Fine Music Magazine February 2014 by 2MBS Fine Music Sydney

February 2014

MAGAZINE

CHRISTINE GOERKE & ELEKTRA

Dreams, nightmares, murder, revenge

CULTURAL CAPITAL OF EUROPE Musical Bruges

2014 YEAR OF THE HORSE Celebrating Chinese New Year with the ‘three sisters’ Liu, Liu and Zou

RESONATE

Art Gallery NSW - enchanting ears and eyes

ON A WINNING STREAK Classical guitarist, Andrey Lebedev

AT VAL O TI W T FES R E FOQU D O N E AR K EET’S B W A AR B O H

SCULPTURE CITY 24 JANUARY 02 MARCH

National Trust Centre - Watson Road, Observatory Hill, The Rocks, Sydney 2000 (02) 9258 0173 | www.shevingallery.com.au | Gallery Hours: Tues-Sun 11am-5pm CafĂŠ, Parking, Gallery shop

CONTENTS Vol 41 No 2 4

COVER STORY Sydney Symphony Orchestra - Barry Walmsley talks “Elektra” with Christine Goerke and SSO conductor David Robertson

Hobart Baroque - Win A Trip !

SSO Broadcasts with Andrew Bukenya

Flashback with Derek Parker

10 Young Virtuosi 10 Classical Guitarist, Andrey Lebedev 12 The Queen’s Yacht 13 Travel - Bruges, Cultural Capital 14 Oriental Trio 15 NSW Art Gallery - Resonate 16 What’s On 18 CD Reviews 21 Swinging On The Vine 23 Ultima Thule Turns 25 55 Fine Music Friends 56 Crossword and Trivia Quiz

Digital Channel – Fine Mus On Fine Mus between noon and 4pm weekdays you’ll find programs covering classical up to 3pm and Jazz in Concert until 4pm. For more on this month’s digital programs see page 23.

EDITOR’S DESK The era of David Robertson is about to begin at the Sydney Symphony Orchestra as he steps up to the Opera House stage for the first time as “chief conductor”. One of Robertson’s upcoming events that is sure to sizzle is the opera Elektra with acclaimed American soprano Christine Goerke in the title role as the unhinged Greek princess. Barry Walmsley talks with Robertson and Goerke about the staging of this Richard Strauss opera and the mammoth production which includes the Sydney Philharmonia and performers from the Sydney Dance Company. The full staging of Handel’s Orlando opera is the jewel in the crown for the 2014, and second, Hobart Baroque Festival under the artistic direction of Leo Schofield. The festival showcases music of Handel, Bach and Scarlatti with locals joined by artists from Finland, Spain, the UK, Israel, Greece, Turkey, New Zealand and Russia. Among those visiting stars is young Russian coloratura soprano Julia Lezhneva who makes her Australian debut performing with the Tasmanian Symphony Orchestra. The name “Salzburg” keeps popping up when you talk to Tasmanians…not that they’re comparing themselves to the revered 94-year-old festival, or that ancient city you understand, but there is a history of small cities hosting great festivals and Hobart aspires to be one of them. Given its natural beauty and quaint setting, and excellent 2013 reviews, they could be on to something. You might want to see for yourself - if you ‘d like to go in the running to win a weekend for two, airfares and very nice accommodation included, see details on page 3. The Festival begins at end of March. Craig Brush, Executive Director of the Art Gallery Society of NSW, programs the musical offerings that combine with superb art exhibitions to create the gallery’s “Resonate” series of concerts. On page 15 he talks about the relationship between art and music and the gallery’s longestablished place in Sydney’s concert scene. 2014 is the Year of the Horse and celebrating the New Year with some enchanting music from China will be the Oriental Trio. Writer and presenter of Fine Music’s Chinese programs, Paolo Hooke talks with the “three sisters” ahead of their Opera House concert. And, we catch up with Fine Music’s National Young Performer of 2012, classical guitarist Andrey Lebedev, currently studying at the Royal Academy of Music in London - page 11.

Lizzie Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Philip Tower, Circular Quay. ABN 64 379 540 010 Art Direction: Shoebox Design shoeboxdesign@gmail.com Printing: Megacolour, Unit 6, 1 Hordern Place. Camperdown, NSW, 2050 Distribution coordinators: Sissy Stewart, Dennis Oppenheim Advertising Enquiries: sponsorship@finemusicfm.com Editor: Lizzie Herbert Subeditors: Chris Blower, Helen Milthorpe Contributors: Nevil Anderson, Craig Brush, Andrew Bukenya, Judy Deacon, Emyr Evans, Troy Fil, Lizzie Herbert, Paolo Hooke, Claire Hu, Allen C Inman, Kevin Jones, Philip Lidbury, Randolph Magri-Overend, Patrick D Maguire, Henry Mendelson, Michael Morton-Evans, Derek Parker, Barry Walmsley, Mike Watson. 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: Christine Goerke. Photo - Arielle Doneson

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February 2014

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FINE MUSINGS “I am Music” JESSICA THOMPSON & CHARMENE YAP. PHOTO ELLIS PARRINDER

I am Music, most ancient of the arts. I am more than ancient; I am eternal. Even before life commenced upon this earth, I was here - in the winds and the waves. When the first trees and flowers and grasses appeared, I was among them. And when Man came, I at once became the most delicate, most subtle, and most powerful medium for the expression of Man’s emotions. When men were little better than beasts, I influenced them for their good. In all ages I have inspired men with hope, kindled their love, given a voice to their joys, cheered them on to valorous deeds, and soothed them in times of despair.

DRE AMS. NIGHTMARES. MURDER. RE VENGE. Experience a very special concert performance of Richard Strauss’s Elektra in a completely transformed Sydney Opera House Concert Hall. Featuring an international cast with the sensational Christine Goerke in the title role, and our own Lisa Gasteen performing Klytemnestra. With choreography by Stephanie Lake, dancers from Sydney Dance Company and members of the Sydney Philharmonia Choirs. David Robertson conducts. SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

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I have played a great part in the drama of Life, whose end and purpose is the complete perfection of man’s nature. Through my influence, human nature has been uplifted, sweetened and refined. With the aid of men, I have become a Fine Art. From Tubalcain to Thomas Edison, a long line of the brightest minds have devoted themselves to the perfection of instruments through which men may utilise my powers and enjoy my charms. I have myriads of voices and instruments. I am in the hearts of all men and on their tongues, in all lands and among all peoples, the ignorant and unlettered know me, not less than the rich and learned. For I speak to all men, in a language that all will understand. Even the deaf hear me, if they but listen to the voices of their own souls.

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February 2014

Our thanks for this passage to Martin Hess, Opus editor, Fine Music Radio. CapeTown. It was brought to our attention by Fine Music 102.5 programmer Sheila Catzel who once worked at FMR. The passage was used as a welcome to the 1976 AGM of the National Foundation for the Advancement of Music held in Port Elizabeth. Its author is the obscure Allen C Inman, and it dates from the 1920s.

WIN A WEEKEND FOR TWO HOBART BAROQUE FESTIVAL

Here’s your chance to fly off for a magical musical weekend for two at the Hobart Baroque Festival. You’ll be treated to four star accommodation as well as tickets to Handel’s Orlando production from Glimmerglass Opera in New York, plus you’ll hear brilliant Spanish countertenor Xavier Sabata. What’s on offer • Two nights twin share accommodation at The Old Woolstore Hotel - Saturday 29 March and Sunday 30 March • Return flights Sydney-Hobart for two • Tickets for two to ORLANDO and XAVIER SABATA with Orchestra of the Antipodes How to enter Tell us in 25 words or less the name of one of your favourite Baroque composers, and why you want to go to the Hobart Baroque festival. Email: competitions@finemusicfm.com Post: Baroque Competition, Fine Music 102.5, 72-76 Chandos Street, St Leonards, NSW, 2065 Online: www.finemusicfm.com Include contact name, daytime telephone number and address. Competition closes 11:59pm AEDST on 17/02/2014 For full terms and conditions visit www.finemusicfm.com/hobartbaroque.html

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Hobart Baroque is supported by the Tasmanian Government through Events Tasmania.

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THE ACCIDENTAL SOPRANO

In fact, the American singer came from humble beginnings and had chosen a path as a High School music teacher. It was her desire to follow these pursuits into a career of teaching High School band. And so it was, that Goerke found herself auditioning at a state university in New York, only to discover when she undertook the sightsinging test, that the audition panel was more interested in her as a singer, than as a clarinetist. “That was a gigantic blow to my ego,” Goerke recalls. “I actually had no plans to sing ever. I was a musician from the time I was a kid, starting on clarinet. I taught myself flute and saxophone, and I am a terrible oboe player. “But I was desperate to play in Broadway pit orchestras. I loved old Hollywood musicals, so I had this great dream of going off to Hollywood and playing in one of those orchestras.” She laughs at the idea of it now. “So I thought, maybe it would just be easier if I just were to sing. That was the most stupid thought, but I went ahead and I thought that maybe I would be a choral teacher instead. But I then found that I needed to have piano skills, so I taught myself piano - enough to get around.”

“

…humble, grounded and “refreshingly self-deprecating

“I would take a term off if I didn’t have the money. My professor knew of my situation and told me to just come in, and they would determine if they could test me and get me through. “I suppose you could say I had people looking out for me.” Switching from a woodwind major to a singer was one enormous risk, but after four solid years of voice lessons, she felt she understood how her voice worked, and was ready to audition. It was immediately apparent to the Artistic Director, Paul Kellogg, when she auditioned for the Young Artist program at Glimmerglass Opera that here was a singer of whom to take notice. He called his counterparts at the New York Metropolitan Opera and insisted that they hear her. So it was from her first bite at the big operatic apple that she ended up in the Metropolitan Opera’s Young Artist Program for three years, after which she took on roles with the Met, and also Glimmerglass Opera (Iphigenie en Tauride) in 1997. By this stage she was singing principally Mozartian roles at the Met. But it was performances at the Glimmerglass Opera Festival that provided the first occasion whereby others had really taken notice of

The real Christine Goerke is like an operatic alter-ego, hiding as a normal human being, devoid of the stardom and glamour that goes with much of the true operatic scenario. She is humble, very grounded, and always refreshingly self-deprecating. But it was music that saved her, she thinks. Reflecting on the role that music education played in her life, and how it almost became her life, Christine Goerke found music to be the salvation of her angry, sad childhood, after losing her mother at the tender age of twelve. “I don’t know what I would have done, had I not had music,” she recounts. “It took me a very long time to get my Bachelor’s degree - eight years in fact - as I was terrified to take out student loans. I realised that there was the possibility I was never going to have a job. I went to an inexpensive state university near my house in New York, not the prestigious Juilliard.” Many students would have given up, faced with the obstacles that occurred in her life. 4

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February 2014

Christine Goerke. Photo - Arielle Doneson

her. It was also the first time that the opera cognoscenti started using the descriptor “dramatic” in relation to her sound. Going from a singing diet of Mozart and Gluck and then transitioning to the bigger repertoire of a dramatic soprano was not without its hurdles, although Goerke assures herself that having a bel canto technique was the key to her success. “For me, it’s not about volume. There’s so much (in being a dramatic soprano) that is not about volume. There’s so much that allows you to sing really quietly and with amazing line. As well, it allows for the clarity of the text. It’s only an interesting night when you make a lot of noise, when you don’t make a lot of noise, as well.” Her teacher was an Italian teacher and most people wondered why indeed Goerke chose her to study with, but her teacher was always about bel canto technique. “That’s because it is the right way to sing,” asserts Goerke

“ Becoming Elektra…

“

It was by accident that the world now enjoys the sumptuous sound of dramatic soprano, Christine Goerke, as it was not in her grand scheme to be one of the world’s great operatic divas.

“When I first took on Elektra (I had sung Chrysothemis for a long time), I thought people are going to like this or not, but I’m not going to change.”

It would seem that her punt was a good one, and has paid off. Since then, Goerke has performed lead roles with such companies as the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera, Opera Australia, Royal Opera House, Covent Garden, Théâtre du Châtelet, and Opéra National de Paris - to name just a few. “For me, you do have to have a certain instrument to sing this stuff. You can’t be a Pamina voice to sing Elektra. If you do have the right voice to sing this, you do have a responsibility to sing the music.”

But just on ten years earlier, the celebrated soprano had her own vocal disaster looming. She woke one morning to discover that something had gone terribly wrong with her voice. She could not connect her breathing to the sound she was trying to produce. “I am a wildly hard worker and everything I was doing just wasn’t working. For the life of me, I couldn’t work out what was happening. In the end it turned out to be such a simple thing. My voice had grown, and I had started to lift off from my support to try and keep my voice, enabling me to sing this lyric coloratura repertoire that I was doing. In fact, in reality, I was taking away my support and all the rest of my sound, which was coming to fruition a lot earlier that I had expected.” Working through the fear, she sought help from another renowned teacher and found again how to connect the breath with the sound. As if her life were not filled with enough liberal doses of drama, this singer chooses the roles which require all of her dramatic qualities to come to bear in her singing. “It’s not always about the powerful female in this repertoire. It’s not always flying horses and women with breastplates on.” “I’m just shy of two metres tall, so that works well for me. But Elektra is about a damaged, sad and broken woman - she is only powerful in her mind,” Goerke says, as she reflects on her upcoming performance in Sydney. “If all the volume comes at you all of the time, you cannot see the range of emotions. There is a remarkable palette of emotions in the role of Elektra.” It is not hard for Goerke to find the dramatic qualities necessary to sing such a role as Elektra. “Once the first chord starts, I don’t really

David Robertson. Photo – Keith Saunders have to do anything but sing, and listen to the music. Strauss has given everything in the orchestration, in the line, in the silence, in the volume. It is all there. There are times in the score when I literally have to whisper. And he has orchestrated it in such a way that I can do that. It is quite remarkable; it is also about pacing. I know when I need to keep myself in check, and when the big notes are coming.” Goerke communicates great ownership of the role, which is at the moment her signature role. It is as though Strauss had written it just for her. The intelligence with which she speaks of her experiences and expectations in performing Elektra in Sydney, strikes a chord with the conductor, David Robertson who takes over the reigns of the Sydney Symphony Orchestra this month.

is perhaps that greatest “Sheexponent of Elektra.

“

When she sang the role of Elektra in Chicago in 2012, the Chicago Tribune wrote: “Goerke sang her first Elektra last year in Madrid, after years of portraying Chrysothemis, the heroine’s fretful younger sister. She’s one of the few Elektras around who doesn’t sacrifice warm tonal beauty to the knife-edged, gallon-jug singing, demanded of every singer who runs this nearly two-hour vocal marathon.”

“I haven’t worked with Christine, but recently when I was conducting at the Met, she was, at the same time, preparing for her role in Strauss’ Die Frau ohne Schatten. And I have to say the excitement around that production was something incredible, and so much of it was due to the amazing musicality of Christine,” said Robertson. “She is perhaps that greatest exponent of Elektra, and I couldn’t be more delighted in my first season in Sydney to be presenting this kind of artist to Sydney audiences.” The conductor is quick to reassure that a performance of Elektra (even in the concert setting) is as relevant today as it was when it first premiered. “Much has been written about Elektra, because the story describes extreme emotional states that we see around us all the time. We don’t wear togas anymore (a reference to the Greek legend from which the story derives), but the themes that Elektra is dealing with are every

bit as present in the human experience now, as they were several thousand years ago,” said Robertson. Goerke agrees, and this thought is drawn from her very own environment of New York City. “All of it (the story of Elektra) is relevant to a modern audience. Just turn on the news. There are murders every day. Every one is getting on with their lives, but there are always people not able to get past some things. And that’s partly how I see Elektra.” Goerke insists that what is appealing in performing any role, particularly that of Elektra, is that she is connected with the people on stage, and that there is a common intelligence to the task. That said, she will not be disappointed that this performance with the Sydney Symphony Orchestra and the Sydney Philharmonia Choir, will be a concert staging of the work. “One of the things that is so wonderful about opera in concert is that it forces us to really concentrate on the music at the first level, and any other aspects become visual and atmospheric, in support of the music,” said Robertson. Goerke concludes by saying how excited she is to be coming to Sydney to sing Elektra. Having sung it three times before (Madrid, Chicago and London - Covent Garden) and about to sing it at the London Proms, she is looking forward to returning to sing at the Sydney Opera House, this time with Lisa Gasteen (as Klytemnestra), Cheryl Barker (Chrysothemis), Peter ColemanWright (Orestes) and Kim Begley (Aegisthus). - Barry Walmsley Sydney Symphony Orchestra Elektra - Saturday 22 and Monday24 February  Sydney Opera House www.sydneysymphony.com February 2014

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380 military road cremorne . ph 9908 4344 . orpheum.com.au “WITHOUT DOUBT THE GRANDEST CINEMA IN SYDNEY.” TIME OUT SYDNEY

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February 2014

TUNING IN TO THE SYDNEY SYMPHONY ORCHESTRA Presenter Andrew Bukenya - the new voice of Fine Music 102.5’s Sydney Symphony Hour - gets behind the scenes to meet not only the orchestra’s fine musicians, but those responsible for its artistic development. As the new presenter for Fine Music’s monthly Sydney Symphony program I’ve been given the best New Year pressy ever; a program packed with gigs ranging from intimate chamber music soirees to cinematic roof-raisers. This is the gift that keeps on giving and on the second Tuesday of each month throughout 2014, I get to share it with YOU the listener At an SSO concert, the beauty of the music can easily distract you from considering all the hard work that goes on behind the scenes from intense rehearsals, planning and logistics, through to staging. My first program will feature an interview with SSO rank and file violinist Nicola Lewis whom I reckon has some fascinating insights to share with us about being a musician and what it takes to be an orchestral one. Every month there is a wealth of concerts being presented and I look forward to sharing some air time with the people who make these events happen whether onstage or backstage. My tastes in music are pretty catholic ranging from baroque to contemporary classical composers, jazz, soul, rock and further afield. The SSO’s varied season allows me to explore these. One attraction of the SSO for me is the chance to experience them regularly in two very contrasting venues; the Opera House and the more intimate environment of City Recital Hall at Angel Place which allows you to hear repertoire that you might not get to hear otherwise, or experience it in a completely different way. In short, a great way to get “up close and personal” particularly if you are unfamiliar with the repertoire.. check out Shostakovich’s Ninth and Haydn’s Sinfonia Concertante in March, the latter showcasing the individual talents of four members of the orchestra. The Sydney Festival event Symphony in the Domain has long been a great party to which everyone is invited and I have a few friends who having heard SSO live for the first time there, have become firm fans. Back in 2011 I cajoled a group into seeing the first installment of Lord of The Rings - the experience was magical and they booked quickly for the sequels! When you have SSO musicians helping to engage and stimulate the senses, hearing a soundtrack performed LIVE

with the movie showing simultaneously, beats watching it on DVD by a country mile. Baz Luhrmann fever shows no signs of abating and May’s concert of music associated with his films is sure to be a crowd pleaser. For sci-fi fans, Don Davis’s electric score for The Matrix offers a great chance to (re)appreciate the movie on a massive screen in the Opera House, and for the eternal romantic, the collaborative genius of Leonard Bernstein, Jerome Robbins and Steven Sondheim will bring ‘AMERICA’ closer to us in hi-definition in November’s presentation of West Side Story. Interviewing general manager of SSO, Rory Jeffes, saw me being thrown in at the deep end not long after I started at Fine Music (then 2MBS). I’ve since had the pleasure of not only being a member of the SSO audience, but standing right in the thick of the action, as a bass amongst the (double) basses singing background vocals for soul/ jazz legend George Benson in his 2010 and 2013 gigs. SSO was a huge factor in his coming back to Australia again. Their joy at being allowed to let loose with the very tricky arrangements of standards, by conductor Randy Waldman was infectious; an altogether incredible experience which thrilled the packed auditorium Other star names feature in collaborations ranging from solo concerto performances, to full scale oratorio and opera; Stephen Hough returns plus Emmanuel Ax plays ALL FIVE of the Beethoven piano concertos..phew! Strings are represented with renowned violinist Anne-Sofie Mutter, Simone Young conducting

world class harpists in concertos spotlighting this ethereal instrument, guitar legend Pepe Romero in Vivaldi and Rodrigo, and brass with trumpet maestro Håkan Hardenburger. Like “The Voice”? Switch off the TV and hear new conductor and artistic director David Robertson directing a stellar cast of opera singers in Richard Strauss’ Elektra. Robertson’s performance of Wagner’s Dutchman in 2013 brilliantly showcased the world-class standard of the SSO and is sure to be a hot ticket. In the “Jandamarra” concerts, indigenous Australia flies the choral flag with a thrilling premier collaboration between the Gondwana Chorale and Yilimbirri Ensemble in Stanhope & Hawke’s Sing for the Country. As part of the “Celestial Voices” program, Paul McCreesh conducts Mendelssohn’s Elijah. I first sang with McCreesh whilst at university and my love of Elijah has remained a favourite since. SSO has been an integral part of my musical diet since I arrived in Sydney back in 2006. As soon as I get a copy of the yearly program, I start planning and highlighting, hoping that my wallet survives the workout it gets supporting one of Australia’s leading cultural ambassadors. My on air colleague and predecessor, Peter Kurti has done an outstanding job showcasing the orchestra each month and I’m thrilled to be taking up the baton (so to speak) and building on his fine work. - Andrew Bukenya Sydney Symphony Orchestra Hour Tuesday 11 February 6pm February 2014

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MOMENT MUSICALES - A RIGHT ROYAL YACHT

Queen Elizabeth II bestowed the shipping company of Shaw Savill & Albion their most prestigious honour when she chose the SS Gothic to visit parts of the Commonwealth soon after her coronation in 1953. Gothic had been part of the royal tour a year earlier when the then Princess Elizabeth was forced to abort her tour of South Africa due to the sudden death of her father, George VI. Indirectly (and much later) I was part of that unique piece of history. But more on that later. This time round the ship’s hull was painted white. All modern accoutrements were added, the ship was completely air-conditioned, public rooms were expanded and a special upper saluting bridge was installed. The Queen, Prince Phillip andAd.15.3.13.pdf the royal entourage Cat Protection 1 joined the ship in Kingston, Jamaica on November

CMY

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22, 1953 and then proceeded through the Panama Canal to Suva, Fiji, Tonga and then to Auckland, Sydney, Melbourne and other ports before arriving at Fremantle. Crossing the Indian Ocean they called on the Cocos Island, Colombo and the Red Sea port of Aden where they disembarked and flew to Tobruk to join the royal yacht Britannia for the last leg of the tour. Meanwhile Gothic made its way to Malta and then Birkenhead where all the royal extras were removed. But not all the extras were off-loaded. For some reason, left behind was a handsome reel-to-reel tape player which I found in the forward lounge of the ship when I signed on as purser in 1963. It was an exceptionally good player and I took the opportunity to use it in my Sunday Concerts soon after the passengers embarked in London for the 15/03/13 3:21 PM month-long trip to New Zealand. The passengers

would then disembark and the ship would potter around the New Zealand coast loading and discharging cargo for two months before picking up the original passengers to take back to England. We had a wealth of wonderful taped concert pieces at our disposal, anything from Beethoven symphonies to ballet music and overtures. And so every Sunday evening we would all gather in front of the tape player sipping our favourite tipple while the music wafted over us. Alas it was soon obvious why the tape player had been left behind. After an hour or so of playing, sometimes half an hour, the music would stutter then stop, start and eventually a series of twisted sounds would proclaim that something was amiss. The tape was actually being eaten by the machine! It didn’t happen every time so we persisted with the concerts but thereafter we always approached Sunday nights with a degree of concerned apprehension. There is a sad epilogue to all of this. I left the Gothic after two trips but in August 1968, barely five days out of New Zealand, Gothic’s bridge caught fire and three crew members and four passengers lost their lives. I never discovered which part of the bridge caught fire but the purser’s cabin was situated directly under the bridge. In May of 1969 she made her final trip to Taiwan where she was sold for scrap. - Randolph Magri-Overend

FLASHBACK WITH DEREK PARKER

THE ARTISTIC CLIQUE OF THE SITWELL SIBLINGS

I really only knew the youngest, Sachie (as he was always known), at all well. His first collection of poetry came out when he was 21, and at 27 he published Southern Baroque Art, which caused a sensation at a time when the baroque was almost entirely neglected. A real polymath, he once said to me “I think I have seen almost every major work of art ever produced.” It sounds a lunatic claim - but as one talked to him, it soon became clear that it was probably true: you only had to mention a picture and he would describe which gallery had it, where it hung, and its particulars (“that interesting green shade at the right of the figure standing in the doorway...”). He also had an encyclopaedic knowledge of music (his books on Mozart, Liszt and Scarlatti remain very well worth reading) and of composers and performers, and possessed paintings and drawings of many of them - including a wonderful bronze of Paganini (“Whenever he played, he had an erection,” he told me; and a close examination of the bronze showed that at least one artist agreed). A great friend of Lord Berners, he worked with him on ballets for Diaghilev, and wrote a number of books on the dance. As far as

the arts were concerned, there was nothing that did not interest him (read his last, great rambling book, For Want of the Golden City if you doubt this), and he bitterly begrudged the time one has to spend on the normal events of the day: at breakfast one morning, he sighed, put down his cup, and remarked: “And now, I must go upstairs and shave - which bores me so much I could yell!” Not that he didn’t ever relax: when we’d finished going through some poems of his I was to publish, he said: “Now perhaps you would not object to watching some all-in wrestling”, pulled aside an exquisite 17th century screen, and revealed a television, ready tuned.

- “..the most acerbic “ Sir Osbert satirist of his time.”

“

It was almost impossible to walk about London between, say 1920 and 1950 without knocking over a Sitwell or two. The trio of siblings, Edith, Osbert, and Sacheverell were all primarily writers but each was in some way also involved with music.

Osbert and Edith did not write about music, but had their connections with it. As a family they had extended generous hospitality to the penniless young composer William Walton, and it was Osbert who encouraged him to work on his first popular success, Belshazzar’s Feast, for which indeed the older man composed the libretto. He had many friends among musicians, including the Australian, Constant Lambert, and Violet Gordon Woodhouse, who was largely instrumental in bringing the clavichord and harpsichord to public notice after several generations. I only met Sir Osbert after his life had been devastated by Parkinson‘s disease a cruel fate for someone who had been the wittiest man and the most acerbic satirist of his time.

“

I am dying, but otherwise well

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Osbert, Edith and Sacheverell

Edith, the most senior of the three, gave her life entirely to poetry, but was extremely sensitive to music - and she was the first Sitwell to cause a genuine sensation (something each of them attempted often to do). This was with the first performance in 1923 of Façade, an entertainment consisting of a number of poems to be recited against music provided by young Walton (it was also his first sensation). The poems make abstract patterns in the way that a painter can paint abstract patterns; they seem “nonsense verses”, but they are far from that; as Dame Edith herself put it, “some of the poems appear to have a violent exhilaration, others have a veiled melancholy, a sadness masked by gaiety.” They are often extremely funny (read the Polka), but also have a whimsical pathos and sometimes a barbed satirical edge. It’s difficult now to conceive the outrage with which the piece was received: DRIVEL THAT THEY PAID TO HEAR raged one newspaper headline. The musicians weren’t entirely won over either: the clarinettist asked the composer, “Mr Walton, has a clarinet player ever done you an injury?” But of course the music is some of the most enchanting Walton (or, dare I say, any contemporary) ever wrote, and the entire work, often revived, remains enchanting.

Edith was a great encourager of young artists - Benjamin Britten among them, who she championed from the beginning of his career. He set to music her searing poem about the bombing of London, “Still falls the rain” as the third of his Canticles and at the time of his death was at work on another poem of hers, “Praise we great men”, left incomplete. As a person she was a delight - that is, unless you had done or said something to offend her, when it became clear that she was quite as good as her brothers at invective. And her wit never deserted her. The last time I saw her she was sitting up in bed, a couple of weeks before her death. “How are you?” I rather stupidly asked. I treasure her reply for my own last words: “I am dying, but otherwise well,” she said. - Derek Parker February 2014

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YOUNG VIRTUOSI

James and Justin Julian with Fine Music Junior Ambassador, Kevin Fan CHLOE CHUNG - FLUTE

This month the Alumni Series of broadcasts features the Sydney Academy of Chamber Music performers’ concert held at the Independent Theatre North Sydney. Kirsten Williams, who presented the original concerts with the Australian Elizabethan Theatre Trust, has now been joined by renowned chamber musician, pianist Kathryn Selby, to create a new Sydney Academy of Chamber Music series for 2014. Williams says that the concerts will meet some of the “great need among students and music professionals to have a place to play chamber music”. Most performers in the chamber are high school

and university students and Fine Music alumni among the group include the Julian twins Justin and James, Eleanor Betts, Johanna Blake and Chloe Chung. A key feature of the February broadcasts is the 16 semi-finalists competing for 2014’s newly named Young Virtuoso Award. The adjudicators who had the difficult task of refining the entrants down to 16 were conductors Simon Kenway and Thomas Tsai and pianist Katherine Ly.

and performing at the Opera House for the Board of Studies ENCORE concert. Chloe is currently studying under James Kortum. She has completed an internship at Fine Music 102.5 and continues to work at the station writing articles and presenting programs as part of the Youth Virtuosi team.

Johanna says, “When deciding a program with my teacher, often we choose works that are challenging and concentrate on improving different aspects of my playing. For example, currently I am working on the Grieg Cello Sonata which requires extensive use of different tone colours and additionally the ability to sustain the three movement work.”

JOHANNA BLAKE – CELLO

Chloe’s first experience with Fine Music was as an Even Younger Performer, when she was in year 9. “I was quite amazed at how many of my friends tuned in for me and then later commented on how they wished they had known about a program such as this!” says Chloe. “All in all, I am really thankful for my connection with Fine Music and was extremely excited to perform in the new studios!” She added that being able to get recording experience and finding out about all facets of getting the music to air had enriched her performance. “We can communicate excitement or sadness through our playing, and this emotion will be conveyed to the listener, who may feel similarly excited and perhaps sit closer to the radio and become excited as well. I’m looking forward to this next challenging step in playing for this award.” Chloe is in her third year of her bachelor of music performance studies at the Sydney Conservatorium. A passionate flautist, she plays with Sydney Youth Orchestra and the Conservatorium Symphony Orchestra. Her musical highlights have included touring with the Sydney Youth Philharmonic Orchestra to the Moorambilla Festival, first place in the Sydney Eisteddfod Open flute division 10

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The opening program broadcasts the performances of flautist Chloe Chung and cellist Johanna Blake.

Currently Johanna is preparing for her final year of school but aims to keep music as part of her future. She started cello lessons with Susan Blake at the age of 13 and has her AmusA and LmusA with distinction. She studies at Methodist Ladies College Burwood on a full music scholarship and has performed with the MLC orchestra and as a soloist with the Kuring-gai Philharmonic Orchestra.

YOUNG VIRTUOSI BROADCASTS For Johanna, one of the main reasons to enter the Young Virtuoso Award was the fifty-minute radio broadcast which she says was an opportunity often only available to professionals - “It is an absolutely invaluable experience” one she says that forced her to critique and perfect every aspect of her playing. “Fifty minutes of playing is the ultimate challenge and requires huge preparation. As a young musician, preparing for a broadcast is a true learning curve and I am very grateful to have been given the opportunity.” Johanna who already performs with the Sydney Chamber Music Academy said that the winner’s prize of performing with the North Sydney Symphony Orchestra was another major benefit of the competition – “Collaborating with an orchestra would be such a greatly rewarding experience.”

