The Schubert Ensemble, Gould Piano Trio, Felicity Lott and Joseph Middleton Champs Hill Records CHRCD027

✶✶✶ When I interviewed Dame Felicity Lott recently she mentioned that a David Bowerman who was an Elgar admirer had built a recording studio-cum-concert hall in his garden in Sussex. Dame Felicity has recorded a few compilations under Bowerman’s label of Champs Hill Records and this is one of them. Except for the location of this recording the connection between Elgar and Sussex is, at the most, quite tenuous.

Blechacz was born in Poland in 1985. In 2005 he became the first Pole to win the Chopin Contest in Warsaw since 1975 when it was won by Kristian Zimerman. He certainly deserved the prize; his technique and musicianship are consummate. Nevertheless, after comparing his performances of the Debussy pieces with those of Walter Gieseking (a renowned Debussy interpreter), I admired Gieseking more. His playing has far more zest and dash than Blechacz; his technique seems even more astounding; his dynamics are more varied and he conveys more the fin-de-siecle atmosphere of these pieces. Even the reproduction, although now nearly sixty years old, seems better. The main item of interest on this CD is the Sonata

of Szymanowski, lasting 25 minutes. It is an early work and not yet fully characteristic. It might be described as development of the separate styles of Chopin and Liszt. It is more approachable and easier to assimilate than some of Szymanowski’s later music written under Mediterranean influences. The level of musical invention throughout is high until the finale (a three-voice fugue); here, Szymanowski seems to have lost his inspiration. Those interested in exploring Szymanowski’s mature style should hear his opera King Roger which contains much powerful and mysterious music. There is an excellent performance available conducted by Rattle. - Randolph Magri-Overend

homage to Brahms. I can either take or leave this sort of music. If it appeared in a concert program, I could listen to it but, having heard it a few times, I have no great desire to hear it again. The Bloch pieces are reminiscent of his Hebraic Rhapsody for Cello and Orchestra, Schelomo, but lack that work’s great drama, power and musical interest. The Falla Suite is pleasant enough to listen to, but I cannot imagine anyone preferring the music in this form to its original version - the Seven Spanish Popular Songs. The Debussy Sonata was written as a reaction against German music. Debussy stated that “I want to make this work not so much for myself but to provide proof, however small, that not even 50 million boches can destroy French thought”. He need not have

bothered. The most internationally famous French pianist of today told me some years ago that French audiences still prefer German music and have comparatively little appetite for French music. - RG

As World War I staggered to its shattering conclusion Elgar rented a Sussex cottage in the village of Fittleworth overlooking the Arun Valley where he composed the last of his works - three chamber pieces and his magnificent Cello Concerto. One of the chamber works was the Piano Quintet in A minor (played here quite sumptuously by The Schubert Ensemble). The other pieces on this recording are the seven songs sung by Lott and a piano trio which is a pastiche of disparate music (some incomplete) composed by Elgar and coalesced in 2007 by composer Paul Adrian Rooke. The songs have lyrics from poems by British poets such as Lord Tennyson and Arthur C. Benson - the lyricist of Land of Hope and Glory. Lott tries her best with the songs which, if anything, proves that

Elgar was a better orchestrator than a songster. As for the piano trio, the only movement Elgar composed as a complete work was the Minuet and Trio. Mr Rooke should have left it that way. - RG

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JAZZ CD REVIEWS Discourse with Kevin Jones

THE V-DISC YEARS 1944-46 Woody Herman and His Orchestra Hep CD2/3435

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Three records were major signposts on my journey through jazz as a teenager _ Honeysuckle Rose (1939) by Benny Goodman, Duke Ellington’s surging blues Main Stem (1942) and the superb recording of Sidewalks of Cuba (1946) by Woody Herman’s First Herd with its

THE CONCERT JAZZ BAND: THE FIRST ALBUM Gerry Mulligan Poll Winners Records PWR27264

✶✶✶✶✶ In 1960, Down Beat magazine called Gerry Mulligan’s first album with his Concert Jazz Band one of the records of the year. Fast forward 53 years and it is one of the reissues of the year. Originally recorded for Norman Granz’s Verve label on July 25 and 27, 1960 the 13-piece band was an expansion of his earlier work with quartets and more importantly his sextet (1955-56). In an interview with Leonard Feather in Down Beat (June 9, 1960) Mulligan described it as “a concert band . . . a jazz band

DOIN’ THE CHARLESTON Greg Poppleton and the Bakelite Broadcasters 791

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magnificent trumpet solo by the gifted Sonny Berman which I can still hum note for note. Surprisingly, Berman, who died in 1947 at the age of 22, is not well represented on records with the band although he was well featured on broadcasts and V (Victory)-Discs recorded for the United States armed forces from 194449. Hearing him on Your Father’s Moustache emphasises what a great loss he was to jazz. Many tracks precede the band’s first commercial recording date on February 26, 1945 when the original versions of Caldonia and Apple Honey stunned the jazz world; the V-Disc versions make an interesting comparison. Hearing these for listening”. In other words it was a band to stimulate the listener’s ear - and it did in many moods. As was the case with the sextet it had four basic soloists and a piano-less rhythm section (except when Mulligan sat down at the keyboard). Two of them, valve trombonist Bob Brookmeyer and tenor saxophonist Zoot Sims, were in the concert orchestra. The former is heavily featured on this disc to great effect; it is doubtful whether Brookmeyer had played better up to that date. Surprisingly, Sims has only a few solos but is in fine form on Bweebida Bobbida and blows up a storm on Apple Core recorded live in Milan, Italy one of the six bonus tracks on the album. Mulligan’s baritone is the main solo voice. As usual, he is in fine fettle especially with his tender readings Even in the 21st century, the music of the socalled jazz age (the Roaring Twenties) still holds a fascination for many, judging by the number of bands which play this style of music world-wide. The Bakelite Broadcasters, led by vocalist Greg Poppleton, keeps the 1920s’ flag flying in Sydney as this enjoyable disc, the second by the group, shows. They are mostly pre-Swing Era songs written before Benny Goodman launched jazz’s most popular years at the Palomar Ballroom in Los Angeles on August 21, 1935 ranging from Paul Dresser’s My Gal Sal (1907) to Fats Waller’s I’m Gonna Sit Right Down And Write Myself A Letter (1935) and include The Charleston (1923) and Sweet Lorraine and Button Up Your Overcoat (both written in 1928). Listening to the 1929

tracks again I am still impressed by the band’s vitality and enthusiasm. It was an incubator of modern jazz; many of the band members were involved in the evolving be-bop style with arrangers Ralph Burns and Neal Hefti featuring (then) modern ideas in a big band setting. Trombonist Bill Harris and tenor saxophonist Flip Phillips were the main soloists but the sparkplug was the great rhythm section - Burns (piano), Chubby Jackson (bass), Billy Bauer (guitar) and the legendary Dave Tough (drums). Many highlights but of interest is the Duke Ellington and Herman orchestras playing together on C Jam Blues.

of the ballads My Funny Valentine and Django Reinhardt’s Manoir De Mes Reves (Django’s Castle). One to savour.

recording by the Mound City Blues Blowers of I Ain’t Got Nobody and My Gal Sal shows the Broadcasters have captured the basic sound. Not surprising when you consider the group includes musicians of the calibre of Paul Furniss (reeds), Al Davey (trumpet and trombone) and Lawrie Thompson (drums and washboard) who show how well they have mastered the style. Graeme Conlan (tenor banjo) makes a mockery of those many banjo jokes with his rollicking solo on The Road To Gundagai. As for the leader, some may find his voice a little affected at times but he has captured that decade’s vocal style to perfection especially on Falling In Love Again sung in both English and German. As enjoyable as they are to listen to The Bakelite Broadcasters must be even better live.

SWINGING ON THE VINE BRUSH UP YOUR SHAKESPEARE

Leaning against the wall of my den in my Hunter Valley hideaway I sip the chilled red wine. Little J, sated with shiraz, is snoring softly beside me. All is serene as dusk gathers with Artie Shaw playing Moonglow in the background. Again I am on the outer, banished from the homestead through no fault of my own; a victim of fate. And yet it had such a pleasant beginning. I should have known that something was amiss when the contemptible Clifford phoned to say he was bringing an old friend with him. They had had a reunion of sorts at some “pop” music awards dinner the previous night in Sydney. “Clifford tells me he’s a real intellectual,” gushed The Voice. And so the scene was set: here I am, masquerading as one of the landed gentry, standing in the lounge impeccably dressed, sipping an ice cold mineral water listening to this pretentious git Nigel mouthing nothing of any consequence as both The Voice and Clifford hold on to every word. I decide to test his intellect. “Did you know a Canadian writer (Stephen Marche) has claimed William Shakespeare is the most influential person whoever lived?” Silence. “He perfected narrative conversation. Every writer for the past three and a half centuries has been influenced by his work. In fact Virginia Woolf moaned in her diary: ‘Why should anyone else attempt to write. Indeed I could say that

Shakespeare surpasses literature altogether!’ ’’ Silence. “Did you know Shakespeare invented some 1700 words, many of them still in use today, words such as accused, amazement and anchovy!” Still silence. “Did you know that it is claimed the seeds of the civil rights movement in the United States were planted when Paul Robeson, the first Afro-American Shakespearean actor, performed what is considered to be the greatest Othello of the 20th century on Broadway in 1942?” What intellect I mutter as the silence lengthens. I try again. “In 1955 the disc jockeys of America voted Artie Shaw’s 1940 recording of Stardust their number one hit recording of all time. At that stage it had sold 15 million copies. How about that?” A sneering Nigel snarls “Artie Shaw? A relic!” Clifford starts to look worried. I try again. “And Ella Fitzgerald . . .’’ I am interrupted by this Hooray Henry: “Ella Fitzgerald! Ella who? Our aim is to trash everything that has come before us! Lady Gaga is today’s jazz singer!” I can’t see The Voice but Clifford is looking even more worried. Mildmannered no more I am stirred by the sounds of war as I imagine my Viking ancestors armed with battleaxe, sword and spear, forming a shield wall against the advancing hordes. My weapon is a large dish of ice cold punch, the contents of which are deposited on the heads of Nigel and Clifford. Honour satisfied I storm from the room followed by cries of Neanderthal from The Voice. Little J is waiting outside. “Time for some heavy drinking,” I mutter as we head towards my den. My prize bull Aphrodite is nuzzling Eros. “I am starting to get worried about that pair,” I tell Little J. “They need female company!”

William Shakespeare

Artie Shaw a relic! How can that be so? He was by far the most interesting personality of the Swing Era, producing the most outstanding music of all the white bandleaders. The Mr Music label has released the first of a series of Shaw broadcasts under the heading “The Search For Perfection”. Perfection? In 1939 it took 14 tries before Shaw was satisfied with the recording of a commercial tune. Trumpeter Roy Eldridge recalled that the 1945 Shaw orchestra took an incredible 34 takes to get Gershwin’s Someone To Watch Over Me cut to the leader’s satisfaction.

Paul Robeson as Othello Interesting, when you consider Shaw’s classic recording of Stardust. It appears that the recording manager at RCA, Harry Myerson, had the bright idea of having both Shaw and Tommy Dorsey record the Hoagy Carmichael gem for issuing on the one 78 disc. Shaw had a very talented co-arranger in Lenny Hayton who helped produce a superb arrangement of the tune. One cut and Shaw left the studio satisfied. When Shaw rang Myerson asking if Dorsey had made his contribution, he was told Dorsey, after hearing a playback of Shaw’s version, stormed out of the studio snarling: “We can’t follow that!” Shaw, who told many detrimental stories about other bandleaders, once referred to Dorsey as “phenomenal”. Benny Goodman? “An excellent clarinet player . . . but Benny couldn’t play the saxophone!’’ Trumpeter Billy Butterfield, whose opening solo played a major role in the success of Shaw’s Stardust, once said he kept returning to play with Goodman in the hope he could understand him as a person. “I never could,” he added. But I am lost in the magic of Butterfield’s solo as I gaze at the stars. This could be bliss but the word relic keeps troubling my subconscious. Is my kind of jazz, melodic and swinging, a thing of the past? That’s food for thought for another day. – Patrick D Maguire fineMusic FM 102.5

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February Program highlights Tribute to Elliott Carter - Master of a Pulitzer prize in music) championed a new His constant concert touring of Europe and concept of independent musical layers, layers abroad, but refusal to leave Nazi Germany American Modernism 1908-2012 which conjure up worlds which either stunningly throughout WWII, lead many to believe Tuesday 19 February 10pm co-operate or clash in purposeful disunity. This multi-layering effect Carter later took to the next level with his process of pitting sometimes numerous separate musical voices together, such pieces have titles like ‘A Symphony for Three Orchestras’ or, ‘Triple Duo’.

Elliott Carter Elliott Carter grew up in New York in a time when the first skyscrapers were reaching into the sky yet the milk was still being delivered by horse and cart. He was never one of those composers who exhibited volumes of prodigious talent from an early age what he possessed was more than that - a burning desire to create a music which reflected the experience of being alive in the 20th century, a music which kept up with the multi-layered, breakneck pace of life - he had in his heart a completely unique music, it just took a lifetime of experience to develop it. Carter’s early music was caught up in populist stylings mostly due to his early contact with Charles Ives, and a period of study in Paris with Nadia Boulanger, as a result he destroyed some of his earlier works because they just didn’t work the way he wanted them to, his Holiday Overtures (1944) is amongst the earliest surviving works apart from a deal of vocal writing for a ballet company he was working for at the time. The Overtures stir up the same kind of emotions that Appalachian Spring does, which isn’t surprising as Aaron Copland was a regular guest at the Carters’ home - the two works were composed at the same kitchen table! American spirit simply pours out of these two works, and it’s a spirit which is ever present in Carter’s music, yet his style was to develop remarkably. Just over a year later his Piano Sonata (1946) relishes the resonance of the piano with its stunning rhythmic flexibility – an area in which Carter is most well known for his innovation (thank Art Tatum for that) but it was his Cello Sonata (1948) and subsequent String Quartets which would really mark an advance towards that music which resounded in his heart. His String Quartets No.2 and 3 (both winners of

In a rather more-extreme-than-Schoenberg vein, up until about the 1980s, Carter composed using vast polymetric grids which involved painstaking hours of highly complex calculations for harmonic and rhythmic modulations, or ‘gear changes’ as he nicknamed them. Once Carter did away with all the calculations and grids in the 1980s, a strange thing happened, his new free-style method of composition meant he subverted the traditional old-man composer idiom, his productivity instead increased exponentially. These later years of incredibly activity lasted right up to the year of his death – he was 103 when he passed away.

A Fine Pianist… and Lepidopterist Tuesday 26 February 9am

Walter Gieseking Butterflies in the tummy before a performance takes on a whole new meaning for Walter Gieseking, his father a German doctor and noted lepidopterist, Walter too partook in the science – his own collection is on display in the Natural History Museum in Wiesbaden, Germany. It must be said though that Walter Gieseking’s first love was the piano, taking it up at the age of four without any formal instruction – he possessed a natural technique and an abnormal acute faculty for memorisation.

he collaborated with the Nazis. Even after Gieseking’s name was cleared by the U.S. Military, some concerts as late as 1949 in the U.S. were cancelled due to protests by organisations convinced of his guilt. Throughout all this Gieseking’s popularity soared, and his remarkable abilities prevailed.

Renowned Quartet Calls it Quits Tuesday 26 February 1pm

Tokyo Quartet This year marks the farewell season of one of the world’s truly remarkable quartets, the Tokyo Quartet. After over 40 years of dedication to crystalline chamber music performances second violinist Kikuei Ikeda, and violist Kazuhide Isomura planned to retire at the end of the 20122013 season, and after some deep thought the remaining members first violinist Martin Beaver, and cellist Clive Greensmith both agreed that replacing two of its longest standing members (Kazuhide was one of the originals, while Kikuei had been a member since 1974) would be a herculean task, and so the decision was made to “bring the illustrious career of the quartet to a graceful close.” The Tokyo Quartet disbands in June 2013 after a marathon world tour, which includes an extensive visit to Australia and New Zealand. This will be our last chance to hear the legendary ‘Paganini Quartet’ the group of Stradivarius-made instruments. With over 30 flawless recordings under their belt the quartet’s legacy will live on. - Troy Fil 10 February - Wagner and Friends present The Flying Dutchman 13 February - Legendary Met Performances - Verdi’s Othello fineMusic FM 102.5

Friday 1 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Brian Drummond Weber, C.M. Grand duet, op 48 (1815-16). Walter Boeykens, cl; Robert Groslot, pf. Harmonia Mundi HMC 901481

Pleyel, I. Sonatina no 3 in A. Dieter Klöcker, cl; Sonja Prunnbauer, gui. Dabringhaus Grimm MD&G L 3319 5

Jacqueline du Pré

Gerard Schwarz

13:00 IN TWO WORLDS Prepared by Elaine Siversen

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

Beethoven, L. Trio in B flat, op 11 (1797). Peter Schmidl, cl; Teodora Miteva, vc; Madoka Inui, pf. Naxos 8.557232 21

Rózsa, M. Duo, op 7 (1931). Philippe Quint, vn; William Wolfram, pf. Naxos 8.570190 18

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

Spellbound concerto (1945). Philip Fowke, pf; RTE Concert O/Proinnsias O’Duinn. Naxos 8.578005/06 12

10:00 MORNING CONCERT Prepared by Frank Morrison Busoni, F. Comedy overture, op 38 (1897/1904). London SO/Charles Mackerras. Carlton Classics 15656 91372 7 Goldmark, K. Violin concerto no 1 in A minor, op 28 (1877). Nai-Yuan Hu, vn; Seattle SO/ Gerard Schwarz. Delos DE 3156 36

Glitter and be gay, from Candide (1956). Natalie Dessay, sop; London PO/Andrew Davis. Virgin 363332 2 9 6 Symphonic dances, from West Side story (1960). New York PO/Leonard Bernstein. CBS MYK 44773

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

14:30 GREAT STRING PLAYERS Jacqueline Du Pré Prepared by Norman Lees

Mozart, W. Symphony no 35 in D, K385, Haffner (1782). Academy of Ancient Music/ Christopher Hogwood. L’Oiseau-Lyre 421 085-2 22

Handel, G. Sonata in G minor (arr. Slatter). Ernest Lush, pf. EMI CZS 5 68132 2 11

11:30 MOZART OPERAS ARRANGED Prepared by Chris Blower Danzi, F. Variations on a theme from Don Giovanni (1815; ed. Klug). Maria Kliegel, vc; Nina Tichman, pf. Naxos 8.557613 7 Liszt, F. Reminiscences, after Don Juan (184177). Leslie Howard, pf. Hyperion CDA66371/72 19 12:00 NOONTIME JAZZ with Peter Mitchell Accessible in-the-hammock jazz to ease you into the weekend 24

Bernstein, L. Symphony no 1, Jeremiah (1942). Christa Ludwig, mezz; Israel PO/Leonard Bernstein. DG 415 964-2 25

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Beethoven, L. Ten variations in G on Müller’s Ich bin der Schneider Kakadu, op 121a (c1803/16). Pinchas Zukerman, vn; Daniel Barenboim, pf. EMI CMS 7 63124-2 19 Fauré, G. Élégie in C minor, op 24 (1880). Gerald Moore, pf. EMI CZS 5 68132 2

Dvorák, A. Cello concerto in B minor, op 104 (1895). Chicago SO/Daniel Barenboim. EMI CZS 5 68132 2 42 Jacqueline du Pré, vc (all above)

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 20:00 THE ROMANTIC CENTURY Prepared by Robert Small Suk, J. Piano quintet in G minor (1893). Nash Ensemble. Hyperion CDH 55416 34 Schumann, R. Symphony no 3 in E flat, op 97, Rhenish (1850). Seattle SO/Gerard Schwarz. Naxos 8.571213 41 Adam, A. Excerpts from Act I of Giselle (1841). Academy of St Martin in the Fields/Neville Marriner. Brilliant Classics 94354 30 Dvorak, A. Silent woods (1883/91). Christian Poltéra, vc; Kathryn Stott, pf. BIS SACD1947 5 22:00 BAROQUE AND BEFORE Prepared by Robert Small Handel, G. Silete venti, HWV242 (c1724). Miriam Allan, sop; Ironwood. ABC 476 4997

Fasch, J. Overture in A minor. Tempesta di Mare. Chandos CHAN 0783 26 Anon. Missa quem malignus spiritus (1463). Binchois Consort. Hyperion CDA 67868 35 Monteverdi, C. Combattimento di Tancredi e Clorinda (pub. 1638). Patrizia Ciofi, sop; Topi Lehtipuu, ten; Roland Villazon, ten; Le Concert d’Astrée/Emmanuelle Haïm. Virgin 3 63350 2 18

Saturday 2 February 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 THE GEWANDHAUS ORCHESTRA Prepared by Barrie Brockwell Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). Teldec 243 463-2 38 Strauss, R. Romance in F (1883). Heinrich Schiff, vc. Philips 426 262-2

Rest, my soul; Cradle song; Dedication (188599). Jessye Norman, sop. Decca 4758507 12 Liszt, F. Hungarian fantasy (1853). Michel Béroff, pf. EMI CZS 7 67214 2

Gewandhaus Orchestra Hall, Leipzip, Germany 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 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

Kálmán, E. Excerpts from Die Herzogen von Chicago. Deborah Riedel, sop; Monica Groop, mezz; Endrik Wottrich, ten; Reinhard Ginzel, ten; Berlin RSO/Richard Bonynge. Decca 466 057-2 19 Straus, O. Excerpts from Ein Waltzertraum. Anneliese Rothenberger, sop; Edda Moser, sop; Brigitte Fassbaender, mezz; Graunke SO/Willy Mattes. LaserLite 16 042 18

Kurt Masur, cond (4 above)

14:00 MUSICAL EXPLORATIONS Pole to pole Prepared by Stephen Schafer

Bach, J.S. Ach Herr, lass dein lieb Engelein; Erschallet, ihr lieder! from St John Passion, BWV245 (1724/30/40s). St Thomas Boys’ Choir, Leipzig. Rondeau ROP4030 6

Grainger, P. The warriors (1913-16). BBC PO/ Richard Hickox. Chandos CHAN 10638 19

Gershwin, G. Catfish Row, symphonic suite (1936; ed. Bowen). Riccardo Chailly, cond. Decca 478 2739 24

Hill, A. String quartet no 6 in G, The kids (1927). Dominion Quartet. Naxos 8.572097

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Derek Parker

Lehár, F. Excerpts from Das Land des Lächelns. Elisabeth Schwarzkopf, sop; Erich Kunz, bassbar; Philharmonia O/Otto Ackermann. EMI 7 69523 2 17 Nicolai Gedda, ten (2 above) 20:00 LIVE AND LOCAL Musica Viva presents Naoko Shimizu and the Kuss Quartet Produced by Greg Ghavalas RECORDED BY FINE MUSIC

Gewandhaus O (all above)

Antill, J. Corroboree (1946). New Zealand SO/ James Judd. Naxos 8.570241 41

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

Edwards, R. White ghost dancing (1999). Tasmanian SO/Richard Wills. ABC 476 227-0

MacCunn, H. Overture: Land of the mountain and the flood (1887). Fairey Band/Harry Mortimer. LP Grosvenor GRS 1043 9

15:30 MUSIC FOR WORDS Prepared by Rex Burgess

Kurtág, G. Officium breve in memoriam Andreae Szervánsky, op 28 (188-89).

Purcell, H. Dido and Aeneas (1689). The Scholars Baroque Ensemble. Naxos 8.553108

Brahms, J. Quintet no 2 in G, op 111 (1890). Naoko Shimizu, va. 34

Curtis, E. de Torna a Surriento. Phillip McCann, tpt; Sellers Engineering Band/Roy Newsome. Chandos 4521 4 Coates, E. Dambusters march. Black Dyke Mills Band/Geoffrey Brand. LP RCA LFL1 5071 3 Sousa, J.P. La reina de la mer waltzes. Allentown Band/Ronald Demkee. AMP 88115

Boyd, A. Cycle of love (1981). Hartley Newnham, ct; Geoffrey Collins, fl; Susan Blake, vc; Nicholas Routley, pf. MBS 21 CD 15 Mahler, G. The song of the earth (1909). Agnes Baltsa, cont; Klaus König, ten; London PO/Klaus Tennstedt. EMI CDC7J4603 2 1:07 18:00 FOCUS ON FOLK Folk Federation of NSW

Kerry, G. String quartet (2012).