1pm Wednesday 5 February Sydney Academy of Chamber Music recitals

Asked what influences her choice of music,

Coordinator: Judy Deacon

1pm Wednesday 12 February Sydney Academy of Chamber Music recitals 1pm Wednesday 19 February Chloe Chung, Flute 1pm Wednesday 26 February Johanna Blake, Cello Presenters: Troy Fil, Katherine Ly. Audio Engineers: Jason Julian, Greg Ghavalas Note – Entries close for Even Younger/ Younger Performers on 21 February Sydney Piano World and Sauter Piano’s are sponsors of YVA

THE CLASSICAL GUITAR A ROAD LESS TRAVELLED been very useful for establishing a name for myself. I have been privileged to have won four major competitions in the last two years, three of them against other instruments, and this has led to some great opportunities including performances with the ACO and Orchestra Wellington. Although they are a brilliant springboard they do not guarantee long-term exposure or on-going concert engagements. I think I will participate in a few more competitions but certainly my career focus is now moving towards gaining public exposure through concerts, collaborating with other musicians, and using various mediums to bring my music to audiences. Life at the Royal Academy… The diversity and depth of musical life at the Academy is unbelievable. The sources of learning and inspiration come from all sides: listening to and talking to the other students, the plethora of visiting professors and masterAndrey Lebedev, who in 2012 became the only classes including figures like Maxim Vengerov, classical guitarist to win the National Fine and my guitar teacher Michael Lewin. What Music Young Performer of the Year, has added makes the Academy particularly unique is another award to a growing list of accolades. the variety of backgrounds that make up Currently enrolled on full scholarship at the student body: I am friends with students the Royal Academy of Music in London, he from France, the Netherlands, Finland, Estonia, returned south to share Christmas with family Armenia, Sweden, Portugal, Croatia, Turkey, and compete in New Zealand’s prestigious Spain, USA, Costa Rica, Columbia, and that’s just Gisborne International Music Competition. off the top of my head! Not only did the 22-year-old take first place, he also won the Holdsworth Family Bach Prize. While back in Australia we caught up with this promising and passionate young musician. Career road map and authenticity.. The most important aspect of career planning is always seeking to play your absolute best and being genuine. Audiences know when an artist is genuine. This goes into all aspects of our musicianship: repertoire choice, stylistic performance details such as rubato and vibrato, and naturalness of stage presence. Of course I am not advocating blindly uninformed artistry, but at the end of the day audiences want to hear what each artist truly believes. Geography is destiny.. I think that being in London is probably the best career choice I could make. My teacher Tim Kain often said “geography is destiny” and I couldn’t agree more. Competitions have

Being in the heart of London means I can see concerts any night of the week. Wigmore Hall is ten minutes’ walk away, the Barbican is 20 minutes on the tube, and the Royal Festival Hall is a bus ride away. Almost every artist I ever wanted to see has played or will play in this city within the next six months. Studying in Australia vs London … The biggest difference is the sheer number of musicians compared to Australia. At ANU I knew all of the students I studied with and was well acquainted with many musicians across Australia. That would be almost impossible here. I hardly know even half the students at the Academy let alone the other three music schools or professionals working in London. What’s missing? I do miss Australia. More than anything it is the abundance of space. London is incredibly dense: living quarters are small, streets are

narrow, buildings are tight, and public transport is full. I often find myself wishing the streets had more trees and less cars, but I guess this is what comes with being in a big city. I have found the people to be just as friendly as Australians. I have often heard that big cities are unfriendly but that has certainly not been my experience. Musical passions I feel particularly passionate about the music of J.S Bach. When I was 15 my parents gave me a Bach “Preludes, Fugues, and Fughettas” record played by Glenn Gould and I don’t think I’ve been the same since. For me it is the first and last word on music and an incredibly rewarding experience to study and perform. My teacher Aleksandr Tsiboulski once said “The music of Bach is like exploring the universe - the more you discover the more you realise you have left to learn,” and I couldn’t agree more. I am also a lover of folk music, particularly from South America, and hope to explore this further in the coming months. I have recently been enraptured by the music of Brazilian guitarist Baden Powell and the rich guitar music of Venezuela. How beautiful the sound can be.. The classical guitar does not have the history of conventional classical instruments such as the violin and I think this is our biggest strength and weakness. Even today most audiences have not heard the classical guitar: they don’t know how beautiful the sound can be, they don’t know our wide range of expressive possibilities such as vibrato and tremolo, or our original repertoire and transcriptions. The guitar is one of the most beautiful sounding instruments and we have the privilege of introducing this to audiences. The downside is that one can easily get stuck in narrow world of guitar music. We don’t have Chopin Etudes, Sibelius Symphonies, or Bartok String Quartets, but that doesn’t mean we can ignore them. Next.. I graduate summer 2015 and I hope to have established enough of a foundation to continue down the path I am on now. - Lizzie Herbert February 2014

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MUSICAL BRUGES –

THE CULTURAL CAPITAL OF EUROPE

Venice of the north. Photo - Jan Darthet/Bruges Tourist Office On a recent visit to Europe, Fine Music was clear from the start that the excellent Magazine correspondent, Henry Mendelson acoustics and infrastructure and the various visited Bruges - a renowned cultural centre spaces within the building would allow the and the capital of the province of West concert hall to write a powerful story. Flanders in the Flemish Region of Belgium. “In the past few years the Concergebouw has Last year saw the impressive Bruges become more and more a meeting place for Concertgebouw Concert Hall celebrate its performers from all kinds of artistic disciplines,” 10th anniversary. For a city of a mere 120,000 he said. population to boast a cultural centre with a 1,300 seat music and dance auditorium and an Its innovative programming is exemplified by intimate 320 seat Chamber Music venue speaks some of the highlights of the current season volumes for the city’s artistic leadership. Its which include a 3-Beethoven piano concerto annual season program catalogue runs to 240 pages listing programming and events.

concert on three pianos for which they were originally written, as well as a Budapest Festival featuring that city’s Festival Orchestra led by its renowned conductor, Iván Fisher. However, be it orchestral or chamber music, dance or concert performances of opera or children’s programs, the real star at every Concertgebouw event in reality is the perfectly designed and versatile building itself. – Henry Mendelson

General Manager, Katrien Van Eeckhoutte told Fine Music Magazine that 2002 had seen Bruges named Cultural Capital of Europe and one year later the new Concert Hall had attracted audience numbers totalling 40,000. By dint of an eclectic approach to concert programming, membership promotion and diverse platforms which include a strong emphasis on dance and an ambitious integration of a major art collection, this has expanded to a current annual total in excess of 100,000. “What started as a dream has blossomed into a successful reality”, Ms. Van Eechkhoutte said, pointing out that strong partnerships with other cultural bodies both locally and with orchestras and companies all over Europe were brought to fruition. Added Jeroen Vanacker, Bruges Concertgebouw’s Artistic Director: “It

The Bell Tower. Photo - Jan Darthet/Bruges Tourist Office

February 2014

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CHINA’S THREE SISTERS – LIU, LIU AND ZOU CELEBRATING YEAR OF THE HORSE “Our musical journey is a lifelong journey, no matter where we live, our music is there, it is in our heart,” says Ying Liu, describing the rich threads of her friendship with fellow musicians Lulu Liu and Lunlun Zou, one which spans two continents and crosses two cultures. The three musicians from northeast China have known each other since they were 12, studying and performing together through ten years of high school and university. They first shared a classroom at the Traditional Chinese Instrument Performance Unit at Shenyang Conservatory High School and then at the Shenyang Conservatory of Music. Ying learnt the erhu - a two stringed Chinese violin, Lulu the pipa - a four stringed plucked Chinese lute and Lunlun the guzheng - a 21 stringed plucked zither.

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“ Coincidence or destiny?

Ying regained contact on the other side of the world in an unexpected way, when after coming to Sydney for further study in 1998; she by chance met Lunlun while walking in the CBD. Ying was to have another surprising reunion. “Not long after I met Lunlun, one day one of my girlfriends phoned to ask if I know a girl named Lulu, she is also from the Shenyang Conservatory and played a Chinese instrument called pipa. This is just unbelievable, after many years, we all met again in another side of the world, the same city again, you say this is coincidence or destiny, we don’t know, but this is true, we are all here in Sydney.” The trio started to perform together again and even though they had not seen each other for a while the musical understanding from their formative years remained - the eye contact and facial expression. Sydney audiences from different backgrounds enjoyed their performances and music, calling them the “three sisters” and the group gave many concerts including at the Opera House. In September 1999, they performed for then Chinese President Jiang Zemin in Sydney - it was the first time a Chinese head of state had visited Australia. As Ying explains, the three are all proud Australian citizens with Chinese heritage, “It is our responsibility to promote our original 14

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Photo - Peter Kahl culture here.” The group’s name Oriental Trio refers not only to their common cultural background but to the fact that they play traditional instruments with an oriental sound. And so the Oriental Trio decided to present a Sydney concert at the iconic venue of the Opera House at the time of the Chinese New Year Festival, to introduce Chinese musical culture and its traditional instruments to Australian audiences. The trio will play Chinese classical and traditional pieces at their performance. Classical works include pieces such as Meditation - a pipa solo written by Liu Tianhua in 1929. He was a 20th century composer, musician and intellectual who tried to modernise the performance and study of Chinese traditional music, sometimes incorporating ideas borrowed from the West. In Meditation, the music evokes the image of someone seated next to a window, in the emptiness and stillness of the night, lost in meditation. Traditional music also features in the concert including Fishermen’s Joyous Return, a duet for guzheng and erhu. This charming melody evokes the beautiful scene and happy feelings of fishermen returning with a plentiful catch.

Grainger can certainly “speak Chinese in his music..

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After graduating from the Conservatory in 1994, Ying went to Hainan in southern China for a working holiday. Lunlun and Lulu went their separate ways; Lunlun became the principal guzheng at the Liaoning Song and Dance Performing Company in Shenyang and Lulu went to Beijing to pursue her career. The three eventually lost contact with each other.

The concert showcases Chinese-inspired pieces by Australian composers, such as Beautiful Fresh Flower. This Chinese folk tune was arranged for piano by Percy Grainger in 1935 and is a fascinating early example of Chinese

influences in Australian art music. Grainger harmonised the piece using a pentatonic scale and when it was played in China, audiences were delighted, commenting that Grainger can certainly speak Chinese in his music. The trio has invited a guest pianist to play this work at the recital. In 2001, the trio separated again; Lunlun went to Hong Kong to establish a school for the guzheng, while Lulu went back to Beijing with her family. Ying was the only one who remained in Sydney and continued working with local musicians. In 2008, Lulu returned to Sydney and decided to stay for life, while Lunlun visits Sydney every Chinese New Year to meet with Ying and Lulu and make music. Now reunited for the Chinese New Year Festival this month, a time for family and friends of the Chinese diaspora, the Oriental Trio are welcoming the Year of the Horse with friends at a concert to celebrate Chinese and Australian cultures, and the cross-fertilisation between the two, making music together once again. – Paolo Hooke Oriental Trio Concert Ying Liu, erhu; Lulu Liu, pipa; Lunlun Zou, guzheng, with guest pianist Saturday 8 February 3 pm Utzon Room, Sydney Opera House Tune in to Paolo Hooke’s Chinese Mosaic & Postcards from Shanghai program at 1pm Saturday 1 February to hear the Trio’s recordings and for your chance to win double passes to the Oriental Trio Concert.

PICTURES AT AN EXHIBITION

Resonate concerts at the Art Gallery of New South Wales Tom Roberts, Charles Conder and many others artists from that century when a burgeoning, distinctively Australian, artistic conscience was emerging. Listening to music in this Victorianera style gallery where the paintings and the music communicate with each other seems to add an extra layer of tranquillity, serenity, which larger scale venues can’t provide. Over the years the cream of Australia’s classical music talent has appeared in Resonate: the Grigoryan brothers, Yvonne Kenny, Roger Woodward, Merlyn Quaife, Emma Matthews, Jonathan Summers, Taryn Fiebig, Teddy Tahu Rhodes, Richard Tognetti, the Australia Ensemble - the list goes on. There have also been international artists such as the late, great, Elizabeth Connell, accordionist James Crabb and tenor Simon O’Neill.

The Society’s subscription concert series Resonate has been presenting unique art and music experiences to Gallery members and the general public for 14 years now, and has grown and evolved into a highly recognised intimatevenue - part of Sydney’s music scene.

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..music seems to add an extra “layer of tranquillity, serenity..

At Resonate concerts, audiences have the opportunity to view the Art Gallery’s major exhibition before each concert, while during the concert they are enveloped by paintings and sculpture in the 19th Century Australian Gallery - paintings by the Heidelberg School, with perennial favourites Arthur Streeton,

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February 2014

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Music and the visual arts - painting in particular - have always had a family resemblance: the texture and colours of paint having a kinship with the texture and colours of music. It is not surprising that some composers have found that certain notes or chords suggest a particular colour, while for some painters the application of colour is another form of musical expression. To be able to bring both these artforms together at the Art Gallery of NSW is one of the highlights of my time working for the Art Gallery Society of NSW, the Gallery’s membership organisation.

Apart from the ambience, artists like to perform at the Gallery because they have the freedom to program the repertoire that they want to perform. Occasionally the exhibition lends itself, or is a catalyst, for thematically arranged programs but this is not a prerequisite. The performers, as much as the audience, enjoy the Fiona Campbell. Photo – Michael Kampf the Gallery Cabaret with More of Fifi L’Amour! experience of music at the Gallery. The Art Gallery of NSW has exhibited many ...one of this country’s true memorable exhibitions - it is truly one of the cultural institutions. great cultural institutions in this country. And Another element has been introduced to Resonate too has presented many musical Resonate in the last three years - the Gallery memories, a synergy that produces a rare treat Cabaret - twice a season. These concerts are for audiences and performers alike. held in the Gallery’s entrance court where Resonate will enchant both banquet tables and a good sound system your ears and your eyes. create another kind of musical experience. Gallery Cabaret has featured artists including In 2014 the exhibition program includes Tim Draxl, Christa Hughes and, in 2014, cabaret favourites such as ArtExpress and the Archibald, Wynne and Sulman Prizes, plus temporary sensation Tyran Parke. exhibitions showcasing a whole world of art Other artists appearing in 2014 are pianist and culture - Afghanistan: hidden treasures Alexey Yemtsov, a favourite of audiences since from the National Museum, Kabul; Theatre of he first appeared in 2008; the combination dreams, theatre of play, an exhibition of the of art and music takes on an extra dimension extraordinary craftsmanship that goes into the when Alexander Boyd, son of painter Jamie creation of Japanese Noh theatre costumes; Boyd and grandson of Arthur, performs Books and the best in Australian and international I & II of Albéniz’s Iberia; the Song Company contemporary art in the Sydney Biennale. th celebrates their 30 anniversary with a concert that showcases four centuries of vocal music; Over the years Resonate has formed a slight twist to the piano component sees creative partnerships with many of Australia’s fortepiano exponent Anthony Romaniuk finest musicians and presented audiences perform with violinist Joanna Husczca; more with cultural and musical experiences of choral excellence from Bach to the Beatles by extraordinary quality. I urge you to come along the Sydney Philharmonia Choir; the brilliant to Resonate in 2014 - it will enchant both your Omega Ensemble, now Ensemble in Residence ears and your eyes. - Craig Brush at City Recital Hall, Angel Place, performs Resonate concert information Schubert’s Octet in F Major; and to cap the www.artgallery.nsw.gov.au/member/events year multi-faceted Fiona Campbell appears in

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Ko-omote mask - Theatre of Dreams, Theatre of Play exhibition Craig Brush, Executive Director of the Art Gallery Society of NSW, programs the musical offerings that combine with superb art exhibitions to create the gallery’s “Resonate” series of concerts. Here he talks about the relationship between art and music and the gallery’s place in Sydney’s concert scene.

fineMusic 102.5

What’s On

CHAMBER AUSTRALIAN CHAMBER ORCHESTRA DAWN UPSHAW, ELGAR & GRIEG 9 February Sydney Opera House 11, 12, 14, 15 February City Recital Hall, Angel Place

CHAMBER BEETHOVEN’S SEPTET (MASTER SERIES) OMEGA ENSEMBLE Sunday 23 February 2.30pm Utzon Room, Sydney Opera House

Tickets: $41-$104 Bookings: 1800 444 444 www.aco.com.au Following a hugely successful US tour and a critically acclaimed recording, the Australian Chamber Orchestra brings you the Australian premiere of Winter Morning Walks, featuring four-time Grammy Awardwinner Dawn Upshaw. Commissioned specially for the ACO and Dawn Upshaw and featuring a trio of brilliantly versatile US jazz musicians, this touching new piece by fellow Grammy Award-winner Maria Schneider has been called “music to fall in love with the first time - then immediately want to hear again.” This Australian first is matched with a flourish of Romantic string orchestra works - Elgar’s exhilarating Introduction and Allegro and Grieg’s enduringly popular Holberg Suite, which is interspersed with songs by Grieg and Rautavaara. Artists Helena Rathbone (lead violin), Dawn Upshaw (soprano), Scott Robinson (alto and bass clarinet), Jay Anderson (double bass), Frank Kimbrough (piano).

Tickets: $29 - $65 Bookings: 9250 7777 www.omegaensemble.com.au

CHAMBER THE FIRE OF LOVE THE SONG COMPANY Sunday 23 February 3pm City Recital Hall, Angel Place Bookings: 8256 2222 www.cityrecitalhall.com

SYMPHONY SYDNEY SYMPHONY ABSOLUTELY BEETHOVEN THE ROBERTSON ERA BEGINS

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Wednesday 12, Friday 14, Saturday 15 February 8pm Sydney Opera House Tickets: $39-$139 Bookings: 8215 4600 www.sydneysymphony.com David Robertson’s first concert as chief conductor sets the tone with a high-octane program. And you can look forward to more than intelligent and energetic music-making - this program stimulates

The Omega Ensemble stages the timeless and familiar Septet in E flat by Beethoven and performs compelling and vibrant works by Devienne and Berwald. This concert is the first in Omega’s most ambitious season yet, featuring local instrumentalists and internationally renowned guest artists. In Beethoven’s glorious Septet in E flat major scored for strings and winds, its six movements resemble more of a serenade and the unusually prominent role of the clarinet was quite innovative. Devienne is remembered for his individual compositions and success in raising the musical and technical level of wind playing in France in the late 18th century. It’s no surprise then, as a bassoonist himself, that his Quartet in G minor is full of technical demands. This rare performance showcases the capabilities of the instrument. Franz Berwald was never a success in his own life-time but nearly a century and half after his death, he has been hailed the world-over as a great Swedish composer. The Song Company’s 30th Anniversary Season marks the final stage of a four year cycle based on the elements of Earth, Water, Air and Fire. Join The Song Company as it celebrates the heat and passion of Fire and the music which expresses it. The Fire of Love explores the nature of love across the ages. Fire, perhaps the most powerful of all elements, signifies heat, purification and change. Young love, sweet love, old love, any kind of love is worth a song or two. From the courtly romance of the troubadours to the sensuous madrigal musings of Marenzio, this concert explores the fire of emotion stretching all the way to the classic songs of Jacques Brel and Cole Porter. And some recent but equally poignant love songs by Bon Iver and Pink prove the point: love is eternal.

the mind, the heart and the ears. Beethoven’s Seventh is a vibrant, dancing symphony by a classical master and is the foundation of this concert. But Beethoven’s Seventh is there for another reason as well: John Adams’ Absolute Jest takes its inspiration (and its musical ideas!) from the late Beethoven quartets. It’s like Beethoven that’s been passed through a hall of mirrors, says Adams, and the result is a turbo-charged showpiece for string quartet and orchestra. And Stravinsky enters the picture because he, too, liked to take the music of other composers and make it his own. Program – Stravinsky Symphony in Three Movements, Adams Absolute Jest (Australian premiere), Beethoven Symphony No.7.

CHAMBER CONTINUUM THE AUSTRALIAN STRING QUARTET Thursday 6 March 7pm City Recital Hall, Angel Place Tickets: $30-$75 Bookings: 8256 2222 www.cityrecitalhall.com

SYMPHONY WILLOUGHBY SYMPHONY NIGHT AT THE OPERA – VERDI GALA Saturday 1 March 7pm, Sunday 2 March 2pm The Concourse, Chatswood Tickets: $5 - $45 Bookings: 1300 795 012 www.ticketek.com.au The Willoughby Symphony, under their internationally renowned Chief Conductor Dr Nicholas Milton, launches its brilliant

FESTIVAL BOWRAL AUTUMN MUSIC FESTIVAL Friday 28 - Sunday 30 March Bowral, Southern Highlands Tickets: *$22-$45 Bookings: 1300 657 559 www.bowralautumnmusicfestival.org.au

The string quartet is a vital, intimate genre that is constantly reinvented. Tracing the thread of this evolution Continuum begins with early Boccherini from the mid-18th century, the same era that the quartet’s wonderful set of Guadagninis were made. ASQ will perform using raw gut strings, rather than modern synthetic and steel, and with an understanding of the early classical performance style. This is followed by Brahms’ finely crafted first string quartet, as he would have heard it in the late 19th century, still using gut. The quartet then takes up modern electric instruments for the evocative Australian work, Windmill by Stephen Whittington, and George Crumb’s ground-breaking work for electric quartet, Black Angels. Crumb quotes from Tartini’s Devils Trill, the Dies Irae from Mozart’s Requiem and Schubert’s Death and The Maiden, creating a darkly moving response to the Vietnam War. new season with the spectacular Night at the Opera - a stirring program of tender arias and love-stricken duets, electrifying choruses and tempestuous orchestral overtures from the magnificent music of Verdi. The immortal operatic creations from the master composer contain some of the best-loved selections of the repertoire - with impassioned arias and choruses of searing intensity will make an unforgettable impression. Together with the massed energy of the scintillating Choir and brilliant soloists Eva Kong and Martin Buckingham, the Willoughby Symphony is thrilled to present this phenomenal Gala concert. With unforgettable excerpts from La Traviata, Rigoletto, Il Trovatore, Aïda, Nabucco and La Forza Del Destino, this Night at the Opera will surely move you with its overwhelming emotional power

Many of the great European festivals have their origins in the patronage of the Church and church buildings and church musicians play important roles in these historic and significant festivals. Under the direction of Artistic Director Yvette Goodchild, the festival attracts some of Australia’s leading classical musicians and the high quality classical chamber music is centred on the Anglican Church of St Simon and St Jude amid the lovely autumnal colours of the Southern Highlands. Bowral offers a perfect location for a weekend of fine music. The festival consists of four concerts and two recitals in St Jude’s and one in the Playhouse Theatre in the neighbouring town of Mittagong. In addition there is a Festival Service at which a Festival Chorus sings one of the classical musical settings to the Holy Communion. *Full festival subscription from $160.

OPERA IN CONCERT SYDNEY SYMPHONY - ELEKTRA Sat 22 February 8pm, Mon 24 February 7pm Sydney Opera House Tickets: $84-$149 Bookings: 8215 4600 www.sydneysymphony.com Dreams. Nightmares. Murder. Revenge. Elektra is the ultimate opera: great music, a great libretto and the last word in tragic storylines. Elektra dreams of vengeance. Her father the king has been murdered in his bath and her mother and the guilty lover must pay. Only then can she dance for joy. The return of her long-lost brother triggers the horrific conclusion. No happy endings here. This is Richard Strauss’s biggest opera, calling for more than a hundred orchestral musicians. Chief Conductor David Robertson and the SSO share the platform with a great cast of singers and members of the Sydney Dance Company, you’ll be blown away by the fierceness and the sublimated eroticism of this gripping theatrical event. Artists - Christine Goerke (soprano, Elektra), Lisa Gasteen (soprano, Klytemnestra), Cheryl Barker (soprano Chrysothemis), Peter ColemanWright (baritone Orestes), Kim Begley (tenor Aegisthus), Sydney Philharmonia Choirs, Sydney Dance Company. Stephanie Lake choreographer. Image Christine Goerke credit Arielle Doneson

JAZZ THE BIG BAND RADIO SHOW 1930s SWING ERA Sunday 2 February 2pm The Concourse, Chatswood Tickets: $45 Bookings: 1300 795 012 www.theconcourse.com.au February 2014

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CDReviews

DVORˇÁK CELLO CONCERTOS Steven Isserlis, Mahler Chamber Orchestra, Daniel Harding, Tiffin Boys’ Choir Hyperion CDA67917

✶✶✶✶✶ Steven Isserlis first played Dvorˇák‘s Cello Concerto in B Minor, Op.104 at age 14. He has waited until age 54 to offer us his first recording of the work. It has been well and truly worth the wait. He provides a dynamic and inventive performance of this well known and eternally

BRITTEN WAR REQUIEM London Philharmonic Orchestra and Choir/Kurt Masur Christine Brewer, Anthony Dean Griffey, Gerald Finley LPO-0010 2 CDs

✶✶✶✶ It is no secret that Benjamin Britten was a pacifist. So what was a pacifist doing composing a War Requiem? “My subject is War, and the Pity of War. The Poetry is in the pity… All a poet 18

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loved masterpiece. From his rollicking quasi improvisando entry into the first movement, which always sets the tone for any performance of this concerto, through to his unique and savvy phrasing of the second subject, one quickly becomes acutely aware that this is a roller coaster you are just happy to jump on, sit back and enjoy the ride. The ongoing challenge of balance between cello and orchestra is met with the Mahler Chamber Orchestra providing all the colour and charisma required without overpowering the soloist. The adherence to annotated tempi markings is well respected throughout with the opening of the slow movement, a prime example. This is the most important reading of this work in recent memory. The revised and orchestrated version of an earlier proposed Cello Concerto in A Major, B.10 by Gunter Raphael (scored by Dvorˇák for cello and piano) is also worthy of mention. Raphael has provided an interesting assessment of how this work may have sounded from the heart and mind of Dvorˇák . The solo part is clearly stamped by Dvorˇák‘s handiwork with his knowledge of the capabilities of the cello already well established. Raphael’s orchestration

can do today is warn” is the inscription Britten wrote on the title page. The words are those of Wilfred Owen, the British poet who died in the last gasping moments of World War I, and whose nine poems Britten uses to graphically illustrate the horrors of war. He also uses the Latin Mass for the Dead to add a sort of macabre balance between the reality of man’s inhumanity (Owen’s words sung by tenor and baritone) and the combination of children’s and soprano voices to spiritually convince us that death is not an end in itself. He even has the baritone singing about a soldier meeting the foe he has just slain. “I am the enemy you killed my friend. I knew you in this dark; for so you frowned yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold,” he laments. And that is followed with the tenor and baritone elegiac finale “Let us sleep now” as the children’s voices twirl around them, polyphonically singing In paradisium deducant te Angeli - may the angels lead you into paradise. It is a requiem far removed from that of Verdi or Faure’s or even Lloyd-Webber’s. Theirs was passionate, from the heart and in

is highlighted by his scoring of the second subject in the first movement for high woodwinds with a quiet accompaniment from the horn section. It’s as if Dvorˇák was standing over his shoulder, telling him what to write down. Isserlis must be commended for lending his weight to reviving and championing this work. Listening to this CD reminded me of Franz Liszt’s Grosses Concert-solo, S.176; his first foray into writing a full blown piano sonata. In many ways, this piano solo by Liszt is an experimental work which needed to be written before the mighty Piano Sonata in B Minor, S.178. There are parallels with what Liszt accomplished and with what Dvorˇák achieved here with this concerto. It is clear that Dvorˇák could write well for the cello from the outset of his career, but wasn’t quite ready to unleash it with a full orchestral force behind it. Dvorˇák waited until Op.104. Steven Isserlis waited 40 years. The rest is history. - Frank Shostakovich

Verdi’s case an extension of his operatic genius. Britten seems almost to distance himself from what he could only have imagined and never saw. His is an intellectual Requiem. No longer a cancer or a sore, he composes with optimism although he can’t seem to escape the undercurrent of how destructive war can be to the spirit, to humanity and to civilisation. At its first performance in May 1963, Britten had wanted soloists from Britain, Germany and Russia but the Russians would not allow Galina Vishnevskaya to stand on the same stage as Dietrich Fischer-Dieskau so Heather Harper was a last minute substitution. Peter Pears was the tenor. The first recording was conducted by Britten himself and sold 200,000 copies in its first year. On this live recording (Festival Hall, 8 May 2005) all the soloists impress but it is the chorus that strikes a chord. It is subdued but ever present, it blends but doesn’t interfere, it is energetic, it swirls and it is the last voice we hear. Requiescant in pace – May they rest in peace. Amen. - Randolph Magri-Overend

CD Reviews

SPIRIT OF THE PLAINS Australian Flute Music 1997-2013 Christine Draeger, Lamorna Nightingale, Jocelyn Edey Fazzone

✶✶✶✶ Fluteworthy, involving these three performers have produced their second CD with 21 works by Australian composers, all available through print music and through recordings for the use of teachers and students or just enjoyed CHARLES-MARIE WIDOR Paul Rickard-Ford, Piano RIAX Classical RICA-2881

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Name something that Charles-Marie Widor has written and you’d probably say a movement, maybe a toccata from an Organ Symphony! You’d probably not be familiar with the fact that Widor wrote ten such organ symphonies. After all he was appointed as an assistant to Camille Saint-Saëns at Église de la Madeleine and was steeped in the church and its music. So what about his other compositions? Well he wrote some stage works, some vocal solo and choral works and indeed some symphonies apart from those for organ. He also wrote concertos for piano and cello. But the purpose of this observation on Widor’s compositions is to focus on his compositions for

J.S. BACH ST MATTHEW PASSION RIAS Chamber Choir; Akademie für Alte Musik Berlin; René Jacobs, conductor. Harmonia mundi HMC 802156.58

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for the attractiveness of the music itself. The wide range of styles contribute to the charm of the collection. Represented on this CD are eminent Australians – Brumby, Butterley, Edwards, Kats-Chernin, Whitwell, Anne Boyd, Hindson and others including Christine Draeger herself. While the works are varied in standard there’s enough there to give some excellent ideas for inclusion in recitals and indeed some fascinating offerings for public concerts. Draeger has included a couple of her own pieces and there’s lots of interest in the Aubade which she declares is based on some warm up exercises. I particularly enjoyed the energy of Firth’s Cooper’s Capers. Kats-Chernins’s reflective A Nostalgic Piece deserves a mention too as does the vibrancy of Selleck’s Crossing Points iv. As anticipated, some influences of Riley Lee shakuhachi, feature in works by Anne piano which are vast and, due to the efforts of an Australian based publishing company, are now available in fresh new publications. Crescendo Music Publications’ editors, Daniel Mitterdorfer and Harold Fabrikant have, after spending many years researching Widor’s piano music, made a significant contribution to a deeper understanding of the man, musician and composer. Featuring on the 2 CDs are some charming works - 12 Feuillets d’Album op. 31 written in 1877 along with 6 Valses Caractéristiques op. 26, Cinq Valses, and Pages Intimes written in 1879. The sound we hear is convincingly from the middle to later nineteenth century finding the music very reminiscent specifically of Schumann, Schubert and Mendelssohn. However the performances by pianist Paul Rickard-Ford shows much rhythmic energy, lots of delicacy when needed and some powerful moments. Johann Sebastian Bach regarded the St Matthew Passion, given in Leipzig on Good Friday 1736, as his most important work, his “great passion”. (An earlier version with small forces was first performed in 1727.) Ever since then conductors of the work have been discussing and arguing as to how it was performed then and how it should be performed today. Bear in mind that resources available to Bach under 18th century conditions were limited, unlike today when vast choirs and orchestras are the norm. Bach’s contemporary and predecessor as Kantor of St Thomas, Johann Kuhlau, had stated the need for sufficiently large forces. Clara Schumann, who attended a performance at the church under the baton of Mendelssohn,

Boyd and Lachlan Skipworth. Ross Edwards is well represented with movements from Mystic Spring and NuraOcean which reveals an aboriginal connection. For real atmosphere I very much like the Sonetos Movement 1 produced by Rosalind Page but if it’s acciaccaturas you like go to Michal Rosiak’s Dancing with Butterflies. The name of Sally Whitwell’s contribution was used as the title of the CD itself and was a Fluteworthy commission. It sounds as if lots of friends chipped in to effect the commission. Good on them! So an enthusiastic pat on the back for Christine Draeger for promoting some exciting Australian music and as with the previous CD, after considerable research, it became a question of what had to be left out. - Emyr Evans

The collection is well worth investigating and is a great source of attractive pieces at various levels for listeners and for performers alike. - EE

complained the church was too high, “We did not hear the music enough.” Not a problem for this performance. There are two choirs, choir 1 designed to be near the audience, and choir 2 designed to be in the distance. The texts written by Picander, the German poet and librettist who worked on many of Bach’s vocal works, are set between sections of the gospel. They are sung by soloists typical of the oratorio style. The work is set over two parts. René Jacobs and the ensemble would be a good choice for people wanting a recent performance of the work. There are excellent performances from the soloists, choirs and orchestras. The box set also comes with a very interesting DVD. - Philip Lidbury February 2014

fineMusic 102.5

JAZZ CD REVIEWS Discourse with Kevin Jones

IMPROMPTU John di Martino and Warren Vache Kilimanjaro Disque KD10018

✶✶✶✶ Trumpet and piano duets have been in vogue since Louis Armstrong and Earl Hines recorded Weatherbird in 1928. I discovered them through the recordings of Ruby Braff and Ellis Larkins in the 1950s and later, when he switched to cornet, Braff with Dick Hyman. The first, and I hope it will not be the last, duo recording by Warren Vache and John di Martino follows in the tradition of the latter. I have enjoyed Vache’s cornet work ever since he came to prominence with Benny Goodman in the mid-1970s. He was recommended to Goodman by veteran guitarist

SWEETS Harry Edison Poll Winners PWR27202

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This classic session from September 4, 1956 epitomises the essence of what is the best in mainstream jazz. The front line of one of the greatest Basieites, trumpeter Harry “Sweets” Edison, and an Ellingtonian of the highest class in tenor giant Ben Webster were at the peak of their maturity. Authoritative sums up their playing. Edison and Webster are both superb in this mixture of ballads and blues, blowing with a joyful, virile swing or with a moving sensitivity as the occasion demands. The rhythm section is led by pianist Jimmy Rowles and guitarist Barney Kessel who both solo tastefully; bassist Joe Mondragon and drummer Alvin Stoller are exemplary. I cut my jazz teeth on music like this as a teenager and hearing it again so many years

BUT BEAUTIFUL Mary Stallings HighNote HCD7250

✶✶✶✶✶ There have been some wonderful partnerships between singers and arrangers in the history of jazz and popular music. Frank Sinatra and Nelson Riddle are probably the greatest and best known and as far as jazz is concerned Mel Torme and Marty Paich. I suppose one must not forget Billie Holiday and pianist Teddy Wilson in the 1930s but that is a different category. The latest example of another superb musical partnership is that of Mary Stallings and pianist-arranger Eric Reed, her musical director. Their four tracks together on her latest release are the ultimate in sublimity; 20

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Bucky Pizarelli. I have been impressed with ears it sounds just right; their bluesy treatment DiMartino mainly through his recordings with of Willow Weep For Me leaves one longing for vocalist Nicky Parrott and, more recently, Alexis more - as does the thought of another album. Cole. Not only is he a fine all round pianist, but his melodic finesse makes him suited to this most demanding of musical settings. Both musicians share a love for melody and tonal quality but they are also aware of the harmonic changes and rhythmic freedoms that have taken place in jazz in the past two decades. Standard fare perhaps but the playing is anything but standard - it’s intelligent and emotional. Listen to Vache as he takes a solo flight embroidering the melody of the lovely Skylark. I doubt whether di Martino’s boppish treatment of Yesterdays would have the pleased its composer Jerome Kern but to these later reminds me how timeless the greatest jazz is. The music is still fresh to these ears but if there is one criticism, and it’s only bias, I wish there had been more of Webster especially after hearing his opening statement on Willow Weep For Me followed by Edison stark and muted. What makes this reissue essential for any serious collector are the bonus four tracks from a little known session in Los Angeles the following year led by vibes giant Red Norvo. Edison, Webster and Rowles were also on hand to help demonstrate to perfection the meaning of the blues. Edison and Webster complement each other beautifully but once again it’s Webster in masterful form who steals the show. There will ever be only one Ben Webster.

The Lamp Is Low is stunning. Stallings makes light of her 74 years as she interprets these Great American Songbook gems with lyrical depth, harmonic sophistication and sensitivity. Reed’s backing is pitch perfect. There is no need for new material. These songs were great when first written. They are just as great now. Her main strength is reshaping these melodies in such a way that they bring so much satisfaction to the listener. Take Dedicated To You, the definitive version of which was recorded by Johnny Hartman and John Coltrane. Stallings first recorded it as a lush ballad for the Concord label in 1994; here the treatment is light and breezy. She transforms Just A Gigolo into a gentle ballad. Some have described the Carmen McRae-inspired San Francisco-based singer as

an undiscovered treasure. A treasure yes, but hearing her sing with so much passion, maturity and love as she does here I cannot think of a better jazz vocalist alive today.

SWINGING ON THE VINE “THE KING OF BOP!!!”

call me a dribbler, “They And maybe I am,

But there’s one thing I am longing to see. Another bottle of wine I am dreaming about . . .

”

(My apologies to Joan Whiting and Alex Karmer who wrote the 1948 “hit” Far Away Places which was popularised by Bing Crosby and Perry Como.) As all wild-life in the vicinity of my Hunter Valley hideaway had vanished at the first sound of my dulcet tones, only Big (No Longer Little) J remains mainly because he is too inebriated to move. Instead he looks at me, his piggy eyes showing great affection as I fill his bowl with shiraz. But I am in a mood for celebrating. I have been invited back to the homestead for dinner, The Voice’s icy cold demeanour after my latest escapade now only slightly chilled. And the contemptible Clifford has left. Feverishly recalling memories of surf music - rock with a beach twist circa 1964 - he is excited about the prospect of being the architect of a new “sound” - tsunami grunge - with his latest group Tattooed Beach Sluts! Imagine the sound: a condensed ball of barbaric, noisy sludge; the look: think of several echidnas running around on amphetamines their spikes globbed with a colourful sauce. But I suppose I shouldn’t be too biased. Am I not a Neanderthal with class? Ah yes the year 1964. I remember it well. It was March. I gaze wistfully into space before swallowing what is left of a bottle of chilled red. Melbourne’s Festival Hall supplied the setting; one of the great jazz trumpeters, Buck Clayton, a member of an all star group led by guitarist and raconteur Eddie Condon, was playing I Can’t Get Started. Maybe it should have been Matt Dennis’ love-lorn The Night We Called It A Day as I sat there coping with the fall out from another broken romance. Like a soft autumn breeze she had once made life bearable south of Bass Strait. And so the following day at Essendon Airport in deep gloom I pondered the mystery of it all as I waited for the aircraft which would take me once again to continue my exile in the cultural wastelands of the north-west coast of Tasmania. A stone’s throw away sat the American musicians from the concert the night before awaiting their flight to New Zealand, the second leg of a six-week tour which would end in Japan the following month. They were some of jazz’s finest - Condon, Clayton, trombonist Vic Dickenson, tenor saxophonist Bud Freeman, clarinettist Pee Wee Russell, pianist Dick Cary, bassist Jack Lesberg and drummer Cliff Leeman. In hindsight I should have walked over,

Eddie Condon - 1946 introduced myself and thanked them for providing one of the finest and most enjoyable musical evenings of my then life - but I had other things on my mind. Condon was not recording very much at that stage but in the late 1950s I snapped up any album with his all stars on the local Coronet label. Titles such as Bixieland, Jam Session Coast To Coast and Eddie Condon’s Treasury of Jazz. And those wonderful all stars included Wild Bill Davison, Billy Butterfield, Lou McGarity, Cutty Cuttshall, Edmond Hall, Peanuts Hucko, Gene Schroeder and George Wettling. Their music: free-wheeling, tradition-grounded jazz which was always synonymous with Condon’s name. Like Count Basie‘s great rhythm guitarist, Condon never soloed. The closest he came on record was a two-bar break in We Called It Music. However, he was one of the few who could stand up before a group of jamming musicians and conduct, either by flicking his wrist, casually pointing a finger or humming a riff; he could set the pace and pattern for solo order, breaks in rhythm, organised ensembles or chase choruses turning a seemingly illassorted collection of individualists into a wellrehearsed swinging group. His stance and expression were reminiscent of the actor James Cagney to whom he bore a distinct resemblance. That’s why it would have been interesting to see the expression on Condon’s face when being introduced at a concert in Japan as “the king of bop and mayor of Greenwich Village”, especially when you consider his definition of the difference between his kind of music and bebop: “The boppers flat their fifths - we drink ours!” Condon never held the office of mayor but he was a resident of New York’s Greenwich Village for many years, playing an important role in its jazz history from the time he went to work at Nick’s in 1937 until 1958 when the night club which bore his

name moved uptown. He once quipped: “I used to say I could walk to work in two-and-half minutes and reel back in two and a half hours.” Condon took pride in some of his achievements during a long career, among them the first fully integrated recording date in February, 1929 with a group originally called Eddie’s Hot Shots. Harlem musicians Leonard Davis (trumpet), Happy Cauldwell (tenor) and George Stafford (drums) joining Jack Teagarden, Mezz Mezzrow, Joe Sullivan and Condon. He was on a recording date with Louis Armstrong and on several with his good friend Fats Waller. He was one of the pioneers in bringing jazz to the concert stage. In collaboration with his friend Ernie Anderson he organised Waller’s 1942 concert at Carnegie Hall which was more a social then cultural event. Condon recalled: “Fats was a gin man. This was a gala occasion, so champagne was called for. You couldn’t move backstage and the champagne kept flowing. After the intermission, Fats played what sounded to me like Summertime all the way through the second half.” In 1944 Condon initiated a series of jazz concerts at New York’s Town Hall. The format was similar to the club jam sessions he had been organising since the late 1930s with the best traditional jazz musicians available and also big band leaders Gene Krupa, Tommy and Jimmy Dorsey and Woody Herman. They were broadcast on the Blue Network and transcriptions made available to the Armed Forces Radio Service. He is talking now as he gives solo orders and the beat to the musicians before they play Jam Session Blues moving into Ole Miss. He called it music and so do I . . . My enjoyment is interrupted by the faint ringing of a mobile phone. It’s an SMS- “Come down and eat before we both starve”….. - Patrick D Maguire February 2014

fineMusic 102.5

26th - 30th November 2014

If you believe in heaven, it might just look a little like Huntington Emma Ayres, ABC Classic FM, 2012

World class Chamber Music Festival Limelight Magazine 2013

Eat, drink, breathe music at the 25th Huntington Estate Music Festival in beautiful Mudgee, NSW. Over 30 world-class national & international artists including dazzling violin soloist Ray Chen and soprano Emma Matthews. Festival tickets include award winning wines and gourmet food in the pretty winery grounds. Email marketing@huntingtonestate.com.au or call us on 1800 995 931 for an invitation to purchase tickets when released for general sale in March 2014.

Presented in association with Musica Viva Australia, Artistic Director Carl Vine 22

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ULTIMA THULE CELEBRATES 25TH ANNIVERSARY How would you describe Ultima Thule’s music to a newcomer? Musicians from every genre have made it, even if they’ve been unsure what to call it. It’s often instrumental, but not always. Sometimes electronic, sometimes purely acoustic, often a melange of the two. It’s music with complex roots in a myriad of times and locations: from Renaissance Europe to deepest Africa; from classical minimalism to techno; from the creative ferment of late 60s Berlin to the sun-kissed isle of Ibiza. It’s generally spacecreating, atmospheric and often meditative. The Ultima Thule team - Marc Cottee, George Cruickshank, Jon Shapiro, Nev Dorrington It’s a sad fact that ambient and atmospheric music - perhaps the hardest of all music to categorise - has an uneven and frustrating history on Australian FM radio. Brilliant but obscure shows have come and gone on community stations. In the 1980s and 90s the ABC had respective shows on its Triple J and Classic FM stations which enjoyed quietly phenomenal success, only to be cruelly snuffed out with no credible explanation. Amid all this volatility, Ultima Thule has survived. February 2014 marks a remarkable milestone for

the show as it celebrates its 25th anniversary on Fine Music 102.5. The weekly show is now heard around Australia and the world and its listenership, just like its music, is truly global. “Ultima Thule” was a phrase used in ancient times by Europeans to describe the mysterious northern regions; unknown and unexplored lands shrouded in legend. It is apt indeed, because mystery is a quality that’s found in so much of the exploratory and boundary-defying music played by founder George Cruickshank and his team of programmers and presenters.

But descriptions only go so far, because the music played on Ultima Thule ultimately lets your imagination decide what it is and what it all means. While the art of the song reigns in the listener with a story set to words, ambient sets you free. That, more than anything else, is the mark of great ambient and atmospheric music and Ultima Thule remains one of its most enduring messengers. Here’s to the next 25 years of the unknown. - Mike Watson For a detailed history of the show visit the Ultima Thule Ambient Music Wikipedia page or www.ultimathule.info

February Fine Music Digital Schedule Time Monday

Tuesday

Wednesday

Thursday

Friday

12:00

The Symphony

Chamber

At the Keyboard

With the Orchestra

From the 20th Century

14:00

From Current Catalogues Stephen Wilson

In Conversation with Michael Morton-Evans (repeats)

Treasures of Recorded Music with Randolph Magri-Overend

7, 14, 21, 28 February

4 Feb - Louis Garrick (4 Dec 2013)

5, 12, 19, 29 February The Voices – the Roles with Angela Cockburn

Feature artist or Sydney Symphony with Andrew Bukenya (2nd Fri of month)

11 Feb - Claire Edwards (11 Dec 2013) 18 Feb - Ben Bayl (18 Dec 2013) 25 Feb - Justice Michael Kirby (8 Jan 2014) 15:00

Jazz Off the Shelf

Jazz Standards

Jazz Australia

Jazz Biography

Jazz in Concert

*See www.finemusicfm.com for program details

AUSTRALIAN WORLD ORCHESTRA

COMMAND YOUR OWN PERFORMANCE! Re-live the magnificence of the Australian World Orchestra’s standing-ovation performance under the baton of globally acclaimed conductor Zubin Mehta.

Stream the official pay-per-view video at www.finemusicfm.com February 2014

fineMusic 102.5

February Program Highlights piece for the 70th Birthday celebrations of worldrenowned composer Louis Andriessen at the Holland Festival in 2009. Silva: Natural Music, is a concert not to be missed recorded by Fine Music in the Utzon Room at the Sydney Opera House.

Mary Finsterer. Photo - DG/Dean Golja HAPPY 50TH MARY FINSTERER! Live and Local - Silva: Natural Music Saturday 1 February 8pm Hear the wondrous beauty and order of the natural world reflected in sound - featuring three world premieres by esteemed Australian composers Mary Finsterer and Rosalind Page. Ensemble Offspring is a unique company dedicated to new music. With recent shows in the Sydney Festival and an international tour to China, Ensemble Offspring has developed a reputation for adventurous programs, outstanding performance standards and successful audience engagement. In Silva, Ensemble Offspring presents a unique and refined collection of new chamber music. Humans have always looked in awe and wonder at the natural world and tried to reflect that order and beauty in music. Lose yourself in a poetic representation of the Mediterranean shrub land Garrigue in the work of spectralist Tristan Murail or the organic branch-like melodic patterns of Xenakis’ Plekto. Commissioned to celebrate Mary Finsterer’s 50th year and featuring world-renowned percussionist and Ensemble Offspring Co-artistic Director Claire Edwardes, the stunning new work Silva reflects and echoes the beauty of the natural forest and ecology. Mary Finsterer is recognised as one of Australia’s most original composers. Her work has received considerable international recognition and “brims with energy, invention and much aural imagination.” (Herbot Culot, 2004). In the last few years Finsterer has become increasingly involved in film, composing written scores and electroacoustic soundscapes as part of various international multimedia events. In 2006 she received a Churchill Fellowship for her continuing work in multimedia and was made an Honorary Research Fellow at the Australian Film, Television and Radio School in 2009. Since 2007 Finsterer has completed a body of work that includes major orchestral work for the Dutch ensemble ASKO Schönberg in association with Tura Music, a violin duo for the acclaimed soloists Natsuko Yoshimoto and James Cuddeford, a string quartet for the Goldner Quartet, a chamber work for the Sydney Soloists and a number of works for her composer in residence position at the Campbelltown Performing Arts Centre for 2009. Her orchestral fanfare Afmaeli, was the opening 24

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REMEMBERING TAVENER John Tavener: In Memoriam Thursday 6 February 1pm “I think there are an awful lot of artists around who are very good at leading us into hell. I would rather someone would show me the way to paradise.” - Sir John Tavener. British composer Tavener, whose music became a cultural touchstone that stretched far beyond the classical sphere, passed away late last year. Born in London on 28 January 1944, and knighted in 2000, Tavener was born into a family who encouraged his love of music. He began studying the piano and organ at an early age, and went on to attend the Royal Academy of Music in his home city. From the very beginning of his professional career, Tavener made music that had wide appeal and marked him as something of a superstar. His first recording, at age 22, came in 1968 on The Beatles’ Apple label, which released an album of his oratorio The Whale, a piece that had its world premiere in the first concert ever given by the London Sinfonietta. The inspiration for The Whale came from the biblical tale of Jonah and the whale - and that was no accident. For Tavener, music was more a vehicle for spiritual expression than an end unto itself. Tavener converted to Russian Orthodox Christianity in 1977 and began travelling frequently to Greece, another important centre of Orthodox Christianity. He often referred to his own music as “icons in sound,” drawing upon the Orthodox tradition of utilizing religious images of Jesus, the Virgin Mary and the saints as a portal into the divine. Over the next 20-plus years, his spiritual engagement led to a panoply of music including The Lamb (1982), on a text by William Blake; the Virgin Mary-inspired cello concerto The Protecting Veil (1988); his opera Mary of Egypt (1991) about the life of a fourth-fifth century saint; and his 1993 Song for Athene, with a text by Mother Thekla, a Russian Orthodox abbess, Cambridge University graduate and Tavener’s long-time spiritual adviser, who died in 2011 at age 93. Originally written in 1993 to commemorate

the death of a young friend named Athene Hariades, Song for Athene was later used at Princess Diana’s 1997 funeral and gave Tavener’s work a global audience. Despite critics tagging him as a “holy minimalist,” Susan Hellauer of Anonymous 4, a vocal quartet for which Tavener had written, says that his music is very difficult to perform - but very beautiful as well. “It actually floats. It appears out of nowhere, and then it floats back into nowhere,” she said. “It doesn’t have that kind of Western structure of themes and developments. It just is, and then it’s gone. And very well-crafted. His music is not easy to sing. It sounds simple, in a way. There’s not fireworks-type technical demands, but the demands are in sustaining a line, sometimes very long notes, holding the line up for long periods of time, in a very quiet way.” Despite Tavener’s declining health, four new works were premiered in 2013: his choral pieces Tolstoy’s Creed and Three Hymns of George Herbert by the City Choir of Washington at the Washington National Cathedral in April; and two new works at the Manchester International Festival in July, Love Duet from The Play of Krishna and The Death of Ivan Ilyich. - Troy Fil NOT TO BE MISSED Tuesday 11 February 9am DIFM: Artist of Choice – Marc-Andre Hamelin Saturday 15 February 3.30pm Sydney Philharmonia in Concert: A Cole Porter Celebration Saturday 15 February 8pm Live and Local: Inspired Beginnings (features the Fine Music 102.5/Willoughby Symphony Orchestra’s Young Composer 2013 – Rachel Merton, and premiere of her work “And the World was Finally Right”) Friday 21 February 10pm Baroque and Before: Johann Adolphe and Faustina Bordoni Hasse Sunday 23 February 2pm Sunday Special: Bach’s St John Passion CONTINUING SERIES Every Wednesday 3pm The Symphonies of Haydn Wednesday 12 February 8pm At the Opera: Legendary Met Performances: 14 February 2009 – Eugene Onegin, Wednesday 19 February 8pm At the Opera: Legendary Met Performances: 28 February 1976 – Norma ANNIVERSARY PROGRAMS Wednesday 5 February 8pm At the Opera: Ezio

Sun 16 February 10am The Defining Years – Music of the Classical Era John Tavener

Saturday 1 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 ZUBIN MEHTA Prepared by Randolph Magri-Overend Weber, C.M. Overture to Der Freischütz (1821). Los Angeles PO. Decca 475 7470 9 Verdi, G. Te Deum, from Four sacred pieces (c1895). Yvonne Minton, mezz; Los Angeles Master Chorale; Los Angeles PO. Decca 467 119-2 16 Bruch, M. Scottish fantasy in E flat, op 46 (1880). Midori, vn; Natalie Tal Glazer, hp; Israel PO. Sony SK 58967 31 Stravinsky, I. Ballet: The rite of Spring (1913/47). Los Angeles PO. Decca 475 7470

Various. Medley. José Carreras, ten; Plácido Domingo, ten; Luciano Pavarotti, ten; Florence Maggio Musicale O; Rome Opera TO. Decca 430 433-2 20 Zubin Mehta, cond (all above) 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Verdi, G. Overture to Nabucco. Allentown Band/Ronald Demkee. AMP 27183 8 Sullivan, A. Excerpts from The Mikado. City of Coventry Band/Albert Chappell. LP Decca SB307 6 Trad. Londonderry air. Chris Thomas, tb; BuyAs-You-View Band/Robert Childs. Doyen DOY 95 3 Zimmermann, C. March: Anchors aweigh. GUS (Footwear) Band/Stanley Boddington. LP Columbia SCX 6050 3 Glennie, E. A little prayer. Buy-As--You-View Band/Robert Childs. Doyen DOY 173 3

12:00 JAZZ THEN AND NOW with Michael Cooper A diverse range of jazz from days gone by up to the present, often featuring Australian musicians 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 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 MUSIC FOR WORDS Prepared by Rex Burgess Schumann, R. Unterm Fenster, op 34 no 3 (1840); So wahr die Sonne scheinet, op 37 no 12 (1840); In der Nacht, op 74 no 4 (1849); Ich bin dein Baum, op 101 no 3 (1840). Jan DeGaetani, mezz; Leslie Guinn, bar; Gilbert Kalish, pf. Nonesuch 7559-71364-2 14 Paradise and the Peri, op 50 (1843). Barbara Bonney, sop; Alexandra Coku, sop; Bernarda Fink, mezz; Christoph Prégardien, ten; Neil Archer, ten; Gerald Finley, bar; Cornelius Hauptmann, bass; Monteverdi Choir; O Révolutionnaire et Romantique/John Eliot Gardiner. Archiv 457 660-2 1:36

Stolz, R. Excerpts from Zwei Herzen in Dreivierteltakt. Melitta Muszely, sop; Renata Holm, sop; Hedy Fassler, sop; Rudolph Schock, ten; Ferry Gruber, ten; Adolf Dallapozza, ten; Vienna Volksoper Ch & O/Robert Stolz. Eurodisc 258367 19 Lehár, F. Excerpts from Zigeunerliebe. Sari Barabas, sop; Christine Gorner, sop; Heinz Hoppe, ten; Harry Friedauer, ten; Graunk SO/ Carl Michalski. Kaiserliche Operette KO 863422 17 20:00 LIVE AND LOCAL Part 1: Silva: Natural music Recorded by Roger Doyle for FINE MUSIC Murail, T. Garrigue (2008). Lamorna Nightingale, fl; Graeme Jennings, va; Geoffrey Gartner, vc; Claire Edwards, perc. 9 Finsterer, M. Circadian tale 7.1 (2009-12). 13 Xenakis, I. Plektó (1993).

Ensemble Offspring (2 above) Page, R. Being and time I: Lacrimae verum (2012). Lamorna Nightingale, fl; Geoffrey Gartner, vc; Claire Edwards, wind gong, dice; Zubin Kanga, pf. 9 Eötvös, M. Leafcutter (2012). Jason Noble, cl; Claire Edwards, vibraphone. 5 Finsterer, M. Silva (2012). Ensemble Offspring. 16 Part 2: Percussion again

17:30 VARIATIONS ON A THEME Prepared by Elaine Siversen

Schiemer, G. Music for Sri Lata. Graeme Leak, perc; Tape realized by the composer. Fine Music Tape Archive 14

Joachim, J. Variations (1882). Hans Maile, vn; Berlin RSO/Jésus López-Cobos. Schwann 11622 14

21:30 CANADIAN GUITARS Prepared by Elaine Siversen

Andriessen, H. Variations and fugue on a theme of Kuhnau (1935). Hague Residency O/ Ferdinand Leitner. Olympia OCD 504 12 18:00 FOCUS ON FOLK Folk Federation of NSW with Paul Jackson 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Derek Parker Kálmán, E. Excerpts from Die Csárdásfürstin. Yvonne Kenny, sop; Marko Kathol, ten; KarlMichael Ebner, ten; Michael Roider, ten; Slovak Philharmonic Choir & RSO/Richard Bonynge. Naxos 8.660105.06 19

Bogdanovic, D. Four intimate pieces for cello and guitar. Duo Goyescas. Doberman DO 458 10 Hétu, J. Guitar concerto, op 56. Dimitri Illarionov, gui; The Seasons O/Vladislav Bulakhov. Doberman DO500

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

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Sunday 2 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSIC OF THE DANCE Prepared by Maureen Meers Nazareth, E. Carioca. Arthur Moreira Lima, pf. Pro Arte CDD 144 6 Forsyth, Malcolm The Kora dances (1981). Julia Shaw, hp; Nora Bumanis, hp. CBC MCVD1062 8 Lecuona, E. Cuban dances. Thomas Tirino, pf; various instrumentalists. BIS CD-1104 16 Copland, A. Four dance episodes from Rodeo (1942). Buffalo PO/JoAnn Falletta. Naxos 8.559240 19 10:00 THE DEFINING YEARS Music from the Classical era Prepared by Barrie Brockwell Rossini, G. Overture to Semiramide (1823). London Classical Players/Roger Norrington. EMI CDC 7 54091-2 12 Beethoven, L. Cease your funning, WoO156/7; The sweetest lad was Jamie, op 108 no 5; Bonnie laddie, highland laddie, op 108 no 7. Janet Baker, mezz; Yehudi Menuhin, vn; Ross Pople, vc; George Malcolm, pf. Testament SBT 1241 6 Hoffmeister, F. Concerto in D (arr. M. Nakariakov). Sergei Nakariakov, tpt; Württemberg CO/Jörg Faerber. Teldec 3984-24276-2 17 Spohr, L. Trio in E minor (1806). Sophie Langdon, vn; Susan Dorey, vc; Hugh Webb, hp. Naxos 8.555364 20 Bach, J. Christian Sinfonia in E, op 18 no 5 (c1781). Netherlands CO/David Zinman. Philips 442 277-2 56 Myslivecek, J. Dunque Licida ingrato, from L’Olympiade. Magdalena Kozená, mezz; Prague PO/Michel Swierczewski. DG 471 334-2 5 Mozart, W. Quintet in E flat, K452 (1784). Neil Black, ob; Thea King, cl; Graham Sheen, bn; Anthony Halstead, hn; Murray Perahia, pf. Sony SK 42099 25 12:00 SPEAK EASY, SWING HARD with Richard Hughes The Golden Era of jazz, as seen through the knowledge and experience of one of Australia’s leading exponents 13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 SUNDAY SPECIAL Spanish Zarzuela Prepared by Marilyn Schock Marquina, P. España Cani. Banda Sinfonica Municipal de Madrid/Enrique Garcia Asensio. RTVE 65065 2 26

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Breton, T. Jota, from La Dolores.