Mozart, W. String quartet no 21 in D, K575 (1798). 24 11

Huss Quartet (all above) 21:35 AN OPERETTA INTERLUDE Sousa, J.P. Suite from El Capitan (1895). Razumovsky SO/Keith Brion. Naxos 8.559008

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

fineMusic FM 102.5

Sunday 3 February Carter, E. Changes. Todd Seelye, gui. Music & Arts CD-1032

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen

Lutoslawski, W. Melodie Ludowe, from Folk melodies (1945; arr. Bream). Julian Bream, gui. EMI Classics 7 54901 2 16

9:00 CELESTIAL NOTES Prepared by Rex Burgess

19:00 OPERA HIGHLIGHTS Prepared by Randolph Magri-Overend

Biber, H. Mystery sonata no 13 (c1676). Suzanne Lautenbacher, vn; Johannes Koch, va da gamba; Rudolf Ewerhart, hpd. Jagel 2J407-82 8 Schütz, H. Der Schwanengesang (c1670). Song Company; David Drury, org; Roland Peelman, cond. Celestial harmonies 13139-2 1:14 10:30 CHAMBER MASTERWORKS Prepared by Frank Morrison Mendelssohn, F. Piano quartet in C minor, op 1 (1822). Domus. Virgin VC 7 91183-2 26 Myslivecek, J. Wind octet no 2 in E flat (c1770). Harmoniemusik of London. Virgin 5 61368 2

Medtner, N. Three nocturnes, op 16 (1909). Laurence Kayaleh, vn; Paul Stewart, pf. Naxos 8.570298 14 Dvorák, A. String quintet in E flat, op 97 (1893). Raphael Ensemble. Hyperion CDA66308

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

Verdi, G. Overture to La forza del destino (1862). Los Angeles PO/Zubin Mehta. Decca 475 7471 Yan Pascal Tortelier Grieg, E. Holberg suite, op 40 (1884). Northern Sinfonia/Paul Tortelier. EMI CDM 1 66419-2 18 Lalo, E. Symphonie espagnole, op 21 (1873). Yan Pascal Tortelier, vn. EMI 7 69457 2 33

Solenne in quest’ora, from La forza del destino. Carlo Bergonzi, ten; Dietrich FischerDieskau, bar; Bavarian RSO/Jesús López-Cobos. Orfeo C028821A 4 O Carlo, ascolta, from Don Carlo (1867). Tito Gobbi, bar; Rome Opera TO/Gabriele Santini. EMI 5 668102 4

Saint-Saëns, C. Valse-caprice in A flat, op 76, Wedding cake (1885). Maria de la Pau, pf. EMI 575 871-2 7

O terra addio, from Aïda (1871). Angela Gheorgiu, sop; Roberto Alagna, ten; Berlin PO/ Claudio Abbado. EMI 5.566562 11

City of Birmingham SO/Louis Frémaux (2 above)

19:30 SUNDAY NIGHT CONCERT

Tortelier, P. Double concerto (1950). Arto Noras, vc; Maud Martin Tortelier, vc; BBC PO/ Yan Pascal Tortelier. Chandos CHAN 9898 26

Suppé, F. Overture to Poet and peasant (1846). Radio SO Paris/Loic Bertrand. ZYX CLS 4028 10

17:00 HOSANNA Prepared by Warwick Bartle

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

Byrd, W. Miserere mei; Ave verum corpus; Bow thine ear. Cambridge Singers/John Rutter. Collegium COLCD 107 11

Shchedrin, R. Ballet: Carmen suite after Bizet (1967). Ukrainian State SO/Theodore Kucha. Naxos 8.553038 45

13:00 WORLD MUSIC: Whirled Wide with Anna Tranter Traditional and contemporary music from around the globe

Howells, H. Requiem. Choir of Christ’s College, Cambridge/David Roland. Regent REGCD 169

14:00 SUNDAY SPECIAL The Tortelier family Prepared by Chris Blower

Purcell, H. Lord, how long wilt thou be angry?; Thou knowest Lord; Hear my prayer, O Lord. Collegium COLCD 107 9

Nilsson, A. Serenade (2000). Ola Karlsson, vc; Östersund Wind Quintet. SFZ 1002 19

Tchaikovsky, P. Variations in A on a rococo theme, op 33 (1876). Paul Tortelier, vc; Royal PO/Charles Groves. RPO 8012 19

Harris, W. Fair is the heaven; Bring us O Lord God. Collegium COLCD 113 9

Dukas, P. Symphony in C (1895-96). BBC PO/ Yan Pascal Tortelier. Chandos CHAN 241-32 41 Bach, J.S. Sonata in G, BWV1027 (c1720). Paul Tortelier, vc; Robert Veyron-Lacroix, hpd. Elatus 0927-46717-2 15 Debussy, C. Trois chansons de Charles d’Orléans (1898). Pomone Tortelier, mezz; Groupe Vocal de France/John Alldis. EMI CDC 7 54452 2 26

fineMusic FM 102.5

Lindberg, M. Mano a mano (2004). Timo Korhonen, gui. Ondine ODE 1091-2

Kay, D. Sonata (2000). Christian Wojtowicz, vc; David Bollard, pf. Move MD 3345 21

Cambridge Singers/John Rutter (2 above) 18:00 CLASSICAL GUITAR SOCIETY Departures and returns Prepared by Sue McCreadie Dowland, J. Fantasia; Lachrimae pavan; Can she excuse. David Russell, gui. Telarc 80659-25 10 Britten, B. Nocturnal. Sharon Isbin, gui. Virgin Classics 7 45024-2

21:00 NEW HORIZONS Prepared by Phil Vendy

Schmidt, H. Piano concerto no 2 (2001). Christina Petrowska Quilico, pf; KitchenerWaterloo SO/Daniel Warren. Centrediscs CMCCD 17011 25 22:30 ULTIMA THULE Ambient and atmospheric music: www. ultimathule.info for detailed playlist

Monday 4 February

Karl Böhm

Overture to the Bronze Horse

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC Inspired by opera Prepared by Chris Blower Chopin, F. Grand duo concertant in E on themes from Meyerbeer’s Robert le Diable (1831). Maria Kliegel, vc; Bernd Glemser, pf. Naxos 8.553159 13 Gluck, C. Suite du divertissement, from Iphigenia in Aulis (1774). Rhenish CO/Jan Corazolla. Christophorus CHE 0064-2

Giuliani, M. Potpourri from Rossini’s Tancredi, op 76 (pub. 1817). Mikael Helasvuo, fl; Jukka Savijoki, gui. BIS CD-413 14 Glinka, M. Dances in Naina’s castle, from Ruslan and Ludmila (1842). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00166 15 10:00 MORNING CONCERT Prepared by Sheila Catzel Bach, J.S. Orchestral suite no 1 in C, BWV1066 (c1724). Capella Istropolitana/Jaroslav Dvorák. Naxos 8.554043 22 Rajna, T. Harp concerto (1990). Moya Wright, hp; National SO/Allan Stephenson. Claremont GSE 1526 25 Beethoven, L. Symphony no 2 in D, op 36 (1801-02). Vienna PO/Karl Böhm. DG 463 194-2 35 11:30 TRIOS Prepared by Sheila Catzel Bach, J.S. Sonata in E minor, BWV1023 (c1723). Catherine Mackintosh, vn; Jennifer Ward Clarke, vc; Maggie Cole, hpd. Chandos CHAN 0602/3 11

Beethoven, L. Trio in E flat, WoO38 (179192). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf. Sony SM2K 64510 15 12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and ther dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 BLESSED ARE THE ANIMALS Prepared by Randolph Magri-Overend Auber, D-F-E. Overture to The bronze horse (1835). Czecho-Slovak PO/Richard Hayman. Naxos 8.553264 8 Cox, D. Cantata of beasts. Adelaide Singers/ Patrick Thomas. LP ABC AC 1014 15 Schumann, R. Die Löwenbraut, op 31 no 1 (1840). Simon Keenlyside, bar; Graham Johnson, pf. Hyperion CDJ33102 8 Saint-Saëns, C. Carnival of the animals (c1910). Pamela Page, pf; Max Olding, pf; Queensland SO/Bernard Heinze. LP EMI SMP 0041 21 14:00 HAYDN: THE LATER YEARS Prepared by Philip Lidbury Haydn, J. Sinfonia concertante in B flat, Hob.I:105 (1792). David Reichenberg, ob; Erich Höbarth, vn; Milan Turkovic, bn; Christophe Coin, vc; Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 2292-44196-2 22 String quartet in F minor, Hob.III:61, Razor (1788). The Lindsays. ASV DCS 236 24

Robinson Trio Summer, from The seasons, Hob.XXI:3 (1801). Barbara Bonney, sop; Anthony Rolfe Johnson, ten; Andreas Schmidt, bass; Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. Archiv 431 818-2 35 Symphony in E flat, Hob.I:103, Drumroll (1795). Les Musiciens du Louvre/Marc Minkowski. naïve V 5176 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 A JAZZ 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 KEYBOARD CONTRASTS Schubert, F. Impromptu, D899 no 4 (1828). Roger Woodward, pf. Artworks AW 021 6 Liszt, F. Rhapsodie espagnol (c1863). Yevgeny Sudbin, pf. NCA MA-DE 9612 701 14 Beethoven, L. Trio in B flat, op 97, Archduke (1811). Kalichstein/Laredo/Robinson Trio. IMP PCD 874 42 Scharwenka, X. Two Polish dances, op 3. Seta Tanyel, pf. Helios CDH 55131 5 Couperin, F. Harpsichord pieces, bk 2. Christophe Rousset, hpd. Harmonia Mundi HMX 2908147-9

Mussorgsky, M. Pictures at an exhibition (1874). Sergio Perticaroli, pf. Aura AUR 407-2 32

fineMusic FM 102.5

Tuesday 5 February 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 Pianists of choice: Katia and Marielle Labèque Prepared by Howard Pritchard Satie, E. Gnossiennes nos 1 to 6 (1890-97). Katia Labèque, pf. KML 1120 16 Falla, M. de Andalusian dances (1921). Philips 438 938-2 Ravel, M. Suite: Mother goose (1908-10). KML 1111

13:00 LEHAR WITHOUT A WALTZ Prepared by Francis Frank

Lehár, F. Overture to The land of smiles (1929). Zurich Tonhalle O/Franz Lehár. Naxos 8.110857 8

Katia Labèque, Marielle Labèque, pf (2 above) 10:00 MORNING CONCERT Prepared by Shamistha de Soysa

Can can; cakewalk; Melos, from The merry widow ballet (arr. Lanchbery). Adelaide Singers; Adelaide SO/John Lanchbery. EMI 754163 2 13

Ibert, J. Divertissement (1930). Paris Conservatoire O/Jean Martinon. Decca 478 3156-67

Concertino in B minor. Robert McDuffie, vn; Cincinnati Pops O/Erich Kunzel. Telarc CD-80402 13

Saint-Saëns, C. Piano concerto no 3 in E flat, op 29 (1869). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo. Hyperion CDA67331/2 26 Roussel, A. Symphony no 1, op 7, Forest poem (1908). Paris O/Christoph Eschenbach. Ondine ODE 1092-2 42 11:30 ARRANGED FOR... Prepared by Chris Blower Boccherini, L. Introduction and fandango (arr. Kain). Guitar Trek. ABC 461 727-2 7 Arban, J-B. Fantaisie brillante (arr. Hunsberger). Wynton Marsalis, cornet; Eastman Wind Ensemble/Donald Hunsberger. CBS MK 42137 8 Chopin, F. Ballade no 1 in G minor, op 23 (arr. Ysaÿe). Philippe Graffin, vn; Pascal Devoyon, pf. Hyperion CDA67285 10 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

Katia and Marielle Labéque

fineMusic FM 102.5

On the gray Danube (c1920). Hanover RPO/ Klauspeter Seibel. cpo 999 423-2 5

Bach, C.P.E. Sonata in B minor, Wq49 no 6, Württemberg (1742). Gustav Leonhardt, hpd. Pro Arte CDD 248 13 Meyerbeer, G. Festival march for centenary of Schiller’s birth (1859). Hanover RPO/Michail Jurowski. cpo 999 168-2 9 Strauss, R. Horn concerto no 1 in E flat, op 11 (1883). Dennis Brain, hn; Philharmonia O/ Wolfgang Sawallisch. EMI 7 47834 2 15 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh

Excerpts from Guiditta (1934). Soloists, Ch & O Lyrique of the ORTF/Adolphe Sibert. Naxos 8.111010 14

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

14:00 INTERLUDES FOR CELLO Prepared by Michael Field

20:00 RECENT RELEASES

Beethoven, L. Seven variations in E flat on the theme Bei Männern, welche Liebe fühlen, WoO46 (1801). Pierre Fournier, vc; Wilhelm Kempff, pf. DG 453 013-2 9 Brahms, J. Six songs (1896). David Pereira, vc; David Bollard, pf. Tall Poppies TP078 15

22:00 BEYOND ROMANTICISM Cold temperate Prepared by Phil Vendy Grieg, E. Symphonic dances, op 64 (1896/98). Bergen PO/Ole Kristian Ruud. BIS CD-1740/42 34

Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Mstislav Rostropovich, vc; Boston SO/Seiji Ozawa. Erato 2292-45252-2 18

Tveitt, G. Piano concerto no 4, op 130, Aurora borealis (1947). Håvard Gimse, pf; Gunilla Süssmann, pf; Royal Scottish NO/Bjarte Engeset. Naxos 8.555761 30

Nin, J. Chants d’Espagne (1923). David Pereira, vc; David Bollard, pf. Tall Poppies TP078 10

Bortkiewicz, S. Four pieces, op 65 (1947). Stephen Coombs, pf. Hyperion CDA67094 14

15:00 FROM BERLIN Prepared by Brian Drummond

Holmboe, V. Symphony no 8, op 56, Sinfonia boreale (1951). Aarhus SO/Owain Arwel Hughes. BIS CD-618 34

Quantz, J. Double concerto in G. Jed Wentz, fl; Marion Moonen, fl; Musica ad Rhenum/ Florian Deuter. Vanguard 99040 15

Wednesday 6 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti 9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Chris Blower Handel, G. Instrumental suite, from Radamisto, HWV12 (1720). Akademie Für Alte Musik. Harmonia Mundi HMC901685 7 Graun, C. Sinfonia, from Montezuma (1755). London PO/Richard Bonynge. LP Decca SET 351 8 Vivaldi, A. Con questo ferro indegno; Gemo in un punto e fremo; Sinfonia, from L’Olimpiade, RV725 (1734). Orfeo 55/Nathalie Stutzmann, cont & dir. DG 476 4390 10 Purcell, H. Overture; Why should men quarrel? from The Indian Queen (1695). Miriam Allan, sop; Ironwood. ABC 476 4997 4 Lully, J-B. Overture and suite from Amadis (1684). Collegium Aureum/Reinhard Peters. Harmonia Mundi HM 20322 23

13:00 MEMORABLE MOVEMENTS Prepared by Sheila Catzel Schubert, F. Adagio in E flat, D897, Notturno (c1828). Beaux Arts Trio. Philips 442 9375 13 Tchaikovsky, P. Andante cantabile, from String quartet no 1, op 11 (1871). Borodin Quartet. apex 0927 49815 2

Mahler, G. Piano quartet movement (1877-78). Domus. Virgin VC 7 90739-2 11 Barber, S. Adagio for strings, op 11 (1936). Kronos Quartet. Nonesuch 979 181-2

Schubert, F. Piano trio movement in B flat, D28 (1812). Hansheinz Schneeberger, vn; Thomas Demenga, vc; Jörg Ewald Dähler, fp. Claves 50 9112 12 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.

TRAGIC MUSE, VENUS: Adele Boney, cont EURIDICE: Nerina Santini, sop ORFEO: Rodolfo Farolfi, ten PLUTO: Frederico Davia, bass Milan Polyphonic Choir; I Solisti di Milano/ Angelo Ephrikian. Harmonia Mundi HM2.478 1:32 The Tragic Muse sets the scene in the Prologue. The wedding of Orpheus and Euridice is being celebrated by nymphs and shepherds. Euridice is fatally bitten by a snake. Orpheus vows to join her in the Underworld and is transported there by Venus in her chariot. He pleads with Pluto and other gods of the Underworld for the return of his wife. Venus suggests that Orpheus charm the gods with his sweet singing. They relent and allow Euridice to return to the world and great rejoicing results from this happy ending. Gagliano, M. da La Dafne. Musical drama in a prologue and six scenes. First performed Mantova, 1608. DAPHNE / VENUS: Norma Lerer, mezz CUPID: Barbara Schlick, sop APOLLO / OVID: Nigel Rogers, ten Monteverdi Choir; Camerata Accademica/ Jürgen Jürgens. LP Archiv 2533 348 1:05

Antal Dorati, cond (2 above)

The Prologue is given by the poet, Ovid. When the opera begins, the god Apollo has slain the Python, a monster which has been terrifying the island of Delos. He boasts of his prowess and invincibility to Cupid and Venus and, unimpressed, they make him fall in love with a beautiful nymph Daphne, daughter of the river god. She rejects him and flees with Apollo in pursuit. She rushes to the river appealing for protection and as she reaches the water’s edge, her feet become rooted to the ground and she is transformed into a laurel tree. Apollo, clasping the tree trunk, declares that henceforth the laurel would be his favourite tree and that prizes awarded to poets, musicians and others of high achievement would be crowned with a laurel wreath.

11:30 ARRANGED FOR... Prepared by Chris Blower

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

23:00 BRAZILIAN SOUNDSCAPES AND SOLO CELLO Produced by Edda Filson

Corelli, A. Les folies d’Espagne, op 5, no 12 (arr. Nordmann). Patrice Fontanarosa, vn; Marielle Nordmann, hp. EMI 5 56359 2 10

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

Almeida, L. The story of inspiration; Pavane for Pancho; The story of the moon. 9

Zimbalist, E. Sarasateana (arr. 1947; transcr. Primrose). Roberto Diaz, va; Robert Koenig, pf. Naxos 8.557391 16

20:00 AT THE OPERA Transformations: An Italian Baroque double bill Prepared by Elaine Siversen

Jobim, A. Corcovada.

10:00 MORNING CONCERT Prepared by Di Cox

15:00 DIVERGENT MUSIC Prepared by Frank Morrison

Glinka, M. Spanish overture no 1: Capriccio brillante on the jota aragonesa (1845). Armenian PO/Loris Tjeknavorian. ASV DCA 1075 9

Mahler, G. Suite from orchestral works by J.S. Bach (1910). Berlin RSO/Jésus López-Cobos. Schwann 11637 24

Beethoven, L. Piano concerto no 2 in B flat, op 19 (1793/94-95). William Kapell, pf; NBC SO/ Vladimir Golschmann. Naxos 8.110767 27 Prokofiev, S. Symphony no 5 in B flat, op 100 (1944). Birmingham SO/Simon Rattle. EMI 7 54577 2 44

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

Bartók, B. Seven choruses (1935). Liszt Ferenc Academy of Music Chamber Ch; Budapest SO. Hungaroton HCD 31047 14 Haydn, J. Symphony in G, Hob.I:23 (c1764). Philharmonia Hungarica. Decca 425 905-2 15

Peri, J. Euridice. Opera in five scenes. Libretto by Ottavio Rinuccini. First performed Florence,1600.

Reis, D. If I should ask her (transcr. Hoang). 3 3

Hoang, T. Brazilian soundscape; Lullaby; Rio in my imagination. 12 Tuan Hong, gui (all above) Bach, J.S. Suite no 2 in D minor, BWV1008 (c1720). Georg Mertens-Moussa, vc. 22 fineMusic FM 102.5

Thursday 7 February 11:30 MOZART OPERAS ARRANGED Prepared by Chris Blower Beethoven, L. Variations on Mozart’s La ci darem la mano, WoO28 (c1796). Marilyn Zupnik, ob; Kathryn Greenbank, ob; Elizabeth Starr, cora. ASV QS 6192 9 Reicha, A. Eighteen variations and a fantasy on Mozart’s Se vuol ballare, op 51 (1804). Jean-Pierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc. Sony SK 44568 17 Gerard Willems

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

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

13:00 MARTIN COOKE SINGS BACH Prepared by Patrick Thomas

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Michael Morton-Evans Skryabin, A. Two nocturnes, op 5 (1890). Roger Woodward, pf. ABC 465 671-2

Bach, J.S. Grosser Herr und starker König; Erleucht’ auch meine finstre Sinnen, from Christmas oratorio, BWV248 (1734). Isertal Ensemble/Philipp Amelung. 6

Symphony No 3, op 43, The divine poem, mvt 4 (1901-04). Moscow SO/Igor Golovschin. Naxos 8.553582 11 Poem of ecstasy, op 54 (1905-08). Adolph Herseth, tpt; Chicago SO. Chandos CHAN 8849 20 Rêverie in E minor, op 24 (1898). Scottish NO. Chandos CHAN 8462 4 Neeme Järvi, cond (2 above) Allegro de concert, op 18 (1896). Tamara Anna Cislowska, pf. Artworks AW014 6 Deux poèmes, op 71 (1914). Marc-André Hamelin, pf. Hyperion CDA67050

10:00 MORNING CONCERT Prepared by Michael Morton-Evans Smetana, B. Overture to The bartered bride (1866). Melbourne SO/Jorge Mester. ABC 438 611-2 7 Beethoven, L. Piano concerto no 4 in G, op 58 (1805-06). Gerard Willems, pf; Sinfonia Australis/Antony Walker. ABC 980 046-2 34 Brahms, J. Symphony no 2 in D, op 73 (1877). Scottish CO/Charles Mackerras. Telarc CD-80450 43 30

fineMusic FM 102.5

Glazunov, A. Spring, op 34 (1891). Moscow SO/Igor Golovschin. Naxos 8.553838 14 Martinu, B. Pastorales (1930). Christian Benda, vc; Sebastian Benda, pf. Naxos 8.554503 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 20:00 EVENINGS WITH THE ORCHESTRA Dvorák and the orchestra Prepared by Stephen Wilson Dvorák, A. Overture: My home, from Incidental music to Josef Kajetán Tyl, op 62 (1882). Scottish NO/Neeme Järvi. Chandos CHAN 8798 9

Betrachte, meine Seele; Eilt, ihr angefochtnen Seelen, from St John Passion, BWV245 (1724). Members of Munich SO/Eduard Steinbügl. 7 Et in spiritum sanctum, from Mass in B minor, BWV232 (1749). Benjamin Britten Ensemble, Munich/Philipp Amelung. 5 Martin Cooke, bar (all above) Private recording 13:30 JUST STRINGS

Symphony no 6 in D, op 60 (1880). London SO/ István Kertész. Decca 417 598-2 46 Legends, op 59 (1881). Scottish CO/José Serebrier. ASV DCA 765

Overture to Dimitrij, op 64 (1882). CSSR State PO/Robert Stankovsky. Marco Polo 8.223272 13 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel

Wiren, D. Serenade, op 11 (1937). Strings of Melbourne SO/Leonard Dommett. LP ABC VRL1 0115 14

Beethoven, L. Sonata no 3 in A, op 69 (180708). Mstislav Rostropovich, vc; Sviatoslav Richter, pf. Philips 464 677-2 26

Hovhaness, A. Guitar concerto no 2, op 394 (1985). Javier Calderón, gui; Strings of Royal Scottish NO/Stewart Robertson. Naxos 8.559336 26

Brahms, J. Trio no 3 in C minor, op 101 (1886). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf. Sony SM3K 64520 21

Hill, A. Symphony no 13 in A minor (1935/50). Strings of West Australian SO/Tibor Paul. LP ABC AC 1015 25

Berwald, F. Grand septet (1842). Gervase de Peyer, cl; Melos Ensemble. EMI 5 65995 2 23