Sorazabal, P. No puede ser, from La Taberna del Puerto. 3 Placido Domingo, ten; Coro de RTVE; Orquesta Sinfonica de Madrid/Enrique Garcia Asensio (2 above) RTVE 650005 Penella, M. Pavana, from Don Gil de Alcalá. 3 Chueca, F. Mazurka, from Los Paraguas. 3 Duo Kassner-Quer (2 above) President PCOM1120 Caballero - Echegaray. Entrada y Jota, from Gigantes y Cabezudos. Orquesta Sinfonica Española/José Tamayo. Philips 422 959-2 5 Chueca, F. Prelude, from Agua, azucarillos y aguardiente (1897). Madrid Comunidad Ch & O/Miguel Roa. Naxos 8.555957 3 Coro de barquilleros. Coro Cantores de Madrid; Orquesta de conciertos de Madrid/ Pablo Sorozobal. CDZ 7 67335 2 2 Falla, M. de Danza no 1; Interludio; Danza no 2, from La vida breve. Orquesta Sinfonica Española/José Tamayo. Philips 422 959-2 11 Chapi, R. Overture to Tambor de Granaderos. Duo Kassner-Quer. President PCOM1120 5 Chueca, F. La gran via, tango; Schottis. 7 Luna, P. El niño judio, cancion española. 6 Teresa Berganza, mezz; English CO/Enrique Garcia Asensio (2 above) Ensayo ENY 3407 Bretón, T. Preludio; Seguidillas; Habanera; Final, from La verbena de la paloma. Inés Rivadeneira, sop; Alfredo Kraus, ten; CoroCantores de Madrid/Enrique Garcia Asensio. Carillon CAL19 15 Chápi, R. Overture to La revoltosa (1897). Los Romeros. Philips 412 609-2 5 Barbieri, F. El noble gremio, from El barberillo de Lavapiés (1874). Madrid Comunidad Ch & O/ Miguel Roa. Naxos 8.555957 6 Tórroba, F. Moreno Coro, Romanza de vareadores, from Luisa Fernanda. 4 Soutullo - Vert. Bella Enamorada, from El último romántico. 4 Placido Domingo, ten; Choro de RTVE; Orquesta Sinfonica de Madrid/Enrique Garcia Asensio (2 above) RTVE 650005 Chueca, F. Seguidillas, from El chaleco blanco (1890). 2 Giménez, J. Intermedio, from El baile de Luis Alonso (1896). 6 Madrid Comunidad Ch & O/Miguel Roa (2 above) Naxos 8.555957

16:00 A MUSICAL HOUR Prepared by Anne Irish Larsson, L-E. The hours of the day, op 19 (1938). Malmö SO/James DePreist. BIS CD-570 22 Satie, E. Heures séculaires et instantanées (1914). Alexandre Tharaud, pf. Harmonia Mundi HMC 902017.18 3 Bridge, F. The hour glass (1919-20). Kathryn Stott, pf. Conifer CDCF 186 11 Bach, J.S. Final hour, break now upon me, from Cantata, BWV31 (1715; transcr. Gray). Antony Gray, pf. ABC 476 5171

Scott, C. Now is the hour (c1915). Vienna Boys Choir; Gerald Wirth, pf; Manolo Cagnin, cond. ABC 476 5094 2 Ponchielli, A. Dance of the hours, from La gioconda (1876). Royal Opera House O/Georg Solti. Decca 480 0952 9 17:00 HOSANNA Prepared by Meg Matthews Hymns: Rejoice the Lord is King; Love divine, all loves excelling; Immortal invisible. Choir of Trinity College, Cambridge/Richard Marlow. GMN C0107 8 Handel, G. Excerpts from Jeptha (1752). Ruth Holton, sop; Nigel Robson, ten; Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. Decca 478 0398 13 Mendelssohn, F. Psalm 114: When Israel came from Egypt’s land, op 51. Chamber Choir of Stuttgart; German Chamber Philharmonia/ Frieder Bernius. CARUS 83.202 12 2 Dearnley, C. Jubilate. Fenton, G. Veni sancte spiritus. 3 Butterley, N. Exultate Domino. 2 Matthias, P. Sanctus; Benedictus; Agnus Dei, from Missa brevis. 3 University of Newcastle Chamber Choir/Philip Matthias (4 above) Chartreuse CRCD 2001 Hymns: Christ is made the sure foundation; Thine be the glory. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP12105 7 18:00 CLASSICAL GUITAR SOCIETY PROGRAM Encounters with Stravinsky Prepared by Sue McCreadie Piazzolla, A. Tango suite. Groningen Guitar Duo. Ottavo OTR C118818 14 Brouwer, L. Elogio de la danza. Karin Schaupp, gui. Warner Music Australia 0630181572 6 Nuevo estudios sencillos no 10: Omaggio a Stravinsky. Graham Anthony Devine, gui. 2 Naxos 8.570251

Sunday 2 February Carter, E. Changes. Todd Seelye, gui. Music & Arts Programs of America 1032

Monday 3 February 8

0:00 CLASSIC-ALL THROUGH THE NIGHT

Koshkin, N. Usher waltz. Elena Papandreou, gui. Naxos 8.554001 6

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

Brouwer, L. Un dia de Noviembre. Flavio Cucchi, gui. ARC Music EUCD 1442

9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Madilina Tresca

Music insicental campasina. Duo Agostino. agostinomusic@westnet.com.au

Stravinsky, I. The soldier’s tale; The soldier’s march; Music to scene 11; Tango. Elena Papandreou. Naxos 8.554001 7 19:00 OPERA HIGHLIGHTS Bizet, G. Gypsy song, from Carmen (1874). Alexandrina Milchéva, mezz; Sofia National Opera Ch & O/Ivan Marinov. Old Time Music GPCD 0806 5 Paer, F. Eccolo il De profundis, from Il maestro di musica. Fernando Corena, bass; RTSI O/ Edwin Loehrer. Ermitage ERM 201-2 7 Donizetti, G. Excerpts from L’elisir d’amore (1832). Lucia Popp, sop; Peter Dvorsky, ten; Munich RSO/Heinz Wallberg. RCA/BMG 74321 25280 2 14 19:30 SUNDAY NIGHT CONCERT Prepared by Jennifer Foong

Debussy, C. Songs of Bilitis (1914; arr. Lenski). Emmanuel Pahud, fl; Stephen Kovacevich, pf. EMI 5 56982 2 16 Bach, J.S. Fuga a tre soggetti, from The art of fugue, BWV1080 (1742-49). Fretwork. Harmonia Mundi HMX 2908250.79 8

Sousa, J.P. The gladiator march (1886; arr. Langford). Band of the Blues and Royals/E.W. Jeanes. Chandos CHAN 6517 3 Melichar, A. Mille cherubini in coro (arr. Gamley). Renata Tebaldi, sop; New Philharmonia O/Anton Guadagno. ABC 480 148-9

Vaughan Williams, R. English folk song suite (1923; arr. Jacob). Academy of St Martin in the Fields/Neville Marriner. Decca 460 357-2 11 Gershwin, G. Porgy and Bess fantasy for piano trio (arr. Bunch). Eroica Trio. EMI 5 07351 2 9

Fossa, F. de Grand duet no 7 in A, on themes by Haydn. Jukka Savijoki, gui; Erik Stenstadvoid, gui. apex 0927 49444 2 18 10:00 MORNING CONCERT Prepared by Frank Morrison

Fasch, J. Overture in G minor. Members of English Concert/Trevor Pinnock. Archiv 449 210-2 23

Dvorák, A. Overture: Domov múj, from Incidental music to Josef Kajetán Tyl, op 62 (1882). Scottish NO/Neeme Järvi. Chandos CHAN 8798 9

Mendelssohn, F. Double concerto in D minor (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-2 37

Vanhal, J. Double bass concerto in D (1782-84). Ludwig Streicher, db; Innsbruck CO/Othmar Costa. Teldec 2292-42452-2 ME 23

Saint-Saëns, C. Symphony no 2 in A minor, op 55 (1859). Vienna SO/Georges Prêtre. Erato 2292-45695-2 23 21:00 NEW HORIZONS Prepared by Phil Vendy Simai, P. In direct light (1998). Gothenburg Music/Jerker Johansson. Naxos 8.555851 6 Keuris, T. Quartet (1982). Utrecht String Quartet. Radio Netherlands MCCP121

Tishchenko, B. Concerto for cello, 17 wind instruments and percussion (1979). Mstislav Rostropovich, vc; USSR State SO/Evgeny Svetlanov. Brilliant Classics 9240 23

Strauss, R. An alpine symphony, op 64 (191115). Cleveland O/Vladimir Ashkenazy. Decca 425 112-2 50 11:30 KEYBOARD EXCURSIONS Prepared by Rex Burgess Prokofiev, S. Toccata in D minor, op 11 (1912). Martha Argerich, pf. DG 476 114-7 4 Busoni, F. Toccata (1920). Alfred Brendel, pf. Philips 456 733-2 9 Schumann, R. Toccata in C, op 7 (1829-32). Howard Shelley, pf. Chandos CHAN 8814 7 Kasparov, A. Toccata (1983). Oksana Lutsyshyn, pf. VMM 2025

Dvorák, A. Sonatina in G, op 100 (1893). Christian Poltéra, vc; Kathryn Stott, pf. BIS 1947 SACD

Mussorgsky, M. Pictures from an exhibition (1874; orch. Ravel). Chicago SO/Neeme Järvi. Chandos CHAN 8849 33 Dvorák, A. Silent woods, op 68 no 5 (1883-84; arr. 1891). Christian Poltéra, vc; Kathryn Stott, pf. BIS 1947 SACD 5 Stravinsky, I. Ragtime (1918). European Soloists Ensemble/Vladimir Ashkenazy. Decca 473 810-2

15:00 IL BURANELLO Prepared by Jan Brown Galuppi, B. Alla tromba della Fama, from La Statira. Maria Keohane, sop; Niklas Eklund, tpt; Wasa Baroque Ensemble. Naxos 8.555099 7 Harpsichord concerto in G. Edoardo Farina, hpd; I Solisti Italiani. Denon CO-78838 11 Confitebor tibi, Domine (1733). Véronique Gens, sop; Gérard Lesne, ct; Peter Harvey, bass; Il Seminario Musicale. Virgin VC 5 45030 2 35 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 SPIRIT OF JAZZ with Susan Gai Dowling Mainstream to contemporary jazz, with an emphasis on Australian performers 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 INTO THE 20TH CENTURY Prepared by Phil Vendy Tansman, A. Piano concerto no 2 (1927). David Greilsammer, pf; French Radio PO/Steven Sloane. naïve V 5224 27 Thomson, V. Cantabile (1940). Arthur Tollefson, pf. LP Finnadar Records SR 9027

Tchaikovsky, B. Juvenile, poem for orchestra (1984). Boris Tchaikovsky, pf; Alexander Petrov, va d’amore; USSR TV & Radio Large SO/ Vladimir Fedoseyev. Melodiya SUCD 10-00235 31

12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions

22:30 ULTIMA THULE Ambient and atmospheric music: www. ultimathule.info for detailed playlist

13:00 ARRANGEMENTS OF GREAT WORKS Prepared by Kate Rockstrom

Tyberg, M. Trio in F (1935-36). Michael Ludwig, vn; Roman Mekinulov,vc; Ya-Fei Chuang, pf. Naxos 8.572236 24

Grieg, E. Holberg suite, op 40 (1884). Australian CO/Richard Tognetti. Sony SK 53356

Tubin, E. Symphony no 3 (1940-42). Swedish RSO/Neeme Järvi. BIS CD-342 33

Tintner, G. Sonata (1944). Cho-Liang Lin, vn; Helen Huang, pf. Naxos 8.570258 25

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Tuesday 4 February 11:30 MARTINU MINIATURES Martinu, B. Serenada ll (1932). Kenneth Sillito, vn; Malcolm Latchem, vn; Robert Smissens, va. Chandos CHAN 8771 6 Promenades (1939). Bonita Boyd, fl; Charles Castleman, vn; Barbara Harbach, hpd. Albany TROY 041 8 Variations on a Slovak theme for cello and piano (1959). Duo Hayashi. Fonè 87 F 01-13 10 Arthur Grumiaux

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

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

13:00 CLARINET WORKS OLD AND NEW Prepared by Frank Morrison

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Arthur Grumiaux Prepared by Di Cox Bach, J.S. Violin concerto in E, BWV1042 (bef. 1730). Arthur Grumiaux, vn; Les Solistes Romands/Arpad Gerecz. Philips 420 700-2 17 Schubert, F. String trio in B flat, D471 (1816). Grumiaux Trio. Philips 438 700-2 8 Mozart, W. Sonata no 21 in E minor, K304 (1778). Walter Klein, pf. Philips 446 237-2 12 Schubert, F. Rondo in A, D438 (1816). New Philharmonia O/Raymond Leppard. Philips 426 977-2 13

10:00 MORNING CONCERT Prepared by Anne Irish

Atterberg, K. Violin concerto in E minor, op 7 (1913-4). Christian Bergqvist, vn; Gävle SO/B. Tommy Andersson. Sterling 1034-2 37 Gade, N. Symphony no 2 in E, op 10 (pub. 1843). Stockholm Sinfonietta/Neeme Järvi. BIS CD-355 25 28

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Holland, D. Ballad (1952). Clive Amadio, cl; Olga Krasnik, pf. Jade JADCD 1058 5 Copland, A. Clarinet concerto (1947-48). Martin Fröst, cl; Lucy Reeves, hp; Benjamin Martin, pf; Australian CO/Richard Tognetti. BIS SACD 1863 16 Pleyel, I. Sonatina no1 in G (c1810). Dieter Klöcker, cl; Sonja Prunnbauer, gui. Dabringhaus Grimm MD&G L 3319

Rossini, G. Introduction, theme and variations (c1838). Vincenzo Mariozzi, cl; I Solisti Aquilani/ Vittorio Antonellini. Nuova Era 6910 13

Arthur Grumiaux, vn (2 above)

Grieg, E. Holberg suite, op 40 (1884-85). Bergen PO/Ole Kristian Ruud. BIS CD-1740/42

Baermann, H. Quintet no 3 in E flat, op 23 (c1830). Wolfgang Meyer, cl; members of Academy of St Martin in the Fields. EMI 5 57359 2 15

14:00 ALL CREATURES GREAT AND SMALL Prepared by Randolph Magri-Overend Auber, D-F-E. Overture to The bronze horse (1835). West Australian SO/David Measham. LP EMI SMP 0042 8 Beethoven, L. Excerpts from The creatures of Prometheus, op 43 (1800-01). Boston SO/Erich Leinsdorf. RCA VD 60130 22

Bohuslav Martinu Schumann, R. Die Löwenbraut, op 31 no 1 (1840). Matthias Goerne, bar; Eric Schneider, pf. 9 Decca 475 6012 Handel, G. Organ concerto in F, HWV295, Cuckoo and the nightingale (1739). Nicholas Parle, org; London Baroque/Charles Medlam. EMI CDC 7 49799 2 13 Saint-Saëns, C. The swan, from The carnival of the animals, op 43 (1886). Maria Kliegel, vc; Bournemouth Sinfonietta/Jean-François Monnard. 4 Naxos 8.553039 Liszt, F. St Francis of Assisi preaching to the birds, from Two legends (1863). Marilyn Meier, pf. Mala-Daki MAM 29464 11 Sibelius, J. The swan of Tuonela, op 22 no 2 (1893). Helsinki PO/Leif Segerstam. Ondine ODE 1037-2 10 Tchaikovsky, P. Suite from Swan Lake, op 20 (1877). Israel PO/Zubin Mehta. Teldec 4509-90201-2 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Derek Parker 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling

Wednesday 5 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 Angela Bell Corelli, A. Sonata no 3 in C (arr.). Friederike Heumann, va da gamba; Patrick Sepec, vc; Eduardo Egüez, theorbo; Dirk Börner, hpd, org. Accent ACC 24233 13 Bach, J.S. Sonata sopr’il soggetto reale, from The musical offering, BWV1079 (1747). Janet See, fl; John Holloway, vn; Jaap ter Linden, vc; Davitt Moroney, hpd. Harmonia Mundi HMX 2908601.30 18 Speer, D. Sonata for four trombones. Philip Jones Brass Ensemble. Decca 425 727-2 2 Leclair, J-M. Sonata in G (pub. 1723). Fabio Biondi, vn; Maurizio Naddio, vc; Pascal Monteilhet, lute; Rinaldo Alessandrini, hpd. Arcana A 39 21 10:00 MORNING CONCERT Prepared by Jan Brown Dvorák, A. Overture: Othello, op 93 (1891). Czech PO/Libor Pesek. Virgin VC7 91144-2 15 Janácek, L. Sinfonietta (1926). Brno PO/ Frántisek Jílek. Supraphon SU 3888-2

Dvorák, A. Piano concerto in G minor, op 33 (1876). Jenö Jandó, pf; Polish NSO/Antoni Wit. Naxos 8.550896 40 11:30 THREE AND FOUR Glinka, M. Trio pathétique in D minor (1832). Trio d’Amsterdam. Koch 3-7015-2 HI 15 Jadin, H. String quartet, op 4 no 1 (1798). Rasumovsky Quartet. ASV GAU 151

Sonia Prina 13:00 YOUNG VIRTUOSI 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 THE SYMPHONIES OF HADYN Prepared by Chris Blower Haydn, J. Symphony in C, Hob.I:34 (c1766). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 19 Schobert, J. Trio in F, op 16 no 4 (pub. 1761-67). Chiara Banchini, vn; Philipp Bosbach,vc; Luciano Sgrizzi, fp. Harmonia Mundi HMC 1901294 15 Haydn, J. Symphony in B flat, Hob.I:35 (1767 Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Ogilvie 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by Paul Roper

Roman general Ezio returns home victorious to find that Emperor Valentinian is about to marry Fulvia, daughter of the patrician Maximus. But Fulvia loves Ezio and is already engaged to him. Maximus is planning a conspiracy against the emperor and wants Fulvia to marry Valentinian so that she can kill him. Fulvia flees, horrified. Maximus organises for Valentinian to be assassinated, hoping that blame will fall on Ezio. Honoria, Valentinian’s sister, is in love with Ezio and Valentinian encourages them to marry. But Ezio refuses, openly declaring his love for Fulvia. Fulvia believes that the only way she can save Ezio is by agreeing to marry Valentinian. Ezio believes that Fulvia has betrayed him. At first Fulvia denies her love for Ezio, but eventually reveals her true feelings. Valentinian has Ezio imprisoned and demands that Fulvia marry him immediately. Valentinian orders that Ezio be killed but is warned that this could trigger revolt. Valentinian frees Ezio but covertly plans to murder him. Maximus provokes insurrection, and Valentinian realises that Maximus had always wanted him dead. Ezio, whose execution had been a pretense, intervenes and saves the emperor. Maximus is arrested and Valentinian gives Fulvia to his general in marriage. Sammartini, G.B. Symphony in D (c1759). Accademia dÁrcadia/Alessandra Rossi Lürig. Brilliant Classics 94010 10 Gluck, C. Se mai senti spirarti sui volto, from La clemenzia di Tito (1752). Aris Christofellis, treb; Paolo Pollastri, ob; Ensemble Seicentonovecento/Flavio Colusso. EMI CDC 5 55194-2 11 23:00 ANDREW BOYLE IN RECITAL Recorded by Edda Filson for FINE MUSIC Holland, D. Ballad (1954).

Benjamin, A. Le tombeau de Ravel, valses caprices (1958). 16 Carmichael, J. Country fair, op 131 (1963). 8

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

Gluck, C. Ezio. Opera in three acts. Libretto by Pietro Metastasio. First performed Prague, 1750.

Andrew Boyle, cl; Julia Brimo, pf (all above)

EZIO: Sonia Prina, cont FULVIA: Ann Hallenberg, mezz VALENTINIAN: Max Emanuel Cencic, ct MAXIMUS: Topi Lehtipuu, ten HONORIA: Mayujko Karasawa, sop Il Complesso Barocco/Alan Curtis. Virgin 50999 07092923

23:35 VIOLA SONATA Brahms, J. Sonata in E flat, op 120 no 2 (1894). Hartmut Lindemann, va; Ben Martin, pf. Tacet 35 21 2:27

February 2014

fineMusic 102.5

Thursday 6 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Michael Morton-Evans Albéniz, I. Pequeños waltzes, op 25: no 1 in A flat; no 2 in E flat; no 3 in A (c1880). Guillermo González, pf. Naxos 8.572196 8 Tango, from España, op 165 (1890; arr. Marechal). Alban Gerhard, vc; Rina Dokshinsky, pf. EMI 5 73164 2 2 Autumn waltz, op 170 (c1890). Alberto Guinovart, pf. Harmonia Mundi HMI 987007

Rondeña, from Iberia, bk II (1905; orch. Breiner). Moscow SO/Igor Golovschin. Naxos 8.553023 6 Féte-dieu à Séville, from Iberia (pub. 1909, orch. Arbós). Cincinnati Pops O/Erich Kunzel. Telarc CD-80703 7 Azulejos (1909; compl. Granados). Guillermo González, pf. Naxos 8.570553 10 Asturias, from Suite española no 1 (1886). Karin Schaupp, gui. ABC 476 3338 6 10:00 MORNING CONCERT Prepared by Michael Morton-Evans Verdi, G. Ballet music from Jerusalem (1847). National Opera O, Monte Carlo/Antonio de Almeida. Philips 422 846-2 24 Mozart, F. Piano concerto in E flat, op 25 (1818). Klaus Hellwig, pf; Cologne RSO/Roland Bader. Schwann 311 004 H1 24 Arensky, A. Suite no 1 in G minor, op 7 (1885). USSR SO/Yevgeny Svetlanov. Melodiya MEL 10 00148 33 11:30 GOODABYE IN TWO LANGUAGES Prepared by Randolph Magri-Overend Verdi, G. Giovanna, ho dei rimorsi ... E il sol dell’anima ... Che m’ami,deh, ripetimi ... Addio! speranza ed anima, from Rigoletto (1851). Angela Gheorghiu, sop; Sara Mingardo, mezz; Roberto Alagna, ten; Brian Parsons, ten; Rodney Gibson, bar; Berlin PO/Claudio Abbado. EMI 5 56656 2 8 30

fineMusic 102.5

February 2014

Tosti, P. Goodbye! (1880). Ben Heppner, ten; members of London SO. DG 471 557-2 4

Satie, E. Three gymnopédies (1887). Stephanie McCallum, pf. ABC 476 6289 10

Stolz, R. Goodbye, from The White Horse Inn. Donald Smith, ten; Adelaide SO/John Lanchbery. EMI 1 66283 2 3

Brahms, J. Piano trio in C, op 87 (1880-82). Bamberg Trio. Point Classics 26 70162 29

Verdi, G. La fatal pietra sovra me si chiuse .. Immenso Fthà .. O terra, addio, from Aida (1871). Angela Gheorghiu, sop; Sara Mingardo, mezz; Roberto Alagna, ten; London Voices; Berlin PO/Claudio Abbado. EMI 5 56656 2 11 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 JOHN TAVENER In memoriam Prepared by Gwynn Roberts Tavener, J. Unfolding the mystery. Patricia Rozario, sop; John Mark Ainsley, ten; Andrew Murgatroyd, ten; Chester Festival Ch; Britten Singers; BBC Welsh Ch & SO/Richard Hickox. Chandos CHAN 9128 1:04

Rameau, J-P. Five pieces for harpsichord (1741). Alan Cuckston, hpd. Amadis 7157 12 Clementi, M. Sonata in A, op 25 no 4 (1790). Lamar Crowson, pf. Decca 480 2071 15 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 Prepared by Madilina Tresca Mozart, W. Piano concerto no 20 in D minor, K466 (1785). Alfred Brendel, pf; Academy of St Martin in the Fields/Neville Marriner. Philips 420 906-2 30

Hymn for the dormition of the Mother of God (1985). Choir of St George’s Chapel, Windsor; Roger Judd, org; Christopher Robinson, cond. Hyperion CDA66464 4

Saint-Saëns, C. Orchestral suite in D, op 49 (1863). Paris Orchestral Ensemble/Jean-Jacques Kantorow. EMI 7 54913 2 19

The protecting veil (1987). France Springuel, vc; I Fiamminghi/Rudolf Werthen. Telarc 80487 39

Stravinsky, I. Violin concerto (1931). Lydia Mordkovitch, vn; Suisse Romande O/Neeme Järvi. Chandos CHAN 9240 22

Song for Athene (1993). Choir of St John’s College Cambridge/Christopher Robinson. Naxos 8.555256 6 14:00 TIME FOR BAROQUE Prepared by Christine Scharzenberger Telemann, G. Canonic sonata no 1 in B flat. Clas Pehrsson, rec; Dan Laurin, rec. BIS CD-335 4 Bach, J.S. Cantata,BWV84: Ich bin vergnügt mit meinem Glücke (1727). Collegium Vocale/ Philippe Herreweghe. Harmonia Mundi HML 5908357.59 13 Vivaldi, A. Violin concerto no 1 in D minor, RV549. Academy of St Martin in the Fields/ Neville Marriner. Decca 467 432-2 7 14:30 KEYBOARD CONTRASTS Grieg, E. Lyric pieces nos 43, 31 and 63. Sviatoslav Richter, pf. Aura AUR 406-2

Tchaikovsky, P. Piano concerto no 1 in B flat minor, op 23 (1875/79/89). Ronan O’Hora, pf; Royal PO/James Judd. Harrods HSCD4 36 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Franck, C. Quintet in F minor (1878). Werner Bärtschi, pf; Amati Quartet. Divox CDX 29001 35 Grechaninov, A. Piano trio no 2 in G, op 128 (1930). Moscow Rachmaninov Trio. Hyperion CDA67295 18 Taneyev, A. String quartet no 2 in C, op 28 (c1908). Talan Quartet. Olympia OCD 543 25 Onslow, G. Grand sextet, op 77b (1849). Jean Hubeau, pf; Marc Marder, db; members of Nielsen Quintet. apex 0927 49536 2 33

Friday 7 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

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

12:00 NOONTIME JAZZ with Peter Mitchell Accessible in-the-hammock jazz to ease you into the weekend 13:00 MUSIC FOR A WHILE

9:00 DIVERSIONS IN FINE MUSIC Exploring chamber Prepared by Frank Morrison

Vivaldi, A. Bassoon concerto no 11 in G minor, RV496. Daniel Smith, bn; Zagreb Soloists/ Tonko Ninic. ASV DCA 734 10

Ravel, M. Introduction and allegro (1905). Zoltán Gyöngyössy, fl; Béla Kovács, cl; Éva Maros, hp; Kodaly Quartet. Naxos 8.550249 10

Handel, G. Organ concerto in A, op 7 no 2, HWV307. Paul Nicholson, org; Brandenburg Consort/Roy Goodman. Hyperion CDA67291/92 15

Bach, C.P.E. Trio sonata in A, Wq146 (1731). Barthold Kuijken, fl; Sigiswald Kuijken, vn; Wieland Kuijken, vc; Robert Kohnen, hpd. Accent ACC 58019D 13

Purcell, H. Welcome to all the pleasures, ode for St Cecilia’s day (1683). Alfred Deller, ct; Deller Consort; Kalmar O of London/Walter Bergmann. Vanguard OVC 8027 19

Dvorák, A. String quartet in A flat, op 105 (1895). Alban Berg Quartet. EMI 5 57013 2 30

Bach, J.S. Sonata no 6 in G, BWV1019 (bef. 1725). Richard Tognetti, vn; Daniel Yeadon, bass viol; Neal Peres da Costa, hpd, org. ABC 476 594-2 18

10:00 MORNING CONCERT Prepared by Brian Drummond Nielsen, C. Overture to Maskarade (1904-06). Danish NSO/Thomas Dausgaard. Da Capo 6.220518 4 Alfvén, H. Midsummer vigil, Swedish rhapsody no 1, op 19 (1903). Stockholm PO/ Neeme Järvi. BIS CD-385 14 Sibelius, J. Violin concerto in D minor, op 47 (1903). Kyung Wha Chung, vn; London SO/ André Previn. Decca 425 080-2 31 Gade, N. Symphony no 7 in F, op 45 (pub. 1865). Stockholm Sinfonietta/Neeme Järvi. BIS CD-355 31 11:30 THE GREAT TRANSCRIBER Prepared by Chris Blower Liszt, F. Grand fantasy on motifs from Soirées musicales (1835-36). Leslie Howard, pf. Hyperion CDA66661 2 12 The little bell, after Paganini (1851). Nobuyuki Tsujii, pf. Harmonia Mundi HMU 907505 5 Phantasiestück on themes from Wagner’s Rienzi (1842; transcr. 1859). Michele Campanella, pf. Brilliant Classics 94610 8

Tartini, G. Violin concerto in E flat minor, D56 (arr. Scimone). Symphonia Perusina O/Felix Ayo, vn & dir. Dynamic CDS 131 18

19:00 FRIDAY JAZZ SESSION with Sally Cameron Focus on the current Sydney jazz scene mixed with a range of international jazz stars and a weekly a cappella item 20:00 THE ROMANTIC CENTURY Prepared by Robert Small Dvorák, A. Rhapsody in A minor, op 14 (1874). Slovak PO/Libor Pesek. Marco Polo HK 8.220420 17 Goldmark, K. Violin concerto no 1 in A minor, op 28 (1877). Nai-Yuan Hu, vn; Seattle SO/ Gerard Schwarz. Delos DE 3156 36 Liszt, F. Symphony on Dante’s Divine comedy (1866). Gillian Keith, sop; Ladies of City of Birmingham Symphony Ch; BBC PO/ Gianandrea Noseda. Chandos CHAN 10524 42 Chopin, F. Polonaise-fantasy in A flat, op 61 (1845-46). Sylvia Torán, pf. Quicksilva QS 6142 11

14:30 MUSIC FROM THE IBERIAN PENINSULA Prepared by Frank Morrison

22:00 BAROQUE AND BEFORE Prepared by Robert Small

Turina, J. Quartet in A minor, op 67 (1933). Menuhin Festival Piano Quartet. Claves 50-9403 15

Vivaldi, A. Violin concerto in E minor, RV277, The favourite (pub. 1729). Giuliano Carmignola, vn; Sonatori de la Goiosa Marca. Divox CDX 79406 13

Rodrigo, J. Zarabanda lejana y Villancico (1929). Asturias SO/Maximiano Valdés. Naxos 8.555844

Cruz, I. Songs: In Coimbra there’s a street; I go smiling; Conch shell songs; The word, Saudade (1972). Amanda Cole, mezz; Sandra Crawshaw, pf. ODE Records CDMANU 5060 5 Falla, M. de Piano concerto (1923-26). Joaquin Soriano, pf; English CO/José Serebrier. ASV DCA 775 14 Freitas Branco, L. Scherzo fantastique (1907). RTE National SO/Álvaro Cassuto. Naxos 8.570765 6 Granados, E. Andaluza. Herwig Tachezi, vc; Gareth Koch, gui. Canberra School of Music CSM 712181 5 Bomtempo, J. Symphony no 1 in E flat, op 11 (1809). Algarve O/Álvaro Cassuto. Naxos 8.557163 25

Monteverdi, C. Combattimento di Tancredi e Clorinda (1616). Catherine Bott, sop; Andrew King, ten; John Mark Ainsley, ten; New London Consort/Philip Pickett. L’Oiseau-Lyre 440 637-2 19 Fux, J. Sonata a quarto for two violins, two sackbuts and basso continuo. Sydney Consort. Sydney Consort SC 006 8 Gesualdo, C. Sacrae cantiones: II, XV, XVIII and VII (1603). Vocal Consort Berlin/James Wood. Harmonia Mundi HMC 902123 11 Monteverdi, C. Ballo delle ingrate. Catherine Bott, sop; Tesser Bonner, sop; Michael George, bass; New London Consort/Philip Pickett. L’Oiseau-Lyre 440 637-2 38 Fux, J. Sonata in G a 4. Claude Wassmer, bn; Bruce Dickey, cornett; Charles Toet, tb; Dana Maiben, vn; Frances Fitch, org. EMI CDM 7 63419 2 8 February 2014

fineMusic 102.5

Saturday 8 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 SPOTLIGHT ON WILHELM PETERSONBERGER Prepared by Francis Frank Peterson-Berger, W. Chorale and fugue, from The doomsday prophets (1912-17). cpo 999 632-2 8 Romance in D minor (1910). Ulf Wallin, vn. cpo 999 564-2

Norrköping SO/Michail Jurowski (2 above) Four pieces from Frösöblomster (1919). Helsingborg SO/Okko Kamu. Naxos 8.553115

Earina suite (1917). Norrköping SO/Michail Jurowski. cpo 999 632-2 21 Högt på fallets ombunkssnår, from Gullebams vaggsänger (1913). Solveig Faringer, sop; Lena Johnson, pf. Nosag 091 8 Symphony no 3 in F minor, Lapland (1913-15). Norrköping SO/Michail Jurowski. cpo 999 632-2 42 11:30 ON PARADE Prepared by Robert Small Gershwin, G. Strike up the band (1927; arr. Hearshen 1987); There’s no business like show business (1954; arr. Hearshen 1988). USAF Heritage of America Band/Lowell Graham. Naxos 8.573041 10 Keller, D. Tribute to the trombones. USAF Band/Lowell Graham. Altissimo ALT60162 3 Reed, H. Mass; Carnival, from La fiesta Mexicana (1949). President’s Own US Marine Band/Michael Colburn. Altissimo ALT63132 12 12:00 JAZZ THEN AND NOW with Michael Cooper 13:00 HISTORIC RECORDINGS Lauritz Melchior 1890-1973 Prepared by Elaine Siversen Leoncavallo, R. Jetzt spielen ... Hüll’ dich in Tand nur, from I pagliacci (1892). New SO/John Barbirolli. LP Seraphim/WRC R.03835 4 Wagner, R. Inbrunst im Herzen, from Tannhäuser (1845). London SO/Albert Coates. Nimbus NI 7848 8 Nothung! Nothung! Neidliches Schwert, from Siegfried (1856-71). Albert Reiss, ten; London SO/Albert Coates. LP Seraphim/WRC R.03835 12 32

fineMusic 102.5

February 2014

In fernem Land, from Lohengrin (1848). Pro Arte CDD 489 4 Verdi, G. Jeder Knabe kann mein Schwert mir entreisser, from Otello (1887). New SO/John Barbirolli. LP Seraphim/WRC R.03835 5 Wagner, R. Isolde! Geliebte! ... Tristan! Geliebter! from Tristan und Isolde (1857-59). Frida Leider, sop; London SO/Albert Coates. LP Seraphim/WRC R.03835 17 Lauritz Melchior, ten (all above) 14:00 MUSICAL EXPLORATIONS Pole to Pole: the Black Sea Prepared by Stephen Schafer Mozart, W. Overture to Mitridate, rè di Ponto (1770). Norwegian National Opera O/Rinaldo Alessandrini. Naïve OP 30479 8 Balakirev, M. Symphonic poem: Russia (1882). USSR State Academic O/Evgeny Svetlanov. Melodiya MEL 01877 14 Shchetynsky, A. Know yourself: symphony for mixed choir a cappella (2003). Cantus Chamber Choir Uzhhdrod/Emil Sokach. Naxos 8.579005 36 Glinka, M. Eastern dances in the Black Sea castle, from Ruslan and Ludmilla (1842). Moscow Radio SO/Mark Ermler. Alto ALC 1242 7 Liadov, A. Baba-Yaga, op 56; Kikimora, op 63. Suisse Romande O/Ernest Ansermet. Eloquence 480 0038 9 Gossec, F-J. Ah! faut-il me venger; Ma rivale triomphe, from Thésée (1782). Véronique Gens, sop; Les Talens Lyriques/Christophe Rousset. Virgin Classics 5 099907 092725 3 15:30 AT THE MOVIES Prepared by Pat Hopper North, A. Sound track: Spartacus. O/Alex North. MCA 2068 30 Rozsa, M. Soundtrack: Lust for life. O/Miklós Rozsa. Varese Sarabande VC 81053 22 16:30 ARTS IN FOCUS with Willoughby Symphony Orchestra Produced by Debbie Scholem 17:00 COLOURS OF THE KING Program of the Organ Music Society of Sydney Prepared by Andrew Grahame Bach, J.S. Chorale preludes: Nun komm der Heiden Heiland, BWV599; Gottes Sohn ist kommen, BWV600; Herr Christ, der einig Gottes Sohn, BWV601. 4 Chorale partita on Sei gegrüsset, Jesu gütig, BWV768. 19 Chorale preludes: Herr Jesu Christ, dich zu uns wend, BWV655; Von Gott will ich nicht lassen, BWV658; Allein Gott in der Höh sei Ehr, BWV664. 13

Prelude and fugue in A minor, BWV543. 10 George Ritchie, org (all above) Raven OAR-875 18:00 AUSTRALIAN COMPOSERS’ HOUR Prepared by Madilina Tresca Sitsky, L. At the gate: collage. Australian Youth O/Graham Abbott. Tall Poppies TP016 7 Sonatina. Jane Peters, vn; Rachel Valler, pf. MBS 27 CD 7 Samsara, trio no 6. Australia Ensemble. Canberra School of Music CSM:25 16 Violin concerto no 2, Gurdjieff (pub. 1984). Jan Sedivka, vn; Tasmanian SO/Omri Hadari. Move MD 3084 23 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Ross, J. Excerpts from The pajama game (1954). John Raitt, Janis Paige, Eddie Foy, voices. Columbia SMX 89253 18 Porter, C. Excerpts from Anything goes (1934). Patti LuPone, Howard McGillin, Bill McCutcheon, voices. RCA Victor 7769-2-RC 14 Monot, M. Excerpts from Irma la douce (1956). Zizi Jeanmaire, Roland Petit, Colette Renard, voices. Sepia 1120 19 20:00 LIVE AND LOCAL Part 1: The Illusionist Recorded by Roger Doyle for FINE MUSIC Ravel, M. Jeux d’eau (1901). Anna Goldsworthy, pf. 21 Sonata (1920-22). Helen Ayres, vn; Tim Nankervis, vc. 6 Martin, B. Cartoon. 12 Ravel, M. Piano trio (1914). 25 Seraphim Trio (2 above) Part 2: More Ravel Ravel, M. Suite from Mother Goose (1908-10; arr. McIntyre). Canberra Wind Soloists. Fine Music Tape Archive 14 21:30 LULLABY AND GOODNIGHT Prepared by Maureen Meers Chopin, F. Berceuse in D flat, op 57 (1843-44). Maria João Pires, pf. DG 457 585-2 5 Kreisler, F. Berceuse romantique, op 9. Joshua Bell, vn; Paul Coker, pf. Decca 475 6715 4 Bizet, G. Berceuse (1868). Ann Murray, mezz; Graham Johnson, pf. Hyperion CDA66976 5 Busoni, F. Berceuse élégiaque, op 42 (1909). Montpellier PO/Gianfranco Masini. Arkadia CDAK 126.1 9 22:00 AFTER HOURS with Kevin Jones

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

Berlioz, H. Overture: Le corsaire, op 21 (1844). Polish State PO/Kenneth Jean. Naxos 8.553264 9

6:00 SUNDAY MORNING MUSIC with Robert Small

Tchaikovsky, P. Manfred symphony, op 58 (1886). Vienna PO/Lorin Maazel. Decca 466 671-2 55

9:00 MUSIC OF THE DANCE Prepared by Chris Blower Tchaikovsky, P. Suite from Swan Lake, op 20 (1877). Berlin PO/Mstislav Rostropovich. DG 429 097-2 25 Chopin, F. Les sylphides (arr. Douglas 1909). National PO/Richard Bonynge. Decca 452 772-2 28

Liszt, F. Symphonic poem no 2, The funeral triumph of Tasso (1849/50-51). New Zealand SO/Michael Halász. Naxos 8.557847 13 16:00 THREE VIRTUOSIC CLARINETTISTS Prepared by George Hilgevoord

10:00 THE DEFINING YEARS Music from the Classical era Prepared by Sheila Catzel

Hyde, M. Sonata in F minor (1949). Deborah de Graaff, cl; David Miller, pf. Walsingham 80442 17

Cannabich, C. Flute quintet in D, op 7 no 5 (1768-69). Camerata Cologne. cpo 999 544-2 17

Yun, I. Clarinet concerto (1981). Eduard Brunner, cl; Bavarian RSO. Camerata CM 50028

Schobert, J. Menuet in E flat (pub. 1761-67; transcr. Godowsky). Konstantin Scherbakov, pf. Marco Polo 8.223795 7

Weber, C.M. Clarinet concertino (1811). Alan Vivian, cl; Sydney SO. ABC 476 4570 9

Spontini, G. Divertimento. Sören Hermansson, hn; Erica Goodman, hp. BIS CD-648 Cimarosa, D. Oboe concerto in C. Lajos Lencsés, ob; Arcata CO/Patrick Strub. Hänssler Classic 98.467

Patrick Thomas, cond (2 above) 5

Kreutzer, C. Fantasy. Karen Geoghegan, bn; BBC PO/Gianandrea Noseda. Chandos CHAN 10613 10 Salieri, A. 26 Variations on La folia di Spagna (1815). London Mozart Players/Matthias Bamert. Chandos CHAN 9877 18 Marsh, J. String quartet in B flat. Salomon Quartet. Hyperion CDA66780 17 Mozart, W. Symphony no 29 in A, K201 (1774). Columbia SO/Bruno Walter. Sony SMK 64 473 21 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide 14:00 SUNDAY SPECIAL Inspired by Lord Byron Prepared by Stephen Wilson Liszt, F. Symphonic poem no 6: Mazeppa (1851). London PO/Bernard Haitink. Philips 438 751-2 16 Holbrooke, J. Byron, op 39 (1904). Slovak Philharmonic Choir; Czecho-Slovak RSO, Bratislava/Adrian Leaper. Marco Polo 8.223446 16

Green, P. Cool cat (1998). Deborah de Graaff, cl; Bernadette Harvey, pf. Walsingham 80442 3 17:00 HOSANNA Prepared by Heather Sykes Bairstow, E. Anthems: Blessed city, heavenly Salem; Let all mortal flesh. Choir of Guildford Cathedral; Peter Wright, org; Andrew Millington, cond. Priory PRCD 257 13 Pedersøn, M. Kyrie; Gloria; Credo; Sanctus (1620). Hilliard Ensemble/Paul Hillier. BIS CD-389 11 Psalms: no 65, Thou O God, art praised in Sion; no 66, O be joyful in God all ye lands; no 67, God be merciful unto us. Choir of King’s College, Cambridge/David Willcocks. EMI CDM 7 631012 10 Cucu, G. Aghios O theos; I zoi en tapho (c1930). Kontakion/Mihail Diaconescu. Decca 442 9629

Hymns: Praise my soul the King of heaven; We plough the fields and scatter; Through all the changing scenes of life; Alleluia sing to Jesus. Choir of Norwich Cathedral; Simon Johnson, org; Neil Taylor, cond. Priory PRCD 5018 14 18:00 SYDNEY SCHUBERT SOCIETY Prepared by Jan Brown Schubert, F. Sonata in A, D574, Grand brillant (1817). Isaac Stern, vn; Daniel Barenboim, pf. Sony SM2K 64528 23 Symphony no 1 in D, D82 (1813). Royal Concertgebouw O/Nikolaus Harnoncourt. Teldec 4509-91184-2 28

19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech Suppé, F. Overture to The lady mistress (1868). Academy of St Martin in the Fields/Neville Marriner. 7 EMI CDC 7 54056 2 Handel, G. Sibilar gli angui d’Aletto, from Rinaldo (1711). Samuel Ramey, bass; Philharmonia O/Donato Renzetti. Philips 420 184-2

Bellini, V. Son vergin vezzosa, from I puritani (1835). Jennifer McGregor, sop; West Australian SO/Peter Bandy. 4 CBS 462 793-2 Donizetti, G. Nei miei superbi gaudi, from Il Duca d’Alba. Dmitri Hvorostovsky, bar; Philharmonia O/Ion Marin. 4 Philips 434 912-2 Bizet, G. Chanson bohème, from Carmen (1873-74). Regina Resnik, sop; Yvonne Minton, sop; Georgette Spanellys, sop; Suisse Romande O/Thomas Schippers. 4 Decca 440 844-2 19:30 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Mozart, W. Overture to Lucio Silla, K135 (1772). Royal Concertgebouw O/Nikolaus Harnoncourt. Apex 0927 498132

Kodály, Z. Suite from Háry János (1927). Hungarian State SO/Adám Fischer. Nimbus NI 5284

Stenhammar, W. Symphony no 1 in F (190203). Gothenburg SO/Neeme Järvi. DG 445 857-2 50 21:00 NEW HORIZONS Prepared by Elaine Siversen Koh, S. Korean dances (2002). Lone Star Wind O/Eugene Migliaro Corporon. Naxos 8.572837 17 Matsumura, T. Symphony no 2 (1998/99/2006). Ikuyo Kamiya, pf; RTÉ NSO/ Takuo Yuasa. Naxos 8.570337 22 Chin, G. Formosa seasons. Cho-Liang Lin, vn; Kansas City SO/Michael Stern. Naxos 8.570221 21 Sheng, B. The phoenix (2004). Shana Blake Hill, sop; Seattle SO/Gerard Schwarz. Naxos 8.559610 24 22:30 ULTIMA THULE February 2014

fineMusic 102.5

Monday 10 February Henselt, A. Piano concerto in F minor, op 16 (1844). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66717 30 Rubinstein, A. Symphony no 5 in G minor, op 107 (1880). George Enescu PO/Horia Andreescu. Naxos 8.557005 39 11:30 ROMANTIC SPANISH GUITAR Prepared by Philip Lidbury George Enescu 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Francis Frank Borodin, A. Overture to Prince Igor (arr. Rimsky-Korsakov, Glazunov 1890). London SO/ Georg Solti. Decca 455 632-2 11 Rossini, G. I palpiti, from Tancredi (1813; arr. Paganini; rev. Kreisler). Gil Shaham, vn; Akira Eguchi, pf. DG 447 640-2 10 Grainger, P. Paraphrase on Tchaikovsky’s Waltz of the flowers. Xiang-Dong Kong, pf. Walsingham WAL8013-2 6 Paganini, N. The little bell (1826; transcr. Primrose, Lindemann). Hartmut Lindemann, va. Tacet 21 6 Sor, F. Variations on a theme from Mozart’s The magic flute, op 9 (c1813; arr. Schaupp). Karin Schaupp, gui. ABC 476 524-9 9 Handel, G. Organ concerto in F, HWV293 (1735-36; transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito. CBS MK 39560 8 10:00 MORNING CONCERT Prepared by Derek Parker Vaughan Williams, R. Overture from Aristophanic suite, The wasps (1909). Queensland SO/Patrick Thomas. ABC 476 4565 34

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February 2014

Albéniz, I. Córdoba, op 232 no 4 (1896). Catherine Strano, gui. Walsingham 2WAL80282

Granados, E. Valses poéticos (1887; arr. McFadden). Jeffrey McFadden, gui. Naxos 8.553401

Tárrega, F. Variations on The carnival of Venice. Dimitri Illarionov, gui. Naxos 8.557293

Petri Sakari

12:00 SWING SESSIONS with John Buchanan 13:00 PASSED AWAY IN 1934 Prepared by Frank Morrison Elgar, E. Sea pictures, op 37 (1897-99). Janet Baker, mezz; London SO/John Barbirolli. EMI CDC 7 47329-2 24 Delius, F. Dance rhapsody no 1 (1908; ed. Beecham). Welsh National Opera O/Charles Mackerras. Argo 433 704-2 13 Holst, G. Quintet in A minor, op 3 (1903). Christopher O’Neal, ob; Julian Farrell, cl; Christopher Blake, hn; Richard Skinner, bn; Anthony Goldstone, pf. Chandos CHAN 9077 17 14:00 DOUBLES Prepared by Chris Blower Bach, J. Christian Symphony in E flat for double orchestra, op 18 no 1 (1779). Academy of Ancient Music/Simon Standage. Chandos CHAN 0540 14 Hoffmeister, F. Quartet no 2 in D (1813). Ernö Sebestyén, vn; Helmut Nicolai, va; Martin Ostertag, vc; Norbert Duka, db. Naxos 8.572187 19

Stanford, C. Villiers Magnificat for double choir in B flat (1918). Vasari Singers/Jeremy Backhouse. Naxos 8.572504 12 Spohr, L. Double quartet no 2 in E flat, op 77 (1827). Academy of St Martin in the Fields Chamber Ensemble. Hyperion CDD22014 27 Mendelssohn, F. Double concerto in D minor (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-2 37 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 SPIRIT OF JAZZ with Susan Gai Dowling 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 INTO THE 20TH CENTURY Prepared by Frank Morrison Kodály, Z. Variations on a Hungarian folksong, Peacock variations (1939). Chicago SO/Neeme Järvi. Chandos CHAN 8877 25 Prokofiev, S. Symphony-concerto in E minor, op 125 (1952). Raphael Wallfisch, vc; Scottish NO/Neeme Jarvi. Chandos CHAN 8508 37 Bartók, B. Ten pieces from For children (190809; arr. Weiner). Il Quartettone. Giulia GS 201013 9 Sibelius, J. Symphony no 4 in A minor, op 63 (1911). Iceland SO/Petri Sakari. Naxos 8.554377 38

Tuesday 11 February

Marc-André Hamelin. Photo - Fran Kaufman

Emma Kirkby Berwald, F. Symphony no 4 in E flat, Sinfonie naïve (1842). San Francisco SO/Herbert Blomstedt. Decca 436 597-2 30

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

11:30 BRAHMS IN MINIATURE Prepared by Elaine Siversen

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Marc-André Hamelin Prepared by Barrie Brockwell

Brahms, J. Theme and variations in D minor (1860). Garrick Ohlsson, pf. Hyperion CDA67777 10

Alkan, C-V. Ronda-toccata in C minor, op 76. Hyperion CDA66765 5 Catoire, G. Prelude and scherzo, op 6. Hyperion CDA67090

Albéniz, I. El corpus en Sevilla, from Iberia, bk 1 (1906). Hyperion CDA67476 8 Chopin, F. Romanza, from Piano concerto no 1 in E minor, op 11 (1830; transcr. Balakirev). Hyperion CDA66765 10 Haydn, J. Sonata in C, Hob.XVI:50 (1794). Hyperion CDA67554

Hamelin, M-A. Étude no 9, after Rossini. Hyperion CDA67050

Marc-André Hamelin, pf (all above) 10:00 MORNING CONCERT Prepared by Barrie Brockwell Saint-Saëns, C. Algerian suite, op 60 (187980). Monte Carlo PO/David Robertson. Auvidis V 4688 20 Vieuxtemps, H. Violin concerto no 2 in F sharp minor, op 19 (1836). Mischa Keylin, vn; Janácek PO/Dennis Burkh. Naxos 8.554114 21 Franck, C. Psyché et Éros, from Psyché (1888). Philharmonia O/Carlo Maria Giulini. EMI CZS 7 67723 2 9

Sommerabend, op 85 no 1; Mondenschein, op 85 no 2; Feldeinsamkeit, op 86 no 2; Nachwandler, op 86 no 3 (1878). Misha Maisky, vc; Pavel Gililov, pf. DG 459 677-2 16 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 FROM THE YEAR 1713 Prepared by Stephen Wilson Croft, W. Overture in D (1713). Michael Laird, tpt; members of Parley of Instruments/Peter Holman. Hyperion CDA66817 7 Handel, G. Ode for the birthday of Queen Anne: Eternal source of light divine, HWV74 (1713). Judith Nelson, sop; Emma Kirkby, sop; Shirley Minty, cont; James Bowman, ct; Martyn Hill, ten; David Thomas, bass; Choir of Christ Church Cathedral, Oxford; Academy of Ancient Music/Simon Preston. L’Oiseau-Lyre 421 654-2 26 Rebel, J-F. Sonata no 8 in D minor (1713). Andrew Manze, vn; Jaap ter Linden, bass viol; Richard Egarr, hpd. Harmonia Mundi HMX 2907541.45 11 Rameau, J-P. Motet: In convertendo (1713-15). Véronique Gens, sop; Isabelle Desrochers, sop; Jean-Paul Fouchécourt, ct; Hervé Lamy, bar; Peter Harvey, bass-bar; Marcos Louriero de Sa,

bass-bar; Stephan Imboden, bass; Le Concert Spirituel/Hervé Niquet. Virgin 5 61526 2 23 Bach, J.S. Harpsichord concerto no 9 in G, BWV980 (1713; based on Vivaldi’s Concerto RV381). Zuzana Ruzicková, hpd. Supraphon SU 4117-2 13 14:30 PIANO PLUS Prepared by Jan Brown Dohnányi, E. Hungarian landscapes, op 32a nos 1, 5 and 7 (1923). Milton Hallman, pf. Centaur CRC 2025 7 Piano quintet in C minor, op 1 (1895). Schubert Ensemble of London. Hyperion CDA66786 29 The veil of Pierrette, op 18 (1908-09). Howard Shelley, pf; BBC PO/Matthias Bamert. Chandos CHAN 9733 16 Piano concerto no 2 in B minor, op 42 (194647). Martin Roscoe, pf; BBC Scottish SO/Fedor Glushchenko. Hyperion CDA66684 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 18:00 SYDNEY SYMPHONY 2014 Produced by Andrew Bukenya

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Ogilvie 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling February 2014

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Wednesday 12 February 0:00 CONTEMPORARY COLLECTIVE

EUGEN ONEGIN: Thomas Hampson, bar TATIANA: Karita Mattila, sop LENSKY: Piotr Beczala, ten OLGA: Ekaterina Semenchuk, mezz PRINCE GREMIN: James Morris, bass-bar Metropolitan Opera Ch & O/Jiri Belohlávek. Met broadcast 2:31

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti 9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Frank Morrison Barsanti, F. Concerto grosso in D, op 3 no 10 (1743). Maurice André, tpt; Württemberg CO/ Jörg Faerber. EMI CMS 7 69880-2 11

12:00 JAZZ SKETCHES with Robert Vale

Grandi, A. O beate Benedicte, from Motetti con sinfonie, libro III (pub. 1629). Early Music Consort of London/David Munrow. Virgin 5 61288 2 6

13:00 YOUNG VIRTUOSI

Castello, D. Sonata decimasesta a quattro (1644). Concerto Italiano/Rinaldo Alessandrini. naïve OP 30531 6 Marcello, A. Oboe concerto in D minor (pub. 1716). Derek Wickens, ob; Royal PO/Elgar Howarth. ASV ACA 1003 11 Corelli, A. Concerto in F, op 6 no 9 (1714). Brandenburg Consort/Roy Goodman. Hyperion CDA66741/2

10:00 MORNING CONCERT Cimarosa, D. Overture to L’armida immaginaria (1777). Toronto CO/Kevin Mallon. Naxos 8.570279 5 Mendelssohn, F. Double concerto in E flat (1823). Benjamin Frith, pf; Hugh Tiney, pf; RTE Sinfonietta/Proinnsías O’Duinn. Naxos 8.553416 31 Lyatoshynsky, B. Symphony no 3 in B minor, op 50 (1951). Ukrainian State SO/Theodore Kuchar. Naxos 8.223540 46 11:30 TWOS AND THREES Prepared by Paul Hopwood Mendelssohn, F. Sonata in F (1820). JeanJacques Kantorow, vn; Jacques Rouvier, pf. Denon CO 78964 13 Handel, G. Trio sonata in G, HWV399 (1797). Tafelmusik Baroque Soloists. CBC MVCD 1031 13 36

Thomas Hampson. Photo - Dario Acost

Scarlatti, D. Sonata in F minor, Kk466 (c1740). Roland Pöntinen, pf. BIS CD-883 8

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February 2014

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 THE SYMPHONIES OF HADYN Prepared by Chris Blower Haydn, J. Symphony in E flat, Hob.I:36 (c176165). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 19 Müller, I. Quartet no 2 in E minor. Friederike Roth, cl; Berolina Ensemble. Naxos 8.572885 18 Haydn, J. Symphony in C, Hob.I:37 (c1757-61). Vienna CO/Ernst Märzendorfer. LP Heritage Musical Society OR H-201-249 17

Lensky, a young poet betrothed to Olga Larina, brings his friend Eugene Onegin to the Larina country estate. Tatyana, the older sister, steeped in romantic novels, falls immediately in love with Onegin, stays up all night writing him a love letter and sends it with a servant. Onegin tells Tatyana that he is unsuited to marriage. Tatyana is crushed, even more so when he flirts with Olga at a ball in the house. Lensky challenges Onegin to a duel and Onegin kills him. Years later, after travelling in Europe, Onegin returns to St Petersburg where he meets Tatyana, married to the powerful Prince Gremin. When he declares his love, she admits she still loves him, but vows to remain faithful to her husband. Onegin is left brokenhearted. 23:00 THE MATURE HOROWITZ Prepared by Denis Patterson Bach, J.S. Choral prelude, BWV62: Nun komm, der Heiden Heiland (1724; arr. Busoni). 5 Chopin, F. Mazurka in A minor, op 17 no 4 (1832-33); Scherzo no 1 in B minor, op 20 (183132). 12 Schubert, F. Impromptu in A flat no 4, D899 8 (1827). Liszt, F. Consolation no 3 in D flat (1834).

Schumann, R. Novellette in F, op 21 no 1 (1838).

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

Rachmaninov, S. Prelude in G sharp minor, op 32 no 12 (1910). 3

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Skryabin, A. Étude in C sharp minor, op 2 no 1 (1903). 3

20:00 AT THE OPERA Legendary Met performances: 14 February 2009 Prepared by Michael Tesoriero

Chopin, F. Polonaise in A flat, op 53 no 6 (1842).

Moskowski, M. Étude in F, op 72 no 6.

Tchaikovsky, P. Eugen Onegin, opera in three acts. Libretto by Konstantin Shilovsky. First performed Moscow, 1879.

Vladimir Horowitz, pf (all above) DG 474 370-2

Thursday 13 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Rachmaninov, S. Suite no 2, op 17 (1900-01). Martha Argerich, pf; Gabriela Montero, pf. EMI 3 58472 2 22

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

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

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Chris Blower

19:00 JAZZ VIBES with Matt Bailey

Schumann, C. Three romances, op 22 (1853). Lisa Batiashvili, vn; Alice Sara Ott, pf. DG 479 0086 9 Three songs for mixed choir on poems by Geibel (1848). Heidelberg Madrigal Choir/ Gerald Kegelmann. Bayer BR 100 041CD 10 The quiet lotus flower, op 13 no 6 (1842-43). Stephen Loges, bar; Eugene Asti, pf. Hyperion CDA67249 3 Trio in G minor, op 17. Rodolfo Bonucci, vn; Andrea Noferini, vc; Francesco Nicolosi, pf. Naxos 8.557552 30 10:00 MORNING CONCERT Prepared by Di Cox Berlioz, H. Overture: Le corsaire, op 21 (1844). Montreal SO/Charles Dutoit. Decca 452 480-2 8 Weber, C.M. Clarinet concerto no 1 in F minor, op 73 (1811). Janet Hilton, cl; City of Birmingham SO/Neeme Järvi. Chandos CHAN 8305 21 Franck, C. Les éolides (1875-76). Suisse Romande O/Ernest Ansermet. DG 476 280-0

Nielsen, C. Symphony no 3, op 27, Sinfonia espansiva (1910-11). Pia Raanoja, sop; Knut Skram, bar; Gothenburg SO/Myung-Whun Chung. BIS CD-614/616 37 11:30 KEYBOARD VARIATIONS Prepared by Elaine Siversen Brahms, J. Variations on a theme by Paganini, op 35 (1862-63). Claudio Arrau, pf. Philips 432 302-2 14 Best, W.T. Introduction, variations and finale on God save the Queen. Robert Ampt, org. Move MD 3148 11

20:00 EVENINGS WITH THE ORCHESTRA The concertos of Paganini Prepared by Elaine Siversen

Clara Schumann

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

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 INSPIRED BY ART Prepared by Stephen Wilson Respighi, O. Trittico Botticelliano (1927). Accademia Bizantina/Carlo Chiarappa. Denon CO-78916

Salieri, A. 26 variations on La follia di Spagna (1815). Philharmonia O/Pietro Spada, pf & dir. ASV DCA 955 22 19

Maxwell Davies, P. Five Klee pictures (1959/76). Philharmonia/Peter Maxwell Davies. Collins 14602 10 Rachmaninov, S. The isle of the dead, op 29 (1909). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 20 Bliss, A. A colour symphony (1921-22/32). Ulster O/Vernon Handley. Chandos CHAN 10221

14:30 KEYBOARD CONTRASTS Prepared by Brian Drummond Alkan, C-V. Fantasy in A flat for left hand, from Trois grandes études, op 76 (c1838). Ronald Smith, pf. Arabesque Z 6604 11 Mozart, W. Sonata in D, K381 (1772). Jenö Jandó, Zsuzsa Kollár, pf. Naxos 8.553518

Bach, J.S. Trio sonata no 1 in E flat, BWV525. Douglas Lawrence, org. Move MD 3224 12 Grainger, P. Green bushes (1905-06). Philip Martin, pf; Martin Jones, pf; Richard McMahon, pf. Nimbus NI 5286 8 Chopin, F. Ballade no 1 in G minor, op 23 (183135). Krystian Zimerman, pf. DG 477 8445 10

Schubert, F. Symphony no 3 in D, D200 (1815). Chicago SO/Carlos Kleiber. Artists FED 013/14 20 Paganini, N. Violin concerto no 1 in D, op 6 (1815). Adele Anthony, vn; Tasmanian SO/ Shalom Ronly-Riklis. ABC 838 903-2 34 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Debussy, C. Piano trio no 1 in G, op 6 no 8 (1879). Joachim Trio. Naxos 8.550934 25 Boccherini, L. String quintet in C, op 62 no 1 (1802). Ensemble 415. Harmonia Mundi HMC 901402 24 Dohnányi, E. Serenade in C, op 10 (1902). Mayumi Seiler, vn; Douglas Paterson, va; Jane Salmon, vc. Hyperion CDA66786 21 Haydn, J. Trio no 26 in C minor, Hob.XV:13 (1789). Erich Höbarth, vn; Christophe Coin, vc; Patrick Cohen, fp. Harmonia Mundi 901277 20 Beethoven, L. Quartet in F minor, op 95, Quartetto serioso (1810-11). Emerson String Quartet. DG 423 398-2 20 February 2014

fineMusic 102.5

Friday 14 February 0:00 CONTEMPORARY COLLECTIVE

Rietz, J. Clarinet concerto in G minor, op 29. Thea King, cl; English CO/Andrew Litton. Hyperion CDD 22017 22

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

Skryabin, A. Two nocturnes, op 5: no 1 in F sharp minor; no 2 in A (1890). Gordon FergusThompson, pf. 6 ASV DCA 882

9:00 DIVERSIONS IN FINE MUSIC Exploring chamber Prepared by Sheila Catzel

Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). Scottish CO/Charles Mackerras. Telarc 80502 24

Riotte, P. Notturno (c1815). Ernö Sebestyen, vn; Edward Witsenburg, hp. Schwann 310 001 H1 15 Schumann, R. Sonata no 1 in A minor, op 105 (1851). Anthony Marwood, vn; Susan Tomes, pf. Hyperion CDA67180 16 Glazunov, A. String quartet no 1 in D, op 1 (1881-82). Shostakovich Quartet. Olympia OCD 157 21 10:00 MORNING CONCERT Prepared by Angela Bell Moeran, E.J. Sinfonietta (1944). Bournemouth Sinfonietta/Norman Del Mar. Chandos CHAN 8456 24 Bottesini, G. Double bass concerto no 2 in B minor (pub. 1950; arr. Meyer). Edgar Meyer, db; Saint Paul CO/Hugh Wolff. Sony SK 60956 17 Schumann, R. Symphony no 2 in C, op 61 (1845-46). Philharmonia O/Christian Thielemann. DG 453 482-2

22:00 BAROQUE AND BEFORE Prepared by Philip Lidbury Part 1: Bach at Weimar

David Russell In navitatem Domini nostri Jesus Christi canticum (1683-85). Harmonia Mundi 0905124

Les Arts Florissants/William Christie (3 above) Sonata à 8. Ricercar Consort. Ricercar RIC 037011

Cantata, BWV12: Weinen, Klagen, Sorgen, Zagen (1714). Carolyn Sampson, sop; Daniel Taylor, alto; Mark Padmore, ten; Peter Kooy, bass; Collegium Vocale/Philippe Herreweghe. Harmonia Mundi HML 5908357.59 22

14:30 GUITAR DESTINATIONS Prepared by Bradley Kunda

Toccata in D, BWV912 (bef. 1714). Ivo Janssen, pf. VOID 9802 12

Brouwer, L. Concerto de Toronto (1987). John Williams, gui; London Sinfonietta/Steven Mercurio. Sony SK 63173 33

Cantata, BWV150: Nach dir, Herr, verlanget mich (bef 1710). Sebastian Hennig, treb; Ansgar Pfeiffer, treb; Paul Esswood, alto; Kurt Equiluz, ten; Max van Egmond, bass; Hanover Boys’ Choir; Collegium Vocale; Leonhardt Consort/ Gustav Leonhardt. Teldec 8.35654 ZL 16

Tórroba, F. Moreno Castillos de España (1970). David Russell, gui. Telarc 80451

Schumann, R. Arabeske in C, op 18 (1838). Maurizio Pollini, pf. DG 479 0908

Westlake, N. Suite from Antarctica (1992). Tim Kain, gui; Tasmanian SO/David Porcelijn. Tall Poppies TP169 22

Six studies, op 56 (1845; arr. Sitsky). David Nuttall, ob; Larry Sitsky, pf. Tall Poppies TP041 20

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

12:00 NOONTIME JAZZ with Peter Mitchell

19:00 FRIDAY JAZZ SESSION with Sally Cameron

13:00 MUSIC SACRED AND SECULAR Prepared by Francis Frank

20:00 THE ROMANTIC CENTURY Prepared by Judy Ekstein

Charpentier, M-A. Sur la naissance de Notre Seigneur Jesus Christ (1683-85). Harmonia Mundi HMC 905130 19

Pixis, J. Grand sonata, op 35. Jean-Louis Capezzali, ob; Chia Chou, pf. Pierre Verany PV794101

Ballet music from Médée (1693). Erato 3984-26129-2

Schumann, R. Fantasy in C, op 17 (1836-38). Alfred Brendel, pf. Vanguard OVC 4027 32

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February 2014

Sinfonia, from Cantata, BWV182 (1714; arr. Von Klaveren). Duo Mellema. Radio Nederland MCCP122 10

Beatus vir (c1695; transcr. Blanchard). Evelyne Brunner, sop; Helena Vieira, sop; Alain Zaepfel, ct; Alejandro Ramirez, ten; Philippe Huttenlocher, bass; Gulbenkian Foundation of Lisbon Symphony Ch & O/Michel Corboz. Erato 2292-45083-2 18

11:30 SCHUMANN ENCORE Prepared by Angela Bell

Bach, J.S. Sinfonia in F minor, from Cantata, BWV12 (1714). Diana Doherty, ob; Ironwood. 3 ABC 476 3673

Suite in E minor, BWV996 (bef. 1714). Konrad Junghänel, lute. Harmonia Mundi RD 77097 17 Part 2: Elizabeth’s musicians Byrd, W. O Lord, how vain are all our frail delights. Barbara Bonney, sop; Phantasm Viol Quartet. 7 Decca 466 132-2 Morley, T. Will you buy a fine dog; It was a lover and his lass; Who is it that this dark night. Paul McMahon, ten; Tommie Andersson, lute; Daniel Yeadon, bass viol. ABC 476 192-9 10

Byrd, W. Gloria, from Mass for four voices (1592-93). King’s Singers. 6 Signum SIGCD297

SATURDAY 15 FEBRUARY

Sydney Philharmonia 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

18:00 FOCUS ON FOLK Folk Federation of NSW with Carole Garland

Martin - Coulter Puppet on a string. Big Brass Band/Harry Mortimer. LP Decca PFS 4143 2

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Keeping it in the family: A chip off the old block

12:00 JAZZ THEN AND NOW with Michael Cooper

9:30 SPOTLIGHT ON BERNSTEIN Conducting the New York Philharmonic Orchestra Prepared by Randolph Magri-Overend Beethoven, L. Overture: Leonora no 3, op 72a (1806). CBS MK 42222 13 Bernstein, L. Symphonic suite: On the waterfront (1954). CBS MYK 44773

Bizet, G. Symphony no 1 in C (1855). CBS MYK 44718

Ives, C. The unanswered question, from Two contemplations (1906). CBS MK 42407 5 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). CBS MK 42222 44 New York PO/Leonard Bernstein (all above)

20:00 LIVE AND LOCAL Inspired beginnings Recorded by Jayson McBride for FINE MUSIC

13:00 ASIAN MUSIC Prepared by Paolo Hooke A monthly exploration of music from across Asia

Beethoven, L. Cantata: Calm sea and prosperous voyage, op 12 (1815).