Elgar, E. Serenade in E minor, op 20 (1892). Strings of Melbourne SO/Leonard Dommett. LP ABC VRL 1 0115 12

Vaughan Williams, R. Quintet in D (1898). Nash Ensemble. Hyperion CDA67381/2 25

15:00 FRESH AIR Prepared by Phil Vendy

Janacek, L. Mládi (1924). Aurèle Nicolet, fl; Heinz Holliger, ob; Eduard Brunner, cl; Elmar Schmid, bass cl; Klaus Thunemann, bn; Radovan Vlatkovic, hn. Denon 33CO-1474 16

Shankar, R. The enchanted dawn. Geoffrey Collins, fl; Alice Giles, hp. Tall Poppies TP031 13

Friday 8 February 0:00 CONTEMPORARY COLLECTIVE

13:00 MARTIN COOKE SINGS BACH Prepared by Patrick Thomas

3:00 CLASSICAL TILL DAWN

Bach, J.S. Der Heiland fällt vor seinem Vater nieder; Gerne will ich; Gebt mir meinen Jesum wieder; Ja! freilich will; Komm, süsses Kreuz; Mache dich, mein Herze, from St Matthew Passion, BWV244 (c1727). Martin Cooke, bar; Ensemble Lodron, Munich/Anton Ludwig Pfell. Private recording 24

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Sheila Catzel

13:30 DANISH ODYSSEY Prepared by Francis Frank

Balakirev, M. Reminiscences of the opera A life for the Tsar by Michel Glinka (1899). Nicholas Walker, pf. ASV DCA 940 12 Bantock, G. Russian scenes (1899). CzechoSlovak State PO/Adrian Leaper. Naxos 8.555473 14 Glinka, M. Variations brillante on a theme by Donizetti in A (1831). Victor Ryabchikov, pf. BIS CD-980 10

Rimsky-Korsakov, N. Fantasy on Russian themes, op 33 (1887). Lydia Mordkovitch, vn; Royal Scottish NO/Neeme Järvi. Chandos CHAN 10491 17

Suk, J. Meditation, op 35a (1914). Suk Quartet. CRD 3472 6

Holmboe, V. Concerto no 11, op 44 (1948). Håken Hardenberger, tpt; Aalborg SO/Owain Arwel Hughes. BIS CD-802 16

Arensky, A. Fantasia on Russian folksongs, op 48 (1899). Stephen Coombs, pf; BBC Scottish SO/Jerzy Maksymiuk. Hyperion CDA66624 9

Bartok, B. Romanian folk dances (1915; arr. Falletta). Debra Wendells Cross, fl; Robert Alemany, cl; JoAnn Falletta, gui. Virginia Arts Festival VA901 6

Langgaard, R. Symphony no 5, Nature of the Steppe (1931). Danish National RSO/Neeme Järvi. Chandos CHAN 9064 16

Kalinnikov, Vasily. Incidental music to Tsar Boris (1899). Budapest SO/Antal Jancsovics. Marco Polo 8.223135 38

Debussy, C. Piano trio no 1 in G (1880). Australian Trio. ABC 476 123-1

Kuhlau, F. Variations on an Irish air: The last rose of summer, op 105 (1829). Per Øien, fl; Geir Henning Braaten, pf. LP Simax PN 2004 9

Tchaikovsky, P. Souvenir of a beloved place, op 42 (1878; arr. Parhamovsky). Maxim Vengerov, vn; Vag Papian, pf. EMI 5 57164 2 18

Nielsen, C. Overture: Helios, op 17 (1903). Gothenburg SO/Neeme Järvi. DG 447 757-2

10:00 MORNING CONCERT Prepared by Giovanna Grech

Norgård, P. Concerto in due tempi (1996). Per Salo, pf; Danish NRSO/Leif Segerstam. Chandos CHAN 9491 29

Berlioz, H. Overture to Beatrice and Benedict (1862). Scottish NO/Alexander Gibson. Chandos CHAN 8316 8

15:00 THE ITALIAN INFLUENCE Prepared by Denis Patterson

Glazunov, A. Violin concerto in A minor, op 82 (1904-05). Itzhak Perlman, vn; Israel PO/ Zubin Mehta. EMI CDC 7 49814 2 20 Dohnányi, E. Suite in F sharp minor, op 19 (1908-09). BBC PO/Matthias Bamert. Chandos CHAN 9733 29 Mendelssohn, F. Sinfonia no 8 in D (1822). Orpheus CO. DG 437 528-2 26 11:30 BY ARRANGEMENT

Cimarosa, D. Overture to The secret marriage (1791). Nicolaus Esterházy Sinfonia/Alessandro Amoretti. Naxos 8.570508 6 Scarlatti, A. Sinfonia no 7 in G minor (c1715). Music Antiqua Toulon/Christian Mendoze. Pierre Verany PV795031 6 Sammartini, G.B. Oboe concerto in G. Orchestra di Padova e del Veneto/Diego Dini Ciaccim, ob & dir. cpo 777715-2 16 Boccherini, L. Symphony in A, op 12 no 6 (1776). London Mozart Players/Matthias Bamert. Chandos CHAN 10604 24

22:00 BAROQUE AND BEFORE English born Prepared by Philip Lidbury Croft, W. Overture in D (1713). Michael Laird, tpt; members of Parley of Instruments. 7 Hyperion CDA66817 Boyce, W. Trio sonata no 15 in D (1747). Parley of Instruments Baroque O. Hyperion CDA67151/2 14 Peter Holman, dir (2 above) Purcell, H. Ode for birthday of Queen Mary: Now does the glorious day appear (1689). Emma Kirkby, sop; Evelyn Tubb, sop; Michael Chance, ct; Ian Bostridge, ten; Stephen Richardson, bass; Simon Birchall, bass; Paula Chateauneuf, theorbo; Martin Baker, org, Stephen Le Prevost, org; Martin Neary, org, hpd; Westminster Abbey Choir; New London Consort/Martin Neary. Sony SK 66243 24 Babell, W. Recorder concerto no 3 in D minor. Dan Laurin, rec; Van Wassenaer O/Makoto Akatsu. BIS CD-985 11 Purcell, H. Music lessons 7 to 12, from Musick’s hand-maid, Part II (1687). George Malcolm, hpd. Vanguard OVC 2002/3

Anon. Salve regina. Lionheart. Nimbus NI 5512

Bach, J.S. Organ prelude and fugue in B minor, BWV544 (1725-28; transcr. Liszt). 13

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

Organ prelude and fugue in E minor, BWV548 (1727-31; transcr. Liszt). 13

19:00 FRIDAY JAZZ SESSION with Sally Cameron

Artur Pizarro, pf (2 above) Collins 14982

20:00 THE ROMANTIC CENTURY Prepared by Chris Blower

Arne, T. Keyboard concerto no 3 in A (pub.1793). Parley of Instruments Baroque O/ Paul Nicholson, fp & dir. Hyperion CDA66509 17

12:00 NOONTIME JAZZ with Peter Mitchell

Lortzing, A. Overture to Tsar and carpenter (1837). Leipzig RSO/Werner Feder. Marco Polo 6.220310 7

Cornysh, W. Stabat mater. Parsons Affayre/ Warren Trevelyan-Jones. Vox Foris MMPA002 18 fineMusic FM 102.5

Saturday 9 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

Atherton, M. Shifting ground. Southern Crossings. Spiral Scratch 0007

6:00 SATURDAY MORNING MUSIC with David Garrett

Allworth, R. Yesteryears (1986). David Miller, pf. Jade JADCD 1046 4

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

Pollard, M. Under simple stars (1989). Mardi McSullea, fl; Michael Kieran Harvey, pf. Canberra School of Music CSM 18 11

9:30 SPOTLIGHT ON Graduates of the St Petersburg Conservatory Prepared by Frank Morrison Lyadov, A. Popular Russian songs, op 58 (1906). Suisse Romande O/Ernest Ansermet. Decca 480 0038 13 Skryabin, A. Sonata no 3 in F sharp minor, op 23 (1898). Grigory Sokolov, pf. naïve OP 30386 21 Bellini, V. Casta diva; Ah, bello a me ritorna, from Norma (1831). Anna Netrebko, sop; SouthWest German RSO/Marco Armiliato. DG 477 7177 10

Judy Garland, Gene Kelly in For Me and My Gal. 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 Pat Hopper 14

Excerpts from High sierra.

Rachmaninov, S. Symphony no 3 in A minor, op 44 (1935). BBC Welsh SO/Tadaaki Otaka. Nimbus NI 5344 42

Moscow SO/William Stromberg (2 above) Marco Polo 8.225169

11:30 ON PARADE Prepared by Robert Small

Newman, A. Excerpts from How green was my valley. Studio O/Alfred Newman. Arista 29

Langford, G. An Australian fantasy. Douglas Blackledge, cond. 5

16:30 ARTS IN FOCUS With music at St James’

8 6

Strauss, J. II Blue Danube waltz (arr. Richards). Phillip McCann, cond. 7 Sellers Engineering Band (all above) Chandos CHAN 4511 12:00 JAZZ THEN AND NOW with Michael Cooper 13:00 HISTORIC RECORDINGS Light music Prepared by Randolph Magri-Overend Khachaturian, A. Excerpts from Spartacus (1956). London SO/Aram Khachaturian. HMV 572 1432 32 Various. Bluebird of happiness; The stars looked down; Until; The last time I saw Paris; Open road, open sky. John Charles Thomas, bar. Festival D 29194 14 Kitty my love; Come you not from Newcastle; Ma bonny lad; Blow the wind southerly. Kathleen Ferrier, cont. Decca 430 096 2 7 fineMusic FM 102.5

17:00 COLOURS OF THE KING Program of the Organ Music Society of Sydney Prepared by Andrew Grahame Wesley, S.S. Choral song and fugue.

Whitlock, P. Four extemporisations: Carol; Divertimento; Fidelis; Fanfare. 20 Noake, K. Introduction, pastorale and fugue on Leoni (1959). 12 Langlais, J. Fete (1946).

Edens, R. Excerpts from For me and my gal (1942). Gene Kelly, Judy Garland, George Murphy, voices; MGM Studio O/George Stoll. Sony 886976 38552 19 Lloyd Webber, A. Suite from The phantom of the opera (1968). O/Richard Hayman. Naxos 8. 578039 12

Deutsch, A. Excerpts from The Maltese falcon.

Fernie, A. Scottish rhapsody. Douglas Blackledge, cond.

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Beethoven, L. Sonata no 6 in A, op 30 no 1 (1801-02). Jascha Heifetz, vn; Emanuel Bay, pf. RCA GD 87705 22

A Russian fantasy. Phillip McCann, cond.

Peter Guy, org (all above) Chartreuse 3138420094 18:00 AUSTRALIAN COMPOSERS HOUR Prepared by Troy Fil Edwards, R. Reflections (1985). Colin Piper, pf; Synergy. ABC 442 350-2 10 Broadstock, B. In the silence of the night. Linda Kouvaras, pf. Move MCD 042 10 Conyngham, B. Streams (1988). Geoffrey Collins, fl; Patricia Pollett, va; Marshall McGuire, hp. Tall Poppies TP071 9

Arlen, H. Excerpts from The wizard of Oz (1939). Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, voices; MGM Studio O. Sony Music 886976 38282 18 20:00 LIVE AND LOCAL Part 1: 2012 Crossroads Festival: Sleepless in Leipzig Produced by Greg Ghavalas Bach, J.S. Goldberg variations, BWV988 (17414; transcr. Sitkovetsky). Asmira WoodwardPage, vn; Glen Donnelly, va; Christopher Pidcock, vc. 56 21:00 Part 2: Archival Fine Music: Sacred and secular Josquin Desprez. O Virgo prudentissima ... Beata Mater. Sydney University Chamber Choir/Neil McEwan. 6 Dalza, J. Pavan a la Ferrarese ed Piva. Dowland, J. Pavan: Semper Dowland, semper dolens. Attaingnant, P. Three basse dances. Reluctant Consort (3 above)

Philips, P. Ave verum corpus (1628). Palestrina, G. da Alma redemptoris Mater. Sydney University Chamber Choir/Neil McEwan (2 above) Fine Music Tape Archive (all above)

21:30 SHORTER SYMPHONIES Prepared by Rex Burgess Schubert, F. Symphony no 5 in B flat, D485 (1816). Royal Concertgebouw O/Nikolaus Harnoncourt. Teldec 4509-91184-2 27 22:00 AFTER HOURS with Kevin Jones

Sunday 10 February Hérold, F. Overture to Zampa (1831). BBC PO/ Yan Pascal Tortelier. Chandos CHAN 9765 8 Wagner, R. Willst jenes Tags, from The flying Dutchman. 3 Verloren! Ach, verloren, from The flying Dutchman. Lisbeth Balslev, sop; Simon Estes, bass-bar. 8 Robert Schunk, ten; Bayreuth Festival Ch & O/ Woldemar Nelsson (2 above) Phillips 434 599-2 10:30 CHAMBER MASTERWORKS

Lori Phillips 0:00 CLASSIC-ALL THROUGH THE NIGHT

9:00 WAGNER AND FRIENDS The flying Dutchman Prepared by Barbara Brady

Elgar, E. Chanson de matin, op 15 no 2 (1901). Nora Shulman, fl; Judy Loman, hp. Naxos 8.554166 3

200 th Anniversary

WAGNER

2013

1813

6:00 SUNDAY MORNING MUSIC with Robert Small

Gluck, C. Sonata no 8 in F. Viktor Simcisko, vn; Alzbeta Plaskurova, vn; Juraj Alexander, vc; Marica Dobiasova, hpd. Point Classics 2671772 10

Wagner, R. Overture to The flying Dutchman (1843). Vienna PO/Karl Böhm. DG 477 5445 12

Glinka, M. Grand sextet in E flat for double bass, piano and string quartet (1832). Capricorn. Hyperion CDA 66163 26

Senta’s ballad, from The flying Dutchman. Joan Sutherland, sop; National PO/Richard Bonynge. Decca 475 6302 6

Holzbauer, I. Quintet in B flat for flute, violin, violetta, cello and harpsichord. Concentus Musicus, Vienna/Nikolaus Harnoncourt. Teldec 8573-89360-2 14

Mögst du, mein Kind, from The flying Dutchman. Matti Salminen, bass; Lahti SO/Eri Klas. BIS CD-520 4

Spohr, L. Nonet for strings and winds, op 31 (1813). Bell’arte Ensemble. Mediaphon 25407-159 28

Liszt, F. Spinning chorus, from The flying Dutchman (transcr. 1860). Alexander Uninsky, pf. Phillips 456 052-2 6

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

Wagner, R. Wie aus der Ferne längst vergang’ner zeiten, from The flying Dutchman. Leonie Rysanek, sop; Sigurd Björling, bar; Berlin PO/Wilhelm Schüchter. EMI CDH 5 65201 2 7 Spohr, L. Der Hölle selbst will ich, from Faust, op 60 (1816). Thomas Hampson, bar; Munich RO/Fabio Luisi. EMI 5 55233-2 6 Marschner, H. Overture to The vampire (1828). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 7736 7 Lortzing, A. O sancta justitia! ich möchte rasen, from Zar und Zimmermann (1837). Thomas Quastoff, bass-bar; Berlin Opera O/ Christian Thielemann. DG 471 493-2 7

13:00 WORLD MUSIC: Whirled Wide with Clarissa Mulas 14:00 SUNDAY SPECIAL Paul Dukas: an unassuming master Prepared by Rex Burgess Dukas, P. The sorcerer’s apprentice (1897). Scottish NO/Alexander Gibson. Chandos CHAN 6503 10 Sonata in E flat minor (1901). Jean Hubeau, pf. Erato 2292 454212 43 Ariadne and Bluebeard (1907). Lori Phillips, sop; Ana James, sop; Daphne Touchais, sop; SarahJane Davies, sop; Patricia Bardon, mezz; Laura Vlasak Nolen, mezz; Peter Rose, bass; BBC Singers; BBC SO/Leon Botstein. Telarc CD-80680 1:54

17:00 HOSANNA Prepared by Heather Sykes Hymns: Praise, my soul; Morning has broken; Come down, O love divine; A mighty fortress is our God. Choir of King’s College, Cambridge/ Stephen Cleobury. GMI 557026-2 14 Psalms: no 2, Why do the heathen; no 88, O Lord God of my salvation; no 134, Behold now, praise the Lord. Choir of Norwich Cathedral; Neil Taylor, org; Michael Nicholas, cond. Priory PRCD 409 12 Anon. Slavonic liturgy for Lent: Beatitudes; Psalm 141; Lord’s Prayer; Troparion of St. John, Chrysostom; Great canon of St. Andrew of Crete. Choir of the Benedictine Monks of Chevetegne/Dom Gregoire Bainbridge. Harmonia Mundi HMA 195567 20 Bach, J.S. Jesu, joy of man ‘s desiring (1723). Choir of St. John‘s College, Cambridge; Peter White, org; George Guest, cond. 7 Decca IMPX 9019 18:00 SYDNEY SCHUBERT SOCIETY Prepared by Jan Brown Schubert, F. Divertissement à la Française in E minor, D823 (1825). Christoph Eschenbach, Justus Frantz, pf. EMI 5 69770 2 34 Sonata no 3 in G minor, D408 (1816). Midori Seiler, vn; Jos van Immerseel, pf. Harmonia Mundi ZZT060501 16 19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech Verdi, G. Tacea la notte placida ... Di tale amor, from Il trovatore (1853). Maria Callas, sop; Luisa Villa, mezz; La Scala TO/Herbert von Karajan. 6 EMI 5 67701 2 Massenet, J. Qui, ce qu’elle m’ordonne … Lorsque l’enfant revient, from Werther (1892). Niel Shicoff, ten; Toulouse Capitole O/Michel Plasson. 4 EMI CDC 7 54016 2 Giordano, U. O pastorelle addio ... Perdonami, from Andrea Chénier (1895). Eva Marton, sop; Tamara Takács, mezz; José Carreras, ten; Giorgio Zancanaro, bar; Hungarian State R&T Choir; Hungarian State O/Giuseppe Patané. CBS M2K 42369 14

fineMusic FM 102.5

Sunday 10 February

Monday 11 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter

Saint-Saëns, C. Piano trio no 1 in F, op 18 (1863). Beaux Arts Trio. Philips 434 071-2 30

9:00 DIVERSIONS IN FINE MUSIC Inspired by opera Prepared by Elaine Siversen Salieri, A. Overture to The cave of Trifonio (1785). Czecho-Slovak RSO/Michael Dittrich. Marco Polo 8.223381 6 Quartets from Palmira (1796-97). Christoff Ogg, cl; Regula Schneider, bshn; Markus Niederhauser, bshn; Andreas Ramseier, bshn. Claves 50-9212 7

Grazyna Bacewicz 19:30 SUNDAY NIGHT CONCERT Prepared by Troy Fil Beethoven, L. Piano concerto no 1 in C, op 15 (1795). Australian CO/Stephen Kovacevich, pf & dir. EMI CD-EMX 2177 37 Haydn, J. Symphony in F, Hob.I:67 (c1779). Nicolaus Esterházy Sinfonia/Béla Drahos. Naxos 8.554406 25 Bacewicz, G. Music for strings, trumpets and percussion (1958). Royal Concertgebouw O/ Witold Rowicki. Radio Netherlands RCO 05001 19 21:00 NEW HORIZONS Prepared by Troy Fil Collinge, C. Vocal/piano project X (2012). Craig Collinge, vocals, pf, synthesiser, atmospheric effects. Fury CD 3 Westlake, N. Hinchinbrook riffs (2006). Antony Field, gui; Daniel McKay, gui. Move MD 3355

10 variations in G on Unser dummer Pöbel meint by Gluck, K455 (1784). Mitsuko Uchida, pf. Philips 456 982-2 12

Corigliano, J. Violin concerto, The red violin (2003). Michael Ludwig, vn; Buffalo PO/JoAnn Falletta. Naxos 8.559671 39 Suk, J. Serenade for strings in E flat, op 6 (1892). Czech PO/Jiri Bélohlávek. Chandos CHAN 9640

Suk, J. Piano trio in C minor, op 2 (1889/90-91). Smetana Trio. Supraphon SU 3810-2 15

Smith, H. Simultaneity (1991). austraLYSIS. Tall Poppies TP039

12:00 SWING SESSIONS with John Buchanan

22:30 ULTIMA THULE

fineMusic FM 102.5

Josephs, W. Concerto for brass, op 88 (1974). London Collegiate Brass/James Stobart. Trax Classique TRXCD 114 13 Arnold, M. Symphony for brass instruments, op 123 (1975). Philip Jones Brass Ensemble/Elgar Howarth. Decca 468 803-2 23

19:00 JAZZ

Pécou, T. Tremendum (2005/10). Ensemble Variances; Percussions Clavier de Lyon. Harmonia Mundi HMC 905269 22

Collinge, C. Tranquillity C’s (2012). Craig Collinge, pf, drums, synthesiser, atmospheric effects. 7

Ewazen, E. Symphony in brass. Summit Brass. Summit DCD 171 17

Szymanowski, K. Concert overture in E (190405/12-13). Polish State PO/Karol Stryja. Marco Polo 8.223290 14

Del Tredici, D. Aeolian ballade (2008). Marc Peloquin, pf. Naxos 8.559680 13

15:00 BOLD AS BRASS Prepared by Phil Vendy

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

Corigliano, J. Snapshot; A black November turkey (c1909). Corigliano Quartet. Naxos 8.559180 8

Mendelssohn, F. Sinfonia no 8 in D (1822). Orpheus CO. DG 437 528-2 26

10:00 MORNING CONCERT Prepared by Sheila Catzel

11:30 CHAMBER ENCORE Prepared by Sheila Catzel

Hirst, D. Linden nights (1991). Tape realized by the composer. Aust. Computer Music Association Vol 1 9

Mozart, W. Ballet music for Idomeneo, K367 (1781). Netherlands CO/David Zinman. Philips 464 940-2 27

Hillborg, A. Muoayiaoum (1983). Swedish Radio Choir/Peter Dijkstra. Channel CCS SA 32812

Ysaÿe, E. Extase (1921). Jerrold Rubenstein, vn; Belgian NO/Mendi Rodan. Schwann 311099 H1 10

13:00 A MUSICAL JOURNEY FROM IRELAND TO GREECE Part 1: Ireland to Germany Prepared by Frank Morrison Field, J. Piano concerto no 7 in C (1822). Míceál O’Rourke, pf; London Mozart Players/Matthias Bamert. Chandos CHAN 9534 29 Elgar, E. Serenade in E minor, op 20 (1892). Royal PO/Charles Groves. ASV RPO 8020 13

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 KEYBOARD CONTRASTS Prepared by Judy Ekstein Haydn, J. Sonata no 62 in E flat, Hob.XVI:52 (1794). Paul Badura-Skoda, pf. Astrée E 7714 20 Herzogenberg, H. Trio in D, op 61 (1889). Ingo Goritzki, ob; Barry Tuckwell, hn; Ricardo Requejo, pf. Claves 50 803 25 Mozart, W. Sonata no 14 in C minor, K457 (1784). Sviatoslav Richter, pf. Stradivarius STR 33343 24 Khachaturian, A. Suite in three movements. Joan Yarbrough, pf; Robert Cowan, pf. Pantheon D 20910 11 Hummel, J. Sonata no 6 in D, op 106 (1824). Ian Hobson, pf. Arabesque Z 6564 29

Tuesday 12 February 15:00 INTRODUCTION TO GERSHWIN Prepared by Isabella Woods Gershwin, G. An American in Paris (1928). New York PO/Leonard Bernstein. CBS MYK 42611 18 Summertime, from Porgy and Bess (1935). Felicity Lott, sop; Graham Johnson, pf. Resonance RSN 3069

Rhapsody in blue (1924). George Gershwin, pf. 9 Naxos 8.120510 George Gershwin 0:00 CONTEMPORARY COLLECTIVE

Glier, R. Symphony no 1 in E flat, op 8 (18991900). BBC PO/Edward Downes. Chandos CHAN 9160 34

3:00 CLASSICAL TILL DAWN

11:30 ARRANGED FOR ... Prepared by Chris Blower

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

Sarasate, P. de Magic flute fantasy. Gil Shaham, vn; Akira Eguchi, pf. DG 447 640-2