14:00 LISTENERS’ CHOICE with Christina MacGuinness Phone 9439 4777 or go to finemusicfm.com and follow the links to choose your music

Shostakovich, D. Festive overture. Allentown Band/Ronald Demkee. AMP 28173 7

Merton, R. And the world was finally right 6 (2013).

15:30 SYDNEY PHILHARMONIA IN CONCERT A Cole Porter celebration concert Recorded by Peter Bell and Greg Ghavalis for FINE MUSIC

Mendelssohn, F. Cantata: The first Walpurgis night, op 60 (1830-43). Sarah Sweeting, sop; Pascal Herington, ten; David Hidden, bass. 35

17:30 GUITAR PLUS Prepared by Stephen Wilson

Willoughby Ch & O/Stephen Mould.

Piazzolla, A. Preludio 9. Leonardo Sanchez, gui; Juan José Mosalini, ban; Osvaldo Calo, pf; I Fiamminghi/Rudolph Werthen. Telarc 80526 7

Weiss, S. Guitar concerto in D minor (arr. Behrend). Michael Tröster, gui; German Plucked-String CO/Siegfried Behrend. Thorofon CTH 2025

Chopin, F. Piano concerto no 2 in F minor, op 21 (1830). Brenda Jones, pf. 32

Carr-Boyd, A. Murray River (1995). Sydney Guitar O/Christopher Keane. Jade JADCD 1059 5

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

French, P. Phil the fluter’s ball. Yorkshire Imperial Metals Band/Trevor Walmsley. LP CBS SS 62937

Rimsky-Korsakov, N. Trombone concerto. Norman Law, tb; John Foster Black Dyke Mills Band/Peter Parkes. 11

Westlake, N. Wooden ships, from Antarctica (1992). Slava Grigoryan, gui; Melbourne SO/ Nigel Westlake. ABC 476 3443 4

21:30 DIVERSIONS AND FANTASY Prepared by Heather Sykes Glinka, M. Divertimento brillante on themes from Bellini’s opera La sonnambula (1832). Alexei Bruni, vn; Mikhail Moshkunov, vn; Andrei Kevorkov, va; Erik Pozdeev, vc; Rustem Gabdulin, db; Leonid Ogrinchuk, pf. Olympia MKM 76 13 Bizet, G. Fantasy for flute on Carmen (1873-74; arr. Borne). Patrick Gallois, fl; Fabrice Pierre, hp; London FO/Ross Pople. DG 445 822-2 12 22:00 AFTER HOURS with Kevin Jones February 2014

fineMusic 102.5

SUNDAY 16 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Paul Roper

Symphony in D, Wq183:1 (1775-76). Arcangelo/ Jonathan Cohen. Hyperion CDA67924 10

9:00 MUSIC OF THE DANCE Prepared by Elaine Siversen

12:00 SPEAK EASY, SWING HARD with Richard Hughes

Tchaikovsky, P. Onegin, ballet, Act III (1879; arr. Stolze). Sydney SO/John Lanchbery. LP HMV OASD 7600 12

13:00 WORLD MUSIC: Whirled Wide

Prokofiev, S. Ten pieces from the ballet Cinderella, op 97 (1943). Alexej Nassedkin, pf. LP Ariola -Eurodisc 87458 KK 17 Stravinsky, I. Divertimento after the ballet The fairy’s kiss (1934/49). Royal Concertgebouw O/Gennady Rozhdestvensky. Radio Nederland RCO11004 24 10:00 THE DEFINING YEARS Music of the Classical era Prepared by Paul Roper

Bach, C.P.E. Symphony in E flat, Wq179 (1757). Violins du Roy/Bernard Labadie. Dorian DOR-90239 14 Fantasia in C minor, Wq119:7 (1775). Evelyn Garvey, fp. Élan 2214

Klopstocks Morgengesang am Schöpfungsfeste, Wq239 (1783). Barbara Schlick, sop; Johanna Koslowsky, sop; Rhenish Kantorei; Das Kleine Konzert/Hermann Max. Capriccio 10 208 12 Haydn, J. Largo maestoso ... Vivace, from Symphony in D, Hob.I:53 L’impérial (c1777). La Petite Bande/Sigiswald Kuijken. Virgin VC 7 90743-2 7 Bach, C.P.E. Polonaise in G, Wq117:17, La Borchward (1754); Minuet in C, Wq117:18, La Pott (1754). Christine Schornsheim, fp. Capriccio 10 424 3 Sonatina in D, Wq109 (1762). Eric Lynn Kelley, hpd; Jos van Immerseel, hpd; Collegium Aureum. Harmonia Mundi 05472 77410-2 16 Mozart, W. Rondo in A minor, K511 (1787). András Schiff, fp. LÓiseau-Lyre 433 328-2 10 Bach, C.P.E. Sonata in E flat, Wq92:1 (c1768). Lisa Klevit-Ziegler, cl; Ilka Wagner, bn; Harald Hoeren, fp. cpo 999 508-2 4

Bairstow, E. Toccata-prelude on Pange lingua. Alan Spedding, org. Priory PRCD5024 4

14:00 SUNDAY SPECIAL Fantasia revisited Prepared by Randolph Magri-Overend Mussorgsky, M. A night on Bald Mountain (1867; arr. Rimsky-Korsakov). Berlin PO/Claudio Abbado. DG 445 238-2 13 Tchaikovsky, P. Suite from The nutcracker, op 71a (1892; arr. Economou). Martha Argerich, pf; Nicholas Economou, pf. DG 449 816-2 21 Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708). Albert Schweitzer, org. LP HMV/WRC 3178 9 Ponchielli, A Dance of the hours, from La gioconda (1876). Berlin PO/Herbert von Karajan. DG 474 617-2 11 Dukas, P. The sorcerer’s apprentice (1896-97). Melbourne SO/Christopher Seaman. ABC 476 4621 12 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). New York PO/Leonard Bernstein. CBS MK 42222 44 16:00 MUSICA VIVA PRESENTS EMMA SHOLL AND CLEMENS LESKE Recorded by Roger Doyle for FINE MUSIC Bach, J.S. Sonata no 5 in E minor, BWV1034 (c1718-20). 12 Reinecke, C. Ballade, op 288.

Feld, J. Sonata (1957).

Edwards, R. Nura (2004).

Emma Sholl, fl; Clemens Leske, pf (all above) 17:00 HOSANNA Prepared by Warwick Bartle

Dussek, J. Piano concerto no 7 in B flat, op 22 (1793). Andreas Staier, fp; Concerto Cologne. Capriccio 5072 24

Hymns: O praise ye the Lord; All things bright and beautiful; All creatures of our God and King; Forth in thy name; Glorious things of Thee are spoken. Choir of Truro Cathedral; Simon Morley, org; Andrew Nethsinga, cond. Priory PRCD5019 18

Bach, C.P.E. Am Neuen Jahr: Er ruft der Sonn und schafft den Mond, from Wq194 (1758). Dorothée Mields, sop; Ludger Rémy, fp. cpo 777 061-2 2

Holst, G. Psalms: no 86; no 148; Nunc dimittis. Holst Singers; John Birch, org; Holst O/Hilary Davan Wetton. Helios CDH55170 15

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Mendelssohn, F. Hear my prayer. Alastair Roberts, treb; Choir of St John’s College, Cambridge; Peter White org; George Guest, cond. Decca 443 390-2 12

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 Bellini, V. Se Romeo t’uccise un figlio, from The Capulets and the Montagues (1830). Joyce DiDonato, sop; Opera National de Lyon O/ Kazushi Ono. 7 Virgin 64198606 Mozart, W. Rivolgete a lui lo sguardo, from Così fan tutte, K588 (1790). Teddy Tahu Rhodes, bass-bar; Tasmanian SO/Ola Rudner. 5 ABC 472 826-2 Thomas, A. À vos yeux mes amis, from Hamlet (1866). Diana Damrau, sop; Munich RSO/Dan Ettinger. Virgin 51931322 15 19:30 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Fauré, G. Prelude to Pénélope (1913). BBC PO/ Yan Pascal Tortelier. 8 Chandos CHAN 9416 Mozart, W. Piano concerto no 20 in D minor, K466 (1785). Christian Zacharias, pf; Bavarian RSO/David Zinman. EMI CDC 7 49899 2 29 Strauss, R. Ein Heldenleben, op 40 (1897-98). Sydney SO/Edo de Waart. ABC 476 595-7 45 21:00 NEW HORIZONS Orchestral music of the 21st century Prepared by Chris Blower Nyman, M. Trysting fields (2006). Michael Nyman Band/Michael Nyman. MN Records MNRCD 113

Koshkin, N. Megaron concerto (2005). Elena Papandreou, gui; Singapore SO/Lan Shui. BIS CD-1846 38 Kats-Chernin, E. Concert suite: Wild swans (2003). Jane Sheldon, sop; Tasmanian SO/Ola Rudner. ABC 476 763-9 37 22:30 ULTIMA THULE

MONDAY 17 FEBRUARY Giuliani, M. Variations on a theme by Handel, op 107, Harmonious blacksmith. Slava Grigorian, gui. ABC 472 224-2 8

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 By arrangement Prepared by Di Cox Handel, G. Organ concerto in F, HWV293 (1735-36; transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito. CBS MK 39560 8 Haydn, J. Divertimento in B flat, Hob.II:46 St Antoni (bef. 1784; arr. Perry). Sydney Wind Quintet. Fine Music Tape Archive 11 Mozart, W. Andante in F, from Piano concerto, K467 (1785; arr. Saint-Saëns). Takako Nishizaki, vn; Capella Istropolitana/Johannes Wildner. Naxos 8.550414 8

Beethoven, L. Variations in G on See the conqu’ring hero comes, from Handel’s Judas Maccabaeus, WoO45 (1796). Daniel MüllerSchott, vc; Angela Hewitt, pf. Hyperion CDA67755 13

Verdi, G. Orfanella il tetto umile, from Simon Boccanegra (1857/81). Victoria de los Angeles, sop; Tito Gobbi, bar; Rome Opera TO/Gabriele Santini. 4 EMI 5 62777 2 Wagner, R. Liebestod, from Tristan und Isolde (1857-59). Kirsten Flagstad, sop; O/Hans Lange. 8 Nimbus NI 7847 15:00 FRIENDLY RIVALS Prepared by Derek Parker

12:00 SWING SESSIONS with John Buchanan 13:00 FROM RUSSIAN COMPOSERS OF THE ROMANTIC ERA Prepared by Frank Morrison Mussorgsky, M. A night on Bare Mountain (1867; orch. Rimsky-Korsakov 1886). Royal Liverpool PO/Charles Mackerras. Virgin VC 7 91174-2 11 Glinka, M. Variations on Benedetta sia la madre in E (1825). Victor Ryabchikov, pf. BIS CD-980 14

Tchaikovsky, P. Paraphrase on themes from Eugene Onegin (1879; arr. Pabst). Shura Cherkassky, pf. Decca 433 654-2 13

Glazunov, A. String quintet in A minor, op 39 (1891-92). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9387 29

Albinoni, T. Concerto in D minor, op 9 no 2 (pub. 1721; arr. Thilde). Maurice André, tpt; London PO/Jésus López-Cobos. EMI CMS 7 69880-2 9

14:00 SINGERS OF THE EARLY AND MID 20TH CENTURY Prepared by Andrew Parker

Tippett, M. Quartet no 5 (1990-91). Lindsay String Quartet. ASV DCA 879 28 Britten, B. String quartet no 1 in D, op 25 (1941). Belcea Quartet. EMI 5 57968 2 26 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 SPIRIT OF JAZZ with Susan Gai Dowling 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 INTO THE 20TH CENTURY Prepared by Di Cox

10:00 MORNING CONCERT Prepared by Ron Walledge

Schubert, F. Death and the maiden, D531 (1817). Kathleen Ferrier, cont; Bruno Walter, pf. Decca 414 611-2 3

Hindemith, P. Symphonic metamorphosis on themes by Carl Maria von Weber (1904). Royal Concertgebouw O/Riccardo Chailly. Radio Nederland RCO11004 22

Khachaturian, A. Suite from Masquerade (1941). Philharmonia O/Aram Khachaturian. EMI CDC 5 55035 2 11

Donizetti, G. Mad scene, from Lucia di Lammermoor (1835). Nellie Melba, sop. EMI 7017682

Stravinsky, I. Capriccio (1929). Geoffrey Tozer, pf; Suisse Romande O/Neeme Järvi. Chandos CHAN 9240 17

Strauss, R. Don Juan, op 20 (1888). Cleveland O/George Széll. Sony SBK 48 272 16

Mozart, W. Là ci darem la mano, from Don Giovanni, K527 (1787). Irmgard Seefried, sop; Erich Kunz, bar; Vienna PO/Herbert von Karajan. Testament SBT 1059 3

Ravel, M. Piano concerto in G (1929-31). Krystian Zimerman, pf; Cleveland O/Pierre Boulez. DG 449 213-2 22 Sibelius, J. Symphony no 5 in E flat, op 82 (1915/19). Philharmonia O/Vladimir Ashkenazy. Decca 410 016-2 31 11:30 HOMAGE TO HANDEL Prepared by Chris Blower Grainger, P. Handel in the Strand (1912). Penelope Thwaites, John Lavender, pf. Pearl SHE 9623

Wagner, R. Wie kann ich, from Lohengrin (1848). Elisabeth Schwarzkopf, sop; Philharmonia O/Heinz Wallberg. EMI 5 67634 2

Schubert, F. Im Abendrot, D799 (1824-25). Dietrich Fischer-Dieskau, bar; Gerald Moore, pf. LP HMV/WRC R 02333 5 Wagner, R. Winterstürme wichen dem Wonnemond, from Die Walkürie (1854-56). Lotte Lehmann, sop; Lauritz Melchior, ten; Vienna PO/Bruno Walter. LP Seraphim/WRC R.03835 14

Tippett, M. Fantasia concertante on a theme of Corelli (1953). Barry Griffiths, vn; Ian Rhodes, vn; Mats Lidstrom, vc; Royal PO/Charles Groves. ASV RPO 8020 19 Lutoslawski, W. Cello concerto (1968-70). Heinrich Schiff, vc; Bavarian RSO/Witold Lutoslawski. Philips 416 817-2 23 Shostakovich, D. Symphony no 9 in E, op 70 (1945). USSR Ministry of Culture SO/Gennady Rozhdestvensky. Melodiya MA 3020 26

February 2014

fineMusic 102.5

TUESDAY 18 FEBRUARY

Patrick Gallois

Tokyo String Quartet

0:00 CONTEMPORARY COLLECTIVE

10:00 MORNING CONCERT Prepared by Elaine Siversen

3:00 CLASSICAL TILL DAWN

Wranitzky, P. Grand characteristic symphony for the peace with the French Republic, op 31 (1797). London Mozart Players/Matthias Bamert. Chandos CHAN 9916 31

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Patrick Gallois Prepared by Francis Frank Bizet, G. Fantasy on Carmen (1873-74; arr. Borne). Fabrice Pierre, hp; London FO/Ross Pople. DG 445 822-2 12 Paganini, N. Caprice no 11 in C (1801-07; transcr. Gallois). DG 435 768-2

Rossini, G. Fantasy on William Tell (arr. Demerssemon, Barthélémy). Malcolm Messiter, ob; London FO/Ross Pople. DG 445 822-2 11 Doppler, F. Duettino on American motifs, op 37 (arr. Keinänen). Kazunori Seo, fl; Sinfonia Finlandia/Patrick Gallois. Naxos 8.570378 7 Massé, V. Fantasy on The marriage of Jeannette: Song of the nightingale. Fabrice Pierre, hp; Richard Friedman, vn; London FO/ Ross Pople. DG 445 822-2 4 Patrick Gallois, fl (all above) Haydn, J. Symphony in C, Hob.I:2 (1762). Sinfonia Finlandia/Patrick Gallois. Naxos 8.557571

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February 2014

Rosetti, F. Horn concerto in D minor (c1782). Michael Thompson, hn; Philharmonia O/ Christopher Warren-Green. Nimbus NIM 5018 21 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Royal Concertgebouw O/Kyrill Kondrashin. Radio Nederland RCO 06004 30 11:30 SONATA ENCORE Prepared by Elaine Siversen Rosetti, F. Sonata no 2 in E flat. Naoko Yoshino, hp. Philips 446 064-2

14:00 ROUND THE CLOCK MUSIC Afternoon Prepared by Francis Frank Hutchens, F. Always afternoon. Asmira Woodward-Page, vn; Scott Davie, pf. Artworks AW034

Ginastera, A. Afternoon, from Las horas de una estancia, op 11 (1943). Olivia Blackburn, sop. ASV DCA 902 5 Allworth, R. Late afternoon. Sydney Mandolins/Adrian Hooper. Jade JADCD 1026

Gunning, C. Summer afternoon, from Yorkshire glory (1991). Royal Liverpool PO/ Vernon Handley. Resonance RSN 3069 11 14:30 MUSICA VIVA PRESENTS TOKYO STRING QUARTET Recorded by Greg Simmons for FINE MUSIC Sculthorpe, P. Quartet no 16 (2005).

Mendelssohn, F. Sonata in G minor, op 105 (1821). Martin Jones, pf. Nimbus NI 5070 16

Bartók, B. Quartet no 6 (1939).

12:00 JAZZ RHYTHM with Jeannie McInnes

Tokyo String Quartet (all above)

13:00 HIGHLIGHTS FROM FIDELIO Prepared by Yvonne Laki

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic

Beethoven, L. Excerpts from Fidelio (1814). Nina Stemme, sop; Rachel Harnisch, sop; Jonas Kaufmann, ten; Peter Mattei, bar; Falk Struckmann, bass-bar; Christof Fischesser, bass. Mahler CO; Lucerne Festival O/Claudio Abbado. Decca 478 2552 6

Beethoven, L. Quartet no 14 in C sharp minor, op 131 (1826). 35

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling

WEDNESDAY 19 FEBRUARY Wallace, W. Symphonic poem no 5: Sir William Wallace. BBC Scottish SO/Martyn Brabbins. Hyperion CDA66848 21 Mozart, W. Piano concerto no 11 in F, K413 (1782-83). English CO/Murray Perahia, pf & dir. Sony SX4K 46 442 23 Clementi, M. Symphony no 3 in G, Great National. Philharmonia O/Francesco d’Avalos. ASV DCS 247 30 11:30 THREE AND FOUR Prepared by Paul Hopwood Angela Hewitt

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

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Humperdinck, E. String quartet in C (1920). Tonhalle Quartet. LP Schwann VMS 1016 15

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

12:00 JAZZ SKETCHES with Robert Vale

9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Jennifer Foong

13:00 YOUNG VIRTUOSI

Quantz, J. Horn concerto no 3 in E flat. Barry Tuckwell, hn; Academy of St Martin in the Fields/Iona Brown. Decca 417 406-2 7 Bach, J.S. Toccata in C minor, BWV911 (bef. 1714). Angela Hewitt, pf. DG 429 975-2 12 Goldberg, J. Trio sonata in C. London Baroque/Charles Medlam. BIS CD-1995

Pachelbel, J. Prelude in D minor. Roland Götz, org. FSM FCD 96 506/07 3 Hertel, J. Double concerto in E flat. Maurice Bourge, ob; Maurice André, tpt; Württemberg CO/Jörg Faerber. EMI CMS 7 69880-2 18 10:00 MORNING CONCERT Prepared by Michael Field Bruch, M. Adagio in E minor on Celtic themes, op 56 (1890-91). Julius Berger, vc; Polish National RSO/Antoni Wit. EBS 6060 8

Haydn, J. Symphony in C, Hob.I:38 (c1766-68). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 18 Weber, C.M. Grand duet, op 48 (1815-16). Walter Boeykens, cl; Robert Groslot, pf. Harmonia Mundi HMC 901481

Montserrat Caballe 20:00 AT THE OPERA Legendary Met performances: 28 February 1976 Prepared by Michael Tesoriero Bellini, V. Norma. Opera in four acts. Libretto by Felice Romani. First performed Milan, 1831. NORMA: Montserrat Caballe, sop POLLIONE: John Alexander, ten ADALGISA: Shirley Verrett, mezz Metropolitan Opera Ch & O/Gianfranco Masini. Legendary Recordings LRO 699 2:32 Gallic priestess Norma loves Roman Pollione and has borne him two children. But Pollione now loves Adalgisa and seeks to elope with her to Rome. Adalgisa confesses her love to Norma and begs to be relieved of her vows. Norma confesses her own love to Adalgisa and begs her to flee with Pollione and the children. Pollione is arrested in the temple and Norma resolves to offer him as a sacrifice to the goddess. But she confesses her guilt before all and seeks purification on the funeral pyre. Pollione is overwhelmed by her devotion. Norma gives her children to her father and, hand in hand, she and her lover walk into the flames. 23:00 BAROQUE TRIOS Recorded by Edda Filson for FINE MUSIC

Haydn, J. Symphony in G minor, Hob.I:39 (c1768). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 18

Quantz, J. Trio sonata in G minor.

Handel, G. Trio sonata in G minor.

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

Martin Cohen, fl; Scott Marshall, ob; Vivienne Petkovich, pf (2 above)

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

23:35 SPRING Beethoven, L. Sonata in F, op 24, Spring (1802). Dene Olding, vn; Max Olding, pf. ABC 432 699-2 February 2014

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THURSDAY 20 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE

Strauss, R. Gesang der Apollopriesterin, op 33 no 2 (1896). Felicity Lott, sop; Scottish NO/ Neeme Järvi. Chandos CHAN 9159 7

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

Stravinsky, I. Ballet: Apollo music (1947). Australian CO/Nicholas Kraemer. Fine Music Tape Archive

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Frank Morrison

14:00 SPECIAL SOUNDS Prepared by David Rossell

Röntgen, J. Piano trio no 4 in C minor, op 50 (1904). Storioni Trio. Radio Nederland MCCP122 21 Serenade (1928). Linos Ensemble. cpo 777 127-2

Cello concerto no 2 (1909). Quirine Viersen, vc; Netherlands RPO/Eri Klas. Radio Nederland MCCP122 18 10:00 MORNING CONCERT Prepared by Michael Morton-Evans Wagner, R. American Centennial march (1876). Hong Kong PO/Varujan Kojian. LP Marco Polo 6.220114 12 Mendelssohn, F. Piano concerto no 1 in G minor, op 25 (1831). Stephen Hough, pf; City of Birmingham SO/Lawrence Foster. Hyperion CDA66969 19 Parry, H. Symphonic fantasia: Symphony no 5 in B minor (1912). London PO/Matthias Bamert. Chandos CHAN 8955 27 Khachaturian, A. Suite no 3 from Spartacus (1943). Armenian PO/Loris Tjeknavorian. ASV DCA 773 24 11:30 GUITAR IN CENTRAL AMERICA Prepared by Elaine Siversen Brouwer, L. Elegy to the dance (1964); Berceuse. Pepe Romero, gui. Philips 432 102-2

Ponce, M. Suite in A (1930). Jukka Savijoki, gui. BIS CD-255 16 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 TO APOLLO Prepared by Angela Bell Anon. First Delphic hymn to Apollo (c138 BC; arr. Paniagua). Atrium Musicae de Madrid/ Gregorio Paniagua. Harmonia Mundi HM 901015 5 Bliss, A. Hymn to Apollo (1926/65). Ulster O/ Vernon Handley. Chandos CHAN 8818 11 44

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February 2014

Gounod, C. This is the place! ... Hail, gloomy and silent tomb! from Romeo and Juliet (1867). Roberto Alagna, ten; London PO/Richard Armstrong. EMI 5 554772 6 Saint-Saëns, C. Morceau de concert in G, op 62 (1880). Tapiola Sinfonietta/Jean-Jacques Kantorow. BIS CD-860 10 Anon. My Lady Greensleeves; She moved through the fair; Bake, bake cakes (arr. George Pikler). Lauris Elms, cont; Pikler Ensemble/ Robert Pikler. Chartreuse CRCD 1393 9 14:30 KEYBOARD CONTRASTS Prepared by Francis Frank Czerny, C. Variations on Gott erhalte Franz den Kaiser, op 73 (1825). Maureen Jones, pf; Zurich Chamber Ensemble. Jecklin 608-2 27

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Judy Ekstein Grétry, A-E-M. Overture to Le magnifique (1773). English CO/Richard Bonynge. Decca 440 844-2 11 Gossec, F-J. Symphony in D, op 5 no 3 (pub. 1761). London Mozart Players/Matthias Bamert. Chandos CHAN 9661 13 Pleyel, I. Sinfonia concertante no 5 in F (c1800). Hansjürgen Möhring, fl; Gunther Passin, ob; Jürgen Gode, bn; Walter Lexutt, hn; Cologne CO/Helmut Müller-Brühl. Koch Schwann 316 038 F1 21 Rode, P. Violin concerto no 3 in G minor, op 5 (1798). Friedemann Eichhorn, vn; Jena PO/ Nicolás Pasquet. Naxos 8.570767 28 Kraus, J.M. Ballet music for Gluck’s Armide (1787). Swedish CO/Petter Sundkvist. 4 Naxos 8.557498 Boïeldieu, A. Harp concerto in C (1801). Lily Laskine, hp; Jean-François Paillard CO/JeanFrançois Paillard. Erato 2292-45084-2 21 Kraus, J.M. Pantomime in G. Swedish CO/ Petter Sundkvist. 8 Naxos 8.557498 22:00 CHAMBER SOIRÉE

Boccherini, L. Quartet no 3 in E flat (1778). Paule van Parys, hpd; Jan van Mol, hpd. LP Pavane ADW 7062 9

Jánácek, L. Pohádka (1910/23). Mikhail Rydy, pf; Gary Hoffman, vc. EMI 574843-2 14

Salzedo, C. Bolmimerie (1919). Seven Harp Ensemble. Tall Poppies TP204 12

Debussy, C. Sonata (1915). Er’ella Talmi, fl; Gad Levertov, va; Alice Giles, hp. PWK Classics 1141 17

Clementi, M. Piano trio, op 21 no 1 (pub. 1788). Trio Fauré. Dynamic CDS 93 13

Kreisler, F. Præludium and allegro. Nigel Kennedy, vn; John Lenehan, pf. EMI 5.57330-2

Albrechtsberger, J. Prelude and fugue. Elizabeth Anderson, Douglas Lawrence, org. Move MD 3180 6

Handel, G. Amadigi: Dite destero. Kamil Rosko, tpt; Vladimir Ruso, org. Donau DCD 8104

Falla, M. de Harpsichord concerto (1923-26). Elizabeth Anderson, hpd; Schirmer Ensemble/ Brett Kelly. Naxos 8.554366 13

Curtis-Smith, C. Sextet. Dennis Russell, pf; Stuttgart Wind Quintet. Mediaphon 72.155 19

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 JAZZ VIBES with Matt Bailey

Dvorák, A. Quartet in F, op 96 (1893). Zagreb String Quartet. ZYX Classics CLS 4179 23 Beethoven, L. Serenade in D, op 125 (1801). Jacob Berg, fl; Max Rabinovitsj, vn; Darell Barnes, va. Renaissance RO 116 24

FRIDAY 21 FEBRUARY Bruch, M. Pieces (1910). Paul Dean, cl; Brett Dean, va; Stephen Emmerson. pf. ABC 442 363-2 21

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

Tausch, F. Clarinet concerto no 2 in B flat, op 26 (pub. 1818). Thea King, cl; Nicholas Bucknall, cl; English CO/Leopold Hager. Hyperion CDA66504 23

9:00 DIVERSIONS IN FINE MUSIC Exploring Chamber Prepared by Jan Brown

14:00 IL BURANELLO Prepared by Jan Brown

Beethoven, L. Piano trio movement in B flat, op posth. Darling Downs Trio. LP Grevillea GRV 2400 5

Galuppi, B. Passatempo al cembalo: no 1 in F; no 6 in E (1781). Jörg Ewald Dähler, hpd. Claves 50-603 21

Mozart, W. Quartet no 2 in E flat, K493 (1786). Isaac Stern, vn; Milton Katims, va; Mischa Schneider, vc; Eugene Istomin, pf. Sony SM2K 64516 26

Arripe alpestri ad vallem (c1750). Gérard Lesne, ct; Il Seminario Musicale. Virgin VC 5 45030 2 19

Boccherini, L. Quintet in A, op 57 no 1 (1799). Riccardo Caramella, pf; Zagreb String Quartet. Nuova Era 7160 20

Sonata a due organi. Luigi Celeghin, org; Bianka Pezic, org. Naxos 8.557131 6

10:00 MORNING CONCERT Prepared by Sheila Catzel

Allegro; Andante; Largo e spiritoso; Largo. Douglas Lawrence, bamboo org. Move MD 3136

Elgar, E. Serenade in E minor for strings, op 20 (1892). Australian CO/Richard Tognetti. Sony SK 53356 12

15:00 MUSIC OF THE 20TH CENTURY Prepared by Frank Morrison

Moeran, E.J. Cello concerto (1945). Raphael Wallfisch, vc; Bournemouth Sinfonietta/ Norman Del Mar. Chandos CHAN 8456 29 Stanford, C. Villiers Symphony no 3 in F minor, op 28, Irish (1887). Ulster O/Vernon Handley. Chandos CHAN 8545 41 11:30 CHAMBER ENCORE Prepared by Sheila Catzel Moeran, E.J. Fantasy quartet (1946). Sarah Francis, ob; members of English String Quartet. LP Chandos ABRD 1114 13 Elgar, E. Mot d’amour, op 13 no 1. Marat Bisengaliev, vn; Benjamin Frith, pf. Naxos 8.572643-45

Stanford, C. Villiers Fantasy no 1 in G minor (c1921). Thea King, cl; Britten String Quartet. Hyperion CDA66479 12 12:00 NOONTIME JAZZ with Peter Mitchell

Strauss, R. Suite from Der Rosenkavalier (1911). Sydney SO/Stuart Challender. ABC 434 714-2 23 Gershwin, G. Piano concerto in F (1925). Jon Nakamatsu, pf; Rochester PO/Jeff Tyzik. Harmonia Mundi HMU 807441 33

Albéniz, I. Suite española (1886; orch. Frühbeck de Burgos). New Philharmonia O/ Rafael Frühbeck de Burgos. Decca 433 905-2 38 22:00 BAROQUE AND BEFORE Johann Adolph and Faustina Bordoni Hasse Prepared by Elaine Siversen Porpora, N. Dall’amor più zventurato, from Orfeo; O volense gli Dei ... Dolci freschi durette, from Polifermo. Vivica Genaux, mezz; Akademie für Alte Musik/René Jacobs. Harmonia Mundi HMG 501 778 13 Cello sonata in G.