9:00 DIVERSIONS IN FINE MUSIC Pianists of choice: Arturo Benedetti Michelangeli Prepared by Barrie Brockwell Bach, J.S. Italian concerto in F, BWV971 (1735). Teldec 0630-13303-2 12 Debussy, C. The girl with the flaxen hair; The engulfed cathedral, from Preludes, bk 1 (1910). Memoria 999-001 10 Mompou, F. Song and dance no 1 (1921). EMI CDH 7 64490-2 Brahms, J. Four ballades op 10 (1854). DG 457 762-2

3 26

Arturo Benedetti Michelangeli, pf (all above) 10:00 MORNING CONCERT Prepared by Barrie Brockwell

I got rhythm; Fascinating rhythm (1932). Simon Tedeschi, pf; Kevin Hunt, pf. 2 ABC 275 2052 Suite from Porgy and Bess (arr. Gale). Center City Brass Quintet. Chandos CHAN 4554 21 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans

18:00 SYDNEY SYMPHONY 2013 Produced by Peter Kurti

Haydn, J. Grand duet no 2 in G, from String quartets, Hob.III:9, 21, 27 (1772; arr. de Fossa). Jukka Savijoki, gui; Erik Stenstadvoid, gui. apex 0927 49452 2 15 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 THE YEAR 1912 Prepared by Stephen Wilson Butterworth, G. A Shropshire lad (1912). South Australian SO/Bernard Heinze. ABC 446 282-2 11 Langgaard, R. Symphony no 2, Vårbrud (1912-14). Inger Dam-Jensen, sop; Danish NSO/ Thomas Dausgaard. Dacapo 6.220516 38

Haydn, J. Symphony no 20 in C, Hob.I:20 (c1759-62). Austro-Hungarian Haydn O/Adám Fischer. Brilliant Classics 99925/5 14

Boulanger, L. Pour les funérailles d’un soldat (1912). Peter Johnson, bar; Andrew Ball, Ian Townsend, pf; New London Chamber Choir/ James Wood. Hyperion CDA66726 8

Shostakovich, D. Double concerto in C minor, op 35 (1933). Raymond Simmons, tpt; Peter Jablonski, pf; Royal PO/Vladimir Ashkenazy. Decca 436 239-2 23

Coleridge-Taylor, S. Violin concerto in G minor, op 80 (1912). Anthony Marwood, vn; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67420 32

Rimsky-Korsakov, N. A musical picture: In the woods; The Tsar’s hunt; Storm, from The maid of Pskov (1871). USSR SO/Yevgeny Svetlanov. Melodiya 10-00171 8

Debussy, C. Khamma, dance legend (1912). Jean-Efflam Bavouzet, pf. Chandos CHAN 10545 20

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES 22:00 BEYOND ROMANTICISM Prepared by Frank Morrison Prokofiev, S. Suite from Lieutenant Kijé, op 60 (1934). Scottish NO/Neeme Järvi. Chandos CHAN 8806 21 Sutherland, M. Five songs (1936). Elizabeth Campbell, mezz; Anthony Fogg, pf. MBS 19 CD 10 Bartók, B. String quartet no 3 (1927). New Budapest Quartet. Hyperion CDA66581/2 17 Weill, K. The Berlin requiem, op 12 (1928). Sons of Orpheus/Robert Sund. BIS CD-733 19 Copland, A. Piano concerto (1926). Earl Wild, pf; Symphony of the Air/Aaron Copland. Vanguard OVC 4029 16 Dohnányi, E. Variations on a nursery song, op 25 (1914). Arthur Ozolins, pf; Toronto SO/Mario Bernardi. CBC SMCD 5052 24 fineMusic FM 102.5

Wednesday 13 February

11:30 ELEGY Prepared by Francis Frank

Delius, F. Elegy (1930). David Pereira, vc; David Bollard, pf. Tall Poppies TP010 5 Mario del Monaco as Otello 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: Continentals in London Prepared by Philip Lidbury Sammartini, G. Recorder concerto in F. Clas Pehrsson, rec; Drottningholm Baroque Ensemble/Anders Ohrwall, hpd & dir. BIS CD-210 13 Bononcini, G. Per la gloria d’adorarvi, from Griselda (1722; ed. Bonynge). Joan Sutherland, sop; Philomusica of London/Granville Jones. Decca 475 6302 5 Porpora, N. Cello concerto in G. Giovanni Sollima, vc; European Community CO/Eivind Aadland. Helios CDH88025 17 Hellendaal, P. Concerto grosso in D, op 3 no 5 (pub. c1758). Combattimento Consort Amsterdam/Jan Willem de Vriend. NM Classics 92019 17 10:00 MORNING CONCERT Prepared by Derek Parker Alwyn, W. Overture to The crimson pirate, (1952; arr. Ellerby). Royal Northern College of Music Wind O/Mark Herron. Naxos 8.572747 8 Brahms, J. Piano concerto no 1 in D minor, op 15 (1854-58). Nelson Freire, pf; Gewandhaus O/ Riccardo Chailly. Decca 478 3156-67 46 Gluck, C. Symphony in G for two flutes, two oboes, two horns and strings, Weimarer (1780). L’Orfeo BO/Michi Gaigg. cpo 777 411-2 14 36

fineMusic FM 102.5

Bottesini, G. Elegy in D, no 1. Joel Quarrington, db; Andrew Burashko, pf. Naxos 8.554002 5

20:00 AT THE OPERA Legendary Met performances: 8 March 1958 Prepared by Michael Tesoriero 200 th Anniversary

VERDI

2013

Grieg, E. Two elegiac melodies, op 34 (1881). Eva Knardahl, pf. BIS CD110 8

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

1813

Beethoven, L. Ah! perfido, op 65 (1795-96). Kirsten Flagstad, sop; Philadelphia O/Eugene Ormandy. Nimbus NI 7847 13

Verdi, G. Otello. Opera in four acts. Libretto by Arrigo Boito. First performed Milan, 1887. OTELLO: Mario del Monaco, ten DESDEMONA: Victoria de los Angeles, sop IAGO: Leonard Warren, bar CASSIO: Paul Franke, ten Metropolitan Ch & O/Fausto Cleva. Myto MCD 944.107 2:26

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.

Iago hates Otello for having appointed Cassio captain over his head. He lures Cassio into a drunken fight. Otello demotes Cassio. Otello and Desdemona celebrate their happiness. Iago rouses Otello’s jealousy by hinting that Cassio and Desdemona are lovers. When Desdemona asks Otello to reinstate Cassio, Otello refuses. He complains of a headache, but when Desdemona offers a handkerchief, Otello’s first love-token to her, he throws it to the ground where it is snatched by Iago. He continues to undermine Otello’s faith in Desdemona, claiming to have seen Cassio with the handkerchief, then letting Otello overhear a supposedly suspicious conversation with Cassio. Desperately jealous Otello strangles Desdemona and learns too late of Iago’s deceptions. He kills himself, kissing Desdemona as he dies.

15:00 SCANDINAVIAN CHAMBER Prepared by Francis Frank

23:00 FRENCH FLUTE Prepared by Brian Drummond

Bruk, F. Concert variations on an old Kalevala theme (1985). Sampo Liukko, vc; Alexander Bruk, pf. Suomi-Finland 13

Taffanel, P. Fantasy on Weber’s Der Freischütz. Sharon Bezaly, fl; Ervin Nagy, pf. BIS CD-1039 11

Glazunov, A. Elegy in G minor, op 44 (1893). Nobuko Imai, va; Roland Pöntinen, pf. BIS CD-358 6 12:00 THE SOUND OF JAZZ with Kevin Jones 13:00 YOUTH DEVELOPMENT HOUR Supported by St Catherine’s School and Overs Pianos

Peterson-Berger, W. Like the stars in the sky (1892). Anne Sofie von Otter, mezz; Bengt Forsberg, pf. DG 449189-2 4 Sköld, Y. Poem (1973). John Ehde, vc; Carl-Axel Dominique, pf. Sterling CDA-1665-2 10 Buxtehude, D. Wennich, Herr Jesu, habe dich. Henri Ledroit, ct; Ricercar Consort. Ricercar RIC 034008 5 Grieg, E. String quartet in F (1891). Kontra Quartet. BIS CD-543 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic

Godard, B. Suite de trois morceaux, op 116 (1890). Susan Milan, fl; City of London Sinfonia/Richard Hickox. Chandos CHAN 8840

Widor, C-M. Scherzo from Suite, op 34 (1898). Robert Aitken, fl; Robin McCabe, pf BIS CD-184 2 Debussy, C. Sonata in G minor for flute, viola and harp (1916). Osian Ellis, hp; members of Melos Ensemble. Decca 421 154-2 16 Poulenc, F. Sonata (1956). Philippe Bernold, fl; Alexandre Tharaud, pf. Naxos 8.553611 12

Thursday 14 February 11:30 SIBELIUS IN CHAMBER Prepared by Elaine Siversen Sibelius, J. Love scene, from Scaramouche, op 71 (1913). BIS CD-525 6 Five country dances, op 106 (1925). BIS CD-625

Nils-Erik Sparf, vn; Bengt Forsberg, pf (2 above) 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 THE YOUNG ONE Prepared by Randolph Magri-Overend

Joanna Kurkowicz 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 Troy Fil Bacewicz, G. Overture (1943).

Violin concerto no 1 (1937). Joanna Kurkowicz, vn. 12 Polish RSO/Lukasz Borowicz (2 above) Chandos CHAN 10533 Children’s suite (1933) Haenssler Classics CD93.034

Oberki no 2 (1949). Piotr Plawner, vn. Haenssler Classics CD93.117

Ewa Kuplec, pf (2 above) Quartet no 4 (1951). Warsaw String Quartet. Olympia OCD 310 22 10:00 MORNING CONCERT Prepared by Elaine Siversen Mozart, L. Sinfonia in D. Toronto CO/Kevin Mallon. Naxos 8.570499 14 Volkmann, R. Cello concerto in A minor, op 33. Jörg Baumann, vc; Berlin RSO/Miltiades Caridis. Schwann 11628 19 Sibelius, J. Lemminkäinen suite, op 22 (1896). Dao Kolbeinsson, cora; Richard Tchaikovsky, vc; Iceland SO/Petri Sakari. Naxos 8.554265 49

Nils-Erik Sparf 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

Strauss, R. Metamorphoses (1945). West Australian SO/Simone Young. ABC 476 6811

Britten, B. Sally in our alley (c1955). Steve Davislim, ten; Simone Young, pf. Melba MR 301120

Wagner, R. Wesendonck lieder (1858). Lisa Gasteen, sop; John Harding, vn; West Australian SO/Simone Young. ABC 476 6811

Britten, B. The last rose of summer (1958). Steve Davislim, ten; Simone Young, pf. Melba MR 301120 4 Verdi, G. Triumphal march, from Aïda (1871). Soloists; Opera Australia Ch; Australian Opera & Ballet O. ABC 462 006-2 2 Wagner, R. Prelude to Tristan and Isolde (1859). West Australian SO. ABC 476 6811

Simone Young, cond (2 above)

20:00 EVENINGS WITH THE ORCHESTRA The symphonies of Mendelssohn Prepared by Elaine Siversen Mendelssohn, F. String symphony no 9 in C minor, Swiss (1823). German Chamber Academy of Neuss/Johannes Goritzki. Claves 50 9002 27 Moscheles, I. Piano concerto no 4 in E, op 64 (1823). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA67430 26 Cherubini, L. Overture to The crescendo (1810). Tuscan O/Donato Renzetti. Europa 350-221 12 Mendelssohn, F. Symphony no 1 in C minor, op 11 (1824). NSO of Ireland/Reinhard Seifried. Naxos 8.550957 32 Overture to A midsummer night’s dream, op 21 (1826). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 7736 12

14:30 POSTCARDS FROM RUSSIA Prepared by Christopher Kaye Balakirev, M. Symphonic poem: Russia (1889). Philharmonia O/Yevgeny Svetlanov. Hyperion CDA 66691-2 15 Glazunov, A. Scene dansante, op 81. Moscow SO/Alexander Anissimov. Naxos 8.553915 10 Rimsky-Korsakov, N. Piano concerto in C sharp minor, op 30 (1884). Malcolm Binns, pf; English Northern Philharmonia/David LloydJones. Hyperion CDA66640 14 Borodin, A. Symphony no 1 in E flat. Gothenburg SO/Neeme Järvi. DG 435 757

19:00 JAZZ VIBES with Matt Bailey

22:00 CHAMBER SOIRÉE Prepared by Angela Bell Herzogenberg, H. Trio in F, op 27 no 2 (1879). Belcanto Strings. cpo 999 710-2 24 Bax, A. String quartet no 1 in G (1918). Maggini Quartet. Naxos 8.555282 23 Bowen, Y. Sonata no 1 in C minor, op 18 (1905). Lawrence Power, va; Simon Crawford-Phillips, pf. Hyperion CDA67651-52 26 Hummel, J. Septet no 1 in D minor, op 74 (c1816). Capricorn. Hyperion CDA66396 38 fineMusic FM 102.5

Friday 15 February Korngold, E. Love theme, from The adventures of Robin Hood (1938). Moscow SO/ William Stromberg. Naxos 8.578005/06 6

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

Wesley-Smith, M. Who killed Cock Robin? Song Company and friends/Roland Peelman. Tall Poppies TP064 17

9:00 DIVERSIONS IN FINE MUSIC Small forces Prepared by Jan Brown

Weelkes, T. Since Robin Hood. King’s Singers. EMI CDC 7 49265-2 1

Bridge, F. Phantasy in F sharp minor (1910). Martin Roscoe, pf; Maggini Quartet. Naxos 8.557283 12 Bartók, B. First rhapsody (1928). Mark Kosower, vc; Jee-Won Oh, pf. Naxos 8.570570

Mercadante, S. Salve Maria (pub.1864). Christian Lindberg, tb; Roland Pöntinen, pf. BIS CD-298 6 Mozart, W. Serenade no 11 in E flat, K375 (1781). Wind Soloists of the CO of Europe. Teldec 2292-46472-2 23 10:00 MORNING CONCERT Prepared by Angela Bell Donizetti, G. Sinfonia in A (c1820). Failoni CO/ Géza Oberfrank. Marco Polo 8.223577 21 Godard, B. Concerto romantique in A minor, op 35 (1876). Chloë Hanslip, vn; Slovak State PO/Kirk Trevor. Naxos 8.570554 23 Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 421 085-2 38

14:00 ROMANTIC DANISH PIANO PLUS Prepared by Anne Irish Gade, N. Scherzino and barcarolle (1852).

Arabeske, op 27.

Fabricius, J. Ballade; Dormeuse. Henrik Brendstrup, vc; Per Salo, pf. Dacapo 8.22409-2

Siefert, P. Psalm 5; Fantasia primi toni. Wolfgang Baumgratz, org. NCRV NCRV 9088

Bernhard, C. Was betrübst du mich, meine Seele. Henri Ledroit, ct; Ricercar Consort. Ricercar RIC 034008 4

Kuhlau, F. Quartet in A, op 50 (1823). Tutter Givskov, vn; Lars Grunth, va; Asger Lund Christiansen, vc; Elizabeth Westenholz, pf. Dacapo 8.224044-45 33

Wahre Traum; Scheiden bringt Leiden. Martin Hummel, bar; Karl-Ernst Schröder, lute. Naxos 8.555935 6

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps

Pasculli, A. Grand concerto on themes from the opera The Sicilian vespers by Verdi. Ivan Paisov, ob; Natalia Shcherbakova, pf. Naxos 8.570567 15

19:00 FRIDAY JAZZ SESSION with Sally Cameron

12:00 NOONTIME JAZZ with Peter Mitchell

Grieg, E. Old Norwegian romance with variations, op 51 (1906). Malmö SO/Bjarte Engeset. Naxos 8.557991

Grainger, P. My Robin is to the greenwood gone (1912). Bournemouth Sinfonietta/Kenneth Montgomery. Chandos CHAN 8377 6 fineMusic FM 102.5

Lange-Müller, P. Trio in F minor, op 53 (c1898). John Damsgaard, pf; Zeuthen Schneider, vn; Ulrikke Høst-Madsen, vc. Dacapo DCCD 9310 26

Thalberg, S. Souvenir of Verdi’s Rigoletto, op 82. Francesco Nicolosi, pf. Marco Polo 8.223367 11

22:00 BAROQUE AND BEFORE At the court of Dresden Prepared by Elaine Siversen

Anker Blyme, pf (2 above) Dacapo DCCD 9116

11:30 VERDI OPERAS ARRANGED Prepared by Chris Blower

Strauss, J. II Overture to Die Fledermaus (1874). Vienna SO/Willi Boskovsky. EMI CDM 1 66422 2

Heinrich Schütz

Schütz, H. German Magnificat (pub. 1671). Collegium Vocale Gent; Concerto Palatino/ Phillippe Herreweghe. Harmonia Mundi HMC 901895.96 8

Heise, P. Quintet in F (1869). Anton Kontra, vn; Boris Samsing, vn; Peter Fabricius, va; Morten Seuthen, vc; Amalie Malling, pf. Dacapo DCCD 9113 27

13:00 BATMAN AND ROBIN Prepared by Randolph Magri-Overend

Strauss, J. II Trinke, Liebchen, trinke schnell, from Die Fledermaus. Gundula Janowitz, sop; Waldemar Kmentt, ten; Erich Kunz, bar; Vienna PO/Karl Böhm. Decca 467 407-2 11

Weckmann, M. Canzon II; Canzon IX. Concerto Palatino/Konrad Junghänel. Harmonia Mundi HMC 902034

Schütz, H. St John’s passion, SWV481 (c1666). Claus Stemann, ten; Werner Hohmann, ten; Bruno Mueller, bass; Stuttgart Choral Society/ Hans Grischkat. Renaissance X-26 37 Weckmann, M. Four variations on the song Die lieblichen Blicke. Gisela Gumz, clvd. Hungaroton HCD 31185 9

20:00 THE ROMANTIC CENTURY Prepared by Heather Sykes

Mendelssohn, F. Violin concerto in E minor, op 64 (1844). Janine Jansen, vn; Gewandhaus O/Riccardo Chailly. Decca 475 8328 27 Bruckner, A. Symphony no 4 in E flat, Romantic (1874). Cleveland O/Christoph von Dohnányi. Decca 430 099-2 1:03

Krieger, A. Fleug, Psyche, fleug. Annette Dasch, sop; members of Akademie für Alte Musik, Berlin. Harmonia Mundi HMG 501835 6 Weckmann, M. Fugue in D. Wolfgang Zerer, org. Naxos 8.553850 5 Schütz, H. Fili mi, Absalon; Buccinate in neomenia tuba, from Symphoniae sacrae, op 6 (pub. 1629). John Elwes, ten; Guy de Mey, ten; Bernard Fabré-Garrus, bass; Les Saqueboutiers de Toulouse. LP Erato NUM 75234 9

Saturday 16 February 14:00 MUSICAL EXPLORATIONS Influence of folk traditions: British Isles Prepared by Judy Ekstein

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson

Butterworth, G. Six songs from a Shropshire lad (1911). Benjamin Luxon, bar; David Willison, pf. Chandos CHAN 8831 13

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

Vaughan Williams, R. In the Fen country (1904). New Queen’s Hall O/Barry Wordsworth. Decca 460 357-2 14

9:30 SPOTLIGHT ON AUSTRALIAN PERFORMERS Genevieve Lacey Prepared by Oscar Foong Mozart, W. Flute quartet no 1 in D, K285 (1777). Members of Flinders Quartet. www.flindersquartet.com

Beethoven, L. Sunset; O sweet were the hours; The lovely lass of Inverness; Jeanie’s distress, from 25 Scottish songs, op 108 (181516). 14 14

Vivaldi, A. Excerpts from Il flauto dolce, an instrumental opera. Australian Brandenburg O/Paul Dyer. ABC 461 828-2 33 Genevieve Lacey, rec (2 above) Sor, F. Variations on a theme from Mozart’s The magic flute, op 9 (c1813; arr. Schaupp). Karin Schaupp, gui. ABC 476 5249 9 Giuliani, M. Seven dances, from Twelve dances with coda (pub. 1819; arr. Lacey, Schaupp). ABC 476 5249

Strauss, J. II Tritsch-Tratsch polka, op 214 (1858; arr. J. Schubert, Pinschof). ABC 476 5249

Genieve Lacey, rec; Karin Schaupp, gui (2 above) Kats-Chernin, E. Re-inventions for recorder and string quartet (2004; based on Two-part inventions by J.S. Bach). Flinders Quartet. www.flindersquartet.com 24 Anon. Estampie: Stand wel, moder, under roode (arr. Høxbro);Three nottas; Tre fontane; Paul Høxbro, tabor. ABC 476 155-9 17 Genivieve Lacey, rec (2 above) 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Tomlinson, E. Overture on famous British airs. British Motor Corporation Concert Band/Harry Mortimer. LP HMV CSD 3650 7 Bernstein, L. Tonight, from West Side story. Desford Colliery Band/Frank Renton. EMI 2243-5-21452-2 3

Genevieve Lacey Zimmerman, C. Anchors aweigh. GUS (Footwear) Band/Stanley Boddington. LP Columbia SCX 6050 Jessel, L. Parade of the tin soldiers (arr. Langford). Sellers Engineering Band/Phillip McCann. AMP 88115

O harp of Erin, WoO152 no 25; From Garyone, my happy home, WoO152 no 22 (1812). Ann Murray, mezz. 8 3

Williams, J. Theme from the film Jaws. Royal Doulton Band/Edward Gray. LP Astor TBX 3014 2 Trad. Morning has broken (arr. Wilby). Black Dyke Mills Band/James Watson. Doyen DOY 060 3

Thomas Allen, bar; Elizabeth Layton, vn; Ursula Smith, vc; Malcolm Martineau, pf (2 above) DG 477 5128 Britten, B. Suite on English folk tunes, op 90 (1974). Philip Dukes, va; Northern Sinfonia/ Steuart Bedford. Naxos 8.557205 14 Trad. Last rose of summer (arr. Sharples); Roses of Picardy; My love is like a red, red rose (arr. Sharples); Danny boy - Londonderry air. Kenneth McKellar, ten; O/Robert Sharples. Decca 458 185-2 16

12:00 JAZZ THEN AND NOW with Michael Cooper

15:30 SYDNEY PHILHARMONIA IN CONCERT Prepared by Peter Bell

13:00 CLASSIC VOICES

Gounod, C. Messe solenelle Saint-Cecile (1855).

Schubert, F. Lebensmut, D937; Schwanengesang, D957 (1828): no 14, Die Taubenpost; no 4, Ständchen. Michael Volle, bar; Ulrich Eisenlohr, pf. Naxos 8.554663 11

Fauré, G. Requiem (1888).

Haydn, J. Excerpts from The seasons (1801). Edith Mathis, sop; Siegfried Jerusalem, ten; Dietrich Fischer-Dieskau, bar; Academy & Ch of St Martin in the Fields/Neville Marriner. Philips 438 715-2 12

Wesley-Smith, M. Who killed Cock Robin? (1979). 15

Strauss, R. Five songs, op 15 (1884-86). Brigitte Fassbaedner, cont; Irwin Gage, pf. DG 474 536-2 11

Sydney Philharmonia Motet Choir (2 above) SPC recordings

Brahms, J. Ihr habt nun Traurigkeit, from A German requiem, op 45 (1865-68). Anna Tomowa-Sintow, sop; Wiener Singverein; Berlin PO/Herbert von Karajan. EMI 5 850 53 2 8 Villa-Lobos, H. Bachiana brasileira no 5 (1938-45). Kiri Te Kanawa, sop; Lynn Harrell, vc; Instrumental ensemble. Decca 444 995-2 11

Beverley Bergen, sop; Richard Greager, ten; Lyall Beven, bar; Sydney Philharmonia Choir & 0 (2 above)

Peter Seymour, cond (3 above) Songs for snark-hunters, from Boojum (1985). David Miller, pf; Neil McEwan, cond. 16

17:30 CRIME AND PASSION Prepared by Randolph Magri-Overend Khachaturian, A. Scene 4, The crime, from ballet, Gayane (1942). USSR Radio & TV SO/ Jansug Kakhidze. LP Melodiya C 10-10531-6 9 Bottesini, G. Concerto, Passione amorosa (1870). Catalin Ilea, vc; Ovidiu Badila, db; Rumanian RSO/Emil Simon. Olympia OCD 422 15 fineMusic FM 102.5

Saturday 16 February

Sunday 17 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Paul Roper 9:00 CELESTIAL NOTES Prepared by Heather Sykes Bortnyansky, D. Let my prayer arise. Estonian Philharmonic Chamber Choir/Paul Hillier. Harmonia Mundi HMG 507318 7 Monteverdi, C. Vespers of the blessed Virgin (1610). Netherlands Chamber Choir; Gregorian Schola; Concerto Vocale/Réne Jacobs. Harmonia Mundi HML 5901 566-67 1:02

Noel Coward 18:00 FOCUS ON FOLK Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell The music of Noel Coward and Cole Porter: comparisons and contrasts 20:00 LIVE AND LOCAL Part 1: 2012 Crossroads Festival: Affronting seas Produced by Greg Ghavalas Kilar, W. Orawa (1988). Harry Ward, vn.

Sibelius, J. Rakastava, op 14 (1911).

McCallum, D. Affronting seas. Paul Silverthorne, va; Glenn Donnelly, va.

Pelecis, G. Meeting with a friend (2001).

Vivaldi, A. Violin concerto no 5 in E flat, RV253, La tempesta di mare.

Harry Ward, vn (2 above) Bach, C.P.E. Cello concerto in A minor (1750). Christopher Pidcock, vc. 27 Bach, J.S. Brandenburg concerto no 6 in B flat, BWV1051 (1720). Paul Silverthorne, va; Glen Donnelly, va. 17 Concertante Ensemble/Christopher Bearman (all above) 21:45 Part 2: Brandenburg encore Bach, J. Christian Symphony in D, op 3 no 1 (1765). Australian Brandenburg O/Paul Dyer. Fine Music Tape Archive 12 22:00 AFTER HOURS with Kevin Jones

Anon. O most holy maiden Mary. Estonian Philharmonic Chamber Choir/Paul Hillier. Harmonia Mundi HMG 507318 11 10:30 CHAMBER MASTERWORKS Prepared by Di Cox Schubert, F. Quartet in D minor, D810, Death and the maiden (1824). Emerson String Quartet. DG 423 398-2 37 Dvorák, A. Sonatina in G, op 100 (1893). Gil Shaham, vn; Orli Shaham, pf. DG 449 820-2 18 Brahms, J. Trio in A minor, op 114 (1891). Deborah de Graaff, cl; Georg Pederson, vc; Len Vorster, pf. ABC 472 672-2 26 12:00 SPEAK EASY, SWING HARD with Richard Hughes 13:00 WORLD MUSIC: Whirled Wide with Josh Oshlack 14:00 SUNDAY SPECIAL Mariss Jansons at the Concertgebouw By courtesy of Radio Netherlands Worldwide Smetana, B. Overture to The bartered bride (1866/70). 7 Martinu, B. Concerto for piano, timpani and two string orchestras (1938-39). Ellen Corver, pf. 21 Brahms, J. Symphony no 4 in E minor, op 98 (1884-85). 43 Wagner, R. Overture to Tannhäuser (1845). 14 Movements from Götterdämmerung (1874). 23 Shostakovich, D. Symphony no 10 in E minor, op 93 (1953). 53

fineMusic FM 102.5

Royal Concertgebouw O/Mariss Jansons (all above)

Mariss Jansons, Royal Concertgebouw 17:00 HOSANNA Prepared by Keith Glendinning Hymns: O for a closer walk with God; Praise to the Lord the almighty; Faithful shepherd lead me. Choir of St Paul’s Cathedral, London; Christopher Dearnley, org; English Brass Ensemble/John Scott. Helios CDH 55036 9 Gray, A. Evening service in F.

Parry, H. Lord let me know mine end (1915). 11 Choir of New College, Oxford/Edward Higginbottom (2 above) CRD 3513 Handel, G. For unto us a child is born; There were shepherds; Rejoice greatly; Surely He hath borne; And with His stripes; I know that my Redeemer liveth, from Messiah (1742). Sara Macliver, sop; Choir of Winchester College Chapel; Hong Kong PO/William Lacey. Naxos 8.557965 21 18:00 A FIELD OF TALL POPPIES with Julie Simonds A monthly program of recordings selected from the Tall Poppies label 19:00 OPERA HIGHLIGHTS Prepared by Jan Brown Handel, G. Lascia ch’io pianga, from Rinaldo. Yvonne Kenny, sop; Melbourne SO/Vladimir Kamirski. ABC 454 511-2 4 Mozart, W. Vedrai carino, from Don Giovanni, K527 (1787). Isobel Buchanan, sop; John Pringle, bar; Queensland SO/Richard Bonynge. ABC 432 249-2 4 Handel, G. I rage, I melt, I burn ... O ruddier than the cherry, from Acis and Galatea (1718). Owen Brannigan, bass; Philomusica of London/ Adrian Boult. ABC 480 5513 5 Tchaikovsky, P. Tatyana’s letter scene, from Eugene Onegin (1879). Joan Carden, sop; Queensland PO/Roderick Brydon. Walsingham WAL 8026-2CD 13

Sunday 17 February

Monday 18 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

Dohnányi, E. Variations on a nursery song, op 25 (1914). Arthur Ozolins, pf; Toronto SO/Mario Bernardi. CBC SMCD 5052 24

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC Inspired by opera Prepared by Giovanna Grech Offenbach, J. Overture to Orpheus in the underworld (1858/74). City of Birmingham SO/ Louis Frémaux. EMI CDM 1 66418 2 10 Rossini, G. Andante con variazoni, on a theme from Rossini’s Tancredi (1813). Ernö Sebestyen, vn; Edward Witsenburg, hp. Schwann 310 001 H1 4

Oliver Knussen 19:30 SUNDAY NIGHT CONCERT Prepared by Angela Bell Grieg, E. Ballade in G minor, op 24 (1875-76). Royal Scottish NO/Bjarte Engeset. Naxos 8.557854 20 Ravel, M. Suite no 2 from Daphnis and Chloë (1905). London SO/Charles Mackerras. Centaur CRC 2090 16 Hiller, F. Piano concerto no 2 in F sharp minor, op 69 (1843). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA67655 20 Mozart, W. Symphony no 29 in A, K201 (1774). Danish National CO/Àdám Fischer. Dacapo 6.220543 26 21:00 NEW HORIZONS Modern Britain: the Scots Prepared by Oscar Foong Knussen, O. Flourish with fireworks, op 22 (1988). 4 The way to castle yonder, from Higglety pigglety pop!, op 21a (1988-90).

London Sinfonietta/Oliver Knussen (2 above) DG 449 572 2

Saint-Saëns, C. Improvisation on Samson and Delilah. Camille Saint-Saëns, reproducing pf. Fonè 90F 14 5 Verdi, G. Fantasy on La traviata. Patrick Gallois, fl; London FO/Ross Pople. DG 445 822-2

Zandonai, R. No, Smaragdi, no! from Francesca da Rimini (1914). Renata Tebaldi, sop; Franco Corelli, ten; Les Choeurs Léman; Suisse Romande O/Anton Guadagno. Decca 467 918-2 18 10:00 MORNING CONCERT Prepared by Keith Glendinning Prokofiev, S. Suite no 3, from Cinderella, op 109 (1944). Ukranian State SO/Theodore Kuchar. Naxos 8.550968-9 27 Glazunov, A. Piano concerto no 2 in B, op 100 (1917). Oxana Yablonskaya, pf; Moscow SO/ Dmitri Yablonsky. Naxos 8.553928 21 Schumann, R. Symphony no 3 in E flat, op 97, Rhenish (1850). Polish NRSO/Antoni Wit. Naxos 8.553082 32 11:30 DONIZETTI’S OPERAS ARRANGED Prepared by Chris Blower

Beamish, S. Whitescape (2000). Swedish CO, Örebro/Ola Rudner. BIS CD-1241 10

Pasculli, A. Concerto on themes from Donizetti’s opera La favorita. Heinz Holliger, ob; Gabriel Bürgin, pf. Philips 426 288-2 13

Knussen, O. Music for a puppet court, op 11 (1983). London Sinfonietta/Oliver Knussen. DG 449 572-2 9

Thalberg, S. Don Pasquale fantasy, after Donizetti, op 67. Earl Wild, pf. Vanguard OVC 4033

Beamish, S. Viola concerto no 2, The seafarer (2001). Tabea Zimmermann, va; Swedish CO, Örebro/Ola Rudner. BIS CD-1241 28 Maxwell Davies, P. Sea eagle (1982). Lin Jiang, hn. Melba MR 301116 7 Knussen, O. Horn concerto, op 28 (1994). Barry Tuckwell, hn; London Sinfonietta/Oliver Knussen. DG 449 572-2 12 22:30 ULTIMA THULE

Enescu, G. Symphonie concertante in B flat minor, op 8 (1901). Alban Gerhardt, vc; BBC Scottish SO/Carlos Kalmar. Hyperion CDA67544 22 Trad. Vari baba; Vecheryai Rado; Zavilo se vito horo; Reche mama da me zheni; Smok sviri na verba. Martenitsa Choir. 7 Tall Poppies TP026 Skalkottas, N. Five Greek dances (1937). Camerata of St John’s. Camerata of St John’s CSJ 1001

15:00 FROM CHOIRBOY TO DIRECTOR Prepared by Chris Blower Allegri, G. Miserere. Roy Goodman, treb; Choir of King’s College,Cambridge/David Willcocks. Decca 466 373-2

Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (1720). Brandenburg Consort/Roy Goodman, vn & dir. Hyperion CDA66611 20 Haydn, J. Symphony in D, Hob.I:13 (1763). The Hanover Band/Roy Goodman. Helios CDH55114 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 KEYBOARD CONTRASTS Prepared by Phil Vendy Vorísek, J. Impromptus, op 7 (1818). Radoslav Kvapil, pf. Unicorn-Kanchana DKP 9145 37 Feinberg, S. Berceuse, op 19a. Marc-André Hamelin, pf. Hyperion CDA67050

Berio, L. Brin; Leaf (1990). Haydée Schvartz, pf. 4 Mode 31 13

12:00 SWING SESSIONS with John Buchanan 13:00 A MUSICAL JOURNEY FROM IRELAND TO GREECE Part 2: Austria to Greece Prepared by Frank Morrison Mozart, W. Quintet in A, K581 (1789). Ludmila Peterková, cl; Bennewitz Quartet. Supraphon SU 4061-2 30 Smetana, B. From Bohemia’s woods and fields, from My country (1875). Polish NRSO/Antoni Wit. Naxos 8.550931 13

Froberger, J. Suite no 20 in D. Christophe Rousset, hpd. Harmonia Mundi HMC 901372

Fibich, Z. Souvenir in D, op 41 no 149 (1892-93). William Howard, pf. 4 Chandos CHAN 9381 Langgaard, R. Little summer memories (1940). Berit Johansen Tange, pf. 8 Dacapo 6.220565 Dvorák, A. Quintet no 2 in A, op 81 (1887). Piers Lane, pf; Goldner String Quartet. Hyperion CDA67805 39 fineMusic FM 102.5

Tuesday 19 February Martinu, B. Thunderbolt P-47 (1945). Brno State PO/Petr Vronsky. Supraphon SU 3058-2 011 11

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Balada, L. Folk dreams I: Line and thunder, on a Latvian melody (1996). Barcelona SO/ Matthias Aeschbacher. Naxos 8.554708 6

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Pianists of choice: András Schiff Prepared by Di Cox

Glass, P. Lightning, from Songs from liquid days (c2000). Janice Pendarvis, voice; Jack Kripl, fl; Jon Gibson, sax; Richard Peck, sax. Sony SMK87972 7

Smetana, B. Three salon polkas, op 7 (1854). Teldec 3984-21261-2 11 Beethoven, L. Adelaide, op 46 (1794); Andenken, WoO136 (1809). Peter Schreier, ten. Decca 444 817-2 8 Britten, B. Two insect pieces (1935). Heinz Holliger, ob. Decca 468 811-2

Schubert, F. Sonata no 9 in B, D575 (1817). Decca 440 307-2 25 András Schiff, pf (all above) 10:00 MORNING CONCERT Prepared by Shamistha de Soysa Stravinsky, I. Suite from Pulcinella (1919-20). Academy of St Martin in the Fields/Neville Marriner. Decca 443 577-2 23 Glier, R. Concerto in F minor for coloratura soprano, op 82 (1943). Natalie Dessay, sop; Berlin SO/Michael Schonwandt. EMI 5 56565 2 14 Tchaikovsky, P. Symphony no 5 in E minor, op 64 (1888). Leningrad PO/Yevgeny Mravinsky. DG 447 423-2 44 11:30 ELEGY Prepared by Francis Frank

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 IN TWO WORLDS Prepared by Elaine Siversen

Field, J. Piano concerto no 5 in C, Fire by lightning (1815). Benjamin Frith, pf; Northern Sinfonia/David Haslam. Naxos 8.554221 27

Offenbach, J. Suite, op 54 no 2 (1847). Roland Pidoux, vc; Étienne Péclard, vc. Harmonia Mundi HM 1043 22

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

Les oiseaux dans la charmille, from The tales of Hoffmann (1881). Natalie Dessay, sop; Monte-Carlo PO/Patrick Fournillier. Virgin 363 332-2 5

19:00 THE JAZZ BEAT with Lloyd Capps

Overture to Orpheus in the Underworld (1858/74). City of Birmingham SO/Louis Frémaux. EMI CDM 1 66418 2

22:00 BEYOND ROMANTICISM Tribute to Elliott Carter Prepared by Troy Fil

Weill, K. Ballad of Mack the Knife, from The threepenny opera (1928); Alabama song, from The rise and fall of the City of Mahagonny (1930). Robyn Archer, voice; London Sinfonietta/Dominic Muldowney. EMI CDC 7 47576-2 6 The Berlin requiem, op 12 (1928). Sons of Orpheus/Robert Sund. BIS CD-733

20:00 RECENT RELEASES

Carter, E. Holiday overtures (1944/61). Mark Wait, pf; Nashville SO/Kenneth Schermerhorn. Naxos 8.559151 10 To music (1937). Eva Maria-Schappe, sop; Stuttgart Southwest Radio Vocal Ensemble/ Marcus Creed. Haenssler CD93.231 8 Symphony no 1 (1942/54). Nashville SO/ Kenneth Schermerhorn. Naxos 8.559151

Duparc, H. Elegy (1874). Merlyn Quaife, sop; Andrea Katz, pf. Tall Poppies TP185 3

Symphonic nocturne: Lady in the dark (1940; arr. Robert Russell Bennett). Bournemouth SO/ Marin Alsop. Naxos 8.557481 18

Vieuxtemps, H. Elegy, op 30 (pub. 1854). Roberto Diaz, va; Robert Koenig, pf. Naxos 8.555262

14:30 THUNDER AND LIGHTNING Prepared by Randolph Magri-Overend

Sonata (1946). Michael Kieran Harvey, pf. Program Promotions PP-2

Rossini, G. Overture; Thunderstorm, from La Cenerentola (1817). European CO Per Musica/ Julian Reynolds. Globe GLO 6014 10

Heart not so heavy as mine (1938); Musicians wrestle everywhere (1945). Stuttgart Southwest Radio Vocal Ensemble/Marcus Creed. Haenssler CD93.231 8

Linley, T. the younger To heal the wound a bee had made. Invocation/Timothy Roberts. Hyperion CDA66698 3 Liszt, F. Elegy no 2 (1878). Giuseppe Andaloro, pf. Naxos 8.557814 5 Elgar, E. Elegy, op 58 (1909). Capella Istropolitana/Adrian Leaper. Naxos 8.554409 42

Schnelzer, A. Thunderdance (2002). Rhythm Art Duo. Phono Suecia PSCD 177 11

Elliott Carter

fineMusic FM 102.5

Strauss, J. II Thunder and lightning polka, op 324 (1868). Hallé O/John Barbirolli. EMI CDM 1 66422 2 3

Figment no 1 (1995); Figment no 2 (2001), Remembering Mr Ives. Johannes Martens, vc. 2L 054SACD 10 22

String quartet no 2 (1959). Pacifica Quartet. Naxos 8.559363 25

Wednesday 20 February 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Legendary Met performances: 16 February 1974 Prepared by Michael Tesoriero Puccini, G. La Bohème. Opera in four acts. Libretto by Giuseppe Giacosa and Luigi Illaca. First performed Turin, 1896.

Australian Chamber Orchester 11:30 PAOLO TOSTI SONGS Prepared by Randolph Magri-Overend

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Tosti, P. Ancora! (1897). Ruggero Raimondi, bass; I Solisti Veneti/Claudio Scimone. Erato 2292-45218-2

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

Non t’amo piu (1884). Jose Carreras, ten; English CO/Edoardo Müller. Philips 416 900-2 5

9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Frank Morrison Arne, T. Trio sonata in E minor, op 3 no 7 (pub. 1757). Utako Ikeda, fl; Catherine Weiss, vn; Mark Caudle, vc; Paul Nicholson, hpd. Amon Ra CD-SAR 42 12 Stanley, J. Organ concerto in C minor, op 10 no 4 (pub. 1775). Northern Sinfonia/Gerald Gifford, org & dir. CRD 3409 12 Lawes, W. Suite no 2 in D minor, Royal consort (c1630). Sigiswald Kuijken, vn; Lucy van Dael, vn; Wieland Kuijken, bass viol; Gustav Leonhardt, bass viol; Toyohiko Satoh, theorbo. RCA GD 71954 14 Boyce, W. Trio sonata no 15 in D (1747). Parley of Instruments Baroque O/Peter Holman. Hyperion CDA67151/2 14 10:00 MORNING CONCERT Prepared by Jan Brown Elgar, E. Overture: Cockaigne, op 40, In London town (1900-01). London PO/Georg Solti. Decca 421 387-2 14 Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). Lydia Mordkovitch, vn; London SO/ Neeme Järvi. Chandos CHAN 8667 24 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). O Révolutionnaire et Romantique/John Eliot Gardiner. Archiv 439 900-2

Addio (pub. 1880). Enrico Caruso, ten; O/ Walter B. Rogers. RCA GD 60495

Marechiare (1886). Beniamino Gigli, ten. Nimbus NI 7874

L’ultima canzone (1905). Luciano Pavarotti, ten; Leone Magiera, pf. Decca 466 350-2 4 12:00 THE SOUND OF JAZZ with Kevin Jones 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 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 FRENCH CHAMBER Prepared by Christopher Kaye

MIMI: Montserrat Caballé, sop RODOLFO: Franco Corelli, ten MUSETTA: Maralin Niska, sop MARCELLO: Dominic Cossa, bar SCHAUNARD: David Holloway, bar COLLINE: John Macurdy, bass Metropolitan Opera Ch & O/Leif Segerstam Legendary Recorded Opera LRO 421 1:59 Rodolfo, Marcello, Colline and Schaunard lead an impoverished existence, their poems and canvases sometimes buying food, but more often providing fuel for the fire. Love comes to Rodolfo when Mimi comes to borrow a light, and to Marcello when Musetta decides to leave her elderly lover and return to him. However, Mimi and Rodolfo separate because of his jealousy and Marcello leaves Musetta because of her tantrums. Colline and Schaunard join Rodolfo and Marcello and they make merry over a meagre meal. Musetta brings Mimi who is dying. Marcello hurries away for a doctor, Colline to sell his overcoat. Mimi and Rodolfo recall their love as Mimi dies. 22:30 HEROLD QUARTET Produced by Kerry Joyner Mozart, W. String quartet in B flat, K458, The hunt (1785). 24 Dvorák, A. String quartet in F, op 96, American (1893).

Beethoven, L. String quartet in E minor, op 59 no 2, Rasumovsky (1806). 33 Herold Quartet (all above)

Fauré, G. Piano quartet no 1 in C minor, op 15 (1876-79). Domus. Hyperion CDA66166 29 Debussy, C. Quartet in G minor (1893). Emerson String Quartet. DG 445 509-2

fineMusic FM 102.5

Thursday 21 February 11:30 PIANO INTERLUDE Prepared by Chris Blower Liszt, F. Soirées de Vienne: Valse caprice no 9 in A flat after Schubert, S427 (1852). Leslie Howard, pf. Hyperion CDS44570 10 Arensky, A. Suite no 2, op 23, Silhouettes (1892). Stephen Coombs, pf; Ian Munro, pf. Hyperion CDA66755 15 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Bedrˇich Smetana

Neeme Järvi

3:00 CLASSICAL TILL DAWN

Strong, G. At sunset (1913). Moscow SO/ Adriano. Naxos 8.559048

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

Trad. Flute and drum at sunset (arr. Li). Eileen Huang, pf. ASV DCA 1031 6

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Keith Glendinning

Bax, A. Into the twilight (1908). Ulster O/ Bryden Thomson. Chandos CHAN 8367

Smetana, B. Piano trio in G minor, op 15, mvt 2 (1855/57). Borodin Trio. Chandos CHAN 8445 9

Respighi, O. The sunset (1914). Lorraine Hunt, sop; Australian CO/Richard Tognetti. Sony SK62855 16

Concert study in C, op 12 (1859). Kathryn Stott, pf. Chandos CHAN 10430 6

Koehne, G. Nocturne 1: Twilight (1993). Adelaide SO/János Fürst. ABC 442 349-2

Overture to The bartered bride (1866). Prague SO/Ondrej Lenárd. Apex 0927 44354 2 7

14:00 MENDELSSOHN AND LEIPZIG CONSERVATORY Prepared by Denis Patterson

Strauss, R. Symphonic fantasy: Aus Italien, op 16 (1886). Scottish NO/Neeme Järvi. Chandos CHAN 10218 41

Vysehrad; Vltava, from My country (1872-74). Prague RSO/Vladimir Válek. Supraphon SU 3916-2 27

Mendelssohn, F. Overture and war march of the priests, from Athalie, op 74 (1845). Vienna PO/Christoph von Dohnányi. Decca 460 239-2 14

22:00 CHAMBER SOIRÉE Prepared by Phil Vendy

0:00 CONTEMPORARY COLLECTIVE

10:00 MORNING CONCERT Prepared by Michael Morton-Evans Bernstein, L. Overture to Candide (1956/88). New York PO/Leonard Bernstein. CBS MYK 44773 4 Shostakovich, D. Piano concerto no 2 in F, op 102 (1957). Dimitri Shostakovich, pf; I Musici de Montréal/Maxim Shostakovich. Chandos CHAN 8443 18 Schubert, F. Symphony no 9 in C, D944, Great (c1828). Gewandhaus O/Kurt Masur. Philips 426 269-2 1:00

13:00 THE TWILIGHT ZONE Prepared by Rex Burgess

fineMusic FM 102.5

Delius, F. Piano concerto in C minor (1904). Piers Lane, pf; Ulster O/David Lloyd-Jones. Hyperion CDA67296 29 Janácek, L. Suite from Jenufa (1904; arr. Breiner). Vesa-Matti Leppanen, vn; New Zealand SO/Peter Breiner. Naxos 8.570555

Gade, N. Symphony no 1 in C minor, op 5 (1840). Stockholm Sinfonietta/Neeme Järvi. BIS CD-339 32 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 JAZZ VIBES with Matt Bailey

20:00 EVENINGS WITH THE ORCHESTRA Creative links: Latin influences Prepared by Judy Ekstein Giuliani, M. Guitar concerto in A, op 30 (pub. 1808). John Williams, gui; English CO/Charles Groves. CBS M2YK 45610 22 Giazotto, R. Adagio in G minor. Sydney SO/ Edo de Waart. ABC 462 013-2 10 Rodrigo, J. Fantasia for a gentleman (1954). John Williams, gui; English CO/Charles Groves. CBS M2YK 45610 22 Porena, B. Vivaldi (1988). I Solisti Italiani. Denon CO-78949