Hasse, J. Quanto affano (arr. Porpora).

Four Nations Ensemble/Andrew Appell (2 above) ASV GAU 192 Scarlatti, A. Cantata pastorale (1716). Clara Rottsolk, sop; Tempesta di Mare. Chandos CHAN 0768 17 Toccata in D minor (1723). Rinaldo Alessandrini, hpd. Arcana A3 19 Hasse, J. Sinfonia in D, op 3 no 3. Musica Antiqua Cologne/Reinhard Goebel. Archiv 453 435-2

Venetian songs, op 7 no 6. Julianne Baird, sop; Nancy Hadden, fl; Erin Headley, bass viol; Malcolm Proud, hpd. 9 CRD 3488

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Heather Sykes

Handel, G. Excerpts from Alessandro, HWV21 (1726). Emma Kirkby, sop; Brandenburg Consort/Roy Goodman. Hyperion CDS44271/3 11

Suppé, F. Overture to Morning, noon and night in Vienna (1844). Vienna PO/Zubin Mehta. CBS MK 44932

Hasse, J. Mandolin concerto in G (arr. Behrend). Takashi Ochi, mand; German Plucked-String CO/Siegfried Behrend. Thorofon CTH 2025

Mahler, G. Songs of a wayfarer (1884). Thomas Hampson, bar; London PO/Klaus Tennstedt. BBC Music Vol 16 no 2 20

13:00 CLARINET DELIGHTS Prepared by Frank Morrison

Schumann, R. Scenes from childhood, op 15 (1838). Stephanie McCallum, pf. ABC 476 3852 17

Ponchielli, A. The get-together, divertimento (1868). Colin Bradbury, cl; Donald Watson, cl; Oliver Davies, pf. ASV DCA 701 10

Schubert, F. Sonata in A minor, D821, Arpeggione (1824; orch. Davidson). Patricia Pollett, va; Queensland PO/Werner Andreas Albert. Tall Poppies TP084 27

Per questo dolce amplesso, from Artaserse (1730). Vivica Genaux, mezz; Akademie für Alte Musik/René Jacobs. 6 Harmonia Mundi HMG 501 778 Pallido il sole, from Artaserse. Andreas Scholl, ct; O of the Age of Enlightenment/Roger Norrington. 4 Decca 466 196-2 February 2014

fineMusic 102.5

SATURDAY 22 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT

Charpentier, M-A. Chant joyeux du temps de Pâques. Le Concert Spirituel/Hervé Niquet. Naxos 8.554453 13

6:00 SATURDAY MORNING MUSIC with Peter Bell

Khachaturian, A. Love, from Gayane (1942). USSR Radio & Television SO/Jansug Kakhidze. LP Melodiya C 10-10531-6 15

9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 SPOTLIGHT ON KARL GOLDMARK Prepared by Francis Frank Goldmark, K. Quintet in C sharp minor, op 54 (pub. 1916). Oliver Triendl, pf; Quatuor Sine Nomine. cpo 777 2777-2 35 Overture: In Italy, op 49 (pub. 1904). Irish National SO/Stephen Gunzenhauser. Naxos 8.550745

String quartet in B flat, op 8 (1860). Lajtha Quartet. Hungaroton HCD 31556 29

Edwards, R. Chorale and ecstatic dances (1993). Margery Smith, sax, bass cl; Elektra String Quartet. ABC 476 5039

15:30 AT THE MOVIES Prepared by Nicholas Chaplin

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

16:30 VIVALDI AND HIS ITALIAN CONTEMPORARIES Prepared by Frank Morrison

Fucik, J. Entry of the gladiators (arr. Langford). Norman Law, cond. 3 Sellers Engineering Band (2 above) Chandos CHAN 4527 Schonberg, C-M. I dreamed a dream (arr. Barry).

Gershwin, G. Someone to watch over me (1926). 4 Hawthorn Band/Ken MacDonald (2 above) Walsingham WAL 9000-2 12:00 JAZZ THEN AND NOW with Michael Cooper 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 LOVE AND JOY Prepared by Randolph Magri-Overend Strauss, Josef. Waltz: My life is love and joy, op 263 (1869). Vienna PO/Willi Boskovsky. Decca 436 783-2 7 Bach, J.S. Jesu, joy of man’s desiring, BWV147 (1723; arr. Whittaker). Choir of Westminster Cathedral; Iain Simcock, org; James O’Donnell, cond. Hyperion CDA66669 6 fineMusic 102.5

February 2014

Kats-Chernin, E. Blue silence (2006). David Pereira, vc; Timothy Young, pf. Tall Poppies TP222 9

Prokofiev, S. Suite from The love for three oranges, op 33a (1919). Philadelphia O/Eugene Ormandy. Sony SBK 53 261 16

11:30 ON PARADE Prepared by Paul Hopwood

Tchaikovsky, P. Marche slave (arr. Phillips). Phillip McCann, cond. 7

Coates, E. Suite: Joyous youth (1921). BBC PO/ Rumon Gamba. Chandos CHAN 9869 13

Howard, J. Original soundtrack: Nanny McPhee and the big bang (2010). O/Pete Anthony. Varèse Sarabande 302 067 015 2 55

Grainger, P. Thanksgiving song (1945). Melbourne SO & Ch/Andrew Davis. Chandos CHSA 5121

O’Boyle - Barton. Didgeridoo concerto (2003). William Barton, didgeridoo; Queensland SO/Sean O’Boyle. ABC 476 628-8 19

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

Alford, K. Colonel Bogey march (1914). Australian Army Band/Craig Johnson. ABC 476 4862

Beethoven, L. Ode to joy, from Symphony no 9 (1822-24). Sydney Philharmonia Motet Choir; Sydney Philharmonia O/Antony Walker. ABC 465 684-2 9

18:00 AUSTRALIAN COMPOSERS’ HOUR Prepared by Janie Fitch

Vivaldi, A. Double concerto in D minor, RV514 (c1725). Isaac Stern, vn; David Oistrakh, vn; William Smith, hpd; members of Philadelphia O/Eugene Ormandy. Sony SM2K 66 472 11 Locatelli, P. Concerto grosso in G minor, op 1 no 12 (1721). Capella Istropolitana/Jaroslav Krecek. Naxos 8.553446 9 Albinoni, T. Harpsichord concerto in G, op 7 no 4. Jörg Ewald Dähler, hpd; Accademia Instrumentalis Claudio Monteverdi/Hans Ludwig Hirsch. Claves 50-602 10 Geminiani, F. Sonata in F, op 5 no 5 (1746). Hidemi Suzuki, vc; Rainer Zipperling, vc continuo; Guy Penson, hpd. Ricercar RIC 095077 8 Marcello, A. Oboe concerto in D minor (c1732). John Anderson, ob; Philharmonia O/Simon Wright. Nimbus NI 7027 11 Pergolesi, G. Magnificat anima mea Dominum in C (1734). Elizabeth Vaughan, sop; Janet Baker, cont; Ian Partridge, ten; Christopher Keyte, bass; Choir of King’s College, Cambridge/David Willcocks. Decca 443 868-2 12 Scarlatti, D. Concerto grosso no 10 in D (1744; arr. Avison). Philips 438 806-2 7 Tartini, G. Trumpet concerto in D (c1752). Maurice André, tpt. Erato 2292 45062-2 10 Neville Marriner, cond (2 above) Academy of St Martin in the Fields (3 above)

Rodgers, R. Excerpts from South Pacific (1949). Mary Martin, voice; Ezio Pinza, bass; original Broadway cast. Columbia SMK 60799 19 Ellis, V. Excerpts from Bless the bride. Lizbeth Webb, Georges Guetary, voices; original London cast. Sepia 1124 13 Rodgers, R. Excerpts from Carousel. Joanna Riding, Michael Hayden, Katrina Murphy, Clive Rowe, voices; members of the Royal National Theatre. First night records OCRCD 6042 19 20:00 LIVE AND LOCAL Australia Quartet presents Niall Brown and friends Recorded by Roger Doyle for FINE MUSIC Beethoven, L. Seven variations on Bei Männern from Mozart’s The magic flute (1801); Sonata no 3 in A, op 69 (1807-08). Niall Brown, vc; Isabelle Trüb, pf. 35 Schubert, F. Quintet in C minor, D956 (1828). Rebecca Chan, vn; Robin Wilson, vn; James Wannan, va; Thomas Rann, vc; Niall Brown, vc. 50 21:30 VARIATIONS ON A THEME Prepared by Elaine Siversen Giuliani, M. Introduction and variations on a favourite waltz, op 103 (pub. 1819). Ensemble Urs Mächler. Nuova Era 7194 10 Arensky, A. Variations on a theme by Tchaikovsky, op 35a (1894). St Petersburg Camerata/Saulius Sondeckis. Sony SMK 58 976 22:00 AFTER HOURS with Kevin Jones

SUNDAY 23 FEBRUARY 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett

Beethoven, L. Quartet in F minor, op 95 (1809). Goldner String Quartet. ABC 476 3541

9:00 MUSIC OF THE DANCE Prepared by Angela Bell Warlock, P. Capriol suite (1926). Nash Ensemble/Martyn Brabbins. Hyperion CDA66938

Gluck, C. Symphony in F. Orfeo Baroque O/ Michi Gaigg. cpo 777 411-2 14

13:00 WORLD MUSIC: Whirled Wide

Howells, H. Three dances (1915). Malcolm Stewart, vn; Royal Liverpool PO/Vernon Handley. Hyperion CDA66610 14

14:00 SUNDAY SPECIAL Bach’s St John Passion Recorded by Greg Ghavalas for SUGC

Maxwell Davies, P. Dances from The two fiddlers (1978). Scottish CO/Peter Maxwell Davies. Unicorn-Kanchana DKP(CD)9070 7

Bach, J.S. St John Passion (1724/30s/40s). Belinda Montgomery, sop; Jenny Duck-Chong, cont; Richard Butler, ten; Henry Choo, ten; Simon Lobelson, bass; Morgan Pearse, bass; Sydney University Graduate Choir & O/ Christopher Bowen. 1:53

Coleridge-Taylor, S. Four characteristic waltzes, op 22 (1898). RTE Concert O/Adrian Leaper. Marco Polo 8.223516 14 Benjamin, A. Waltz and Hyde Park galop, from An ideal husband (1947). BBC Welsh NO/ Rumon Gamba. Chandos CHAN10713 7 10:00 THE DEFINING YEARS Music from the Classical era Prepared by Denis Patterson Haydn, J. Overture to Die Feuersbrunst, Hob. XXIXa:4 (c1773-79). Haydn Sinfonietta, Vienna/ Manfred Huss. Schwann 3-1723-2 8 Dittersdorf, C. Double bass concerto no 2 in D (1767). Chi-Chi Nwanoku, db; Swedish CO/ Paul Goodwin. Hyperion CDA67179 18 Boccherini, L. String quartet in C, op 33 no 2 (1781). Revolutionary Drawing Room. cpo 999 206-2 11 Boyce, W. Symphony in A, op 2 no 2 (1756). Academy of Ancient Music/Christopher Hogwood. Decca 473 081-2 6 Tartini, G. Violin sonata in D (c1745-60). Locatelli Trio. Hyperion CDA66485

Paisiello, G. Il mio ben quando verrà, from Nina, o sia La pazza per amore (1789). Mojca Erdmann, sop; La Cetra Barockorchester Basel/ Andrea Marcon. DG 477 8979 7

Massenet, J. Entr’acte, adagio and waltz, from Le roi de Lahore (1877). London SO/Richard Bonynge. 7 Decca 452 772-2 Offenbach, J. Rondeau et valse, from La vie parisienne (1866). Frederica von Stade, mezz; Antonio de Almeida, cond. 4 RCA 09026 68116 2

12:00 CLASSIC JAZZ AND RAGTIME With John Buchanan 10

19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech

16:00 RUSSIAN DELIGHT Prepared by Jacob Gutmann

Mozart, W. Tutto è disposto ... Aprite un po’ quegli occhi, from The marriage of Figaro, K492 (1786). Bryn Terfel, bass-bar; Charles Mackerras, cond. 4 DG 477 5886 Scottish CO (2 above) Giordano, U. Ecco l’altare, from Andrea Chénier (1896). Renata Tebaldi, sop; Mariano Caruso, ten; Mario del Monaco, ten; St Cecilia Academy O/Gianandrea Gavazzini. 8 Decca 470 280-2 19:30 SUNDAY NIGHT CONCERT

Khachaturian, A. Sabre dance, from Gayaneh (1942). Houston SO/Sergiu Comissiona. Pro Arte CDM 812 3 Borodin, A. Overture; Polovtsian dances, from Prince Igor (1887). London Symphony Ch & O/ Georg Solti. Decca 417 689-2 24 Tchaikovsky, P. Excerpts from Swan Lake, op 20 (1875). London Festival O/Alberto Lizzio. Digital Audio Orbis CCC001 12 Capriccio Italien, op 45 (1880). Houston SO/ Sergiu Comissiona. Pro Arte CDM 812 15

Dittersdorf, C. Sinfonia in A minor, The delirium of the composers (c1775). Failoni O/ Uwe Grodd. Naxos 8.553975 22 Khachaturian, A. Violin concerto in D minor (1940). Mihaela Martin, vn; Ukraine NSO/ Theodore Kuchar. Naxos 8.555919 39 Janácek, L. Sinfonietta (1926). Slovak RSO/ Ondrej Lenárd. Naxos 8.550411 22 21:00 NEW HORIZONS Prepared by Robert Small

17:00 HOSANNA Prepared by Warwick Bartle

Glynn, G. Changes for cello (1975). Howard Penny, vc. Tall Poppies TP103 16

Gibbons, O. Second evening service. Daniel Hyde, org; Simon Lawford, cond. ABC 465689-2 9

Lockley, G. Symphony of Australia (2007). Harry Adkins, treb; Renée Martin, mezz; Gavin Lockley, bar, pf; Sharolyn Kimmorley, pf; Heather Lee, voice; Jon English, singer, speaker; Sydney Tribe singers and percussionists; Janet Webb, fl; Shefali Pryor, ob; Matthew Doyle, didgeridoo; Rick MIller, timp; Brian Nixon, timp; Kim Cunio, sitar; Riley Lee, shakuhachi; Saragan Sriranganathan, sitar; Fernando Arancibio, pan pipes; Leon Gaer, electric bass, fretless electric bass; Pete Skelton, drums; Tom Ferris, gui; Cantillation; Sydney SO/Brett Weymark. ABC 476 3659 49

Duruflé, M. Requiem. Stewart Smith, org; Joseph Nolan, cond. Private recording 36 Choir of St George’s Cathedral, Perth (2 above) Dupré, M. Veni creator spiritus; Placare Christe servulis, from Le tombeau de Titelouze, op 38 (1973). Richard Pinel, org. Private recording 18:00 WHAT’S ON AT THE CON with Julie Simonds A monthly program of music, news and interviews from the Sydney Conservatorium

Guastavino, C. Sonata no 3 (1973). Victor Villadangos, gui. Naxos 8.557658 22:30 ULTIMA THULE February 2014

fineMusic 102.5

MONDAY 24 FEBRUARY

0:00 CLASSIC-ALL THROUGH THE NIGHT

Gottschalk, L. Grand overture: Young Henry’s hunt, after Méhul (1861; reconstr., ed. Rosenberg). John Contiguglia, pf; Richard Contiguglia, pf; Angela Draghicescu, pf; ChinMing Lin, pf; Joshua Pepper, pf; Hot Springs Festival SO/Richard Rosenberg. Naxos 8.559320 11 Liszt, F. Symphonic poem: Orpheus (1853-54; transcr. Liszt 1855-56). Tami Kanazawa, pf; Yuval Admony, pf. Naxos 8.570736 10 Kats-Chernin, E. Re-invention no 5 for bass recorder, based on Invention no 6 in E, BWV777, by J.S. Bach (2004). Genevieve Lacey, rec; Flinders Quartet. www.flindersquartet.com 5 Krumpholtz, J-B. Variations on an air by Mozart, op 10, after Serenade in D, Haffner (c1780). Jan Walters, hp. ASV GAU 209 8

Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708; transcr. Stokowski). Sydney SO/Robert Pikler. Chandos CHAN 6532 10 February 2014

Dvorák, A. Silent woods, op 68 no 5 (1883-84; arr. 1891). David Pereira, vc; David Bollard, pf. 7 Tall Poppies TP010 Humoresque in G flat, op 101 no 7 (1894; arr. Linz). David Garrett, vn; Alexander Markovich, pf. 4 DG 479 0933

Kalkbrenner, F. Piano concerto no 1 in D minor, op 61 (pub. 1823). Hans Kann, pf; Hamburg SO/Heribert Beissel. Vox 1157162

Gounod, C. Symphony no 1 in D (1855). Sinfonia Finlandia/Patrick Gallois. Naxos 8.557463

Boyd, A. Cloudy mountain (1981). Satsuki Odamura, koto; Jim Denley, fl. Vox Australis VAST022-2

9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Francis Frank

fineMusic 102.5

Janacek, L. Sinfonietta (1926). London SO/ Claudio Abbado. Decca 478 5365 24

Wesley-Smith, M. Alice in the garden of live flowers (2006). Seven Harp Ensemble. Tall Poppies TP204 6

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

14:00 DVORAK IN CHAMBER Prepared by Chris Blower

11:30 CHAMBER VIGNETTES Prepared by Rex Burgess

Charles Gounod

Kreisler, F. Prelude and allegro (transcr. Arnold). Hartmut Lindemann, va; Günther Herzfeld, pf. Tacet 21

10:00 MORNING CONCERT Prepared by Derek Parker

Atherton, M. Patina. Jason Noble, cl; Claire Edwardes, vibraphone, perc. Wirripang WIRR 028 10 12:00 SWING SESSIONS with John Buchanan

Quintet in A, op 81 (1887). Quatuor Thymos; Christoph Eschenbach, pf. Avie AV2234 43 15:00 A CLASSICAL CONCERT Prepared by Andrew Parker Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). Concertgebouw O/ Otto Klemperer. Memories HR 4248 12 Mozart, W. Piano concerto no 21 in C, K467 (1785). Malcolm Bilson, fp; English Baroque Soloists/John Eliot Gardiner. Archiv 427 847-2 28 Haydn, J. Symphony in D, Hob.I:10 (c1761). Hanover Band/Roy Goodman. Hyperion CDA66529 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 SPIRIT OF JAZZ with Susan Gai Dowling

13:00 VERY REVEREND Prepared by Randolph Magri-Overend

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

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 INTO THE 20TH CENTURY Prepared by Judy Ekstein

Schubert, F. The stream’s lullaby, from Die schöne Müllerin, D795 no 20 (1823). Olaf Bär, bar; Geoffrey Parsons, pf. EMI CDC 7 47947-2 8 Shostakovich, D. The tale of the priest and his worker Balda, op 36 (1934). State Cinematographic O/Walter Mnatsakanov. Delos DRD 2005 15 Carwithen, D. Overture: Bishop Rock (1952). London SO/Richard Hickocks. Chandos CHAN 9524 8 Handel, G. Zadok the priest, HWV258 (1727). Choir of King’s College, Cambridge; Thurston Dart, hpd; John Langdon, hpd; English CO/ David Willcocks. Decca 458 623-1 6

Françaix, J. Octet for clarinet, bassoon, horn, two violins, two violas and cello (1972). Gaudier Ensemble. Hyperion CDA67036 20 Casella, A. Heroic elegy, op 29 (1916). Rome SO/Francesco La Vecchia. Naxos 8.572415 17 Milhaud, D. Scaramouche, op 165c (1937). Pekka Savijoki, sax; Margit Rahkonen, pf. BIS CD-209

d’Indy, V. Mediterranean dyptich (1921). Buffalo PO/JoAnn Falletta. Beau Fleuve

Poulenc, F. Elegy (1957). André Cazalet, hn; Pascal Rogé, pf. Decca 443 968-2 11 Fauré, G. Quintet no 2 in D minor, op 115 (1921). Parrenin Quartet; Jean-Phillipe Collard, pf. EMI CMS 7 62548 2 34

TUESDAY 25 FEBRUARY

Pavel Steidl

Hilliard Ensemble. Photo - Marco Borggreve

0:00 CONTEMPORARY COLLECTIVE

11:30 KEYBOARD VARIATIONS Prepared by Elaine Siversen

3:00 CLASSICAL TILL DAWN

Franck, C. Prelude, fugue and variations in B minor, op 18 (1862). Piet Kee, org. Chandos CHAN 8891 11

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

Liszt, F. Variations on a theme of Bach (1862). Leslie Howard, pf. Hyperion CDA66302 13

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Deborah de Graaf Prepared by Madilina Tresca Brophy, G. Twist for clarinet (1993). Walsingham WAL80442

Khachaturian, A. Trio (1932; arr.). Leah Lock, fl; John Martin, pf. ABC/Three Bracelets 94504 47232 17 Berkeley, L. Three pieces for clarinet (1939). Naxos 8.557324 5 Brahms, J. Trio in A minor, op 114 (1891). Georg Pederson, vc; Len Vorster, pf. ABC 472 672-2 26 Deborah de Graaff, cl (all above) 10:00 MORNING CONCERT Prepared by Michael Field Elgar, E. Overture: In the south, op 50, Alassio (1904). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00029 21 Mozart, W. Horn concerto no 3 in E flat, K447 (1784-87). Frank Lloyd, hn; Northern Sinfonia/ Richard Hickox. Chandos CHAN 9150 15 Brahms, J. Serenade no 1 in D, op 11 (1857-58). Scottish CO/Charles Mackerras. Telarc 80522 48

Eyck, J. Psalm 9, from the Flute’s garden of delight (pub. 1654). Eric Bosgraaf, rec. Brilliant 93391 6 Josquin Desprez. Psalm 129 (130): De profundis clamavi ad te, Domine. Hilliard Ensemble. Virgin VER 5 61302 2 8

12:00 JAZZ RHYTHM with Jeannie McInnes

Handel, G. Dixit Dominus, HWV232 (1707). Hillevi Martinpelto, sop; Anne Sofie von Otter, cont; Stockholm Bach Choir; Drottningholm Baroque Ensemble/Anders Ohrwall. BIS CD-1235 32

13:00 BY-WAYS OF INTRODUCTION Prepared by Angela Bell

15:00 PARTITAS OLD & NEW Prepared by Stephen Wilson

Ries, F. Introduction and polonaise, op 174 (1833). Christopher Hinterhuber, pf; Gävle SO/ Uwe Grodd. Naxos 8.557844 15

Tuma, F. Partita a tre in C minor. Concerto Italiano/Rinaldo Alessandrini. naïve OP 30436 14

Coste, N. Introduction and variations on a theme of Rossini, op 16. Pavel Steidl, gui. Naxos 8.554353 14

Albrechtsberger, J. Partita in F. Jana Bouskova, hp; South West German CO, Pforzheim/ Vladislav Czarnecki. Brilliant Classics 99512 18

Hummel, J. Introduction, theme and variations in F, op 102 (1824). Diana Doherty, ob; Queensland SO/Werner Andreas Albert. ABC 456 681-2 14 Saint-Saëns, C. Introduction and rondo capriccioso, op 28. Leila Josefowicz, vn; Academy of St Martin in the Fields/Neville Marriner. Philips 454 440-2 9 14:00 PSALMS MODERN AND ANCIENT Prepared by Angela Bell Arkhangelsky, A. Psalm 41: Blessed is he that considers the poor. Lege Artis Chamber Choir/ Boris Abalyan. Sony SK 64586 6

Vaughan Williams, R. Partita for double string orchestra (1948). London SO/Bryden Thomson. Chandos CHAN 9263 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling February 2014

fineMusic 102.5

WEDNESDAY 26 FEBRUARY 0:00 CONTEMPORARY COLLECTIVE

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

3:00 CLASSICAL TILL DAWN

20:00 AT THE OPERA Prepared by Colleen Chesterman

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

Strauss, R. Der Rosenkavalier. Opera in three acts. Libretto by Hugo von Hofmannsthal and Harry von Kessler. First performed Dresden, 1911.

9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Marais, M. La sonnerie de Sainte Geneviève du Mont de Paris (1723). Trio Sonnerie. 8 Delalande, M-R. Symphonies pour les soupers du Roy. La Symphonie d Marais/Hugo Reyne. 10 Harmonia Mundi HMX 2908 147-49 (2 above) Barrière, J. Sonata no 4 in G (pub. 1733-39). Marilyn McDonald, vn; James Caldwell, va da gamba; Lisa Crawford, hpd. Renaissance RO 108 9 Charpentier, M-A. Te Deum (c1690). Felicity Lott, sop; Eiddwen Harrhy, sop; Charles Brett, alto; Ian Partridge, ten; Stephen Roberts, bass; Choir of King’s College, Cambridge; Marilyn Sansom, vc; Thomas Trotter, org; Academy of St Martin in the Fields/Philip Ledger. EMI 5 74561 2 25 10:00 MORNING CONCERT Prepared by Angela Bell Bach, J.S. Violin concerto in E, BWV1042 (c1730). Christian Ferras, vn; Berlin PO/Herbert von Karajan. DG 480 6655 20 Rachmaninov, S. Bohemian caprice, op 12 (1892/94). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 17 Hummel, J. Rondo brillant in A, op 56 (pub. 1814). London Mozart Players; Howard Shelley, pf & dir. Chandos CHAN 10216 16 Haydn, J. Divertimento in C, Hob.II:17 (c1761). Haydn Sinfonietta, Vienna/Manfred Huss. Koch Schwann 3-1481-2 28 11:30 INTIMATE HAYDN Prepared by Angela Bell Haydn, J. Sonata no 24 in A, Hob.XVI:26 (1773). Leif Ove Andsnes, pf. EMI 5 56756-2 8 50

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Brigitte Fassbaender Keyboard trio in C minor, Hob.XV:13 (1789). Beaux Arts Trio. Philips 454 098-2 18 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 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 THE SYMPHONIES OF HAYDN Prepared by Chris Blower Giuliani, M. Twelve Ländler, op 75 (pub. 1817). Mikael Helasvuo, fl; Jukka Savijoki, gui. BIS CD-411 8 Haydn, J. Symphony in F, Hob.I:40 (1763). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 18 Devienne, F. Sonata in G, op 24 no 5 (c1785). Klaus Thunemann, bn; Klaus Stoll, vle; Jörg Ewald Dähler, fp. Claves 50-9207 8 Haydn, J. Symphony in C, Hob.I:41 (c1769-70). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Camille Mercep

MARSCHALLIN: Gundula Janowitz, sop OCTAVIAN: Brigitte Fassbaender, mezz SOPHIE: Illeana Contrubas, sop BARON OCHS: Karl Ridderbusch, bass RAI Ch & O/Georges Prêtre. Bravissimo BRV 9804

3:08

The Marschallin is entertaining her young lover Octavian when her cousin Baron Ochs is announced. Octavian disguises himself as a chambermaid. The cash-strapped Baron is arranging his betrothal to Sophie, the daughter of a wealthy parvenu and asks the Marschallin to recommend an envoy to present a traditional silver rose. Meanwhile he flirts outrageously with the chambermaid. The Marschallin suggests that Count Octavian be the Knight of the Rose. When he presents the rose to Sophie, they immediately fall in love. Octavian fools Baron Ochs by arranging a rendezvous with the ‘maid’ at a seedy inn. Sophie and her father are shocked at the Baron’s scandalous behaviour. Octavian and Sophie are united while the Marschallin and gracefully renounces her love for the young Count. 23:30 BLACK HORSE Recorded by Edda Filson for FINE MUSIC Albéniz, I. Asturias, from Iberia suite (1906-08; 7 arr. Segovia). Sainz de la Maza, E. Campanas del alba. 5 Piazzolla, A. La muerte del angel (1962).

York, A. Sunburst (1986).