Holmboe, V. Notturno, op 19 (c1940). Gothenburg Wind Quintet. BIS CD 24

Svendsen, J. String octet in A, op 3 (1866). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9258 37 Grieg, E. String quartet no 2 in F (1891; compl. Röntgen). Raphael Quartet. Olympia OCD 432 30 Gnattali, R. Retratos (1999). Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 472 824-2 20 Müller, I. Trio, after a theme from Rossini’s Armida (c1828). Dieter Klöcker, cl; Martin Ostertag, vc; Edward Witsenburg, hp. Schwann 310 001 H1 11

Friday 22 February Schubert, F. Gute Nacht, from Winterreise, D911 no 1 (1827). Jörg Demus, pf. DG 447 421-2 6 Der Leiermann, from Winterreise. Gerald Moore, pf. EMI 5 62784 2

Schumann, R. In der Nacht, op 74 no 4 (1849). Julia Varady, sop; Christoph Eschenbach, pf. DG 457 915-2 5 Schubert, F. Erlkönig, D328 (1815). Gerald Moore, pf. EMI 1 66445 2

Nikolai Rimsky-Korsakov 0:00 CONTEMPORARY COLLECTIVE

Dietrich Fischer-Dieskau, bar (all above)

3:00 CLASSICAL TILL DAWN

12:00 NOONTIME JAZZ with Peter Mitchell

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

Vivaldi, A. Sonata in C op 13 no 1. Béla Drahos, fl; Pál Kelemen, va; Zsuzsa Pertís, hpd. Naxos 8.550648 13 Dohnányí, E. Sonata in C sharp minor, op 21 (1912). Bruno Zwicker, vn; Díeter Goldmann, pf. Point Classics 26 72762 17 Haydn, J. Divertimento in B flat, Hob.II:46 (bef. 1784). Stuttgart Wind Quintet. Mediaphon 25407-179 10 Marais, M. Sonata à la Marésienne (pub. 1723). London Baroque/Charles Medlam. Harmonia Mundi HMA 1901105 12 10:00 MORNING CONCERT Prepared by Anne Irish

15:00 CONCERT HALL Prepared by Stephen Schafer Sibelius, J. The swan of Tuonela, from Lemminkäinen suite, op 22 (1893/97/1900). London PO/Paavo Berglund. London Philharmonic LPO-0065

Boccherini, L. Cello concerto no 9 in B flat. Jacqueline du Pré, vc; English CO/Daniel Barenboim. EMI CMS 7 63283 2 23 Rimsky-Korsakov, N. Symphonic suite: Scheherazade, op 35 (1888). London PO/Mariss Jansons. EMI 5 55227-2 45 11:30 FISCHER-DIESKAU SINGS LIEDER Prepared by Randolph Magri-Overend Mahler, G. Um Mitternacht, from RückertLieder (1902). Daniel Barenboim, pf. EMI 4 76780 2 6

Dargomïzhsky, A. Mad scene; Death of the miller, from Rusalka (1856). Georgi Pozemkovsky, ten; Fedor Chaliapin, bass; London SO/Max Steinmann. EMI CDH 7 61009-2

22:00 BAROQUE AND BEFORE Till death us do part Prepared by Oscar Foong

Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter dreams (1866/74). London SO/ Valery Gergev. LSO Live 0710 43

Bach, J.S. Lass, Leopold, dich nicht begraben; Wie konnt es möglich seyn; Wird auch gleich nach tausend Zähren; Und, Herr, das ist die Specerey; Geh, Leopold, zu deiner Ruh, from Trauermusic, BWV244a (1728). Taverner Consort & Players/Andrew Parrott. Avie AV2241 18

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

Pachelbel, J. Musical meditations on death. Douglas Lawrence, bamboo org. Move MD 3136 6

19:00 FRIDAY JAZZ SESSION with Sally Cameron

Cooper, J. Funeral teares (1606). Les Jardins de Coutoisie; Ensemble Céladon. Zigzag ZZT090302 19

20:00 THE ROMANTIC CENTURY Prepared by Denis Patterson 12

Alexander Dargomïzhsky

Bruch, M. Kol nidrei, op 47 (1881). Truls Mørk, vc; Radio France PO/Paavo Järvi. Virgin 5 45664 2 11

13:00 SELECT YOUR CLASSICS with Stephen Schafer

9:00 DIVERSIONS IN FINE MUSIC Small forces

Nielsen, C. Overture: Helios, op 17 (1903). Danish NSO/Thomas Dausgaard. Dacapo 8.206002

White, R. Lamentations à 5. HuelgasEnsemble/Paul Van Nevel. Harmonia Mundi HMG 501682

Goldmark, K. Overture: Sakuntala, op 13 (1865). Royal PO/Yondani Butt. ASV DCA 791

Catalani, A. Impressioni (1878-79). Pietro Spada, pf. ASV DCA 921

Couperin, L. Chaconne. Douglas Lawrence, bamboo org. Move MD 3136 5

Allegri, G. De lamentatione Jeremaiae; Miserere mei Deus; Incipit lamentatio Jeremiæ prophetae. Cardinall’s Musick/Andrew Carwood. Hyperion CDA67860 22

Spohr, L. Concertante no 1 in B minor, op 88 (1833). Henning Kraggerud, vn; Øyvind Bjorå, vn; Oslo Camerata; Barratt Due CO/Stephan Barratt-Due. Naxos 8.570840 23 Sarasate, P. de Magic flute fantasy. Gil Shaham, vn; Akira Eguchi, pf. DG 447 640-2

Dowland, J. M. John Langtons pavan; Sir Henry Umptons funerall; Semper Dowland semper dolens (c1600). Jordi Savall, viol; Christophe Coin, viol; Sergi Casademunt, viol; Lorenz Duftschmid, viol; Paolo Pandolfo, viol; Jose Miguel Moreno, viol. Astrée E 8701 17 fineMusic FM 102.5

Saturday 23 February Gershwin, G. Someone to watch over me (1926). 4 Elfman, D. Batman theme (1989).

Hawthorn Band/Ken MacDonald (3 above) Walsingham WAL 9000-2 Newsome, R. Fantasy on Swiss airs. WilliamsFairey Engineering Band. Delta 60357 6 Alford, K. Colonel Bogey march (1914). Craig Johnson, cond. 3

John Lanchbery 0:00 CLASSIC-ALL THROUGH THE NIGHT

Martin, T. Vietnam vets march. Tom Martin, cond. 3

6:00 SATURDAY MORNING MUSIC with Peter Bell

Australian Army Band (2 above) ABC 476 486-2

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

12:00 JAZZ THEN AND NOW with Michael Cooper

9:30 SPOTLIGHT ON JOHN LANCHBERY Prepared by Chris Blower Minkus, L. Pas de dix, from Paquita (1881; arr. Lanchbery). Sydney SO. HMV OASD 183425 17 Lanchbery, J. Excerpts from The sentimental bloke (1985). State O of Victoria. ABC 456 684-2 20 McCartney, P. Yesterday’s concerto (arr. Lanchbery). Isador Goodman, pf; Sydney SO. ABC 442 377-2 8 Hérold, F. Excerpts from La fille mal gardée (1828; arr. Lanchbery). Royal Opera House O. Decca 430 849-2 17 Ketèlbey, A. In a Chinese temple garden (1925). Jean Temporley, mezz; Ambrosian Singers; Philharmonia O. EMI 1 66443 2

Lehár, F. Excerpts from The merry widow, ballet. Adelaide Singers; Adelaide SO. EMI 754163 2 23 Lanchbery, J. The tale of Squirrel Nutkin; The tale of Jemima Puddleduck, from Tales of Beatrix Potter, music from the film (1970). Royal Opera House O. EMI 7545372 14

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 Williams, J. Original soundtrack: Saving Private Ryan (1998). Tanglewood Ch; Gus Sebring, hn; Tim Morrison, tpt; Thomas Rolfs, tpt; Boston SO/John Williams. Dreamworks DRMD-50046 54 16:30 AT THE BALLET Prepared by Raj Gopalakrishnan Hanson, H. Ballet suite: Nymphs and satyr (1979). Doris Hall-Gulati, cl; Holly Blake, bn; Philadelphia Virtuosi CO/Daniel Spalding. Naxos 8.559251 13 Glazunov, A. Chopiniana, ballet, op 46 (1893). German SO/Vladimir Ashkenazy. Decca 460 019-2 21

Dean, B. Amphitheatre (c2000). Melbourne SO/Markus Stenz. ABC 476 160-6 11 Koehne, G. Inflight entertainment (1999). Diana Doherty, ob; Sydney SO/Takuo Yuasa. Naxos 8.555847 29 Wesley-Smith, M. Seven widows at the Gates of Sugamo (2008). Thirsty Night Singers; Seven Harp Ensemble. Tall Poppies TP204 10 19:00 MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Porter, C. Excerpts from Anything goes (1934). Patti la Pone, Howard McGillin, voices; members of new Broadway cast. RCA Victor 7769-2-RC 19 Rodgers, R. Suite from The sound of music (1965). English Chorale; London SO/Peter Knight. Success 16279-CD 10 Loewe, F. Excerpts from My fair lady (1956). Julie Andrews, sop; Rex Harrison, voice; members of original Broadway cast. Columbia SK 89997 19 20:00 THE SYDNEY MOZART SOCIETY PRESENTS The Goldner String Quartet Produced by Kerry Joyner Mozart, W. Quartet no 21 in D, K575, First Prussian (1789). 24 Beethoven, L. Quartet in D, op 18 no 3 (1801). 25 Dvorák, A. Quartet in F, op 96, American (1893). 27 Goldner String Quartet (all above) 21:30 MARIA LOPÉS IN RECITAL Night music Produced by Edda Filson Giovannini, C. Marocco, nocturne.

Bloch, E. Suite modale.

Kennan, K. Night soliloquy.

John Lanchbery, cond (all above)

Martinu, B. Istar ballet suites nos 1 and 2 (1917-21). Brno State PO/Jiri Waldhans. LP Supraphon 1 10 1634 48

Gaubert, P. Nocturne and allegro scherzando. 6

11:30 ON PARADE Prepared by Paul Hopwood

18:00 AUSTRALIAN COMPOSERS’ HOUR Prepared by Janie Fitch

Maria Lopés, fl; Sumiko Yamamura, pf (all above)

Schonberg, C-M. I dreamed a dream, op 9 (arr. Barry). 4

Wesley-Smith, M. Waltz for Aunt Irina (1993). Elizabeth Green, pf. Biodiversity BD02 3

22:00 AFTER HOURS with Kevin Jones

fineMusic FM 102.5

Sunday 24 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett

13:00 WORLD MUSIC: Whirled Wide with Hilla Irani

WAGNER

14:00 SUNDAY SPECIAL Jordi Savall & co Prepared by Stephen Schafer

2013

1813

9:00 WAGNER AND FRIENDS Tannhäuser Prepared by Barbara Brady 200 th Anniversary

Wagner, R. Overture to Tannhäuser (1845). Berlin PO/Claudio Abbado. Decca 476 2457 14 The shepherd boy’s song, from Tannhäuser. 2 When you strove with us in blythe song, from Tannhäuser. Rene Kollo, ten; Victor Braun, bar; Ch of the Minstrel Knights. 6 Vienna PO/Georg Solti (2 above) Decca 414 581-2 Meyerbeer, G. Coronation march, from The prophet (1849). Detroit SO/Paul Paray. Mercury 434 332-2 4 Hérold, F. Jours de mon enfance, from Le pré aux clercs (1832). Sumi Jo, sop; English CO/ Richard Bonynge. Decca 440 679-2 8 Wagner, R. Dich, teure Halle, from Tannhaüser. Kirsten Flagstad, sop; O/Hans Lange. Nimbus NI 7847 3 Entrance of the guests, from Tannhäuser. Slovak PO/Michael Halász. Naxos 8.550136

Rossini, G. Kyrie; Agnus Dei, from Petite messe solennelle. Margarita Zimmerman, cont; Ambrosian Singers; Richard Nunn, harmonium; Craig Shepherd, pf; Paul Berkowitz, pf; Claudio Scimone, cond. Philips 412548-2 15

12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

Tannhäuser’s contest song and scene with Elizabeth and nobles, from Tannhäuser. Helga Dernesch, sop; René Kollo, ten; Vienna State O Ch; Vienna PO/Georg Solti. Decca 414 581-2 15 Rossini, G. Ballet music from William Tell (1829). New Philharmonia O/Charles Mackerras. EMI CDM 1 66417-2 9 Wagner, R. Song to the evening star, from Tannhäuser. Bryn Terfel, bass-bar; Berlin PO/ Claudio Abbado. DG 471 348-2 6 10:30 CHAMBER MASTERWORKS Prepared by Judy Ekstein Hummel, J. Piano quintet in E flat, op 87 (1802). Melos Ensemble. Decca 430 297-2

Haydn, J. Quartet in G, Hob.III:81 (1799). Australian String Quartet. ABC 426 805-2

Mozart, W. Quintet in A, K581 (1789). Thea King, basset cl; Gabrieli String Quartet. Hyperion CDA20199 33

Bach, J.S. Overture no 1 in C, BWV1066 (bef. 1724). Le Concert des Nations. Alia Vox AVSA 9890A+B 27 Various. Folias Criollas (Anon); Tleycantimo choquiliya (Fernandez); Ay que me abraso (Zespedes). Hesperion XXI. Alia Vox AV 9853 12 Rameau, J-P. Suite from Les Indes galantes (1735-61). Alia Vox AVSA 9882A+B 29

18:00 WHAT’S ON AT THE CON with Julie Simonds A monthly program of music, news and interviews from the Sydney Conservatorium 19:00 OPERA HIGHLIGHTS Wagner, R. Ride of the Valkyries (1870). Bavarian RSO/Bernard Haitink.

Verdi, G. Ella giammai m’amò! from Don Carlo (1867/84). Ruggero Raimondi, bass; Royal Opera House O/Carlo Maria Giulini. 8 EMI 5 86211 2 9 (2 above)

Corselli, F. Prologue to Vivaldi’s Farnace and Vivaldi’s original overture (1739). Cinzia Forte, sop; Adriana Fernandez, sop. Alia Vox AV9822 A/C 20

Bizet, G. Je dis que rien ne m’épouvante, from Carmen (1874). Kiri Te Kanawa, sop; London PO/Georg Solti. Decca 436 286-2 6

Le Concert des Nations (2 above)

Borodin, A. Polovtsian chorus, from Prince Igor (1887). Dzintras-Latvia Choir; Latvian PO/ Ausma Derkevica. MCPS AACS 98152 5

Jordi Savall, cond (4 above) Various. Marche des Turcs (Lully); Le retour (Sainte Colombe); Sonnerie de Ste-Geneviève du Mont-de-Paris (Marais). Fabio Biondi, vn; Christoph Coin, viol; Jordi Savall, viol; Pierre Hantai, hpd; Rolf Lislevand, theorbo. Alia Vox AV9821 18 Anon. Cum autem venissem (15th C). La Capella Reial de Catalunya/Jordi Savall. Alia Vox AV9816A+B

Hume, T. Humorous Pavin; Captaine Humes gaillard; My hope is decayed. Jordi Savall, va da gamba. Alia Vox AV 9837 10 Anon. Concert given to Louis XIII in 1627 by Les 24 viollons et les 12 grandes hautbois. Le Concert des Nations/Jordi Savall. Alia Vox AV 9824 26 17:00 HOSANNA Prepared by Meg Matthews

19:30 SUNDAY NIGHT CONCERT Prepared by Paul Hopwood Berlioz, H. Overture: Roman carnival, op 9 (1844). Philharmonia O/Herbert von Karajan. EMI CDM 1 66434-2 9 Biscogli, F. Triple concerto in D, op 56. Maurice Bourge, ob; Maurice Allard, bn; Maurice André, tpt; Württemberg CO/Jörg Faerber. EMI CMS 7 69880-2 23 Skryabin, A. Symphony no 3 in C minor, op 43, The divine poem (1902-04). Stockholm PO/ Leif Segerstam. BIS CD-475 49 21:00 NEW HORIZONS The pearl of Dubai Prepared by Robert Small

Hymns: All creatures of our God and King; Be thou my vision; Now thank we all our God. Cambridge Singers; John Scott, org; City of London Sinfonia/John Rutter. Collegium COLCD 112 12

Dove, J. There was a child (2009). Joan Rodgers, sop; Toby Spence, ten; City of Birmingham Youth Ch; City of Birmingham Children’s Ch; City of Birmingham SO & Ch/ Simon Halsey. Signum SIGCD285 12

Hassler, H. Four psalms and sacred songs (1607). Currende/Erik van Nevel. Etcetera KTC 1409

Foster, G. The pearl of Dubai suite (2010-11). Novaya Rossia SO/Zaurbek Gugkaev. Quartz QTZ 2091 57

Toccata. Martin Böcker, org. CPO 999 723-2

Schelle, J. Aus der Tiefen, from Psalm no 129. King’s Consort/Robert King. Hyperion CDA 67260 10

Todd, W. Among angels (2006). Tenebrae; English CO/Nigel Short. Signum SIGCD298 15 22:30 ULTIMA THULE

fineMusic FM 102.5

Monday 25 February

William Vincent Wallace

Felix Mendelssohn Khachaturian, A. Sabre dance from Gayane (1942; arr. Heifetz). Sarah Chang, vn; Sandra Rivers, pf. EMI CDC07777 54352 21 2

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

Holst, G. St. Paul’s suite, op 29 no 2 (1912-13; arr. Walsh). Guitar Trek. ABC 432 698-2 13

9:00 DIVERSIONS IN FINE MUSIC Inspired by opera Prepared by Elaine Siversen Bizet, G. Bohemian scenes, from The fair maid of Perth (1866). Montreal SO/Charles Dutoit. Decca 452 102-2 13 Liszt, F. Reminiscences of La juive: Fantasie brillante on themes from Halévy’s opera (1835). Leslie Howard, pf. Hyperion CDS44545 14 Wallace, V. Overture to Maritana (1845). New Philharmonia O/Richard Bonynge. Decca 466 431-2 10 Grand duo on themes from Halévy’s L’éclair (1842). Rosemary Tuck, pf; Richard Bonynge, pf. Naxos 8.572774 15 10:00 MORNING CONCERT Prepared by Angela Bell Svendsen, J. Carnival in Paris, op 9 (1872). Bergen PO/Neeme Järvi. Chandos CHAN 10693

Taneyev, S. Symphony no 3 in D minor (1884). Novosibirsk Academic SO/Thomas Sanderling. Naxos 8.560336 42 11:30 ARRANGED FOR... Prepared by Chris Blower Puccini, G. Arias, from La bohème (1896; arr. Pearson). Crispian Steele-Perkins, tpt; Leslie Pearson, org. LDR 1006 10 fineMusic FM 102.5

Beethoven, L. Six variations in F, op 34 (1806). Jenö Jandó, pf. Naxos 8.550676 13 Saint-Saëns, C. String quartet no. 2 in G, op 153 (1918). Fine Arts Quartet. Naxos 8.572454 29

12:00 SWING SESSIONS with John Buchanan

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

13:00 M IS FOR MUSIC Prepared by Andrew Parker

19:00 JAZZ

Monteverdi, C. Magnificat anima mea Dominum à 8, from Selva morale e spirituale (pub. 1640; ed. Parrott). Emma Kirkby, sop; Rogers Covey-Crump, ten; David Thomas, bass; Taverner Consort & Players/Andrew Parrott. EMI CDC 7 47016-2 13 Mendelssohn, F. Violin concerto in E minor, op 64 (1844). Itzhak Perlman, vn; Concertgebouw O/Bernard Haitink. EMI CMS 7 64922 2

Mussorgsky, M. Pictures at an exhibition (1874). Nikolai Demidenko, pf. Hyperion CDA67018 34

Bériot, C-A. de Violin concerto no 2 in B minor, op 32 (1835). Philippe Quint, vn; Slovak RSO/Kirk Trevor. Naxos 8.570360 28

Charles-Camille Saint-Saëns

Mahler, G. Excerpts from Des Knaben Wunderhorn (1892-93). Lucia Popp, sop; Geoffrey Parsons, pf. Orfeo C 363 941

Mozart, W. Symphony no 20 in D, K133 (1772). English CO/Jeffrey Tate. EMI 5 55480 2 21 15:00 ALPHABETICAL KEYS Prepared by Randolph Magri-Overend Mendelssohn, F. String symphony no 6 in E flat (1821). London FO/Ross Pople. Hyperion CDS44081/3 12

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 KEYBOARD CONTRASTS Prepared by Frank Morrison Mozart, W. Sonata in D, K448 (1781). Güher Pekinel, pf; Süher Pekinel, pf. Teldec 244 926-2 24 Scarlatti, A. Toccata in D minor (1723). Renato Alessandrini, hpd. Arcana A3 19 Dvorák, A. Piano trio no 4 in E minor, op 90, Dumky (1891). Nash Ensemble. Virgin VC 7 90736-2 31 Beethoven, L. 12 Variations in A on a Russian dance from Wranitsky’s Das Waldmädchen, WoO71 (1795). Ronald Brautigam, fp. BIS SACD-1673 10 Schubert, F. Sonata no 14 in A minor, D784 (1823). Mitsuko Uchida, pf. Philips 464 480-2 24

Tuesday 26 February

Walter Gieseking 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 Pianists of choice: Walter Gieseking Prepared by Jennifer Foong Debussy, C. Dance: Styrian tarantella (18901903). 5 Ballade (1890-1903). EMI 5 65855 2 (2 above)

Mozart, W. Sonata no 13 in B flat, K333 (1783-84). EMI 1C 197-03 133/37 17 Als Luise die Briefe, K520 (1787); Abendempfindung, K523 (1787); Im Frühlingsanfange, K597 (1791); Die Zufriedenheit, K349 (1780-81). Elisabeth Schwarzkopf, sop. EMI CDC 7 47326-2

Debussy, C. Pour le piano (1894-1901). EMI 5 65855 2

Walter Gieseking, pf (all above) 10:00 MORNING CONCERT Prepared by Michael Field Beethoven, L. Overture: Consecration of the house, op 124 (1822). New York PO/Leonard Bernstein. CBS MK 42222 10 Berlioz, H. Harold in Italy, op 16 (1834). Rivka Golani, va; San Diego SO/Yoav Talmi. Naxos 8.553034 41 Hovhaness, A. Symphony no 50, op 360, Mount Saint Helens (1982). Seattle Symphony/ Gerard Schwarz. Naxos 8.559717 32

Pinchas Zukerman. Photo - C. Mazak

Frank Bridge

11:30 ART SONG Prepared by Jan Brown

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

Berlioz, H. Le spectre de la rose, from Les nuits d’été, op 7 no 2 (1840).

Debussy, C. De rêve, from Proses lyriques (1892).

Tchaikovsky, P. Capriccio italien, op 45 (1880; arr. Langer). Aurora Piano Quartet. Naxos 8.557717D 13

Janet Howd, sop; Christopher Ross, sop (2 above) Duo DUOCD 89005

Moscheles, I. Piano concerto no 3 in G minor, op 58 (c1822). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA67276 30

Chabrier, E. Ballade des gros dindons, from Six mélodies (1890). Hugues Cuénod, ten; Geoffrey Parsons, pf. Nimbus 5027 3

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

Brahms, J. Die Mainacht, op 43 no 2 (1864); Feldeinsamkeit, op 86 no 2 (1877-79). John McCormack, ten; Edwin Schnieder, pf. EMI CDH 763306 2 6

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES

12:00 JAZZ RHYTHM with Jeannie McInnes

22:00 BEYOND ROMANTICISM Happy birthday Bridge Prepared by Oscar Foong

13:00 SAYONARA TOKYO STRING QUARTET Prepared by Sheila Catzel

Britten, B. Variations on a theme of Frank Bridge, op 10 (1937). Camerata of St John’s. Camerata of St John’s CSJ 1001 25

Beethoven, L. Quartet no 8 in E minor, op 59 no 2, Razumovsky (1805-06). Harmonia Mundi HMU 907423.24 36

Bridge, F. Three idylls (1907). Goldner String Quartet. Hyperion CDA67726 14

Mozart, W. Quartet no 4 in A, K298 (1786-87). Paula Robison, fl. Vanguard OVC 4001 12 Beethoven, L. Quintet in C, op 29 (1802). Pinchas Zukerman, va. RCA 661 284-2

Tokyo String Quartet (all above) 14:30 PIANO PLUS Prepared by Jan Brown Beethoven, L. Sonata, op 17 (1800). Anthony Halstead, hn; Robert Levin, fp. Decca 455 994-2 14

Suite: The sea (1908). BBC NO of Wales/ Richard Hickox. Chandos CHAN 10012

Quintet in D minor (1905). Piers Lane, pf; Goldner String Quartet. Hyperion CDA67726

Four characteristic pieces (1917). Peter Jacobs, pf. Continuum CCD 1018 10 Dweller in my deathless dreams; Goldenhair (1925). Janice Watson, sop; Jamie MacDougall, ten; Roger Vignoles, pf. Hyperion CDA67182 6 fineMusic FM 102.5

Wednesday 27 February 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

200 th Anniversary

WAGNER

2013

1813

20:00 AT THE OPERA Prepared by Colleen Chesterman

Wagner, R. Tannhäuser. Opera in three acts. Libretto by composer. First performed Dresden, 1845. Elizabeth Wallfisch

Bryn Terfel

0:00 CONTEMPORARY COLLECTIVE

11:30 BRYN TERFEL SINGS BRITISH SONGS Prepared by Randolph Magri-Overend

3:00 CLASSICAL TILL DAWN

Vaughan Williams, R. Whither must I wander, from Songs of travel (1904). DG 477 6686

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

Finzi, G. Fear no more the heat o’ the sun, from Let us garlands bring, op 18 (1929). DG 445 946-2 6

9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Paul Hopwood Albinoni, T. Concerto a 6. John Wallace, tpt; Philharmonia O/Christopher Warren-Green. Nimbus NI 5017 8 Locatelli, P. Violin concerto in A, op 3 no 11, from L’arte del violino (pub. 1733). Elizabeth Wallfisch, vn; Raglan Baroque Players/Nicholas Kraemer. Hyperion CDS44391/3 18 Galuppi, B. Harpsichord concerto in G. Edoardo Farina, hpd; I Solisti Italiani. Denon CO-78838

Corelli, A. Concerto grosso in G minor, op 6, no 8, Christmas (c1690). Peter Hanson, vn; Walter Reiter, vn; Jane Coe, vc; English Concert/Trevor Pinnock. Archiv 437 834-2 14 10:00 MORNING CONCERT Prepared by Derek Parker Castelnuovo-Tedesco, M. Overture: The winter’s tale, op 80 (1935). West Australian SO/ Andrew Penny. Naxos 8.572501 14 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 Strauss, R. Also sprach Zarathustra, op 30 (1896). Sydney SO/Charles Mackerras. Sydney Symphony SSO 200705 34 50

fineMusic FM 102.5

Vaughan Williams, R. Silent noon, from The house of life (1903). DG 477 6686 4 Youth and love, from Songs of travel. DG 445 946-2

Trad. All through the night (arr. Hazell). DG 477 6686

Bryn Terfel, bass-bar; Malcolm Martineau, pf (all above) 12:00 THE SOUND OF JAZZ with Kevin Jones 13:00 YOUTH DEVELOPMENT HOUR Supported by St Catherine’s School and Overs Pianos 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.

HERMANN: Matti Salminen, bass TANNHÄUSER: Plácido Domingo, ten WOLFRAM VON ESCHENBACH: Andreas Schmidt, ten ELISABETH: Cheryl Studer, sop VENUS: Agnes Baltsa, mezz Royal Opera House Ch; Philharmonia O/ Giuseppe Sinopoli. DG 427 625-2 3:16 The minstrel Tannhäuser has spent a year in the Venusberg, loved by the goddess of beauty. Sated, he seeks to return to earthly life and calls on the Virgin Mary. He wakes near the castle of the Wartburg, meeting Landgrave Hermann and his knights. His friend Wolfram reminds him that Hermann’s niece Elisabeth loves his singing. A song contest is to take place with Elisabeth’s hand the prize. Wolfram sings of ideal love, Tannhäuser a hymn to Venus. This shocks all but Elisabeth protects him and he heads to Rome to obtain absolution. Wolfram realises that Elisabeth is dying. Tannhäuser returns denied forgiveness by the Pope, until his papal staff flowers. Tannhauser distraught sees the funeral of Elisabeth. Pilgrims return with a flowering staff and Tannhäuser, saved from damnation, dies beside Elisabeth. 23:30 BETWEEN ACTS Prepared by Francis Frank Rimsky-Korsakov, N. Entr’acte, Olga, from The Maid of Pskov, Act 1 (1873/92). Moscow SO/Igor Golovchin. Naxos 8.553513 4 Bizet, G. Aragonaise: entr’acte to Act IV, from Suite no 1 from Carmen (1875). Cincinnati Pops O/Erich Kunzel. Telarc CD-80703 2

15:00 THE ITALIAN INFLUENCE Prepared by Denis Patterson

Tchaikovsky, P. Entr’acte, from The maid of Orleans (1881). Ukraine NSO/Theodore Kuchar. Naxos 8.554845 3

Boccherini, L. Cello concerto no 10 in D (pub. 1770). Raphael Wallfisch, vc; Northern CO/ Nicholas Ward. Naxos 8.557589 21

Rimsky-Korsakov, N. Entr’acte, the monastery, from The Maid of Pskov, Act IV. Moscow SO/Igor Golovchin. Naxos 8.553513 6

Cherubini, L. Symphony in D (1815). Zurich CO/Howard Griffiths. cpo 999 5212 34

Schubert, F. Rosamunde entr’acte, D797 (1823). Staatskapelle Dresden/Willi Boskovsky. EMI 1 66445 2 7

Thursday 28 February Theodorakis, M. 4 Epitafios (c1939). Sony SMK 62266

Falla, M. de Dances from The three-cornered hat (1919). Sony 88697529852 6 Tárrega, F. Recuerdos de la Alhambra. CBS MK 44794

Sculthorpe, P. Guitar solo from Kakadu (1993). Sony SK 53361 11

Hugo Alfvén 0:00 CONTEMPORARY COLLECTIVE

Villa-Lobos, H. Guitar concerto (1951). English CO/Daniel Barenboim. CBS M2YK 45610 19

3:00 CLASSICAL TILL DAWN

Albéniz, I. Asturias (1886). Sony 88697529852

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

Rodrigo, J. Concierto de Aranjuez (1939). English CO/Daniel Barenboim. CBS M2YK 45610

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

John Williams, gui (all above)

10:00 MORNING CONCERT Prepared by Raj Gopalakrishnan Bax, A. Tintagel (1919). Royal Scottish NO/ David Lloyd-Jones. Naxos 8.557599 15 Martinu, B. Rhapsody concerto (1952). Vladimir Bukac, va; Czech RSO/Vladimir Valek. Calliope CAL 9364 19 Alfvén, H. Symphony no 4, op 39, From the outermost Skerries (1919). Arndis Halla, sop; Johann Valdimarsson, ten; Kristján Th. Stephensen, cora; Sigrün Edvaldsdóttir, vn, Richard Talkowsky, vc; Iceland SO/Niklas Willén. Naxos 8.557284 48 11:30 KEYBOARD VARIATIONS Prepared by Elaine Siversen Weber, C.M. Variations on a Russian song, Schöne Minka, op 40 (1814-15). Stephanie McCallum, pf. ABC 462 764-2 17 Scheidt, S. Variations on Ah! you five young horsemen (1624). David Rumsey, org. MBS 33 CD 9 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 AUSTRALIAN GUITAR Prepared by Randolph Magri Overend

14:30 PASTORAL PLEASURES Prepared by Sheila Catzel Mozart, L. Sinfonia pastorale in G (c1750). Edward Allen, hn; New Zealand CO/Donald Armstrong. Naxos 8.553347 12 Doppler, F. Hungarian pastoral fantasy, op 26. Karl-Bernhard Sebon, fl; Berlin RSO/Uros Lajovic. Schwann 11608 11 Ryba, J. Missa pastoralis in D (1788). Dagmar Vankátová, sop; Pavla Ksicová, cont; Vladimír Dolezal, ten; Václav Sibera, bass; Josef Ksica, org; Czech Madrigalists Ch & O/Frantisek Xaver Thuri. Naxos 8.554428 13 Chabrier, E. Suite pastorale (1888). Monte Carlo PO/Hervé Niquet. Naxos 8.554248 17 Beethoven, L. Sonata no 15 in D, op 28, Pastoral (1801). Alfred Brendel, pf. Philips 446 624-2

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 Elgar, E. Variations on an original theme, op 36, Enigma (1899). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00029 30

Mstislav Rostropovich Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). Niki Vasilakis, vn; Tasmanian SO/ Sebastian Lang-Lessing. ABC 476 9237 27 Beethoven, L. Romance no 1 in G, op 40 (1802). Anne-Sophie Mutter, vn; New York PO/ Kurt Masur. DG 471 349-2 7 Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter daydreams (1866). London PO/ Mstislav Rostropovich. EMI 5 65709 2 45 22:00 CHAMBER SOIRÉE Haydn, J. Trio no 42 in E flat, Hob.XV:30 (bef. 1797). Yuuko Shiokawa, vn; Boris Pergamenschikow, vc; András Schiff, pf. Decca 476 2577

Baermann, H. Adagio in D flat, op 23 (1821). Henk de Graaf, cl; Schubert Consort. Columns Classics 99168 5 Boccherini, L. Quintet in E minor (1798). Günter Kehr, vn; Hans Kalafusz, vn; Günther Lemmen, va; Siegfried Palm, vc; Karl-Heinz Böttner, gui. Mediaphon 25407-28 24 Sammartini, G. Sonata in G. Michel Henry, ob; Roberto Gini, vc; Diana Petech, hpd. Arts 447 141-2 10 Böck, I. - Böck, A. Four pieces. Gottfried Langenstein, hn; John Stobart, hn; Klaus Stoll, db. Signum X45-00 8 Janácek, L. Capriccio (1926). Peter Toperczer, pf; Czech Philharmonic Wind Ensemble/Libor Pešek. Point Classics 2671912 21 Mendelssohn, F. Quartet no 1 in E flat, op 12 (1829). Kreuzberger String Quartet. Teldec 8.44049 24 fineMusic FM 102.5

Italy in style

Grand Tour of Italy APRIL 5–22, 2013 With Dr Nicholas Gordon

SePT 26 – OCT 11, 2013 With Carolyn Andrew Follow in the footsteps of travellers past and visit the renowned sites that make Italy such a perennially popular destination. Along the way you will gain an insight into the history, art and architecture of ancient Roman, medieval and Renaissance Italy. The itinerary features three and four night stays in a small town on the Bay of Naples, Rome, a medieval village in Umbria, Florence and Venice. A highlight of the tour is a private evening viewing of the Sistine Chapel in Rome. Some excellent meals and carefully selected accommodation complement the sightseeing program.

$6,500 pp, twin share (land content only) $1,700 single supplement

Sicily and the Aeolian Islands MAY 3–19, 2013 With Dr Estelle Lazer

SePT 27 – OCT 13, 2013 With Jeni Ryde A carefully designed journey showcasing the major attractions of the islands – Greek temples, Byzantine mosaics and Arab architecture, but also some of the lesser-known towns and natural beauty of the island. We commence with the Greek sites of Syracuse and Agrigento, before moving on to the Arab and Norman world of Palermo and the north coast. Over four days in the scenic Aeolian Islands, we explore Lipari and take a cruise to Stromboli and Panarea. The journey concludes with two nights in Taormina, in the shadows of Mount Etna, a celebrated European holiday spot for two centuries.

fineMusic FM 102.5

Venice: City, republic and empire March 2013 16 days ◆ $5,750 per person*

Malta and Sardinia March/April 2013 14 days ◆ $6,500 per person*

Rome city break April 2013 7 days ◆ $2,900 per person*

The Loire and Paris May/June 2013 15 days ◆ $6,580 per person*

* Twin share, land content only

$6,950 pp, twin share (land content only) $1,250 single supplement

› expert tour leaders › Maximum 20 in a group › Carefully planned itineraries

Also available

tailored small group Journeys

Keep in touch! Subscribe to our electronic and print mailing lists for the latest information on our tours at www.academytravel.com.au Level 1, 341 George St Sydney NSW 2000 Ph: + 61 2 9235 0023 or 1800 639 699 (outside Sydney) Fax: + 61 2 9235 0123 Email: info@academytravel.com.au Web: www.academytravel.com.au

The following composers have works of at least minutes on the February dates listed Thursday 31five January Adam, A. 1803-1856 1 Albéniz, I. 1860-1909 28 Albinoni, T. 1671-1751 27 Alfvén, H. 1872-1960 28 Allegri, G. 1582-1652 18,22 Almeida, L. b1917 6 Alwyn, W. 1905-1985 13 Antill, J. 1904-1986 2 Arban, J-B. 1825-1889 5 Arensky, A. 1861-1906 8,21 Arlen, H. 1905-1986 9 Arne, T. 1710-1778 8,20 Arnold, M. 1921-2006 11 Atherton, M. b1950 9 Auber, D-F-E. 1782-187 1 4

Busoni, F. 1866-1924 1 Foster, G. b1945 24 Butterworth, G. 1885-1916 12,16 Froberger, J. 1616-1667 18 Byrd, W. 1543-1623 3 Gade, N. 1817-1890 21 Carter, E. b1908 3,19 Galuppi, B. 1706-1785 27 Castelnuovo-Tedesco, M. Gaubert, P. 1879-1941 23 1895-1968 27 Gershwin, G. 1898-1937 2,12 Catalani, A. 1854-1893 22 Giazotto, R. b1910 21 Chabrier, E. 1841-1894 28 Giordano, U. 1867-1948 10 Chaminade, C. 1857-1944 26 Giuliani, M. 1781-1829 4,16,21 Cherubini, L. 1760-1842 14,27 Glass, P. b1937 19 Chopin, F. 1810-1849 4, 5 Glazunov, A. 1865-1936 Cimarosa, D. 1749-1801 8 7,8,13,14,18,23 Coleridge-Taylor, S. 1875Glier, R. 1875-1976 12,19 1912 12 Glinka, M. 1804-1857 4,6,8,10 Collinge, C. 10 * Gluck, C. 1714-1787 4,10,13 Babell, W. c1690-1723 8 Conyngham, B. b1944 9 Gnattali, R. 1906-1988 21 Bacewicz, G. 1909-1969 10,14 Cooper, J. b1925 22 Godard, B. 1849-1895 13,15 Bach, C.P.E. 1714-1788 5,16 Copland, A. 1900-1990 12 Goldmark, K. 1830-1915 1,22 Bach, J. Christian 1735-1782 16 Corelli, A. 1653-1713 6,27 Gounod, C. 1818-1893 16 Bach, J.S. 1685-1750 2,3,4,6,7,8,9, Corigliano, J. b1938 11 Grainger, P. 1882-1961 2,15 10,12,16,18,22,24 Cornysh, W. d1523 8 Graun, C. 1704-1759 6 Balada, L. b1933 19 Corselli, F. c1702-1778 24 Gray, A. 1855-1931 17 Balakirev, M. 1837-1910 8,14 Couperin, F. 1668-1733 4 Grieg, E. 1843-1907 3,5,13,15,17,21 Bantock, G. 1868-1946 8 Couperin, L. c1626-1661 22 Barber, S. 1910-1981 6 Cox, D. 1916-1997 4 Handel, G. 1685-1759 1,6,17 Bartók, B. 1881-1945 6,8,12,15 Croft, W. 1678-1727 8 Hanson, H. 1896-1981 23 Bax, A. 1883-1953 14,21,28 Harris, W. 1883-1973 3 Beamish, S. b1956 17 d’Indy, V. 1851-1931 3 Hassler, H. 1562-1612 24 Beethoven, L. 1770-1827 1,4,5,6, Danzi, F. 1763-1826 1 Haydn, J. 1732-1809 7,9,10,13,16,19,20,23,25,26,28 Dargomïzhsky, A. 1813-1869 22 4,6,10,11,12,16,18,22,24,28 Bellini, V. 1801-1835 9 Dean, B. b1961 23 Heise, P. 1830-1879 15 Bériot, C-A. de 1802-1870 25 Debussy, C. 1862-1918 Hellendaal, P. 1721-1799 13 Berlioz, H. 1803-1869 8,24,26 3,8,12,13,20,26 Hérold, F. 1791-1833 10,23,24 Bernstein, L. 1918-1990 1 Del Tredici, D. b1937 10 Herzogenberg, H. 1843-1900 Berwald, F. 1796-1868 7 Delius, F. 1862-1934 13,21 11,14 Biber, H. 1644-1704 3 Deutsch, A. 1897-1980 9 Hill, A. 1870-1960 2,7 Biscogli, F. fl..c1740 24 Dohnányi, E. 1877-1960 Hillborg, A. b1954 10 Bizet, G. 1838-1875 24,25 8,12,18,22 Hiller, F. 1811-1885 17 Bloch, E. 1880-1959 23 Donizetti, G. 1797-1848 15 Hirst, D. 20th c 10 Boccherini, L. 1743-1805 Doppler, F. 1821-1883 28 Hoang, T. b1956 6 5,8,22,27,28 Dove, J. b1959 24 Holmboe, V. 1909-1996 5,8,21 Bononcini, G. 1670-1747 13 Dowland, J. c1563-1626 3,22 Holst, G. 1874-1934 25 Borodin, A. 1833-1887 14,24 Dukas, P. 1865-1935 3,10 Holzbauer, I. 1711-1783 10 Bortkiewicz, S. 1877-1952 5 Dvorák, A. 1841-1904 Hovhaness, A. 1911-2000 7,26 Bortnyansky, D. 1751-1825 17 1,3,7,17,18,20,23,25 Howells, H. 1892-1983 3 Bottesini, G. 1821-1889 16 Hume, T. c1569-1645 24 Boulanger, L. 1893-1918 12 Edens, R. 1905-1970 9 Hummel, J. 1778-1837 11,14,24 Bowen, Y. 1884-1961 14 Edwards, R. b1943 2,9 Boyce, W. 1711-1779 8,20 Elgar, E. 1857-1934 7,11,20,28 Ibert, J. 1890-1962 5 Boyd, A. b1946 2 Enescu, G. 1881-1955 18 Brahms, J. 1833-1897 Ewazen, E. b1954 11 Janácek, L. 1854-1928 7,21,28 2,5,7,12,13,16,17,26 Josephs, W. b1927 11 Bridge, F. 1879-1941 15,26 Fabricius, J. 1840-1919 15 Josquin Desprez. c1440-1521 9 Britten, B. 1913-1976 3,16,19,26 Falla, M. de 1876-1946 5,28 Broadstock, B. b1952 9 Fasch, J. 1688-1758 1 Kalinnikov, V. 1866-1901 8 Bruch, M. 1838-1920 20,22,28 Fauré, G. 1845-1924 1,16,20 Kálmán, E. 1882-1953 2 Bruckner, A. 1824-1896 15 Field, J. 1782-1837 11,19 Kats-Chernin, E. b1957 16 Bruk, F. 20th c 13 Finzi, G. 1901-1956 27 Kay, D. b1933 3

Kerry, G. b1954 2 Ketèlbey, A. 1875-1959 23 Khachaturian, A. 1903-1978 9,11,16 Kilar, W. b1932 16 Knussen, O. b1952 17 Koehne, G. b1956 21,23 Korngold, E. 1897-1957 15 Krieger, A. 1634-1666 15 Kuhlau, F. 1786-1832 8,15 Kurtág, G. b1926 2 Lalo, E. 1823-1892 3 Lanchbery, J. b1923 23 Lange-Müller, P. 1850-1926 15 Langgaard, R. 1893-1962 8,12,18 Langlais, J. 1907-1991 9 Lawes, W. 1602-1645 20 Lehár, F. 1870-1948 2,5,23 Lindberg, M. b1958 3 Liszt, F. 1811-1886 1,2,4,10,19,21,25 Lloyd Webber, A. b1948 9 Locatelli, P. 1695-1764 27 Loewe, F. 1901-1988 23 Lortzing, A. 1801-1851 8,10 Lully, J-B. 1632-1687 6 Lutoslawski, W. 1913-1994 3 Lyadov, A. 1855-1914 9 MacCunn, H. 1868-1916 2 Mahler, G. 1860-1911 2,6,22,25 Marais, M. 1656-1728 22 Marschner, H. 1795-1861 10 Martinu, B. 1890-1959 7,17,19,23,28 Maxwell Davies, P. b1934 17 McCallum, D. b1989 16 McCartney, P. b1942 23 Medtner, N. 1880-1951 3 Mendelssohn, F. 1809-1847 2,3,8,11,14,15,21,25,28 Mercadante, S. 1795-1870 15 Meyerbeer, G. 1791-1864 5 Minkus, L. 1826-1917 23 Monteverdi, C. 1567-1643 1,17,25 Moscheles, I. 1794-1870 14,26 Mozart, L. 1719-1787 14,28 Mozart, W. 1756-1791 1,2,11,15,16,1 7,18,20,23,24,25,26 Müller, I. 1786-1854 21 Mussorgsky, M. 1839-1881 4,25 Myslivecek, J. 1737-1781 3 Newman, A. b1941 9 Newsome, R. b1930 23 Nielsen, C. 1865-1931 8,22 Nilsson, A. b1954 3 Nin, J. 1879-1949 5 Noake, K. 1915-1968 9 Norgård, P. b1932 8

Offenbach, J. 1819-1880 18,19 Skryabin, A. 1872-1915 7,9,24 Smetana, B. 1824-1884 7,9,17,18,19,21 Pachelbel, J. 1653-1706 22 Sor, F. 1778-1839 16 Parry, H. 1848-1918 17 Sousa, J.P. 1854-1932 2 Pasculli, A. 1842-1924 15,18 Spohr, L. 1784-1859 10,22 Pécou, T. b1965 10 Stanley, J. 1712-1786 20 Pelecis, G. b1947 16 Straus, O. 1870-1954 2 Pollard, M. b1957 9 Strauss, J. II 1825-1899 9,15 Porena, B. b1927 21 Strauss, R. 1864-1949 Porpora, N. 1686-1768 13 2,5,14,16,21,27 Porter, C. 1891-1964 23 Stravinsky, I. 1882-1971 19 Poulenc, F. 1899-1963 13 Prokofiev, S. 1891-1953 6,12,18 Strong, G. 1856-1948 21 Suk, J. 1874-1935 1,8,11 Puccini, G. 1858-1924 25 Suppé, F. 1819-1895 3 Purcell, H. 1659-1695 2,3,8 Sutherland, M. 1897-1984 12 Svendsen, J. 1840-1911 21,25 Quantz, J. 1697-1773 5 Szymanowski, K. 1882-1937 11 Rachmaninov, S. 1873-1943 9 Taffanel, P. 1844-1908 13 Rajna, T. b1928 4 Taneyev, S. 1856-1915 25 Rameau, J-P. 1683-1764 24 Tchaikovsky, P. 1840-1893 Ravel, M. 1875-1937 1,5,17 1,3,5,6,8,17,19,22,26,28 Reicha, A. 1770-1836 7 Thalberg, S. 1812-1871 15,18 Respighi, O. 1879-1936 21 Theodorakis, M. b1925 28 Rimsky-Korsakov, N. 1844Todd, W. b1970 24 1908 8,12,14,22,27 Tomlinson, E. b1927 16 Rodgers, R. 1902-1979 23 Tortelier, P. 1914-1990 3 Rodrigo, J. 1901-1999 21,28 Tosti, P. 1846-1916 20 Rossini, G. 1792-1868 19,24 Tveitt, G. 1908-1981 5 Roussel, A. 1869-1937 5 Rózsa, M. 1907-1995 1 Vaughan Williams, R. 1872Ryba, J. 1765-1815 28 1958 7,16 Verdi, G. 1813-1901 3,10,18,24 Saint-Saëns, C. 1835-1921 Vieuxtemps, H. 1820-1881 19 3,4,5,11,18,25,27 Villa-Lobos, H. 1887-1959 16,28 Salieri, A. 1750-1825 11 Sammartini, G. 1693-1750 13,28 Vivaldi, A. 1678-1741 6,16,22 Sammartini, G.B. 1700-1775 8 Volkmann, R. 1815-1883 14 Sarasate, P. de 1844-1908 12,22 Vorísek, J. 1791-1825 18 Wagner, R. 1813-1883 10,14,17,24 Satie, E. 1866-1925 5 Scarlatti, A. 1659-1725 8,25 Wallace, V. 1812-1865 25 Scharwenka, X. 1850-1924 4 Weber, C.M. 1786-1826 1,9,28 Scheidt, S. 1587-1654 28 Weckmann, M. 1619-1674 15 Schelle, J. 1648-1701 24 Weill, K. 1900-1950 12,19 Schmidt, Heather. b1974 3 Wesley-Smith, M. b1945 Schnelzer, A. b1972 19 15,16,23 Schubert, F. 1797-1828 Wesley, S.S. 1810-1876 9 4,6,9,10,16,17,19,21,22,25,27 Westlake, N. b1958 10 Schumann, R. 1810-1856 1,4,18 White, R. c1538-1574 22 Schütz, H. 1585-1672 3,15 Whitlock, P. 1903-1946 9 Sculthorpe, P. b1929 28 Williams, J. b1932 23 Shankar, R. b 1920 7 Wiren, D. 1905-1986 7 Shchedrin, R. b1932 3 Shostakovich, D. 1906-1975 Ysaÿe, E. 1858-1931 11 12,17,21 Sibelius, J. 1865-1957 14,16,22 Zandonai, R. 1883-1944 18 Siefert, P. 1586-1666 15 Zimbalist, E. 1890-1985 6 Skalkottas, N. 1904-1949 18 Sköld, Y. 1899-1992 13

Key

Music duration is shown after the record and citation SO: Symphony Orchestra PO: Philharmonic Orchestra NO: National Orchestra RO: Radio Orchestra FO: Festival Orchestra CO: Chamber Orchestra TO: Theatre Orchestra RSO: Radio Symphony Orchestra RTO: Radio & Television Orchestra Prom O: Promenade Orchestra

Ch & O: Chorus & Orchestra NSO: National Symphony Orchestra alto: male alto ban: bandoneon bar: baritone bshn: basset horn bass: bass bn: bassoon bass-bar: bass-baritone cl: clarinet clvd: clavichord

cont: contralto cora: cor anglais ct: counter-tenor db: double bass dbn: double bassoon elec: electronic eng horn: English horn fl: flute fp: fortepiano gui: guitar hn: French horn hp: harp

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

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

fineMusic FM 102.5

personnel MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD

Owner and operator of Australia’s first community operated stereo FM station, 2MBS-FM now known as Fine Music 102.5. The Objects of the Society are primarily to broadcast fine music and operate one or more FM broadcasting stations for the encouragement of music. Another is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and music education and to use our technical and broadcast resources to further this aim. Our mission is to be Sydney’s preferred fine music broadcaster. Member of the Community Broadcasting Association of Australia.