Hoang, T. Fantasy on traditional song Black horse (1984). 6 Tuan Hoang, gui (all above)

THURSDAY 27 FEBRUARY Three Moravian dances (c1892). Roland Pöntinen, pf. BIS CD-663-4

Janácek, L. Ploughing; Our birch tree; The garland; The quilt. Male voices of Moravian Teachers Choir/Lubomir Máti. Naxos 8.553623 9 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Name the composer Be the first to identify the mystery composer and win a CD. All other correct answers go in a draw for a second CD: 9439 4777 10:00 MORNING CONCERT Prepared by Elaine Siversen Dreyfus, G. Mary Gilmore goes to Paraguay, from And their ghost may be heard (1975). Melbourne SO/George Dreyfus. Move MD 3098 14 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). English Concert/Andrew Manze, vn & dir. Harmonia Mundi HMX 2907541.45 29

Byrd, W. Quomodo cantabimus? Ensemble Gombert. Move MCD 277 7

20:00 EVENINGS WITH THE ORCHESTRA Elgar: early years Prepared by Stephen Wilson

Serenade in E minor for strings, op 20 (1892). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00030 12

Rameau, J-P. Suite from Anacréon (1754). Capella Savaria/Mary Térey-Smith. Naxos 8.553746 22

Delius, F. Piano concerto in C minor (18971904; ed. Beecham). Philip Fowke, pf; Royal PO/ Norman Del Mar. Unicorn-Kanchana DKP 9108 22

Pleyel, I. Clarinet concerto in C (1797). Paul Meyer, cl; Franz Liszt CO/Jean-Pierre Rampal. Denon CO-78911 24

Elgar, E. Overture: Cockaigne, op 40 In London town (1901). London SO/André Previn. Philips 464 359-2 15

Arensky, A. Suite no 2, op 23, Silhouettes (1892). Moscow SO/Dmitry Yablonsky. Naxos 8.553768 17

Violin concerto, op 61 (1910). Tasmin Little, vn; Royal Scottish NO/Andrew Davis. Chandos CHSA 5083 50

Messiaen, O. La mort du nombre (1930). Ann Murray, sop; Philip Langridge, ten; Andrew Watkinson, vn; Roger Vignoles, pf. Virgin VC 7 91179-2 10 Messiaen, O. La mort du nombre (1930). Ann Murray, sop; Philip Langridge, ten; Andrew Watkinson, vn; Roger Vignoles, pf. Virgin VC 7 91179-2 10 14:30 KEYBOARD CONTRASTS Prepared by Frank Morrison

Janácek, L. Suite from The excursions of Mr Broucek (1920; arr. Breiner). New Zealand SO/ Peter Breiner. Naxos 8.570555 39

Haydn, J. Sonata no 32 in G minor, Hob.XVI:44 (c1770). Geoffrey Lancaster, fp. Tall Poppies TP201 15

11:30 A JANÀCEK ENCORE Prepared by Elaine Siversen

Kabalevsky, D. Sonata no 1 in F, op 6 (1927). Alexandre Dossin, pf. Naxos 8.570822 18

Janácek, L. Zdrávas Maria (1904); Suscepimus Deus; In nomine Jesu. Shelley Everall, sop; Choir of Gonville & Caius College, Cambridge; Douglas Paterson, vn; Michael Phillips, org; Geoffrey Webber, cond. ASV DCA 914 9

19:00 JAZZ VIBES with Matt Bailey

Elgar, E. Bavarian dances nos 1, 2 and 3 (1895). New Zealand SO/James Judd. Naxos 8.557577 12

13:00 A MUSICAL CAVALCADE Prepared by Rex Burgess

Peter Breiner. Photo - Gulnar Samollova

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

Herzogenberg, H. Quartet in B flat, op 95 (1897). Andreas Frölich, pf; Belcanto Strings. cpo 999 710-2 30 Ravel, M. Mother Goose (1908-10). Katia Labèque, pf; Marielle Labèque, pf. KML 1111

22:00 CHAMBER SOIRÉE Lesser known works from Bohemia Prepared by Stephen Wilson Biber, H. Harmonia artificiosa, pt 6. Irish Baroque O Chamber Soloists/Monica Huggett. Avie AV2202 16 Benda, F. Sonata no 13 in G minor. Leila Schayegh, vn; Felix Knecht, vc; Václav Luks, hpd. Glossa GCD 922507 16 Krommer, F. Quartet in E flat, op 46 no 2 (1804). Eckart Hübner, bn; Johannes Lüthy, va; Steuart Eaton, va; Reinhard Latzko, vc. cpo 999 297-2 21 Myslivecek, J. Octet no 1 in E flat. Sabine Meyer Wind Ensemble. EMI 5 55512 2 16 Foerster, J. Piano trio no 1 in F minor, op 8 (1883). Janácek Trio. Supraphon SU4079-2 30 Mahler, G. Quartet in A minor (1876). Gidon Kremer, vn; Veronika Hagen, va; Clemens Hagen, vc; Oleg Maisenberg, pf. DG 477 8825 11 February 2014

fineMusic 102.5

FRIDAY 28 FEBRUARY Brahms, J. Symphony no 2 in D, op 73 (1877). Vienna PO/István Kertész. Decca 448 197-2 45 11:30 ART SONG Prepared by Jan Brown Schumann, R. Dedication; The nut tree, from Myrthen, op 25 (1840). Bryn Terfel, bass-bar; Malcolm Martineau, pf. DG 447 042-2 6 Schubert, F. Antigone und Oedip, D542 (1817). Marie McLaughlin, sop; Thomas Hampson, bar; Graham Johnson, pf. Hyperion CDJ 33014 6 Neal Peres da Costa. Photo - Dan White

3:00 CLASSICAL TILL DAWN

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

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

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

9:00 DIVERSIONS IN FINE MUSIC Exploring Chamber Prepared by Jennifer Foong

12:00 NOONTIME JAZZ with Peter Mitchell

0:00 CONTEMPORARY COLLECTIVE

Telemann, G. Paris quartet no 6 in E minor (pub. 1730). Florilegium/Neal Peres da Costa. Channel Classics CCS 5093 19 Wagenseil, G. Sonata no 3 in C, Suite des pièces (1764). Piccolo Concerto Wien/Roberto Sensi. Accent ACC 24242 19 Franck, C. Panis angelicus (1872). Carlson Chorale/Rosalind Carlson. Carlson Chorale CC001

Saint-Saëns, C. Caprice on Danish and Russian airs, op 79 (1887). Members of Nash Ensemble. Hyperion CDA67431/2 11 10:00 MORNING CONCERT Prepared by Ron Walledge Delius, F. The walk to the Paradise Garden, from A village Romeo and Juliet (1907). Welsh National Opera O/Charles Mackerras. Argo 430 202-2 10 Schumann, R. Cello concerto in A minor, op 129 (1850). Mstislav Rostropovich, vc; Leningrad PO/Gennady Rozhdestvensky. DG 449 100-2 26 52

fineMusic 102.5

February 2014

13:00 MUSICDIRECT with Stephen Schafer New and recent releases from www. MusicDirect.net.au 15:00 CONCERT HALL Prepared by Stephen Schafer Bloch, E. Symphony in C sharp minor (1900). London SO/Dalia Atlas. Naxos 8.573241 55 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Phil Vendy Weber, C.M. Theme and variations concertante, from Silvana, op 33 (1810). Sabine Meyer, cl; Zurich Opera O/Franz Welser-Möst. EMI 5 56137 2 12 Mendelssohn, F. Piano quartet in B minor, op 3 (1825). Domus. Virgin VC 7 91183-2 31

Roland Peelman Tchaikovsky, P. String quartet no 3 in E flat minor, op 30 (1876). New Haydn Quartet, Budapest. Naxos 8.550848 35 Parry, H. Piano concerto in F sharp (1880). Piers Lane, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66820 35 22:00 BAROQUE AND BEFORE Prepared by Rex Burgess Dufay, G. Missa ave regina caelorum (1472). Prague Madrigal Singers/Miroslav Venhoder. Supraphon 11 0637-2 31 Lassus, O. de Hai, Lucia bona cosa; Chi, chilichi; Cathalina apra finestra (pub. 1581). Song Company/Roland Peelman. 9 ABC 454 518-2 Ockeghem, J. Mort tu as navré de ton dart. Orlando Consort. Archiv 453 419-2 10 Monteverdi, C. Ballo delle ingrate. Catherine Bott, sop; Tesser Bonner, sop; Michael George, bass; New London Consort/Philip Pickett. L’Oiseau-Lyre 440 637-2 38 Lassus, O. de Missa super Quand’io pens’al martire. Choir of King’s College, Cambridge/ Stephen Cleobury. London 444 335-2 21

The following composers have works of at least five minutes on the February dates listed Albéniz, I. 1860-1909 6,10,11,21,26 Albinoni, T. 1671-1751 17,22 Albrechtsberger, J. 1736-1809 20,25 Alfvén, H. 1872-1960 7 Alkan, C-V. 1813-1888 13 Andriessen, H. 1892-1981 1 Arensky, A. 1861-1906 6,22,27 Arkhangelsky, A. 1846-1924 25 Arnold, M. 1921-2006 19 Atherton, M. b1950 24 Atterberg, K. 1887-1974 4 Auber, D-F-E. 1782-1871 4

Carr-Boyd, A. b1938 15 Carter, E. b1908 2 Carwithen, D. 1922-2003 24 Casella, A. 1883-1959 24 Castello, D. 16th-17th c 12 Catoire, G. 1861-1926 11 Chapi, R. 1851-1909 2 Chápi, R. 1851-1909 2 Charpentier, M-A. 1635-1704 14,22,26 Cherubini, L. 1760-1842 13 Chin, G. b1957 9 Chopin, F. 1810-1849 7,8,9,11,12,13,15 Chueca, F. 1846-1908 2 Bach, C.P.E. 1714-1788 7,16 Cimarosa, D. 1749-1801 9,12 Bach, J. Christian 1735-1782 2,10 Clementi, M. 1752-1832 6,19,20 Bach, J.S. 1685-1750 2,3,4,5,6,7,11,1 Coates, E. 1886-1957 22 3,16,19,22,23,24,26 Coleridge-Taylor, S. 1875Baermann, H. 1784-1847 4 1912 23 Bairstow, E. 1874-1946 9 Copland, A. 1900-1990 2,4 Balakirev, M. 1837-1910 8 Corelli, A. 1653-1713 5,12 Barbieri, F. 1823-1894 2 Coste, N. 1806-1883 25 Barrière, J. 1705-1747 26 Croft, W. 1678-1727 11 Barsanti, F. 1690-1772 12 Curtis-Smith, C. b1941 20 Bartók, B. 1881-1945 10,18 Czerny, C. 1791-1857 20 Beethoven, L. 1770-1827 2,4,13,1 5,16,17,18,19,20,21,22,23 d’Indy, V. 1851-1931 24 Bellini, V. 1801-1835 16 Debussy, C. 1862-1918 3,13,20 Benda, F. 1709-1786 27 Delalande, M. 1739-1812 26 Benjamin, A. 1893-1960 5,23 Delius, F. 1862-1934 10,27,28 Berkeley, L. 1905-1989 25 Devienne, F. 1759-1803 26 Berlioz, H. 1803-1869 9,13 Dittersdorf, C. 1739-1799 23 Bernstein, L. 1918-1990 15 Dohnányi, E. 1877-1960 11,13 Berwald, F. 1796-1868 11 Donizetti, G. 1797-1848 2 Best, W.T. 1826-1897 13 Doppler, F. 1821-1883 18 Biber, H. 1644-1704 27 Dreyfus, G. b1928 27 Bizet, G. 1838-1875 8,15,18 Dufay, G. c1400-1474 28 Bliss, A. 1891-1975 13,20 Dukas, P. 1865-1935 16 Bloch, E. 1880-1959 28 Duruflé, M. 1902-1986 23 Boccherini, L. 1743-1805 Dussek, J. 1760-1812 16 13,20,21,23 Dvorák, A. 1841-1904 3,5,7,20,24 Bogdanovic, D. b1955 1 Boïeldieu, A. 1775-1834 20 Edwards, R. b1943 16,22 Bomtempo, J. 1771-1842 7 Elgar, E. 1857-1934 10,21,25,27 Borodin, A. 1833-1887 10,23 Ellis, V. 1903-1996 22 Bottesini, G. 1821-1889 14 Eyck, J. c1590-1657 25 Boyce, W. 1711-1779 23 Boyd, A. b1946 24 Falla, M. de 1876-1946 2,7,20 Brahms, J. 1833-1897 Fasch, J. 1688-1758 2 5,6,11,13,25,28 Fauré, G. 1845-1924 16,24 Breton, T. 1859-1923 2 Feld, J. b1925 16 Bretón, T. 1859-1923 2 Finsterer, M. b1962 1 Bridge, F. 1879-1941 2 Foerster, J. 1859-1951 27 Britten, B. 1913-1976 17 Forsyth, M. b1936 2 Brouwer, L. b1939 2,14,20 Fossa, F. de 1775-1849 3 Bruch, M. 1838-1920 1,19,21 Françaix, J. 1912-1997 24 Busoni, F. 1866-1924 3,8 Franck, C. 1822-1890 6,11,13,25 Byrd, W. 1543-1623 14,27 Freitas Branco, L. 1890-1955 7 Fux, J. 1660-1741 7 Cannabich, C. 1731-1798 9 Carmichael, J. b1930 5

Gade, N. 1817-1890 4,7 Galuppi, B. 1706-1785 3,21 Geminiani, F. 1687-1762 22 Gershwin, G. 1898-1937 3,8,21 Gesualdo, C. c1561-1613 7 Gibbons, O. 1583-1625 23 Giménez, J. 1854-1923 2 Giordano, U. 1867-1948 23 Giuliani, M. 1781-1829 17,22,26 Glazunov, A. 1865-1936 14,17 Glinka, M. 1804-1857 5,8,15,17 Gluck, C. 1714-1787 5,23 Glynn, G. b1943 23 Goldberg, J. 1727-1756 19 Goldmark, K. 1830-1915 7,22 Gossec, F-J. 1734-1829 20 Gottschalk, L. 1829-1869 24 Gounod, C. 1818-1893 20,24 Grainger, P. 1882-1961 10,13,22 Granados, E. 1867-1916 7,10 Grandi, A. c1575-1630 12 Grechaninov, A. 1864-1956 6 Grétry, A-E-M. 1741-1813 20 Grieg, E. 1843-1907 3,4,6 Guastavino, C. 1912-2000 23 Gunning, C. b1944 18

Kálmán, E. 1882-1953 1 Kats-Chernin, E. b1957 16,22,24 Keuris, T. b1946 2 Khachaturian, A. 1903-1978 17,20,22,23,25 Kodály, Z. 1882-1967 9,10 Koh, S. b1970 9 Koshkin, N. b1956 2,16 Kraus, J.M. 1756-1792 20 Kreisler, F. 1875-1962 20,24 Kreutzer, C. 1780-1849 9 Krommer, F. 1759-1831 27 Krumpholtz, J-B. 1742-1790 24

Handel, G. 1685-1759 2,4,7,10,11, 12,17,19,20,21,24,25 Hasse, J. 1699-1783 21 Haydn, J. 1732-1809 5,11,12,13,16,17, 18,19,23,24,26,27 Henselt, A. 1814-1889 10 Hertel, J. 1727-1789 19 Herzogenberg, H. 1843-1900 27 Hétu, J. b1938 1 Hindemith, P. 1895-1963 17 Hoang, T. b1956 26 Hoffmeister, F. 1754-1812 2,10 Holbrooke, J. 1876-1958 9 Holst, G. 1874-1934 10,16 Howard, J. b1951 22 Howells, H. 1892-1983 23 Hummel, J. 1778-1837 25,26 Humperdinck, E. 1854-1921 19 Hutchens, F. 1892-1965 18 Hyde, M. 1913-2005 9

Mahler, G. 1860-1911 21,27 Marais, M. 1656-1728 26 Marcello, A. 1684-1750 12,22 Marsh, J. 1752-1828 9 Martin, B. b1934 8 Martinu, B. 1890-1959 4 Massenet, J. 1842-1912 23 Matsumura, T. b1929 9 Maxwell Davies, P. b1934 13,23 Mendelssohn, F. 1809-1847 2,10,12,15,16,18,20,24,28 Merton, R. b1984 15 Messiaen, O. 1908-1992 27 Milhaud, D. 1892-1974 24 Moeran, E.J. 1894-1950 14,21 Monnot, M. 1903-1961 8 Monteverdi, C. 1567-1643 7,28 Morley, T. c1558-1602 14 Mozart, F. 1791-1844 6 Mozart, W. 1756-1791 2,4,6,8,9,13 ,16,17,19,21,24,25,27 Müller, I. 1786-1854 12 Murail, T. b1947 1 Mussorgsky, M. 1839-1881 3,16,17 Myslivecek, J. 1737-1781 27

Ives, C. 1874-1954 15 Jadin, H. 1769-1802 5 Janacek, L. 1854-1928 5,20,23,24,27 Janácek, L. 1854-1928 5,20,23,24,27 Jánácek, L. 1854-1928 5,20,23,24,27 Joachim, J. 1831-1907 1 Josquin Desprez. c1440-1521 25 Kabalevsky, D. 1904-1987 27 Kalkbrenner, F. 1785-1849 24

Larsson, L-E. 1908-1986 2 Lassus, O. de c1530-1594 28 Leclair, J-M. 1697-1764 5 Lecuona, E. 1896-1963 2 Lehár, F. 1870-1948 1 Lyadov, A. 1855-1914 8 Liszt, F. 1811-1886 4,7,9,24,25 Locatelli, P. 1695-1764 22 Lockley, G. b1978 23 Luna, P. 1880-1942 2 Lutoslawski, W. 1913-1994 17 Lyatoshynsky, B. 1895-1968 12

Nazareth, E. 1863-1934 2 Nielsen, C. 1865-1931 13 North, A. 1910-1991 8 Nyman, M. b1948 16 Ockeghem, J. 1430-1497 28 Onslow, G. 1784-1853 6

Paer, F. 1771-1839 2 Paganini, N. 1782-1840 10,13,18 Page, R. b1956 1 Paisiello, G. 1740-1816 23 Parry, H. 1848-1918 20,28 Pedersøn, M. c1580-1628 9 Pergolesi, G. 1710-1736 22 Peterson-Berger, W. 18671942 8 Piazzolla, A. 1922-1992 2,15 Pixis, J. 1788-1874 14 Pleyel, I. 1757-1831 20,27 Ponce, M. 1882-1948 20 Ponchielli, A. 1834-1886 2,16,21 Porpora, N. 1686-1768 21 Porter, C. 1891-1964 8 Poulenc, F. 1899-1963 24 Prokofiev, S. 1891-1953 10,16,22 Purcell, H. 1659-1695 7 Quantz, J. 1697-1773 19 Rachmaninov, S. 1873-1943 13,26 Rameau, J-P. 1683-1764 6,11,27 Ravel, M. 1875-1937 7,8,17,27,28 Rebel, J-F. 1666-1747 11 Reed, H. b1910 8 Reinecke, C. 1824-1910 16 Respighi, O. 1879-1936 13 Ries, F. 1784-1838 25 Rietz, J. 1812-1877 14 Rimsky-Korsakov, N. 18441908 15 Riotte, P. 1776-1856 14 Rode, P. 1774-1830 20 Rodgers, R. 1902-1979 22 Rodrigo, J. 1901-1999 7 Röntgen, J. 1855-1932 20 Rosetti, F. 1746-1792 18 Ross, J. 1763-1837 8 Rossini, G. 1792-1868 2,4,10,18 Rozsa, M. 1907-1995 8 Rubinstein, A. 1829-1894 10 Saint-Saëns, C. 1835-1921 2,6,11,20,25,28 Salieri, A. 1750-1825 9,13 Salzedo, C. 1885-1961 20 Sammartini, G.B. 1700-1775 5 Satie, E. 1866-1925 6 Scarlatti, A. 1659-1725 21 Scarlatti, D. 1685-1757 12,22 Schiemer, G. b1949 1 Schobert, J. 1740-1767 5,9 Schubert, F. 1797-1828 4,9,12,13,14,17,21,22,24,28 Schumann, C. 1819-1896 13 Schumann, R. 1810-1856 1,3,4,12,14,21,28 Sculthorpe, P. b1929 18 Shchetynsky, A. b1960 8

Sheng, B. b1955 9 Shostakovich, D. 1906-1975 15,17,24 Sibelius, J. 1865-1957 4,7,10,17 Simai, P. b1930 2 Sitsky, L. b1934 8 Skryabin, A. 1872-1915 14 Sor, F. 1778-1839 10 Spohr, L. 1784-1859 2,10 Spontini, G. 1774-1851 9 Stanford, C. Villiers 1852-1924 10,21 Stenhammar, W. 1871-1927 9 Stolz, R. 1880-1975 1 Strauss, Josef. 1827-1870 22 Strauss, R. 1864-1949 3,16,17,20,21 Stravinsky, I. 1882-1971 1,2,6,16,17,20 Sullivan, A. 1842-1900 1 Suppé, F. 1819-1895 9,21 Taneyev, A. 1850-1918 6 Tansman, A. 1897-1986 3 Tárrega, F. 1852-1909 10 Tartini, G. 1692-1770 7,22,23 Tausch, F. 1762-1817 21 Tavener, J. 1944-2013 6 Tchaikovsky, B. 1925-1996 2 Tchaikovsky, P. 1840-1893 4,6,9,16,17,22,23,28 Telemann, G. 1681-1767 28 Thomas, A. 1811-1896 16 Tintner, G. 1917-1999 3 Tippett, M. 1905-1998 17 Tishchenko, B. b1939 2 Tórroba, F. Moreno 18911982 14 Tubin, E. 1905-1982 3 Tuma, F. 1704-1774 25 Turina, J. 1882-1949 7 Tyberg, M. 1893-1944 3 Vanhal, J. 1739-1813 3 Vaughan Williams, R. 1872-1958 3,10,25 Verdi, G. 1813-1901 1,6 Vieuxtemps, H. 1820-1881 11 Vivaldi, A. 1678-1741 6,7,22 Wagenseil, G. 1715-1777 28 Wagner, R. 1813-1883 8,17,20 Wallace, W. 1860-1940 19 Warlock, P. 1894-1930 23 Weber, C.M. 1786-1826 1,9,13,19,28 Weiss, S. 1686-1750 15 Wesley-Smith, M. b1945 24 Westlake, N. b1958 14 Wranitzky, P. 1756-1808 18

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

PO: Philharmonic Orchestra NO: National Orchestra RO: Radio Orchestra FO: Festival Orchestra CO: Chamber Orchestra TO: Theatre Orchestra RSO: Radio Symphony Orchestra RTO: Radio & Television

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

bass: bass bn: bassoon bass-bar: bass-baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor db: double bass

dbn: double bassoon elec: electronic eng horn: English horn fl: flute fp: fortepiano gui: guitar hn: French horn hp: harp hpd: harpsichord mand: mandolin

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

February 2014

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

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

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February 2014

FINE MUSIC PATRONS & FRIENDS Benefactors ($2500 +)

The Berg Family Foundation, Dr David Block, Mr J D O Burns, Hon Mr Justice David Davies SC, The Frank Family Foundation, Mrs Freda Hugenberger, The Garrett Riggleman Trust, Prof Clive Kessler, Dr Bill McKee, Hon Mr Justice B S O’Keefe AM, Prof Jack Richards, Mrs Joyce Sproat, Mr R Walledge, Mr P M Weate, Ms Jill Wran, Anonymous 2

Gold Patrons ($1000-$2499)

Mr Michael Ahrens, Mr Robert O Albert, Mr H J Benyon, Mr Johann Bosch, Mr Maximo Buch, Mrs L Alison Carr, Hon Mrs Ashley Dawson-Damer, Prof Michael Field AM, Ms Carolyn Gibbs, Prof Jacqueline Goodnow AC, Miss J E Hamilton, The Holden Family Foundation, Mr Ian & Mrs Pam McGaw, Mrs Judith McKernan, Ms Maureen Meers, Mrs Greta Moran, Ms Nola Nettheim, Mrs Renee Pollack, Dr Peter E Power, Mr Anthony C Strachan, Mr Edward J Wailes, Dr Richard Wingate, Anonymous 2

Silver Patrons ($500-$999)

Mr Chris Abbott AM, Dr H Bashir, Mr John Boden, Mr Lloyd & Mrs Mary Jo Capps, Prof Roger Covell, Mr Noel Craven, Mr Brett Ayron Davies, Ms Frances Farmer, Mrs Flora Fisk, Mr Heinz Gager, Mr Roger Hurley, Mr Andrew Kennedy, Mrs Ann Kirby, Mrs Meryl Macarthur, Ms A M Mackie, Mr Philip Maxwell, Mr Michael Morton - Evans OAM, NSW Doctors Orchestra, Miss Joan Perkins, Fed Magistrate K Raphael, Mr Kenneth Reed, Ms Alice Roberts, Mr David Rothery, Ms Marilyn Schock, Dr Gideon Schoombie, Mrs Valerie Stoney, Mrs J R Strutt, Sydney Conservatorium Association Inc, Mrs Beatrice L Watts, Hon Mr Justice A G Whealy, Anonymous 2

Bronze Patrons ($250-$499)

Prof Peter Bayliss, Mr John Benecke, Mr David Brett, Mrs E A Burton, Dr Alexandra Bune, Ms Judith Byrnes - Enoch, Mr Robert E S Clark, Mrs Dorothy Curtis, Prof C E Deer, Mrs Elizabeth Donati, Mrs M Evers, Mr Malcolm France, Prof J Furedy, Mrs Susan Gabriel, Mrs Alison H Hale, Mrs P & Dr A Harvey Sutton, Mr John Hastings, Mr Geoffrey Hogbin, Mr Allan Hough, Ms Barbara Hunter, Mrs Meila Hutchinson, Mrs Evelyn H Inglis, Mr David Levitan, Mr B Lister, Mr Ian K Lloyd, Mr Diccon Loxton, Dr D S Maynard, Mrs Patricia McAlary, Mrs Patricia McLagan, Mr J S Milford, Dr Yugan & Dr Abby Mudaliar, Mr John Nowlan, Mr Trevor Parkin, Mr Denis Patterson, Mr Michael Peck, Dr Brian Quinn, Mr J A Roberts, Dr Janice Russell, Mr Nigel Scott - Miller, Lady (Marie) Shehadie AC CVO, Mr Colin Spencer, Mrs Ruth A Staples, Mrs Mary Stening, Mr Peter & Mrs Margaret Titley, Mrs Christine Tracy, Dr J O Ward, Dr Barry Webby, Assoc Prof Gerard Willems AM, Mrs Dorothy Wood, Anonymous 14

Fine Music Friends for Life

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 H J Benyon, Mr Max Benyon OAM, 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 AM, 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 Ray Grannall, Mr Michael J Guilfoyle, Mrs E W Hamilton, Mrs Emesini Hazelden, Mr Paul Hense, 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, Ms Elizabeth McDonald, Mr Phillip McGarn, Mr J T McCarthy, 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, Assoc 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 Helen & Mr Patrick Thomas MBE, Miss Margaret Thompson, Mr Iain M Thompson, Mr Christopher A Thorndike, Dr Robin Torrence, Mrs Margaret Tuckson, Mrs Helen J Tweeddale, Mr Edward J Wailes, 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, Ms Jill Wran, Mrs Robin Yabsley, Mr Nicholas Yates, Anonymous 10

Fine Music VALUED Friends (GOLD & SILVER)

Mr David W Allen, Mr James Allsop, Mrs Patricia Azarias, Ms Fiona Barbouttis, Dr R & Mrs H Barnard, Mrs Norma Barne, Mr William J Barry, Ms Josephine M Bastian, Ms Sandra Batey, Mr Robert Baume, Mr & Mrs J & M Beardow, Mr John Boden, Mr Stephen Booth, Mrs Jan Bowen, Mr Gwynn Boyd, Mrs Barbara Brady, Mr David Brett, Mrs Halina Brett, Sir Ron Brierley, Rev Peter G Carman, Mr Ian Carroll OAM, Rev Jane S Chapman, Prof Colin Chesterman, Ms Joan Childs, Mr John Clayton, Ms Elizabeth Collins, Prof Roger Covell, Ms Ann Coventry, Mr Noel Craven, Dr Mark Cross, Prof & Mrs S J Dain, Mrs Rhonda Dalton, Ms Prudence Davenport, Mr Brett Ayron Davies, Mr Peter Deakin, Mrs Amber De Nardi, Ms Julie Dean, Prof C E Deer, Mr Joseph Deschamps, Mrs Elizabeth Donati, Mr Elwyn Dyer, Dr Nita Durham, Mrs Margaret Epps, Mr Paul Evans, Mr R D Evans, Ms Helen Eyles, Mr Richard Farago, Ms Frances Farmer, Mr William G Fleming, Ms Helen Fleming, Mr Stephen Fortescue, Ms Eleonore Fuchter, Mr Paulo Gama, Mr John Gibson, Mrs Anna E Gillespie, Mr Michael Goot, Mrs M A Grant, Mr David Green, Mr R N Greenwell, Mrs Mirra Hainsworth, Dr A H Hardy, Ms Margaret Hext, Mr Peter Hillery, Dr G & Mrs A Holder, Mrs Diana R Hooper, Mr Paul Hopwood, Prof Jacqueline Huie, Mr Rod Hyland, Dr David Jeremy, Mr Mustafa Kandan, Ms Cynthia Kaye, Mr Andrew J Kennedy, Dr Elvira Kefford, Mrs Alison King, Mr Gerhard Koller, Mr Ian Lansdown, Mr Warren Lazer, Mr David Levitan, Ms Valerie Lhuede, Mr Goldwyn Lowe, Mr R T Lowson, Mrs Meryll Macarthur, Ms Carmel Maguire, Mrs Christina Marks, Dr Jim Masselos, Dr Bernard Maybloom, Mrs Patricia McAlary, Mr T M McDougall, Mr Peter McGrath, Mrs Judith McKernan, Mrs E M McKinnon, Dr R McGuinness, Mr Kevin McVicker, Mr J S Milford, Ms Judith Miller, Dr Andrew Mitterdorfer, Tom Molomby, Mr Michael Morton-Evans OAM, Mr Andrew Nelson, Mr John Niland, Mr John Nowlan, Mr Pieter Oomens, Mr Julius Opit, Mr G C Osborne, Dr Gordon H Packham, Mr G Palmer, Mr Michael Paul, Mr Bert Percy, Ms Barbara Peretz, Dr Tri Pham, Ms Anne Pickles, Mrs Mavis Pirola, Mr Roger Porter, Mr James Poulos QC, Mr Pino Re, Mr Kenneth Reed, Dr John G Richards, Mr A & Mrs E Roth, Mr Gabriel Roy, Dr Janice Russell, Mr Harvey Sanders, Dr M J Sargent, Mr D J Schluter, Dr Gideon Schoombie, Ms Rosalind Searle, Dr Vivian Shanker, Dr Michael Shellshear, Mr Andrew Sims, Ms Stella Slack, Mrs Petrina Slaytor, Mr R A Stark, Mrs J R Strutt, Dr S Morris & Ms M Sullivan, Dr Phillip Taplin, Mr Douglas G Thompson, Ms Kathryn Tiffen, Mrs Judy Timms, Mrs Janine M Tindall, Mrs Ilda Wade, Mr D & Mrs C Wall, Mrs C & Mr L Welyczko, Ms Ann Whyte, Mr Richard Wilkins, Ass Prof Gerard Willems AM, Mr J Gerald Wilson, Mrs Dorothy Wood, Hon F L Wright QC, Mrs Helen Xiao, Ms Denise Yim, Prof Klaus A Ziegert, Mr Peter Zipkis, Anonymous 6 February 2014

fineMusic 102.5

crossword 1

ACROSS

6 When one drives on Bronsky Highway, seems to be above the clouds (3-4) 7 Notorious African leader decorated for 9 10 his turn of phrase (5) 9 Tree trunk sounds like something Dennis Lillee used to do (4) 11 12 13 14 10 Copper delayed after crazy imam proved clean as whistle (10) 15 16 17 18 11 His smirk somehow aggravated fracas (8) 19 20 21 22 13 Solitary moggy empowered in nuclear affairs (6) 15 Middle of ABC and rodent join holy 23 24 25 26 terror (4) 17 Routine garment for virtuous and committed ladies (5) 27 28 18 Memorial garden of seaweed (4) 19 Without lids industrial fur of large American aquatic rodent (6) Compiled by Nevil Anderson Name:_______________________________________________ 20 2012, for instance, fish soon ready to run at Randwick (8) Address: _____________________________________________ 23 In its own way a horse toys with one Tel:______________ Email_______________________________ who makes wise predictions (10) 26 Doodles (not Leo) with the other half of ends (4) To go in the draw to win the ABC 27 Young mammal inside state boundaries Classics CD “Music To Relax To” doesn’t need marine equipment (5) email your answers to competitions@ finemusicfm.com by 24 February or by 28 Sensitivity important, even with friend post to: around work unit (7) 6

The Crossword 72-76 Chandos Street St Leonards NSW 2065

MUSICAL TRIVIA with Michael Morton-Evans

Down 1 Variety author formerly used Underwood, Remington et al. (10) 2 Cycle closed one short; little Morris opened one short; big change in women’s beach wear (6) 3 Look quickly - I am he expressing reservation (4) 4 Tart and map explain this circular document divided radially (3,5) 5 Tell me please! Am I in a pickle or just hopeless?? (4) 6 Spanish opener derides old fashioned farmers’ blouse (5) 8 Apart from the bar at the centre, I could be copulating! Seems though, with the bar there, I’m being walked on! (7) 12 Accessory by and for the fire becomes treasured pastime (5) 14 Floral nous trickily tells we need to get down (2,3,5) 16 One can be ungracious in the absence of liquor, but being noisy and rude is something else (7) 17 He executes his task as appointed and required (8) 21 Spacious around the Italian nonchalance (6) 22 Kelly on horse above Sydney suburb (5) 24 Greek letter and bar tightly drawn (4) 25 From the front, you use a number of these when visiting the Peoples’ Republic (4)

Crossword Solution -January 2014

How well do you know the world of classical music? Test your knowledge with these musical brain teasers from Fine Music 102.5 presenter, Michael Morton-Evans. 1. Which composer appeared on the cover of Time magazine in both 1927 and 1938? 2. Which 19th century composer was nicknamed The Little Mushroom? 3. What was Antonin Dvorak’s hobby? 4. Which of the following did Edvard Grieg keep in his pocket at all times as a good luck charm? A small china frog; a rabbit’s foot; or a silver krone piece? 5. Which composer was so meticulous that he would count out exactly 60 coffee beans each time he made a cup? 6. Who was the first composer in history to be photographed? 7. Which composer lost his trousers while conducting a concert of his works one day because his braces snapped?

Across: 8. Burn, 9. Anglophobe, 10. Flaunt, 11. Dossiers, 12. Paid, 13. Absorption, 17. Skin, 18. Livid, 19. Nott, 20. Otherworld, 22. Alms, 23. Saltaway, 27. Inmost, 28. Southkorea, 29. Slip Down: 1. Bullmarket, 2. Unburden, 3. Martiallaw, 4. Aged, 5. Cons, .6 Shrift, 7. Tbar, 14. Sever, 1.5 Redadmiral, 16. Optimistic, 19. Nearmiss, 21. Entity, 24. Anon, 25. Wake, 26. Yarn

8. How many children did JS Bach have by his wife Anna Magdalena? Was it 9, 13 or 16? TRIVIA ANSWERS: 1. Richard Strauss, 2. Franz Schubert, 3. Trainspotting, 4. A small china frog, 5. Beethoven, 6. Robert Schumann, 7. Johannes Brahms, 8. Thirteen 56

fineMusic 102.5

February 2014

SIX SUPERB CINEMAS IN THE MOST SPECTACULAR MOVIE PALACE ON THE PLANET

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