DIRECTORS David Brett - Chairman, Lloyd Capps - Vice-Chairman, Peter Kurti - Secretary, Nicholas Chaplin - Treasurer, Jacqui Axford, Maureen Meers, Roger Doyle, David Ogilvie. STAFF Liz Terracini - General Manager, Peter Bailey - Technical Manager, Sue Ferguson - Financial Administrator, Michael Guilfoyle- Production Coordinator, Lizzie Herbert - Marketing PR Manager, Steve-Marc McCulloch - Program Coordinator, Denise Schoupp - Sponsorship & Sales Manager COMMITTEE CHAIRS Broadcasting - Robert Small, Programming - Paul Hopwood, Presenters - Ross Hayes, Technical - Max Benyon, Volunteers - Sue Nicholas, Finance - Ron Walledge, Jazz - Kevin Jones, Library- Bob Hallahan, Youth Development - Judy Deacon FRIENDS OF FINE MUSIC ADMINISTRATOR Allen Ford MAGAZINE DISTRIBUTION Sissi Stewart INTERNSHIP COORDINATOR Janine Burrus PROGRAM SUBEDITORS Jan Akers, Chris Blower, Di Cox, Colleen Chesterman, Susanne Hurst, Simon Kung, Frank Morrison, John Nowlan, Jill Wagstaff VOLUNTEER RECORDING ENGINEERS Peter Bell, Roger Doyle, Greg Ghavalas, Kerry Joyner, Jayson McBride, Tim Saddler, Greg Simmons VOLUNTEER PROGRAMMERS AND PRESENTERS Matt Bailey, Warwick Bartle, Charles Barton, Angela Bell, Peter Bell, Chris Blower, Barbara Brady,

David Brett, Barrie Brockwell, Jan Brown, Terry Brown, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Sally Cameron, Lloyd Capps, Vince Carnovale, Sheila Catzel, Nicholas Chaplin, Colleen Chesterman, Andrew Clark, Angela Cockburn, Liam Collins, Michael Cooper, Angus Cornwell, Marc Cottee, George Coumbis, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Brian Drummond, Ian Dunbar, Andrew Dziedzic, Judy Ekstein, Emyr Evans, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Janie Fitch, Jennifer Foong, Oscar Foong, Tom Forrester-Paton, Francis Frank, Eleonore Fuchter, David Garrett, Keith Glendinning, Raj Gopalakrishnan, Andrew Grahame, Giovanna Grech, Austin Harrison, Ross Hayes, Andre Hayter, Paolo Hooke, Pat Hopper, Paul Hopwood, Richard Hughes, James Hunter, Tony Immergluck, Hilla Irani, Anne Irish, Paul Jackson, Kevin Jones, Sue Jowell, Christopher Kaye, Peter Kurti, Norman Lees, Ray Levis, Philip Lidbury, Christina MacGuinness, Meg Matthews, Sue McCreadie, Jeannie McInnes, Terry McMullen, Randolph Magri-Overend, Maureen Meers, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Clarissa Mulas, Gerry Myerson, David Nutting, David Ogilvie, Josh Oshlack, Chris Othen, Andrew Parker, Derek Parker, Denis Patterson, Howard Pritchard, Paul Roper, Kate Rockstrom, Stephen Schafer, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Shamistha de Soysa, Manfred Stäuber, Garth Sundberg, Heather Sykes, Michael Tesoriero, Patrick Thomas, Anna Tranter, Phil Vendy, Brendan Walsh, Alastair Wilson, Stephen Wilson, Glenn Winfield, Chris Winner, Isabella Woods, Nicholas Young, Tom Zelinka

MEMBERSHIP The Music Broadcasting Society of NSW Co-Operative Ltd is registered under the Co-operatives Act 1992 (NSW). Annual membership fee is $22 and members are entitled to vote at Society general meetings. Enquiries - info@finemusicfm.com

VOLUNTEERS Fine Music’s many volunteers are supported by a small team of staff. To find out how to join our volunteers visit finemusicfm.com or call 9439 4777.

Book & CD fair

Thousands of books and CDs for sale!

• Thursday 17 January Opening Night 6-10pm. • Friday 18 January – Wednesday 28 January 9am-6pm  Crows Nest Centre, 2 Ernest Place, Crows Nest • Thursday 28 March Opening Night 6-10pm • Friday 29 March - Saturday 6 April 9am-6pm Balmain Town Hall, 370 Darling Street, Balmain Call our pick-up line for cd and book donations on 9487 1111. There is something for everybody at the Book & CD Fair, so come along and pick up a bargain!   Over 22 years the Book & CD Fair has grown in popularity and is a key fundraiser for Fine Music 102.5 thanks to generous donations of books and cds received each month.

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FINE MUSIC FRIENDS Benefactors

Mr Michael Ahrens, Mr Robert O Albert, Dr David Block, Mr Johann Bosch, Mr J D O Burns, Hon Mr Justice D Davies SC, The Berg Family Foundation, Frank Family Foundation, Ms Carolyn Gibbs, Prof Jacqueline Goodnow AC, Miss J E Hamilton, Mrs Freda Hugenberger, Ms AM Mackie, Dr Bill McKee, Mr John & Mrs Judith McKernan, Mrs Greta Moran, Ms Nola Nettheim, Hon Mr Justice B S O’Keefe AM, Dr Peter E Power, Prof Jack Richards, Mrs Joyce Sproat, The Garrett Riggleman Trust, Mr R Walledge, Dr Richard Wingate, Anonymous 2

Patrons

Mr Chris Abbott, Mr Anthony Bartley, Dr H Bashir, Prof Peter Bayliss, Mr John Benecke, Mr David Brett, Mr Maximo Buch, Ms Judith Byrnes-Enoch, Mr Lloyd Capps, Mr Robert E S Clark, Mrs Dorothy Curtis, Prof C E Deer, Ms Frances Farmer, Mrs Flora Fisk, Mr Heinz Gager, Mrs Alison H Hale, Mr John Hastings, Miss Elizabeth Hawker, Mr Geoffrey Hogbin, Mr Allan Hough, Mrs Freda Hugenberger, Mrs Evelyn H Inglis, Mr David Levitan, Mr Ian K Lloyd, Mr Diccon Loxton, Mr Philip Maxwell, Dr D S Maynard, Mr Ian & Mrs Pam McGaw, Mrs Patricia McLagan, Mr J S Milford, Dr Yugan & Dr Abby Mudalier, Mr John Nowlan, Mr Michael Peck, Dr Brian Quinn, Fed Magistrate K Raphael, Mid Winter Recital Group, Mr Kenneth Reed, Mr David Rothery, Dr Janice Russell, Mr Nigel Scott-Miller, Lady (Marie) Shehadie, Mr W & Mrs E Sheldon, Mrs Ruth A Staples, Mrs Mary Stening, Mr Peter Titley, Mrs Beatrice L Watts, Mr P M Weate, Hon Mr Justice A G Whealy, Ass Prof Gerard Willems AM, Anonymous 11

Platinum

Dr Anthony Adams, Mr Brian Adams, Mr Geoffrey Ainsworth, Evans Webb & Associates Pty Ltd, Mr John Bagnall, Mr Graham Barr, Mr M T Beck, Dr Kathrine Becker, Mr Russell Becker, Mr Max Benyon, Mr Anthony R Berg, Mrs Joan & Mr Ross Berglund, Mr David E W Blackwell, Mr M & Mrs L Blomfield, Dr Nancy Brennan, Mr Geoffrey Briot, Ms Jill Brown, Mr Mark Bryant, Mr Stephen Buck, Prof Elizabeth Burcher, Mr Rex Burgess, Ms Janine Burrus, Mrs E A Burton, Mr G K Burton SC, Mr Philip Butt, Mr Ian Cameron, Mrs Judith Campbell, Mrs L Alison Carr, Ms Chris Casey, Ms Deanne Castronini, Miss Emily Chang, Mr Roger Chapman, Dr Stephen K Chen, Mr Roger Cherry, Mr Peter Chorley, Dr Peter Chubb, Mr Gordon Clarke, Mr K G Coles, Mr Bernard Coles QC, Mr Phillip Cornwell, Mr Robin Cumming, Miss Sheila Darling, Mrs Susan Davey, Hon Mr Justice David Davies SC, Mr Geoffrey De Groen, Mr Lawrence D Deer, Mr Timothy Denes, Mr D J & Mrs C Dignam, Mr Alan Donaldson, Mrs Jennifer Dowling, Mr Peter Downes, Mr Peter Dunn, Mr Emyr Evans, Ms Elizabeth Evatt, Mr John Fairfax, Mr Ian Fenwicke, Mr Hugo D Ferguson, Prof Michael Field, Mr David Fisher, Dr Geoffrey Ford, Mr Francis Frank, Dr Sid French, Mr Ross Gittins, Mrs Inez Glanger, Mrs Betty Goh, Prof J Goodnow AC, Mr Gavin Gostelow, Mr Ray Grannall, Mr Michael J Guilfoyle, Mrs E W Hamilton, Mrs Emesini Hazelden, Mr Paul Hense, Ms Jill L N Hickson, Dr Peter Hook, Mr Roger Howard-Smith, Mr David E Hunt, Mr Robert Hunt, Mr David Hurwood, Mr John Hyde, Dr C P Ingle, Mrs Virginia Jacques, Ms Ruth Jeremy, Mr Ken Johnstone, Mr Christopher Joscelyne, Mr Michael Joseph, Dr Thomas E Karplus, Dr Keith Keen, Mr Paul L Kelly, Mrs Christine Kelly, Ms Patricia Kennedy, Prof Clive Kessler, Mr Roger Kingcott, Mr R J Lamble AO, Mr Stewart Lamond, Ms Sophie Landa, Mrs Sarah Lawrence, Mr Gregory Layman, Ms Judy Lee, Ms Annette Lemercier, Ms Karen Loblay, Dr David C Ludowici, Mrs Ruth G MacLeod, Mr Joseph Malouf, Mrs Anita Masselos, Miss Lynne Matarese, Mr J T McCarthy, Ms Elizabeth McDonald, Miss H M McElhone, Mr Phillip McGarn, Mr Alain G Middleton, Mr Nick Minogue, Mrs Greta Moran, Ms Bernice Murphy, Mr Hal Myers, Mr Christopher John Nash, Ms Natasha Ng, Mr Mark Nichols, Mr Ken Nielsen, Ms Christina O’Faillbhe, Hon Mr Justice B S O’Keefe AM, Asst Prof Robert Osborn, Prof Earl R Owen AO, Ms Susan Pearson, Mr Michael Pope, Prof R G H Prince, Dr Neil A Radford, Mr Thomas Douglas Randall, Ms Elsina Rasink, Mrs Angela M Raymond, Mr Brian L Regan, Mr Alex & Mrs Pam Reisner, Mr Grahame Reynolds, Mr Bruce Richardson, Mr R E Rowlatt, Mrs Mitzi L Saunders, Mrs Clara Schock, Ms Marilyn Schock, Mr John Sharpe, Mrs Linda Shoostovian, Dr William Thomas Sidwell, Mr John Simpson, Mr Alan Slade, Dr J M Stern, Mr John Stevenson, Mr I R Stubbin, Miss Jozy Sutton, Mr Mark Swan, Ms Catharine Swart, Mr Edmund Sweeney, Baroness Taube-Zakrzewski, Australian Elizabethan Theatre Trust, Mrs H F Thomas, Mr P A Thomas M.B.E., Miss Margaret Thompson, Mr Iain M Thompson, Mr Christopher A Thorndike, Dr Robin Torrence, Mrs Margaret Tuckson, Mrs Helen J Tweeddale, Mr Ronald Walledge, Mrs June Walpole, Dr Duff Watkins, Mr Roy Watterson, Ms Ellen M Waugh, Ms C A Webster, Drs Lourdes & Spencer White, Mr Neville Wilkinson, Mrs Elizabeth Wilkinson, Mr Cameron Williams, Ms Jocelyn Woodhouse, Mrs Robin Yabsley, Mr Nicholas Yates, Anonymous 12

Gold

Mr James Allsop, Mr Robert Baume, Dr Frances Booth, Mrs Barbara Brady, Sir Ron Brierley, Prof Colin Chesterman, Ms Elizabeth Collins, Prof Roger Covell, Mr Noel Craven, Dr Mark Cross, Mr Peter Deakin, Ms Pauline Duncan, Mrs Rosemary Dunstan, Dr Nita Durham, Mr Richard Farago, Ms Frances Farmer, Mr John Gibson, Mrs Anna E Gillespie, Mr Brett Hannath, Prof Jacqueline Huie, Mr Rod Hyland, Mrs Alison King, Mr Peter Kolbe, Mr Nicholas Korner, Mr Ian Lansdown, Mr Warren Lazer, Prof Norelle Lickiss, Mr Goldwyn Lowe, Ms Carmel Maguire, Mr Peter McGrath, Mrs E M McKinnon, Dr Andrew Mitterdorfer, Tom Molomby, Mr Michael MortonEvans OAM, Mr John Niland, Mr G Palmer, Mr Trevor Parkin, Mr Tim Perry, Dr Tri Pham, Mr Pino Re, Dr Janice Russell, Dr Roger Scurr, Mr Kenneth Shirriff, Mrs Petrina Slaytor, Mrs J R Strutt, Dr S Morris & Ms M Sullivan, Dr Phillip Taplin, Mrs Judy Timms, Mr Gary Vassallo, Mrs Xenia Voigt, Mr D & Mrs C Wall, Mrs C & Mr L Welyczko, Ms Ann Whyte, Mr Richard Wilkins, Hon F L Wright QC, Ms Denise Yim, Anonymous 3

Silver

Mr & Mrs Charles Abrams, Mr Robert O Albert, Miss Barbara Ames, Ms Meredith Ash, Mrs Patricia Azarias, Ms Fiona Barbouttis, Dr R & Mrs H Barnard, Mr William J Barry, Mr Jim Bates, Ms Sandra Batey, Mr Richard Bawden, Mr & Mrs J & M Beardow, Mr J & Mrs M Beattie, Dr David Bell, Mr John Boden, Prof Terry Bolin, Mr Stephen Booth, Mr David Brett, Mrs Halina Brett, Rev Peter G Carman, Ms Joan Childs, Mr John Clayton, Prof Bruce Conolly, Mrs Jennifer Cook, Mrs Susana Cubas, Prof & Mrs S J Dain, Mrs Rhonda Dalton, Mr Brett Ayron Davies, Prof C E Deer, Mrs Elizabeth Donati, Dr Marie Dreux, Mrs Margaret Duguid, Hon J R Dunford QC, Mr Elwyn Dyer, Mr Paul Evans, Mr Michael Farry, Mr William G Fleming, Mr Stephen Fortescue, Ms Eleonore Fuchter, Mr Bill Gibson, Mr Roger Giles, Mrs M A Grant, Mr David Green, Mr R N Greenwell, Mr Jack Grimsley, Miss J E Hamilton, Dr A H Hardy, Ms Margaret Hext, Mr Peter Hillery, Mr Paolo Hooke, Mrs Diana R Hooper, Mr Paul Hopwood, Dr David Jeremy, Mr Andrew Kaldor, Mr Mustafa Kandan, Ms Patricia Keating, Miss Linda Kepitis, Mr Gerhard Koller, Dr Mary Langcake, Ms M Laurie, Mr David Levitan, Dr Carolyn Lowry OAM, Mrs Meryll Macarthur, Mr D M C Madden, Mrs Elisabeth Manchur, Mrs Christina Marks, Mr Richard Maynard, Mrs Patricia McAlary, Mr T M McDougall, Dr R McGuinness, Mr John & Mrs Judith McKernan, Mr Kevin McVicker, Ms Maureen Meers, Ms Judith Miller, Mr Andrew Nelson, Mr John Nowlan, Ms Maryanne Ofner, Mr Pieter Oomens, Mr Julius Opit, Mr Bradley Oyston, Dr Gordon H Packham, Mr Gerry Pasqual, Ms Beth Patterson, Mr Bert Percy, Ms Barbara Peretz, Ms Anne Pickles, Mrs Mavis Pirola, Mr Roger Porter, Mr Thomas Reiner, Dr John G Richards, Mrs Gail Robison, Mr A & Mrs E Roth, Mr Gabriel Roy, Mrs Robin J Ruys, Mr Gregory L Sachs, Mr Harvey Sanders, Mr D J Schluter, Dr Gideon Schoombie, Mr Eric Scott, Mr William Sharpe, Ms Abigail Sheppard, Mr Andrew Sims, Mr R A Stark, Prof Peter Stopher, Ms Lora Stopic, Mrs Caroline Storch, Mr Douglas G Thompson, Ms Kathryn Tiffen, Mrs Janine M Tindall, Mrs Christine Tracy, Mr Peter Van Raalte, Mrs Ilda Wade, Mr Alex Walter, Mr Chris Wetherall, Mr Robin Wever, Ass Prof Gerard Willems AM, Mr J Gerald Wilson, Mr Geoffrey L Winter, Mrs Dorothy Wood, Mr Tony Woodhead, Prof Klaus A Ziegert, Mr Peter Zipkis, Anonymous 6

fineMusic FM 102.5

crossword Across 8 Grubby railway outers encase current (4)

Down

9 Above the land is really superterrestrial (10)

2 Sympathetic without him perhaps, but in same category (8)

10 Kisser indicates these often frequent Vail (6)

3 Owned in Paris, gentlemen in Rome; some priests entitled (10)

11 Without love, carpenter’s fastening device is really a home (8)

4 Combine yours truly and Lapland borders (4)

12 Volcano material deadly for short little street in surrounding tinsel town (4)

5 Fake gore all over bogeyman (4)

13 Your car serviceman often handles 1978 musical followed by weapons of war (6-4)

Compiled by Nevil Anderson

Name:_______________________________________________ Address: _____________________________________________ Tel:______________ Email_______________________________ To go in the draw to win David Hobson’s Endless Days ABC Classics CD, send your answers to the address below by 20 February. Please include your name and address on the back of the envelope. The Crossword, 87 Chandos Street St Leonards NSW 2065

7 By and by, Perth’s connection with Parthenon is over (4) 14 Throw out alien encasing small state (5)

18 Popeye’s girl friend in the flesh after love (5)

16 HNO3 blows up people and perks up their plants (6,4)

19 Did you place the sound of seeing? (4)

19 Don’t believe Tracy sat all day with that poor animal (5, 3)

20 Awkwardly italicised, but highly moral

15 Dumb, short oration (10)

22 Headless transport from the clouds (4)

21 Real? Yes, maculate is real, but leave me out of it (6)

23 On the road to Mandalay, Kipling’s group of warships lay (8)

24 Piece of mischief or perhaps a high flier (4)

27 He does the church’s work but not a priest (6)

25 To the surprise of all, slob hits a high ball (4)

28 An absorbed (eccentric of course) man, loves these legumes (5,5)

26 Turn around RAF a long way from home (4)

29 Absurd raid unfruitful (4)

1. What is the name of the heroine in Donizetti’s opera, The Daughter of the Regiment? 2. Which Russian composer was so obsessed with punctuality that, according to his wife, he would turn up for concerts even before the cloakroom attendant? 3. Was composer Elena Kats-Chernin born in Kazakhstan, Uzbekistan, or Turkmenistan? 4. What is the correct name of the Hungarian box zither that is related to the English dulcimer? 5. Name the Witch of the Wood in Franz Léhar’s operetta The Merry Widow. 6. Who was Richard Wagner’s father-in-law? 7. Name the 10-year-old violin virtuoso who so entranced Queen Isabella of Spain that she gave him a Stradivarius as a gift. 8. How did Bach’s Brandenburg Concertos get their name and how many of them are there? To go in the draw to win Paul Dean and Stephen Emmerson’s Romantic Clarinet CD from Melba Recordings, send your answers to the address below by 20 February. Please include your name and address on the back of the envelope. The Quiz Master 87 Chandos Street St Leonards NSW 2065 JANUARY TRIVIA ANSWERS: 1. The Nile, 2. Arturo Toscanini, 3. Bellini’s La Sonnambula, 4. 1997 and the Harp, 5. He was buried alive, 6. Palais Garnier, 7. Dame Nellie Melba, 8. Both were designed by Jørn Utzon. fineMusic FM 102.5

6 Tangled blow, for example, and one is bandy (6)

17 Modify computer industry but only after movie gee gee (4)

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 Before being passed over, used dubious technique (10)

Crossword Solution -January 2013 Across: 1 Set-ups, 4 Growth, 8 Ululate, 9 Borough, 11 Previously, 12 Gift, 13 Never, 14 Analysis, 16 Swastika, 18 Occur, 20 Yarn, 21 Adulterate, 23 Sequoia, 24 Coconut, 25 Toss-up, 26 Kitsch Down: 1 Solar, 2 Tel Aviv, 3 Potpourri, 5 Roomy, 6 Wrongly, 7 Highflier, 10 Asparagus, 13 Newsagent, 15 A fortiori, 17 Send-ups, 19 Curious, 21 Adieu, 22 Truth

CAPTURING

FLORA

PASSION FOR THE EXOTICK

AUSTRALIAN BOTANICAL ART 1700-1900

15 FEBRUARY - 17 MARCH An Art Gallery of Ballarat exhibition

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